FANNY AND ALEXANDER - A FILM FOR TELEVISION, by INGMAR BERGMAN. Translated (into English) by Alan Blair. ORIGINAL DRAFT SCREENPLAY for what BERGMAN INTENDED TO BE a FIVE HOUR, FOUR PART FILM for TELEVISION. The Draft is dated Faro (Sweden), 1979. Plastic Spiral Bound Screenplay, green paper and clear plastic covers, 8.25x11.75 inches, mimeographed or photocopied typescript, 235 pages plus 3 prelim pages (Title Page, Characters), pages printed on one side only. VERY GOOD condition, light toning and soiling to the page edges, overall tight, bright, clean and unmarked. A very nice copy. The full breadth and beauty of Ingmar Bergman's incredible film is only fully realized in the format he originally intended, the four part, five hour television film. This 1979 screenplay draft was the embodiment of that vision. However, Bergman was convinced to make a drastically cut version (3 hours versus 5 hours) for limited release in Europe in late 1982 so that the film would qualify for the Academy Awards. After the spliced and diced film finished its very limited European release, and after it won 4 academy awards (it was nominated for six), a 5 hour theatrical film was given limited European theatrical release. That five hour film was basically

a spliced together version of the intended four part, five hour television film. Finally, also in 1983, the full four part, five hour television film was shown in Sweden (Fanny och Alexander) in the form Bergman originally intended. I do not believe that Bergman's preferred 5 hour version was ever filmed in English. His original intent was clearly to have the four part, five hour telefilm made and shown on television in both Sweden and the United States. Thus this 1979 English translated draft screenplay. But instead only the drastically shortened film version was ever released theatrically in the United States. That film was released in 1983, four years after this 1979 screenplay for television was looking for U.S. producers. This Original 1979 Draft Screenplay for the Full Four Part, Five Hour Television Film was sent to Super Agent Paul Kohner (long time agent for Ingmar Bergman and for many of Bergman's film stars). Paul Kohner's ownership label is on the title page, with his early phone number CRESTVIEW 1-5165. SCARCE. This 1979 INGMAR BERGMAN written SCREENPLAY for his original vision of a Five Hour, Four Part FILM for TELEVISION, is the only copy I have, and it is the only copy I have ever seen.

RAGGEDY MAN. SECOND DRAFT SCREENPLAY by William D. Wittliff. The Draft is dated April 30, 1980. Working Copy of Jack Rush, with his signed initials "J. Rush" on the front cover. Jack Rush was a crew member involved in supervising special effects and props, though uncredited on this film. He has highlighted various text in yellow and has made relevant pencil notes and marks here and there throughout. Printed Universal Studio Covers, printed on gray, heavy stock paper, 8.5x11", bound with 3 brass brads, inner pages photocopied on light green paper, (photocopying was, and still is, how original copies of a draft script were quickly produced and distributed to film producers, agents, directors, and others involved in a motion picture production), pages printed on one side only, 103 pages plus a title page. Title written on spine with black marker. VERY GOOD condition, some edge wear, corner tip creases and other light signs of handling. RAGGEDY MAN was Directed by Jack Fisk, based on the novel by William Wittliff and Sara Clark. It stars SISSY SPACEK, ERIC ROBERTS, and SAM SHEPARD. It was released by UNIVERSAL PICTURES on September 18, 1981, almost 1 1/2 years after the date of this Second Draft Screenplay.

