789:"A production rewrite means that the project is in production. Big money elements – directors, actors – are pay or play. There is a shooting date. The shit is in the fan. And that's where writers like me come in. Writers who are fast and reliable. We are nicely paid to do these production rewrites... and we love these jobs. Without credit? Never with credit. If you go for credit on somebody else's work, you have to completely dismantle the structure. Who wants a job where you have to completely dismantle the structure? I only take things that I think are in reasonable shape. The director and the producer and the studio may not necessarily agree with me, but I think the script is in reasonable shape. Besides, no one but the writer ever knows how much trouble any one piece of work will be. Only the writer knows that. Only the writer. So I take what looks to me like something that is in good enough shape, yet which I can contribute to and make it worth the pay they are going to give me... There are more than one of us out there. These jobs are quick, sometimes they're even fun, and you don't have to take the terrible meetings. They're not breathing on you. They're just desperate to get a script. I've never taken anything that I knew I couldn't help. They pay good money."
603:, just produce it. She was put off by the book's non-linear story structure, but Lumet would not make the picture without her and agreed to write the outline for her. Lumet and Allen went over the book and agreed on what they could use and what they could do without. To her horror, Lumet would come in every day for weeks and scribble on legal pads. She was terrified that she would have to tell him that his stuff was unusable, but to her delight the outline was wonderful and she went to work. It was her first project with living subjects, and Allen interviewed nearly everyone in the book and had endless hours of Bob Leuci's tapes for back-up. With all her research and Lumet's outline, she eventually turned out a 365-page script in 10 days. It was nearly impossible to sell the studio on a three-hour picture, but by offering to slash the budget to $ 10 million they agreed.
627:(1982) for Lumet, exchanging a weak, confusing ending for a more directly resolved one. Though not being able to do what a screenwriter needs to do to a play – "opening it up," taking it outside the original set or sets, make it bigger – she was limited to bookending the script with scenes in a New York theater. The plotting was so very tight, which is what the studio executives had wanted when they bought it. It was up to Allen to cut away the underbrush, simplifying the rhetoric as much as possible and adding some realism to the characters.
142:, on March 3, 1922, the only child of buyer Willie Mae (née Miller) and department store merchant Albert Jack Presson. She was never particularly fond of her given name, and decided to use her first initial when writing. She would spend all day at the movie house every weekend, from 1 p.m. until somebody dragged her out at 7 p.m. From that time on, movies became very important to her and she knew she would not be staying in her hometown. She attended
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disposes'? I didn't make it up. I would never propose myself as a director." Under
Hitchcock's mentoring, Allen developed the screenwriting talent she would use the rest of her career. Allen wrote that she never felt discriminated against. While being one of the rare female screenwriters in Hollywood in the 1960s, she said "almost all of the men I worked with were supportive. If I was getting a bum rap somewhere, I didn't know it."
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from the original was lost; she believed Fosse did not really like the lead character of Sally Bowles at all. She worked on the screenplay for ten months, but in the end Fosse and the producers were still unhappy with the final form, and having commitments elsewhere, Allen handed the script over to her friend
198:, she thought he would like it since her play was also about a child, but the play came back from Whitehead's office rejected. Allen waited for a couple of months and sent it back, rightly figuring that some reader had rejected it instead of Whitehead himself. This time Whitehead read the play and instantly
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Allen became a writer by default, having always read constantly. Being able to write pretty well, she decided to "write her way out" of the marriage and set out to become financially independent of her husband. She always claimed her first husband's big fault was marrying someone too young. Her debut
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for ABC in 1988; the drama about the lives and work experiences of the staff of a mental hospital lasted eight episodes. Personally Allen thought it was some of her best work, though its short life was a mixed blessing for her, said Allen: "Unfortunately, ABC didn't have the courage of their initial
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and did not want, in Allen's words, "to play another crazy old lady." Hepburn was reluctant to let Cukor down and would not admit her reservations and began to find fault with the script, even rewriting many sections herself. Consequently, Allen finally gave up the endeavor, telling
Hepburn that she
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of 1939, but the Berlin stories weren't structured in any linear fashion and Allen had to diagram the entire story. Allen and Fosse got along badly from the start: she found him "so depressed that it took two hours just to get him in the frame of mind for work." In Allen's opinion most of the humor
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and observing particularly salacious crime trials from the benches in
Manhattan Criminal Court. Allen had just about given up writing any more movies from beginning to end, preferring to do lucrative rewrites. It had stopped being fun for her. Script 'development' translated to 'scripts written by
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was actually a request of the lawyer for the Capote Estate. Allen was reluctant to write about Capote at first, but once she had researched him, she found the last ten years of his life not as off-putting as she had thought: "Capote had a kind of
Gallantry in the face of a devastating situation."
