Max Keanu: Screenwriter in Haiku-Pauwela, Hawaii posted an entry in Anything Goes lounge titled: "A free script for film students that includes my short story and reviews." * film networking events * hollywood motion picture industry. Uncle Meat - continuity transcript by Frank Zappa - hosted by: FZ Lyrics - in html format Uncle Meat, who sometimes goes under the guises of Don Preston and Biff Debris, is an eccentric character who believs in musical progress and enjoys drinking fuming beakers and transforming into a monster. Casablanca-radio script. MUSIC: Screen Guild Players Theme. As time goes. MUSICAL BRIDGE indicating a FLASHBACK. Anything can happen.
My objective is to work with other artists to develop my short pieces in anticipation of building up working relations/collaborations on my much longer novels down the road. Please take this and do what you will with it. If you wish to pay me, fine, if not, that's also fine. I just want you to work it up and see where it goes. I'd really like to see some eager student or group of students work this script, or revise it or just use the concept. I do want name recognition on the project.
I will share writing credit. The script is 85% complete, but I'll admit I'm an amateur when it comes to scriptwriting, as that is not my forte.
However, I believe all the story essentials are there. The underlined, right justified, capitalized parts are in need of development. This was written for a short story contest. The short story reviews are from The Next Big Writer site.
My belief is that if one gives freely in life the rewards returned are tremendous and very satisfying.
When the film 'DeLovely' recently rekindled my love for Cole Porter's music, I encountered this DVD on sale and thought it would make a great addition to my collection. For the most part, what a clunker.
I realize that as great as the music is, 'Anything Goes' is a bit dated as a musical, but this story, which has nothing to do with the original, is just dreadful. In addition to the uninspired plot, the songs that were added by Sammy Cahn and James Van Heusen are remarkably banal. Even more so, when one compares them to the Porter originals left in. It's sad that anybody watching might actually think they were Porter's own. Additionally, because of the prudishness of Hollywood, Porter's originals get censored too. An example of the lunacy is when, in a lyric, '4-letter word' becomes '3 letter-word.'
How trite can Hollywood be? Free Download Program Blouse Cutting Method In Tamil Pdf Books. 2 Porter songs in the beginning that get transformed into '50s-style jazz-dance numbers for the female leads lose all their charm from the butchery. The song 'Anything Goes' has never been given a worse rendition.
Bing Crosby, in his last Paramount picture, sleepwalks through it. Jeanmaire is not much better (especially her acting). It is no surprise that her career gravitated back to France after this.
Mitzi Gaynor was her usual perky self, but the film gets saved somewhat by Donald O'Connor's presence and energy. The one Porter song that seems to have kept its charm is a nice Gaynor/O'Connor duet on 'De-Lovely.' While Porter purists will retch over this film (which was probably what his reaction was after seeing it, especially the added songs), it does offer up a period glimpse of Hollywood choreography from the mid-50s, along with the previously mentioned duet. Otherwise, it's the bottom, not the top.