THE DEAD ZONE. A SCREENPLAY by JEFFREY BOAM, Based on the Novel by STEPHEN KING. This is a VERY EARLY DRAFT SCREENPLAY. The early drafts were written by JEFFREY BOAM for LORIMAR STUDIOS in late 1980 and early 1981. In mid-1981 Dino DeLaurentiis bought the film rights from Lorimar, fired Jeffrey Boam and Hired STEPHEN KING to write the screenplay. Stephen King's draft screenplays for the film were written in late 1981 and early 1982. However, DeLaurentiis HATED King's scripts, so King was fired. Another writer was brought in who was also fired, then in late 1982 JEFFREY BOAM was rehired, and finally wrote the final script. So, this EARLY DRAFT is before ALL the CHANGES brought on by various screenplay writers (including King), film studios, etc. Rare as such. An ORIGINAL, UNPUBLISHED, REJECTED, EARLY DRAFT SCREENPLAY by JEFFREY BOAM, before he was later rehired to rewrite the screenplay. The screenplay is dated "February 17, 1981", as shown on the title page. The later, very different screenplay that Boam was rehired to write (after King's screenplay was rejected), was finished on November 8, 1982, a year and nine months after this draft. The film itself was released on October 8, 1983. Pages are photocopied on 8.5x 11" paper (photocopying was, and still is, how original copies of a draft script were quickly produced and distributed to film producers, agents, directors, and others involved in a motion picture production), pages printed on one side only 124 pages plus a title page. VERY GOOD condition, just some light signs of handling, overall a great original copy of this early draft screenplay. SCARCE - this is the only copy of the 1981 draft screenplay of The Dead Zone that I have ever seen, and is my only copy. About the Film THE DEAD ZONE and its Various SCREENPLAY ITERATIONS including the KING SCREENPLAY DRAFT (from Wikipedia): ******The Dead Zone is a 1983 American horror thriller film Directed by David Cronenberg. The Screenplay by Jeffrey Boam was based on the 1979 novel of the same name by Stephen King. The film stars Christopher Walken,, Brooke Adams, Tom Skerritt, Herbert Lom, Anthony Zerbe, Colleen Dewhurst and Martin Sheen. The plot revolves around a schoolteacher, Johnny Smith (Walken), who awakens from a coma to find he has psychic powers. Lorimar Film Entertainment began developing The Dead Zone film adaptation. Producer Carol Baum gave the book to screenwriter Jeffrey Boam and asked him to write a screenplay. He initially developed a script for director Stanley Donen, who left the project before the film reached production at Lorimar. Lorimar eventually sold the Dead Zone film rights to producer Dino De Laurentiis. Dino De Laurentiis disliked Boam's draft screenplay and asked STEPHEN KING to ADAPT HIS OWN NOVEL into a screenplay. However, after receiving STEPHEN KING'S DRAFT SCREENPLAY, De Laurentiis reportedly rejected King's script as "involved and convoluted". David Cronenberg, who ultimately directed the film, said that he also decided not to the use Stephen King's script, finding it "needlessly brutal". After rejecting Stephen King's Draft De Laurentiis later rejected another script, one written by Andrei Konchalovsky, before eventually returning to Jeffrey Boam to write yet another script. De Laurentiis hired producer Debra Hill to work with Cronenberg and Boam. For DeLaurentiis, Boam abandoned his early draft and instead completely refashioned Stephen King's screenplay. He abandoned King's parallel story structure for The Dead Zone's screenplay, turning the plot into separate episodes. Boam's script was revised and condensed four times by Cronenberg, who eliminated large portions of the novel's story, including plot points about Johnny Smith having a brain tumor. Director Cronenberg, screenplay writer Boam, and Producer Hill had script meetings to revise the screenplay page by page, with no consultation from Stephen King. Boam submitted the final draft of the screenplay on November 8, 1982.******

CHILDREN ON THEIR BIRTHDAYS. An UNPRODUCED SCREENPLAY Adapted for the Screen by DONNA KANTER and SUSAN BEST, from the Short Story by TRUMAN CAPOTE. This screenplay was DONNA KANTER'S 1983 DIRECTOR'S PROJECT while in the AMERICAN FILM INSTITUTE (AFI) DIRECTING WORKSHOP FOR WOMEN. She was in the class of 1982-1984. The screenplay is a First Draft dated July 23, 1983. Photocopied on plain 8.5x11 inch paper, stapled at the upper corner, 34 pages plus a title page, printed on one side only. GOOD MINUS condition, the first and last pages have creases and soiling, there are numerous staple holes at the upper left corner (though only one staple currently holds the pages together), some pages are dog eared at their top or bottom corner, and their are general signs of handling and use; still a complete copy of an interesting screenplay resulting from the AFI's attempts to get more women into film directing. Though this early, student screenplay was never filmed, its creation at the AFI Directing Workshop for Women certainly had an impact on Donna Kanter. She later established a successful Television and Film Production Company, The Donna Kanter Company. About the AFI DIRECTING WORKSHOP FOR WOMEN (from the AFI site): ******Since 1974, the AFI Directing Workshop for Women has trained hundreds of women in the art of screen directing. Below are the alumnae from each cycle since the start of the program... (CLASS OF 1982-1984 includes Donna Kanter)... Distinguished DWW alumnae include Maya Angelou, Anne Bancroft, Neema Barnette, Tricia Brock, Ellen Burstyn, Rebecca Cammisa, Dyan Cannon, Hanelle Culpepper, Jan Eliasberg, Naomi Foner, Jennifer Getzinger, Lyn Goldfarb, Randa Haines, Victoria Hochberg, Marianne Jean-Baptiste, Lesli Linka Glatter, Lynne Littman, Matia Karrell, Nancy Malone, Becky Smith, Cicely Tyson and Joanne Woodward.******