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lasted "for about 25 minutes" when she realized that she only liked rehearsals and the first week of performance, and would rather be "out there" where the decisions were being made. In the early 1940s, she married "the first grown man who asked me," Robert M. Davis, a promising young singer, and
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did have some good scenes in it. Hitchcock would have made her a director but she told him no. Said Allen: "It seems perfectly clear to me that any project takes a minimum of a year to direct. I like to get things on and over with. ... Did you ever hear the phrase, 'the lady proposes, the studio
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writing the songs. Nichols, who was a producing partner with Lewis Allen, eventually quit in a dispute over profits; Tommy Tune followed him and Carr fired Jay Allen. When Carr finally produced a musical version, Allen was forced to file suit for payment from her work on the adaptation.
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Allen returned to New York and performed on radio and in cabaret, both of which she loathed, and would go through the whole performance wishing to be fired. In the meantime she started writing again, little by little, and sold some of her work to live television programs like
130:; March 3, 1922 – May 1, 2006) was an American screenwriter, playwright, and novelist. Known for her withering wit and sometimes off-color wisecracks, she was one of the few women making a living as a screenwriter at a time when women were a rarity in the profession.
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Friends of Capote were amazed at her accuracy portraying a man she had only met but not known, and there was much question about how many of the lines are Capote's and how many Allen's; she maintained that at least 70% of the dialogue is Capote's own.
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for the pilot, which premiered at 10:00 pm on March 9, 1976; the series went on to run for four years and 86 episodes. Later in life Allen would remark about television: "I hate it, I hate it because the buck doesn't stop anywhere."
563:, who surprisingly wanted to do it. In her opinion, Lumet was a wonderful structuralist but has his most difficult time with humorous dialogue; he had not found a way to shoot humorous dialogue as brilliantly as he shot everything else.
408:. After a few months, Fryer and Hepburn still weren't happy with Wheeler's script, so Allen agreed to work on the project and wrote a very straightforward script for them. But Hepburn had just starred in the disastrous adaptation of
216:. When she married Lewis M. Allen in 1955, they moved to the countryside, where Lewis wrote and Allen in her words "didn't want to do anything." She had a baby, and spent two and a half "absolutely wonderful years in the country."
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When asked if the original author ever has anything to say about how their book is treated, Allen replied: "Not if I can help it. You cannot open that can of worms. You sell your book, you go to the bank, you shut up."
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refused to put
Hepburn's name on the script because she was not a guild member; Fryer refused to let Allen take her name off because she was the one he paid, and Wheeler was burned that he received no credit at all.
690:"What I really like to do is a very swift rewrite for a great deal of money. Then I'm out of it. There's no emotional commitment at all – your name's not on it, you're home free", she would explain.
552:"Male characters are easier to write. They're simpler. I think women are generally more psychologically complicated. You have to put a little more effort into writing a woman." – Jay Presson Allen.
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while she knocked out a script. Len and Aaron loved it; it was touching and had marvelous moments of compassion, and was exactly what they had talked about in the kitchen. The pilot was great, but
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to direct. Cukor for some reason was not getting any work and
Hepburn was casting around for projects. They asked Allen to come on board for the script, but she was busy and instead suggested
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Eventually the couple came back to the city to work. By then, Bob
Whitehead had become a good friend and encouraged Allen to write another play. She drew on her married life and wrote
593:. Allen let it be known that if that deal should fall through, then she wanted the picture for Sidney. Just as Lumet was about to sign for a different picture, they got the call that
497:, a hard time. The picture does, however, contain some of Allen's most satisfying work, some of which she doesn't remember writing and just seems to have come out of nowhere.
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714:, who began to tinker it to fit his persona. Eventually the producers took it away from Redford and offered it to Lumet, who had just seen a production of Mamet's,
283:. Allen, who lived close by, would bicycle to work. This upset Hitchcock, who insisted that a limousine be sent for her every day, whether she wanted it or not.
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came up with the idea about a show that centered on the emotional life of a family. They pitched the idea to Allen and she liked it. Allen spent two weeks at the
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for outstanding women who, through their endurance and the excellence of their work, have helped to expand the role of women within the entertainment industry.
