- #Dark thriller screenplays wanted movie
- #Dark thriller screenplays wanted full
- #Dark thriller screenplays wanted series
#Dark thriller screenplays wanted movie
Again, I’ve met film nerds who are just as possessive and nuts about this movie as they are about Star Wars.
#Dark thriller screenplays wanted full
I feel like it’s drastically under viewed by this generation, and deserves your full real time attention. A lot more to be said about this film, but you should just see it for yourself. BUT… they all get angry at some point or another. One of the best parts of this film is the fact that the jurors are comprised of wholly different personalities – some are assholes, some are congenial guys, and some are just kind of invisibly there. Based on his own teleplay of the same title, Reginald Rose adapted his own script to the film format, and obviously did so to the T. 12 is one of the few on this list not adapted from a book. For whatever reason it took me a long time to get around to watching this one, in spite of its “classic” status, but it became abundantly clear once I watched it: it takes place in one room, in real time, and it never gets boring… it actually gets more interesting as it goes. In 1971 the film was re-rated “R” – part of me can’t help but wonder that this was the same year that (yes, to mention it again) A Clockwork Orange came out and was rated “R,” while positioned explicitly more on the “up” side of “fucked up” than Midnight.įilmgoers are fanatical about Sydney Lumet’s film about a jury of 12 totally pissed off male jurors who just can’t agree on the guilt or innocence of a young, supposed murderer. Thus, it was slapped with an “X” rating, but would go on to win Best Picture, Director, and Adapted Screenplay. When the film was released the MPAA didn’t know what to do with it – it was amazing… but beyond fucked up. Once Schlesinger came on board, there was no way the studio could touch the script. Salt’s version of Herlihy’s novel is beyond daring – given the time period, Salt had a lot of pressure from the studio to water it down, and even possibly make the Joe Buck role Elvis Presley friendly. That’s not to say that Midnight isn’t one of the most inspiring stories written for the screen – a tale that defines the importance of the person-to-person bond in times of total, unforgiving struggle. John Schlesinger’s buddy movie between a naive, Cowboy culture obsessed gigolo (Jon Voight as Joe Buck) and a gimpy, homeless con man (Dustin Hoffman as Ratso Rizzo.) Waldo Salt’s adaptation of the novel by James Leo Herlihy would prove to be the tone setter for the upcoming films of the 1970s – bleek, cynical, and critical of society. More than anything, visual adaptation is obviously what makes this film so enthralling.
Rodriguez had to leave the DGA to make this happen, but it’s undeniable that he knew where credit was due, and would suffer the bureaucratic consequences if he had to. Rodriguez did right by having Miller write the screenplay (again, I kind of just imagine Miller handing out the graphic novels to the cast and crew), and then went a step further by finagling a co-directing credit for Miller. It nails pulp to perfection, defines the noir genre just as well as Chandler or Hammett, and adds a sprinkle of A Clockwork Orange ultraviolence that adds ironic (and heavily criticized) humor to the material.
#Dark thriller screenplays wanted series
The Sin City graphic novel series is an example of a near perfect thing when it comes to niched genres. Most of the dialogue in the film is word for word out of the graphic novels, just as they should be.
Frank Miller and Robert Rodriguez simply took 4 stories from Miller’s Sin City graphic novel series ( That Yellow Bastard, The Hard Goodbye, The Customer Is Always Right, and The Big Fat Kill) and used them as scripts. One of those cases where the original author of the work penned the screenplay. This film also proves that Gary Oldman was born to play creepy guys – he steals the show as Lee Harvey Oswald. Yeah, the movie is over 3 hours long, but it packs in all the permutations of the JFK killing theories into one movie, so calm down. Oliver Stone and Zachary Sklar’s adaptation of 2 of the densest historical texts about a niched subject (Jim Marrs’ Crossfire: The Plot That Killed Kennedy, and Jim Garrison’s On the Trail of the Assassins) takes a clusterfuck of contradictory ideas and presents them in a way that actually makes sense.
It’s the ultimate conspiracy theory movie because it includes every single conspiracy theory about the JFK assassination that was ever thrown into the ring. Props have to be given to Kiefer Sutherland as the psychotic “older kid” (Ace Merrill), and the film’s overall potency in capturing a picturesque era. Evans capture King’s tendency toward the inherent humor of the morbid as 4 young teens embark on a trek for a dead body.
Based on Stephen King’s short story The Body, screenwriters Raynold Gideon and Bruce A. Rob Reiner’s dark ode to nostalgia, and the love/hate camaraderie young men form during adolescence.
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