1984 Original Draft German Screenplay by AGNIESZKA HOLLAND for the Academy Award Nominated Best Foreign Film BITTERE ERNTE / BITTER HARVEST. BITTERE ERNTE - DREHBUCH von AGNIESKA (aka AGNIESZKA HOLLAND) - Korrigierte Fassung - Aus dem Polnischen von ILONA RESZKOWNA. (BITTER HARVEST - Screenplay by AGNIESZKA HOLLAND - Corrected version - from the Polish by ILONA RESZKOWNA.) Note: The Polish Book was by Ilona Reszkowna AND Paul Hengge; Agnieszka Holland; and Hermann H Field. Original Early Draft SCREENPLAY / SCRIPT of this AWARD WINNING GERMAN FILM (many European Film Awards, nominated for Academy Award in the Best Foreign Film category). Screenplay by and Directed by the noted Renowned Female POLISH DIRECTOR AGNIESZKA HOLLAND. Photocopied sheets on 8.5" x 14" legal-size paper (photocopying was, and still is, how original copies of a script were distributed to agents, producers, directors, and others involved in a film), 3 hole-punched in their left margin, pages printed on one side only, 112 pages plus a title page, bound with 3 brass brads. This draft script has a few sections lined out and a few handwritten words, in German. These lines and notes are photocopied on this photocopied draft. GOOD condition: the first page is torn around the 3 punched holes and has pulled from its brass brads. The first and last few pages have creasing, edge wear and some edge chips; all the pages have a black bottom margin, being 8.5" x 11" pages printed on 8.5" x 14" sheets; there are the usual copy machine type of dust marks, etc.; overall the script is complete, bright and clear. RARE DRAFT of this IMPORTANT WEST GERMAN / POLISH FILM by AGNIESZKA HOLLAND.

SCREAMERS. A SCREENPLAY by DAN O'BANNON and MICHAEL CAMPUS, Based on a Story by PHILIP K. DICK (story titled: Second Variety).

SECOND DRAFT. Dated 10/10/84. 1984 makes this a VERY EARLY DRAFT SCREENPLAY.

The Film SCREAMERS was released by Columbia Pictures in 1995, more than 10 years after this second draft. In the later years of the screenplay's development, Miguel Tejada-Flores was brought in to rewrite the screenplay. Both Dan O'Bannon and Miguel Tejeda-Flores are credited as screenwriters on the final film. Michael Campus, co-writer of this early draft, is not credited on the final film.

(IMDB states, in its TRIVIA section on the film SCREAMERS, that: "Dan O'Bannon had been working on the screenplay for Screamers (1995) as early as 1981. An October 10, 1984 draft credits Michael Campus as co-writer. It is unknown whether Campus also intended to direct.")

This 1984 screenplay was clearly intended to be the second film adaptation of a Philip K. Dick story, the first being Blade Runner (based on Do Androids Dream of Electric Sheep?) But for some reason the film did not go into production until many years later.

Plain green paper covers, 3 hole punched and bound with 3 brass brads, pages are photocopied on 8.5" x 11" paper (photocopying was, and still is, how original copies of a draft script were quickly produced and distributed to film producers, agents, directors, and others involved in a motion picture production), pages printed on one side only, 111 pages plus a title page followed by a page with a quote: "The living will envy the dead. - Nikita Khrushchev during the Cuban missile crisis 1962", and with a comment about the opening sound for the film: "SOUND: A deep thundering rumble... so deep we feel it more than hear it... the sound of interstellar space...".