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ought to write it herself, which the actress did. Eventually, Hepburn provoked the studio into making her quit the project, leaving Fryer free to bring
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When she was not writing, Allen and her husband were among the most visible of
Manhattan's theater crowd. She would spend her later years as a
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192:, was published in 1948 and got mixed reviews. Her next effort was a play, which she sent to producer Bob Whitehead. Because he had produced
172:, during World War II. She continued acting while in California; she has a small credited role (under the name Jay Presson) in the 1945 film
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convictions. They skewered it, they turned tail on it. However if they had picked it up I'd have had to turn out 26 episodes. I'd be in
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for her performance. In 1973, Allen adapted her play for the screen, which turned out to be a critical and commercial disappointment.
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as Brodie and ran for an entire year. Allen also wrote the screenplay for the 1969 film starring Maggie Smith and Robert
Stephens.
813:, "is not to throw out the baby with the bath water. You can change all kinds of things, but don't muck around with the essence."
807:. However, she disliked the finished product and had her name removed. The trick in adapting, Allen said in a 1972 interview with
710:, thinking he had deviated too much from the original material. She produced a script they were happy with, but then handed it to
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in 1969, with the idea of turning it into a screenplay. After having trouble getting together a production, Allen sent it to
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s Maggie Smith onto the picture. One speech of Allen's remains in the script, otherwise it is all
Hepburn's product. The
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it, but due to casting problems her play was never produced on stage. The reader who had initially rejected her play was
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committee', but the upside was that "developed" scripts tend to need rewrites – from outside the "development circle".
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452:, and felt that not portraying the male lead as a homosexual was dishonest to the story. They wanted to go back to
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Said Allen: "All the women who played Brodie got whatever prize was going around at that time. Vanessa did,
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306:, about an iconoclast Scottish girls' school teacher, did not premiere on the London stage until after
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581:(1978), she was convinced it was a Sidney Lumet project, but the film rights had already been sold to
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In Allen's opinion, she could not learn fast enough to make a first-rate movie, although she thought
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to alleviate a yearlong bout of writer's block, Allen produced a draft of the play in three days.
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Allen skipped college and left home at the age of 18 to become an actress. She said her career in
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for a couple of years, but later said she left the school "having had no education to speak of".
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did not buy it. It was not until two years later that ABC entered a production deal with
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that his Connecticut neighbor Jay Allen had shown him. It was Nichols who brought in
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2002:
1076:(1953; writer of 2 episodes, "Surface Tension" and "Inside Straight" as Jay Presson)
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as a musical reset in New Orleans. The never-to-be-produced production was called
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1480:"Jay Presson Allen Writer of screen adaptations true to the original's essence"
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1431:"Jay Presson Allen: A Container List of Her Papers at the Harry Ransom Center"
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and ran hundreds of performances. In January 1968, it opened in New York with
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Gardner, Ralph (January 1991). "Jay Presson Allen: Who would rather write".
801:. Her last film work was her screenplay for the 1990 remake of the classic,
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in order to help develop, write and produce projects, in collaboration with
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brought Allen in for a rewrite when they were unhappy with the script that
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1092:(1954; teleplay writer of 1 episode "Beg, Borrow or Steal" as Jay Presson)
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as the 42-year-old who has an affair with a 22-year-old man. Harris won a
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Show tunes: the songs, shows, and careers of Broadway's major composers
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275:(1964). Hitchcock brought Allen to California to work on the film at
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Backstory: interviews with screen writers of Hollywood's golden age
1595:"Jay Presson Allen, 84, Writer of Adaptations for the Stage, Dies"
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1704:"Jay Allen suit vs. Allan Carr asks 'Cage' royalties, profits".
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1084:(1954; writer of 1 episode "Brink of Disaster" as Jay Presson)
533:, who turned down all their ideas in favor of the script for
223:, about a suburban working couple. It was made into the film
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and can be glimpsed briefly as "Miss Zelda" in the 1946 film
1100:(1955; writer of 1 episode "The Dark Search" as Jay Presson)
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now. Television is a killer. It is really not for sissies."
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444:. The producers had not wanted to film the stage script by
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Writers Guild of America Award for Best Adapted Screenplay
1387:"Screenwriter Allen In Pact With L-T To Develop Series".
