Sam shepard screenwriter (17 resultados)

Vintage black-and-white still photograph from the 1992 film. A young FBI agent is partnered with a veteran investigator to crack a crime case on a Sioux Indian reservation. Produced by Robert De Niro. 8 x 10 inches. Two corners lightly creased, else Fine.

Five vintage studio still photographs from the 1980 film. Ellen Burstyn stars as a woman who barely survives a terrible car accident which took the life of her husband and as she begins recovery discovers that she has the ability to heal people. Nominated for two Academy Awards for Best Actress for Burstyn and Best Supporting Actress for Eva Le Gallienne. Shot on location in Texas and California. 8 x 10 inches. All photographs with light overall toning, else Near Fine.…

Vintage press kit for the 1980 film. Full-color illustrated pocketed folder, containing six black and white photographs, and eleven gatherings of promotional reading material. A widowed woman gains psychic powers after surviving the deadly car accident which killed her husband. Folder, photographs, and promotional material Near Fine. …

Near Fine. Godard, Histoire(s) du cinema. Rosenbaum 1000.

Draft script for the 1981 film. Copy belonging to uncredited producer Kelvyn H. Cullimore, with his name and address in manuscript pencil on the title page, and his ownership stamp to the title page and first page of text. In 1944, a young divorcée and single mother has an affair with a sailor on leave. Based on the 1979 novel by Sara Clark and William D. Wittliff. The directorial debut of Jack Fisk, the husband of actress Sissy Spacek. Shot on location in Lockhart, Maxwell, Seguin, and Corpus Christi, Texas. White untitled front wrapper, blue rear wrapper. Title page present, with credit for screenwriter William D. Wittliff. 133 leaves, with last page of text numbered 130. Xerographic duplication, rectos only. Pages Near Fine, wrapper Very Good, bound internally with three silver brads.…

Vintage reference photograph from the 1970 film, showing actors Mark Frechette and Daria Halprin talking with director Michelangelo Antonioni while on location in the desert. Annotations in manuscript pencil on the verso, identifying subjects and crediting photographer Bruce Davidson with Magnum Photos. Antonioni's great American experiment, and the only film the director ever made in the United States, written for the screen by a young Sam Shepard. Though made from an Italian's perspective, the film stands today as a great visual statement on the American West in the late 1960s, rampant consumerism, and the hippie zeitgeist. 8 x 10 inches, with wide top and bottom margins. Fine. Godard, Histoire(s) du cinema. Rosenbaum 1000.…

Two vintage borderless reference photographs from the 1985 film, one showing Robert Altman on the set, the other showing Altman talking with actor Sam Shepard. Based on Shepard's 1983 Pulitzer Prize-nominated play, about two ex-lovers with an exceedingly troubled past who inadvertently find themselves at the same run-down motel in the Mojave Desert. Shot on location in El Dorado, New Mexico. 9.5 x 7 inches. Both with two neat pinholes at one corner each, else about Fine.…

Two vintage color studio still photographs from the 2005 film, one showing actors Sarah Polley and Gabriel Mann, the other showing Mann and Fairuza Balk. An aging Western actor flees from his latest film set, deciding to travel into his past, starting with a trip home to visit his long-estranged mother in Elko, Nevada. Nominated for the Palme d'Or. Shot on location in Moab, Salt Lake City, and Arches National Park, Utah, and in Butte, Wendover, and Elko, Nevada. 10 x 8 inches. Fine.…

Vintage reference photograph from the 1989 film, showing actors Daryl Hannah and Dolly Parton. Stamps of Stills Press Agency on the verso, along with a mimeo snipe noting the film's title in French. Based on the 1987 play by Robert Harling, who also wrote the screenplay, about a group of women in a small southern community who help each other cope with loss and heartbreak. Set in northwestern Louisiana, in the fictional Chinquapin Parish, and shot on location in the town of Natchitoches. 9.5 x 7 inches. Near Fine.…

Original working script from the 2012 film belonging to costume designer Molly Maginnis, with her name on a handwritten slip of paper tucked into the front of the binder, including a Revised Draft script, a two-page xerographically duplicated document regarding costume fitting, and two photographs from the set of the film. Warmly INSCRIBED on the title page by various crew and cast members, including actors Diane Keaton, Kevin Kline, Sam Shepard, and Elisabeth Moss. From the collection of costume designer Molly Maginnis. An unhappily married, lonely woman finds love when she rescues a stray dog named Freeway. Shot on location in Utah. Housed in a blue three-ring binder. Title page present, dated 9/20/10, noted as BLUE REVISION, with credits for screenwriter Meg Kasdan and screenwriter-director Lawrence Kasdan. 110 leaves, with last page of text numbered 109. Xerographic duplication, rectos only. Pages Very Good plus. Signed.…

Vintage studio still photograph, of Daria Halprin, seemingly trapped in the middle of a mid-century modern glass vestibule, from the 1970 film. Mimeo snipe on the verso. Antonioni's great American experiment, and the only film the director ever made in the United States, written for the screen by a young Sam Shepard. Though made from an Italian's perspective, the film stands today as a great visual statement on the American West in the late 1960s, rampant consumerism, and the hippie zeitgeist. 8 x 10 inches, with wide horizontal margins. Near Fine. Rosenbaum 1000. Godard, Histoire(s) du cinema.…