VERY GOOD condition, the title SCREAMERS is written on the rear page edges,

the photocopied pages have some dust marks and small spots, typical of early copy machines, otherwise just some light signs of handling. A great original copy of this early draft screenplay.

SCARCE - this is the only copy of the 1984 Second Draft Screenplay of Screamers that I have or have ever seen.

AS I LAY DYING. An UNPUBLISHED, UNFILMED ORIGINAL SCREENPLAY by ROBERT CLEM. Based on the novel by WILLIAM FAULKNER. Bound in INTERNATIONAL CREATIVE MANAGEMENT "ICM" silver paper covers, bound with two brass brackets at the left margin, inner pages copy-machined or mimeographed, pages printed on one side only, 8.5" x 11" plain paper, 132 pages. Dated on the first page: "March 9, 1988". Condition: The silver colored paper ICM covers are worn and creased along the edges and corners, they have a lot of scratches and scrapes, nonetheless they are doing their job well and the ICM titling is bright. The page edges of the spine have "AS I LAY DYING" written on them with a black marker. Internally the pages are very nice, the first page has a couple edge creases, otherwise the pages are bright, clean and unmarked. SCARCE - the only copy of this unproduced screenplay that I have ever seen. OCLC does not list any copies.

NITANI YURIE : NYNY. A Book of PHOTOGRAPHS by KISHIN SHINOYAMA of Lovely Japanese Actress Nitani Yurie, taken during her stay in New York City. A great outsider look at New York seen through the lens of the great photographer Shinoyama and the eyes of Nitani Yurie. Published by Watanabe Music, Japan, (1991). Large Format Hardcover Book in clear plastic protective wrapper, as issued, 8.5x11", unpaginated (150 pages?). A book of color photographs with some accompanying text in JAPANESE. GOOD condition, the covers bottom front corners are bumped and its bottom edges have some scrapes, otherwise the book and its clear plastic wrap are tight, bright, clean and unmarked. A solid, presentable copy. . A beautiful Japanese actress in the Big Apple. She doesn't seem Lost In Translation.

SOLACE. A Screenplay by Sean Bailey and Ted Griffin. Dated August 19, 2008. This is an Early Working Draft Screenplay. Solace was released in France in 2015 and in the United States in 2016, long after this 2008 draft was written. In the years since this draft, the film went

through numerous changes, including major changes to the script, the replacement of the planned Director, the replacement of various Cast members, etc. The Film was originally envisioned as a SEQUEL to the film SEVEN, but that eventually was changed too. Perhaps this early script was the screenplay for the planned sequel, I don't know. This DRAFT SCREENPLAY was presumably owned by someone intimately involved in the film, though I have no idea who he/she might be. The title page is filled with handwritten notes in pencil, including the names of potential actors who might play various characters (e.g. Laura Finney, Naomi Watts, Hilary Swank, Samuel Jackson, etc.). 45 pages have at least a bit of yellow highlighting, and most of the highlights are accompanied with brief relevant handwritten notes. All the sections that have highlighting have been highlighted by hand on this copy (i.e. the highlighting is unique to this copy - as are all the notes in pencil). Black paper covers. Inner pages are photocopied on plain 8.5x11" paper, printed on one side only. (Photocopies were, and still are, common for draft scripts.) The pages are 3 hole punched and bound with 2 brass brads. 119 pages plus the title page and a final page that states "This Script Was Prepared by Warner Bros. Pictures Script Processing Department".

VERY GOOD condition, the pages are lightly toned, overall solid, bright, clean and clear. SCARCE, this is the only copy I have or have seen. About the Film SOLACE (from Wikipedia): ******Solace is an American mystery thriller film directed by Afonso Poyart. It was written by Peter Morgan and Sean Bailey from a story by Ted Griffin. The film stars Anthony Hopkins, Colin Farrell, Jeffrey Dean Morgan, Abbie Cornish, Matt Gerald, Jose Pablo Cantillo, Kenny Johnson and Sharon Lawrence. A psychic doctor, John Clancy (Anthony Hopkins), works with an FBI special agent (Jeffrey Dean Morgan) in search of a serial killer (Colin Farrell). Solace was initially intended to be a sequel to the film Seven. However, that idea was later scrapped and Solace was then developed as a stand alone feature. On May 10, 2012, it was announced that Brazilian director Afonso Poyart was attached to direct. Filming began in the last week of May 2013 in Atlanta, Georgia. The film was released in France in 2015, and in the United States on December 16, 2016.******