353:(1968). Her adaptation of the French boulevard comedy by
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Structure was what Allen brought to the screenplay for
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Reel women: pioneers of the cinema 1896 to the present
1108:(writer of 1 episode "Do It Yourself" as Jay Presson)
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637:Allen returned to the stage with an adaptation for
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847:The papers of Jay Presson Allen and her husband
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1519:All his jazz: the life & death of Bob Fosse
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1212:Filmreference.com; accessed October 16, 2014.
657:to adapt Jean Poiret's non-musical 1973 play
347:, Allen had another success on Broadway with
1559:. Berkeley: University of California Press.
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1536:Graham, Jefferson; Spelling, Aaron (1996).
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961:(1980; screenplay from her novel; producer)
2176:Shari Springer Berman & Robert Pulcini
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793:In 1986, she had signed an agreement with
653:. She was also hired by Broadway producer
597:was theirs. Allen had not wanted to write
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1301:. May 2, 2006; accessed October 16, 2014.
1284:, May 5, 2006; accessed October 17, 2014.
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493:and was determined to give the director,
269:read it and offered Allen the script for
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1124:pilot: "The Best Years" (1976; teleplay)
1089:The Philco-Goodyear Television Playhouse
734:Allen tried to recapture the success of
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985:(1990; under the pseudonym Sara Schiff)
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144:Miss Hockaday's School for Young Ladies
2437:Writers Guild of America Award winners
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1638:Sealy, Shirley; Crist, Judith (1984).
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977:(1982; screenplay; executive producer)
969:(1981; screenplay; executive producer)
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1393:. December 17, 1986. pp. 38, 82.
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477:In Allen's opinion, the problem with
138:Allen was born Jacqueline Presson in
1613:Rosenfield, Paul (October 5, 1982).
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832:
16:American screenwriter and playwright
2387:20th-century American women writers
2377:21st-century American women writers
2372:20th-century American screenwriters
2324:, Lee Kern & Nina Pedrad (2020)
1642:Take 22: moviemakers on moviemaking
1593:Robertson, Campbell (May 2, 2006).
1502:Take 22: Moviemakers on Moviemaking
1140:(1988; executive producer, creator)
13:
1576:Hitchcock and the Making of Marnie
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829:on May 1, 2006, at the age of 84.
379:Bobby Fryer, who had produced the
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2407:American women television writers
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1538:Aaron Spelling: A Prime-Time Life
507:The idea for the television show
487:had not wanted to do a sequel to
1540:. New York: St. Martin's Press.
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757:The 1991 Broadway production of
361:premiered in December 1968 with
265:was still an unproduced script,
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2382:20th-century American novelists
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837:In 1982, Allen was awarded the
645:, a French boulevard comedy by
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213:The Philco Television Playhouse
2432:Writers from Fort Worth, Texas
1756:Internet Off-Broadway Database
1615:"The Prime Prose of Jay Allen"
1478:Bergan, Ronald (May 5, 2006).
1364:Jay Allen vs. Allan Carr, 1983
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990:as an uncredited script doctor
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206:, whom she would later marry.
1:
2392:American women film producers
1661:Soares, Andre (May 2, 2006).
1578:. Maryland: Scarecrow Press.
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1129:The Prime of Miss Jean Brodie
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1061:(1995), uncredited adaptation
1020:The Prime of Miss Jean Brodie
910:The Prime of Miss Jean Brodie
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303:The Prime of Miss Jean Brodie
296:The Prime of Miss Jean Brodie
263:The Prime of Miss Jean Brodie
240:The Prime of Miss Jean Brodie
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2402:American women screenwriters
1555:McGilligan, Patrick (1986).
667:, and was to be directed by
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390:to make the film version of
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1689:: Oxford University Press.
1521:. New York: Da Capo Press.
727:
557:Just Tell Me What You Want!
547:Just Tell Me What You Want!
10:
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2208:Joel Coen & Ethan Coen
1747:Internet Broadway Database
1517:Gottfried, Martin (2003).
1008:(1995; uncredited rewrite)
1000:(1983; uncredited rewrite)
958:Just Tell Me What You Want
953:(1980; executive producer)
876:Just Tell Me What You Want
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427:
310:s completion. Produced by
175:An Angel Comes to Brooklyn
2412:Film producers from Texas
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1252:Acker, 1991. pp. 201–203.
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665:The Queen of Basin Street
517:'s kitchen, where he and
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400:(1972), specifically for
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2427:Television show creators
2422:Screenwriters from Texas
2397:American women novelists
2062:& Janet Roach (1985)
1725:Jay Presson Allen Papers
1646:. New York, NY: Viking.