Vintage reference photograph from the 1969 film, showing Robert Frank, Peter Orlovsky, and Allen Ginsberg. Printed mimeo snipe affixed to the verso, along with the stamp of Israel Film Archive. Director Robert Frank's first feature film and Sam Shepard's screenwriting debut, following Frank as he accompanies poet Peter Orlovsky and Orlovsky's catatonic, mentally ill brother Julius through the late 1960s Beat scene. When Julius wanders off, he is replaced in the film by actor Joseph Chaikin, pushing the boundaries of cinematic reality. The film was restored and released by Steidl in 2007, alongside a book publication outlining the film, which notes: "Frank's feature debut was first screened in 1968 at the Venice Film Festival. Everything which had defined Frank's art up to that point turns up in this film - the look at America 'from the outside,' the poetic libertinage of the Beats, the marginal in a central role. It celebrates the return of the poetic essay as assemblage, the affirmation of the underground as a wild cinematic analysis in the form of a collage, and skillfully weaves together opposites, plays counterfeits against the authentic, pornography against poetry, acting against being, Beat cynicism against hippie romanticism, monochrome against colored. The story contains bizarre twists and turns, and appears to be a rather artless-film-within-a-film being shown at a rundown movie theater." 10 x 8 inches. Near Fine.…

Collection of 20 vintage color slides from the 1983 film. Annotations in manuscript ink and pencil on the slide sleeves, noting the film title, distributor names, and file numbers. Based on Tom Wolfe's 1979 book about the first 15 years of the US space program. Winner of four Academy Awards and nominated for four others. 2 x 2 inches. Near Fine. National Film Registry. Ebert II.…

Second Draft script for the 1983 film. Copy belonging to Supervising Property Master Emily Ferry, with her name in manuscript ink on the title page. Internally duplicated copy, made during shooting, with copied hole punches. A dramatization of the early days of the US space program, focusing on the Mercury Seven astronauts selected for the first American human flight into space. Based on the 1979 book by Tom Wolfe, and basis for a documentary film and a television series, both released in 2020. Nominated for eight Academy Awards, winning four. Beige three-ring card binder with manuscript title label affixed to the front wrapper. Title page present, undated, noted as Second Draft, with credits for Wolfe and screenwriter Philip Kaufman. 121 leaves, with last page of text numbered 120. Early Xerographic duplication, rectos only. Pages Very Good plus, binder Very Good, title page detached from the binding and lightly foxed. National Film Registry. Ebert II.…

Vintage studio still photograph taken on the set of the 1969 film, showing director Robert Frank capturing a passionate scene between two men. Stamp of photographer Tom Conroy on the verso. Frank's first feature film and Sam Shepard's screenwriting debut, following Frank as he accompanies poet Peter Orlovsky and Orlovsky's catatonic, mentally ill brother Julius through the late 1960s Beat scene. When Julius wanders off, he is replaced in the film by actor Joseph Chaikin, pushing the boundaries of cinematic reality. The film was restored and released by Steidl in 2007, alongside a book publication outlining the film, which notes: "Frank's feature debut was first screened in 1968 at the Venice Film Festival. Everything which had defined Frank's art up to that point turns up in this film - the look at America 'from the outside,' the poetic libertinage of the Beats, the marginal in a central role. It celebrates the return of the poetic essay as assemblage, the affirmation of the underground as a wild cinematic analysis in the form of a collage, and skillfully weaves together opposites, plays counterfeits against the authentic, pornography against poetry, acting against being, Beat cynicism against hippie romanticism, monochrome against colored. The story contains bizarre twists and turns, and appears to be a rather artless-film-within-a-film being shown at a rundown movie theater." 10 x 8 inches. Near Fine.…

Vintage reference photograph from the 1969 film, showing Allen Ginsberg with Peter and Julius Orlovsky. Director Robert Frank's first feature film and Sam Shepard's screenwriting debut, following Frank as he accompanies poet Peter Orlovsky and Orlovsky's catatonic, mentally ill brother Julius through the late 1960s Beat scene. When Julius wanders off, he is replaced in the film by actor Joseph Chaikin, pushing the boundaries of cinematic reality. The film was restored and released by Steidl in 2007, alongside a book publication outlining the film, which notes: "Frank's feature debut was first screened in 1968 at the Venice Film Festival. Everything which had defined Frank's art up to that point turns up in this film - the look at America 'from the outside,' the poetic libertinage of the Beats, the marginal in a central role. It celebrates the return of the poetic essay as assemblage, the affirmation of the underground as a wild cinematic analysis in the form of a collage, and skillfully weaves together opposites, plays counterfeits against the authentic, pornography against poetry, acting against being, Beat cynicism against hippie romanticism, monochrome against colored. The story contains bizarre twists and turns, and appears to be a rather artless-film-within-a-film being shown at a rundown movie theater." 8 x 10 inches. Near Fine.…

Vintage poster for the 1969 film, an experimental mix of documentary and fiction. Poster designed by Robert Frank. Director Robert Frank's first feature film, in which he follows poet Peter Orlvosky and his mentally ill (and mostly catatonic) brother Julius as they move through the late 1960s Beat scene. When Julius wanders off, he is replaced in the film by actor Joseph Chaikin. A meditation on the boundaries of reality and sanity, featuring the screenwriting debut of Sam Shepard and the first feature film appearance of Christopher Walken. The film was restored and released by Steidl in 2007, along with a book publication outlining the film. From the Steidl book: "Frank's feature debut was first screened in 1968 at the Venice Film Festival. Everything which had defined Frank's art up to that point turns up in this film - the look at America 'from the outside,' the poetic libertinage of the Beats, the marginal in a central role. It celebrates the return of the poetic essay as assemblage, the affirmation of the underground as a wild cinematic analysis in the form of a collage, and skillfully weaves together opposites, plays counterfeits against the authentic, pornography against poetry, acting against being, Beat cynicism against hippie romanticism, monochrome against colored. The story contains bizarre twists and turns, and appears to be a rather artless-film-within-a-film being shown at a rundown movie theater." 26.75 x 20.75 inches. Near Fine. In a custom frame.…