DRAFT SCRIPT by PETER BLAKE & DAVID SHORE with HANDWRITTEN ANNOTATIONS throughout. Peter Blake and David Shore were the duo that Produced and wrote episodes of a number of notable television series, including HOUSE. This working draft script was titled UNTITLED, but clearly ended up being the 2007 TV FILM ALIBI. My assumption is that it was meant to be the pilot for a series, but was not picked up as such, and so became a TV Movie. What makes this development script so interesting is that there are handwritten comments, marks, changes, etc., here and there throughout. I do not know for certain whose working copy this script was, but presumably it was the copy of either Peter Blake or David Shore. 62 photocopied pages (typical for scripts in development), 8.5x11 inches, three hole punched, bound with 2 brass brads. The annotations are all handwritten directly onto this working copy. Published by NBC Universal Television Studios, 2006. VERY GOOD condition, just light signs of handling, overall bright, clean and clear. An interesting look at a new series in early development by two of the hottest producers / writers in television.

Original BAD TIMING FILM SCRIPT / SCREENPLAY. Called an EXPORT SCRIPT, this British Film Script was meant for the American Distributor, it reads like a Film Continuity Screenplay / Script, with every scene in the film fully described, including all dialogue, as it was originally shot in U.K.

**HAND SIGNED and LOVINGLY INSCRIBED** by Director NICOLAS ROEG, Star HARVEY KEITEL, Star THERESA RUSSELL, and the film's producer JEREMY THOMAS.

The SCRIPT is Signed and Inscribed on the front cover to a RENÉE. Nicolas Roeg, Theresa Russell, and Jeremy Thomas each hand wrote an inscription above their signature. Harvey Keitel hand wrote and Signed in his hand, "and / Harvey Keitel" below the inscription and signature of Jeremy Thomas.

Here are the inscriptions and signatures:

"For Renée / love Jeremy";

"and / Harvey Keitel";

"With all / my love & regards / & admiration / Nicolas Roeg";

"Renée / Thanks for everything, / you're wonderful! / Love, / Theresa Russell".

I have no real idea who Renée is, however there is a Renée Shafransky who was involved in some capacity in the 1985 Roeg / Russell film Insignificance and perhaps others (perhaps even on Bad Timing in an uncredited capacity?); she later married Spalding Gray and worked with him on his films, and produced some of her own films. She is now a Psychiatrist in New York City (which is pretty weird if she IS the Renée that this Bad Timing script is dedicated too!) Also, Harvey Keitel has a sister named Renée. But, again, I really do know for certain who this Renée is.

Yellow paper covers, white title page, blue and pink inner pages, 8x13 inches, pages printed on one side only, two hole punched at the top, bound with a metal bracket. The pink and blue pages were used to separate the "reels", i.e. the the first pink page is Reel 1 (1A). Pages are numbered by Reel (i.e. twelve numbered sections on alternating pink and blue paper), there are a total of 197 pages plus the white title page.

The title page states Copyright Rank Film Productions, 1980; Printed in England, January 11th, 1980; Directed by Nicolas Roeg; Producer Jeremy Thomas; Total Number of Reels Twelve; 19965 Feet; Running Time 2 hours 2 minutes.

GOOD condition. The front cover is pulled and worn at its two upper binding holes, is creased with small closed tears along the edges where it overhangs the inner pages, and is toned and creased at the upper margin; the rear cover is worn along its overhang and has some soiling; the metal bracket is tarnished and rusting a bit. Internally the pages are very nice, bright, clean, clear and unmarked. ALL the INSCRIPTIONS and SIGNATURES on the front cover are bright and clear.

(Interesting Note: Theresa Russell and Nicolas Roeg met on the set of Bad Timing and were married in 1982. Nobody is quite sure when Roeg and Russell got divorced. This script was obviously signed while their hearts were beating fast for each other.)

There is a Wikipedia page for Nicolas Roeg, Theresa Russell, Harvey Keitel, Jeremy Thomas, and even Renée Shafransky. All make interesting reading. Here is a bit about Nicolas Roeg (one of the great film directors of the 20th century imho) from Wikipedia:

******Nicolas Jack Roeg CBE BSC, b. 1928 d. 2018, was an English film director and former cinematographer. He is best known for directing the films Performance, Walkabout, Don't Look Now, The Man Who Fell to Earth, Bad Timing and The Witches.