1574:Moral, Tony Lee (2005).
1327:Crist, 1984. pp.282–311.
1174:, Obituary. May 2, 2006.
1081:Armstrong Circle Theatre
1035:A Little Family Business
913:(1969; screenplay; play)
825:and died at her home in
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643:A Little Family Business
386:, had collaborated with
1681:Suskin, Steven (2000).
1336:Gottfried, 2003. p.205.
1145:American Playhouse: Tru
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2417:Hockaday School alumni
872:(1948; as Jay Presson)
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750:
555:Allen wrote the novel
314:, it premiered at the
117:(1955–2003; his death)
1435:norman.hrc.utexas.edu
1345:Spelling, 1996. p.97.
1282:The Guardian Obituary
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694:Twentieth-Century Fox
454:Christopher Isherwood
195:Member of the Wedding
170:Claremont, California
2066:Ruth Prawer Jhabvala
1846:Francis Ford Coppola
1826:Francis Ford Coppola
1667:Alternate Film Guide
1463:. London: Batsford.
1459:Acker, Ally (1991).
1299:Alternate Film Guide
926:Travels with My Aunt
795:Lorimar-Telepictures
411:Madwoman of Chaillot
397:Travels with My Aunt
374:Travels with My Aunt
2078:Christopher Hampton
2045:Adapted Screenplay
1729:Harry Ransom Center
1712:. November 2, 1983.
1663:"Jay Presson Allen"
1269:October 5, 1982. 6.
1185:"Jay Presson Allen"
1053:(1991) and directed
1045:(1989) and directed
853:Harry Ransom Center
675:choreographing and
523:Beverly Hills Hotel
281:San Fernando Valley
2316:, Erica Rivinoja,
2126:Billy Bob Thornton
1504:(New York: Viking)
1411:on August 30, 2011
1105:Goodyear Playhouse
1058:La Cage aux Folles
1037:(1982), adaptation
1031:(1968), adaptation
1023:(1966), adaptation
966:Prince of the City
945:(1975; screenplay)
921:(1972; screenplay)
905:(1964; screenplay)
855:in Austin, Texas.
810:The New York Times
700:had produced from
660:La Cage Aux Folles
632:La Cage Aux Folles
600:Prince of the City
595:Prince of the City
579:Prince of the City
568:Prince of the City
456:'s original novel
237:. When Allen read
229:in 1963, starring
128:Jacqueline Presson
50:Jacqueline Presson
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2348:
2308:, Anthony Hines,
2306:Sacha Baron Cohen
2290:Nicole Holofcener
1949:Jay Presson Allen
1912:Julius J. Epstein
1906:Donald E. Stewart
1752:Jay Presson Allen
1743:Jay Presson Allen
1734:Jay Presson Allen
1625:on August 1, 2003
1585:978-0-8108-5684-4
1236:McGilligan, 1986.
1132:(1978; teleplays)
982:Lord of the Flies
833:Awards and honors
821:Allen suffered a
804:Lord of the Flies
799:ABC Entertainment
651:Jean-Pierre Gredy
459:Goodbye to Berlin
388:Katharine Hepburn
359:Jean-Pierre Gredy
318:in May 1966 with
316:Wyndham's Theatre
277:Universal Studios
140:San Angelo, Texas
124:Jay Presson Allen
121:
120:
111:(1940s; divorced)
62:San Angelo, Texas
25:Jay Presson Allen
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2272:Charles Randolph
1965:Mordecai Richler
1937:Ring Lardner Jr.