Making his directorial debut 23 years after his entry into the film business, Roeg quickly became known for an idiosyncratic visual and narrative style, characterized by the use of disjointed and disorientating editing to great effect. He is considered a highly influential filmmaker. Directors such as Steven Soderbergh, Christopher Nolan and Danny Boyle cite him as one of their major influences.******

An Original Signed and Inscribed Screenplay, a Handwritten Three Page Letter, and a Screen Treatment, all by the Screenwriter BRODERICK MILLER.

(1) Original First Shooting Draft Screenplay for WEDLOCK by Broderick Miller. The screenplay is dated October 27, 1990 and states First Shooting Draft. The Screenplay is SIGNED, INSCRIBED and DATED by Broderick Miller on the title page: "For ARNOLD & ALMA / Great Friends & / Movie fans! / Love / Broderick Miller / 11-90". The screenplay is bound in WILLIAM MORRIS AGENCY, BEVERLY HILLS covers, bound with two brass brads, photocopied on 8.5x11 inch paper (photocopying was, and still is, how original draft screenplays were quickly printed and sent to the Screenwriter, Director, Actors, and others involved in a film), 103 pages.

(2) A three page handwritten letter. The letter is unaddressed but it was clearly written in 1990 to Arnold & Alma Tudal, owners of TUDAL WINERY, NAPA VALLEY. The letter is full of details about the filming of Wedlock: "This is pretty exciting. I'm sitting on the set waiting for the first shot of the first day of shooting on my first move, WEDLOCK", the hectic pace of his life as a screenwriter: "I had to take my laptop computer and laser jet printer on vacation with me to send in script revisions. It's been exhausting", and gushes about Napa Valley and his new found friends (Alma & Arnold Tudal): "Funny how in such a short time you can feel so warmly about people. It's rare, but it sure happened at your place". The letter ends with: "P.S. Here's a copy of the latest draft - hope you enjoy!"

(3) Original SCREEN TREATMENT for a film titled NAPA. First Draft, dated June 10, 1992. 45 photocopied pages, pages printed on one side only, stapled in the upper corner with a single staple. Likely inspired by Arnold and Alma Tudal, the Tudal Winery, and his time in Napa Valley. It appears that this Treatment never became a Film.

Everything is in generally GOOD or better condition, just lightly used, bright and clean.

Acquired from the estate of Alma Tudal.

A Bugs Life - Original Early Draft Screenplay.

BUGS (Working Title), SECOND DRAFT, Andrew Stanton, Robert Lence, October 11, 1995, Copyright Hi Tech Toons. Original screenplay typescript, probably laser printed, plain green paper covers, 8.5" x 11", 3-hole punched, bound with 3 brass brads, 99 pages, printed on rectos only. The statement BUGS - Second Draft (10/11/95) Hi Tech Toons CONFIDENTIAL appears at the bottom of all the numbered pages. VERY GOOD Condition: title page and page 1 are clipped at the upper edge to remove previous owner's name, paper covers have light wear/small stains, and rust offsetting from the metal brads, the brads are rusty, some corner creases otherwise tight, bright, clean and unmarked.

Hi Tech Toons was an early holding company for Pixar and Disney joint ventures. In 1995 the film was pitched to Disney under the title Bugs, an adaptation of Aesop's fable The Ant and the Grasshopper. Disney optioned the film and the script went through multiple iterations before it's release in 1998. This October 11, 1995 Second Draft is an early version of the story before writer and co-director Andrew Stanton made fundamental changes - it features Red the Circus Bug Ant before his character became the protagonist Flik. Very few of this original early draft were made. There are no early draft BUGS screenplays in commerce that I have ever seen. From a Mill Valley, California estate with early ties to ILM and Pixar.

A Bug's Life (1998) is the first animated feature film created during the partnership between Pixar Animation Studios and Disney, it follows Pixar's groundbreaking film Toy Story (1995). Andrew Stanton, a Pixar veteran conceived the original story along with John Lasseter and Joe Ranft. The film was directed by Lasseter and Stanton, and the screenplay was written by Stanton, Donald McEnery & Bob Shaw.

Here is a relevant synopsis of the writing and production of A Bug's Life from Wikipedia:

Production Development: During the summer of 1994, Pixar's story department began turning their thoughts to their next film. The storyline for A Bug's Life originated from a lunchtime conversation between John Lasseter, Andrew Stanton, Pete Docter, and Joe Ranft, the studio's head story team; other films such as Toy Story 2, Monsters, Inc. and Finding Nemo were also conceived at this lunch. Lasseter and his story team had already been drawn to the idea of insects serving as characters. Like toys, insects were within the reach of computer animation back then, due to their relatively simple surfaces. Stanton and Ranft wondered whether they could find a starting point in Aesop's fable The Ant and the Grasshopper. Walt Disney had produced his own version with a cheerier ending decades earlier in the 1934 short film The Grasshopper and the Ants. In addition, Walt Disney Feature Animation had considered producing a film in the late 1980s entitled Army Ants, that centered around a pacifist ant living in a militaristic colony, but this never fully materialized.

As Stanton and Ranft discussed the adaptation, they rattled off scenarios and storylines springing from their premise. Lasseter liked the idea and offered some suggestions. The concept simmered until early 1995, when the story team began work on the second film in earnest. During an early test screening for Toy Story in San Rafael in June 1995, they pitched the film to Disney CEO Michael Eisner. Eisner thought the idea was fine and they submitted a treatment to Disney in early July under the title Bugs. Disney approved the treatment and gave notice on July 7 that it was exercising the option of a second film under the original 1991 agreement between Disney and Pixar. Lasseter assigned the co-director job to Stanton; both worked well together and had similar sensibilities. Lasseter had realized that working on a computer animated feature as a sole director was dangerous while the production of Toy Story was in process.

AUTOBIOGRAPHY of DORIS DURANTI. Italian book, illustrated with photographs. Titled: DORIS DURANTI : Il Romanzo Della Mia Vita. A cura di Gian Franco Vene. (DORIS DURANTI : The Novel of My Life. Edited by Gian Franco Vene.) Published by Arnoldo Mondadori Editore, Milan, Italy, 1987. Second edition (printed in the same year as the first edition). TEXT IN ITALIAN. SIGNED and INSCRIBED by DORIS DURANTI to ROBERTO PASTORINO, who at the time was the U.S. AMBASSADOR to the DOMINICAN REPUBLIC. The Signature and Inscription of Doris Duranti are on the front free endpaper. Hardcover Book in Dustjacket, blue cloth covered boards with gilt titling on the spine, 5.5x8.5 inches (14x21 cm), 310 pages plus 16 pages of b&w photographs. Condition: VERY GOOD book, light foxing to the page edges (page edges of the closed book), otherwise sharp cornered, tight, bright, clean and unmarked; in a GOOD dustjacket that has some edge creasing, rubs, and light signs of handling, but remains solid and bright, and retains its 23,000 Lire price at the bottom of the rear flap. About DORIS DURANTI (excerpted from Wikipedia and other Internet sites): ******DORIS DURANTI (b. Livorno Italy 1917 d. Santo Domingo Dominican Republic 1995). Doris Duranti was an ITALIAN FEMME FATALE ACTRESS active mainly in the 1930s and 1940s. In 1940 she became the mistress of the cruel Italian Fascist Alessandro Pavolini. In 1945 Pavolini was captured and killed by the Italian Partisans who then hung him upside down along with Mussolini, Mussolini's mistress, and others. Doris Duranti managed to escape to Switzerland just days before she would have been captured and killed, then to Brazil. She returned to Italy in 1949, but her film career was over. Not many years later she moved to Santa Domingo, Dominican Republic, where she remained for the rest of her life.****** About AMBASSADOR ROBERT PASTORINO (excerpted from various online obituaries): ******Ambassador Robert S. Pastorino, b. 1940 d. 2014, served from 1967 to 1994 as a Foreign Service Officer in the U.S. Department of State in Washington D.C., and in Mexico, Venezuela, Portugal, Colombia, Honduras and Dominican Republic. In 1986 Pastorino was appointed Deputy Assistant Secretary of Defense for Inter-American Affairs, and also served as a commodities negotiator and financial analyst at the Department of State. In 1988 Pastorino was appointed by President Ronald Reagan to serve as Special Assistant to the President for National Security Affairs, as Senior Director of Latin American Affairs on the National Security Council staff. In 1991 he was named Ambassador to the Dominican Republic by President George H. W. Bush.******