1785:
1778:
1771:
1762:
1761:
1713:
1700:
1677:
1675:
1673:
1657:
1645:
1634:
1632:
1630:
1621:. Archived from
1609:
1607:
1605:
1589:
1570:
1551:
1532:
1513:
1494:
1492:
1490:
1474:
1446:
1445:
1443:
1441:
1427:
1421:
1420:
1418:
1416:
1407:. Archived from
1401:
1395:
1394:
1384:
1378:
1375:
1366:
1361:
1355:
1352:
1346:
1343:
1337:
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1237:
1234:
1213:
1207:
1201:
1200:
1198:
1196:
1181:
1175:
1169:
1148:(1992; teleplay)
1116:(1973; teleplay)
890:Wives and Lovers
851:are held at the
717:American Buffalo
573:When Allen read
519:Leonard Goldberg
485:Barbra Streisand
320:Vanessa Redgrave
267:Alfred Hitchcock
226:Wives and Lovers
75:
58:
56:
40:
35:
21:
20:
2452:
2451:
2447:
2446:
2445:
2443:
2442:
2441:
2352:
2351:
2350:
2345:
2236:Alexander Payne
2202:William Monahan
2182:Alexander Payne
2148:Alexander Payne
2136:Brian Helgeland
2108:Steven Zaillian
2046:
2040:
2035:James L. Brooks
1961:Lionel Chetwynd
1931:Arnold Schulman
1923:
1922:Adapted Comedy
1917:
1896:Ernest Thompson
1866:William Goldman
1860:Lawrence Hauben
1814:Robert Anderson
1800:
1794:
1789:
1721:
1716:
1703:
1697:
1671:
1669:
1654:
1628:
1626:
1603:
1601:
1586:
1567:
1548:
1529:
1488:
1486:
1471:
1454:
1449:
1439:
1437:
1429:
1428:
1424:
1414:
1412:
1403:
1402:
1398:
1386:
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1376:
1369:
1362:
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1340:
1335:
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1326:
1305:
1297:
1288:
1280:
1273:
1265:
1256:
1251:
1240:
1235:
1216:
1208:
1204:
1194:
1192:
1189:The Independent
1183:
1182:
1178:
1170:
1159:
1155:
1068:
1015:
992:
885:
866:
861:
835:
819:
778:
755:
732:
688:
647:Pierre Barillet
639:Angela Lansbury
635:
615:
571:
550:
505:
475:
450:John Van Druten
432:
377:
355:Pierre Barillet
341:
299:
259:
161:
156:
136:
116:
112:
110:
109:Robert M. Davis
101:
77:
73:
60:
54:
52:
51:
42:
26:
17:
12:
11:
5:
2450:
2440:
2439:
2434:
2429:
2424:
2419:
2414:
2409:
2404:
2399:
2394:
2389:
2384:
2379:
2374:
2369:
2364:
2347:
2346:
2344:
2343:
2340:Cord Jefferson
2337:
2331:
2325:
2303:
2297:
2287:
2281:
2278:Eric Heisserer
2275:
2265:
2259:
2253:
2247:
2233:
2227:
2224:Sheldon Turner
2217:
2211:
2205:
2199:
2192:Larry McMurtry
2189:
2179:
2173:
2167:
2164:Akiva Goldsman
2161:
2158:Stephen Gaghan
2155:
2145:
2139:
2129:
2123:
2117:
2111:
2105:
2102:Michael Tolkin
2099:
2093:
2087:
2081:
2075:
2069:
2063:
2060:Richard Condon
2057:
2054:Bruce Robinson
2050:
2048:
2047:(1984–present)
2042:
2041:
2039:
2038:
2032:
2026:
2020:
2006:
2003:Jerzy Kosiński
2000:
1990:
1984:
1974:
1968:
1958:
1952:
1946:
1940:
1934:
1927:
1925:
1919:
1918:
1916:
1915:
1909:
1899:
1893:
1887:
1881:
1875:
1869:
1863:
1853:
1843:
1833:
1823:
1820:Ernest Tidyman
1817:
1811:
1804:
1802:
1799:Adapted Drama
1796:
1795:
1788:
1787:
1780:
1773:
1765:
1759:
1758:
1749:
1740:
1731:
1720:
1719:External links
1717:
1715:
1714:
1701:
1695:
1678:
1658:
1652:
1635:
1610:
1599:New York Times
1590:
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937:(1973; writer)
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929:(1972; writer)
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895:The First Wife
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849:Lewis M. Allen
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712:Robert Redford
687:
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583:Orion Pictures
570:
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204:Lewis M. Allen
168:they lived in
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2132:Curtis Hanson
2130:
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2120:Emma Thompson
2118:
2115:
2112:
2109:
2106:
2103:
2100:
2097:
2094:
2091:
2090:Michael Blake
2088:
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2067:
2064:
2061:
2058:
2055:
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2051:
2049:
2043:
2036:
2033:
2030:
2029:Blake Edwards
2027:
2024:
2021:
2018:
2014:
2010:
2007:
2004:
2001:
1998:
1997:Warren Beatty
1994:
1991:
1988:
1987:Larry Gelbart
1985:
1982:
1981:Frank Waldman
1978:
1977:Blake Edwards
1975:
1972:
1969:
1966:
1962:
1959:
1956:
1955:Alvin Sargent
1953:
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1947:
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1929:
1928:
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1910:
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1900:
1897:
1894:
1891:
1890:Alvin Sargent
1888:
1885:
1884:Robert Benton
1882:
1879:
1876:
1873:
1872:Alvin Sargent
1870:
1867:
1864:
1861:
1857:
1854:
1851:
1847:
1844:
1841:
1840:Norman Wexler
1837:
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1698:
1696:0-19-512599-1
1692:
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1679:
1668:
1664:
1659:
1655:
1653:0-670-49185-3
1649:
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1620:
1616:
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1596:
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1587:
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1568:
1566:0-520-05689-2
1562:
1558:
1553:
1549:
1547:0-312-31344-6
1543:
1539:
1534:
1530:
1528:0-306-81284-3
1524:
1520:
1515:
1511:
1506:
1503:
1499:
1498:Crist, Judith
1496:
1485:
1481:
1476:
1472:
1470:0-7134-6960-9
1466:
1462:
1457:
1456:
1436:
1432:
1426:
1410:
1406:
1400:
1392:
1391:
1383:
1377:Gardner. 1991
1374:
1372:
1365:
1360:
1354:Suskin, 2000.