THE TALE OF THE WOLF : A Play In Three Acts. By FERENC MOLNAR, translated from the Hungarian. Carbon Typescript bound in PAUL KOHNER, INC. covers, bound with 3 brass brads. The carbon typescript is on 8.5x11 inch onion skin paper. Each of the three acts are paginated separately: 26, 53 and 26 pages, plus a title page, cast of characters page, and a page describing the scenes. The title page states that this is copyright and property of HANS BARTSCH, 119 west 27th St., New York 19, N.Y. I do not know if he bought the rights from Molnar (perhaps the film rights?) or how he came to be the copyright owner. The carbon typescript is undated, perhaps circa 1950 given the Paul Kohner covers. Many of Ferenc Molnar's works became films. Perhaps Kohner and Bartsch were pushing this work to the studios as a potential film. GOOD MINUS condition. The covers have creases from handling and are worn and chipped along the edges where they overhang the inner pages. Internally, the inner pages are lightly toned with age, the title page has a number of creases, otherwise the pages are bright, clean, clear and unmarked.

SILVER CAPITAL 60 YEARS 1950-2010. A Beautifully Produced and Illustrated Chinese Book depicting Sixty Years of Films made by notable HONG KONG FILM STUDIOS including the Great Wall Film Production Company, Phoenix Film Company, and Xinlian Film Company (all of which were predecessors of the Hong Kong Yindu Agency). TEXT COMPLETELY IN CHINESE, but filled with PHOTOGRAPHS of film stars, producers, and directors as well as FILM STILLS from many films. There are approximately 1000 photos in all. Thick softcover book with dustjacket, 8.5x11.5 inches, 607 pages. Illustrated throughout. Published by Joint Publishing Co., Hong Kong, 2010. ISBN: 9789620430411. VERY GOOD condition, tight, bright, clean, clear and unmarked. I found a Chinese description online, the following is a rough translation of it by Google: ******Hong Kong Yindu Agency Co., Ltd. was established in 1982. It was mainly formed by the merger of three old film companies, Great Wall Film Production Company, Phoenix Film Company and Xinlian Film Company (collectively known as Chang Feng Xin). The Southern Film Company, which is engaged in domestic film distribution, as well as the Qingshuiwan Film Studio and Yindu Entertainment, have made Yindu a film organization with a comprehensive film and television system for production, film, theater, distribution and advertising. It has been sixty years since the predecessor of Yindu, the Great Wall Film Production Company and the Southern Film Company (founded in 1950). In the past 60 years, the Yindu system has produced 480 movies and 11 TV series, and has released nearly a thousand domestic films. The mysterious history of light and shadow created by countless shining stars and filmmakers has become a common memory that fans of generations will never wear out. This book is the predecessor of Yindu (Great Wall, Phoenix, Xinlian, South, Qingshuiwan Studio) and even the 60 year history of Yindu, including the purpose of each company, the development of each stage, and the introduction and release of the company. The film, the editorial director's articles and interviews, as well as important film reviews, and finally ended in a large scale film The Master of the Generation (Director Wang Jiawei) to commemorate the 60th anniversary of Yindu. The book is divided into four chapters the ideal age, the rough years, the reconstruction days and the revival period. 11 experts and scholars from the Mainland and Hong Kong were invited to write an article to discuss the characteristics and positioning of Yindu and its predecessors. The authors include: Lefu, Huang Ailing, Shi Qi, Li Weitao, Lin Jinbo and Zheng Chuanqi. Mainland authors include: Zhao Weifang, Sha Dan, Zhang Yan, Li Xiang, Si Ruo. The book has a total of about 1,000 photos. The appendix includes a list of the film and television works of the Yindu system, a list of staff and an interview summary of the industry. It is an important reference book for studying the development of Hong Kong's leftist films.****** INTERNATIONAL BUYERS PLEASE NOTE: This book is heavy and will require substantial additional shipping charges. After placing your order you will be notified of the additional charges and be able to accept or reject them before your payment is processed. Or you can contact us ahead of time to find out the shipping charge to your country. Thanks.