1351:
1342:
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1223:
1221:
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1211:
1206:
1191:. May 4, 2006
1190:
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1173:
1168:
1166:
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1162:
1157:
1147:
1146:
1142:
1139:
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1134:
1131:
1130:
1126:
1123:
1122:
1118:
1115:
1114:
1113:The Borrowers
1110:
1107:
1106:
1102:
1099:
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984:
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891:
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886:
877:
874:
871:
868:
867:
856:
854:
850:
845:
843:
842:Crystal Award
840:
839:Women in Film
830:
828:
824:
814:
812:
811:
806:
805:
800:
796:
790:
786:
783:
782:script doctor
776:Script doctor
773:
770:
769:Truman Capote
766:
762:
761:
753:
748:
746:
741:
737:
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723:
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455:
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446:Joe Masteroff
443:
442:
437:
430:
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403:
399:
398:
393:
392:Graham Greene
389:
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364:
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332:
327:
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312:Donald Albery
309:
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207:
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201:
197:
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191:
185:
183:
182:
177:
176:
171:
166:
165:New York City
151:
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145:
141:
131:
129:
125:
115:
108:
104:
97:
94:
91:
90:
88:
84:
80:
79:New York City
71:
67:
63:
59:March 3, 1922
49:
45:
34:
29:
22:
19:
2334:Sarah Polley
2262:Graham Moore
2250:Chris Terrio
2230:Aaron Sorkin
2196:Diana Ossana
2072:Steve Martin
2023:Gerald Ayres
2017:Jerry Zucker
2013:David Zucker
2009:Jim Abrahams
1948:
1902:Costa-Gavras
1878:Oliver Stone
1709:
1705:
1682:
1670:. Retrieved
1666:
1641:
1627:. Retrieved
1623:the original
1618:
1602:. Retrieved
1598:
1575:
1556:
1537:
1518:
1510:Cosmopolitan
1509:
1501:
1487:. Retrieved
1484:The Guardian
1483:
1460:
1452:Bibliography
1438:. Retrieved
1434:
1425:
1413:. Retrieved
1409:the original
1399:
1388:
1382:
1363:
1359:
1350:
1341:
1332:
1298:
1281:
1266:
1205:
1193:. Retrieved
1188:
1179:
1171:
1143:
1135:
1127:
1119:
1111:
1103:
1097:Star Tonight
1095:
1087:
1079:
1071:
1056:
1050:The Big Love
1048:
1040:
1034:
1028:Forty Carats
1026:
1018:
1003:
995:
980:
972:
964:
956:
950:It's My Turn
948:
940:
932:
924:
916:
908:
900:
894:
893:(1963; play
888:
875:
869:
846:
836:
820:
808:
802:
792:
788:
779:
765:Robert Morse
758:
756:
751:
739:
735:
733:
728:
715:
705:
692:
689:
684:
677:Maury Yeston
669:Mike Nichols
664:
658:
642:
636:
631:
622:
616:
611:
605:
598:
594:
578:
575:Robert Daley
572:
567:
561:Sidney Lumet
556:
554:
551:
546:
534:
531:Mike Nichols
513:was born in
508:
506:
501:
495:Herbert Ross
488:
478:
476:
471:
465:Hugh Wheeler
457:
439:
433:
428:
417:Jean Brodie'
416:
409:
406:Hugh Wheeler
402:George Cukor
395:
381:
378:
373:
363:Julie Harris
350:Forty Carats
348:
344:
342:
338:Forty Carats
337:
328:
324:Zoe Caldwell
307:
301:
300:
295:
287:
285:
270:
262:
260:
255:
249:hypnotherapy
245:Muriel Spark
238:
224:
220:
218:
211:
208:
193:
189:
186:
179:
173:
162:
137:
127:
123:
122:
92:Screenwriter
74:(2006-05-01)
18:
2367:2006 deaths
2362:1922 births
2294:Jeff Whitty
2284:James Ivory
2142:Scott Frank
2084:Alfred Uhry
1943:John Paxton
1924:(1969–1983)
1801:(1969–1983)
1267:L.A. Times.
1013:Stage plays
870:Spring Riot
745:Forest Lawn
707:The Verdict
698:David Mamet
685:The Verdict
539:Mark Rydell
382:Jean Brodie
345:Jean Brodie
235:Van Johnson
231:Janet Leigh
190:Spring Riot
72:May 1, 2006
2356:Categories
2328:Sian Heder
2310:Dan Swimer
2268:Adam McKay
2186:Jim Taylor
2170:David Hare
2152:Jim Taylor
1993:Elaine May
1971:Neil Simon
1856:Bo Goldman
1850:Mario Puzo
1836:Waldo Salt
1830:Mario Puzo
1808:Waldo Salt
1440:August 26,
1153:References
1066:Television
942:Funny Lady
702:Barry Reed
673:Tommy Tune
655:Allan Carr
591:David Rabe
490:Funny Girl
480:Funny Lady
472:Funny Lady
367:Tony Award
181:Gay Blades
159:Early work
134:Early life
95:playwright
86:Occupation
55:1922-03-03
2318:Dan Mazer
2256:Billy Ray
2244:Nat Faxon
2114:Eric Roth
2096:Ted Tally
1619:L.A.Times
1415:April 28,
1405:"Wif.org"
1195:April 28,
974:Deathtrap
934:40 Carats
827:Manhattan
763:starring
722:Al Pacino
704:'s novel
624:Deathtrap
619:Ira Levin
612:Deathtrap
577:'s book,
483:was that
436:Bob Fosse
2240:Jim Rash
1672:March 1,
1629:March 1,
1604:March 1,
1500:(1984),
1489:March 1,
1137:Hothouse
740:Hothouse
729:Hothouse
621:'s play
200:optioned
98:novelist
1754:at the
1745:at the
1727:at the
1706:Variety
1390:Variety
1210:Profile
1005:Copycat
918:Cabaret
859:Credits
441:Cabaret
429:Cabaret
331:Maggie
308:Marnie'
279:in the
188:novel,
2342:(2023)
2336:(2022)
2330:(2021)
2302:(2019)
2296:(2018)
2292:&
2286:(2017)
2280:(2016)
2274:(2015)
2270:&
2264:(2014)
2258:(2013)
2252:(2012)
2246:(2011)
2242:&
2232:(2010)
2226:(2009)
2222:&
2216:(2008)
2210:(2007)
2204:(2006)
2198:(2005)
2194:&
2188:(2004)
2184:&
2178:(2003)
2172:(2002)
2166:(2001)
2160:(2000)
2154:(1999)
2150:&
2144:(1998)
2138:(1997)
2134:&
2128:(1996)
2122:(1995)
2116:(1994)
2110:(1993)
2104:(1992)
2098:(1991)
2092:(1990)
2086:(1989)
2080:(1988)
2074:(1987)
2068:(1986)
2056:(1984)
2037:(1983)
2031:(1982)
2025:(1981)
2019:(1980)
2015:&
2005:(1979)
1999:(1978)
1995:&
1989:(1977)
1983:(1976)
1979:&
1973:(1975)
1967:(1974)
1963:&
1957:(1973)
1951:(1972)
1945:(1971)
1939:(1970)
1933:(1969)
1914:(1983)
1908:(1982)
1904:&
1898:(1981)
1892:(1980)
1886:(1979)
1880:(1978)
1874:(1977)
1868:(1976)
1862:(1975)
1858:&
1852:(1974)
1848:&
1842:(1973)
1838:&
1832:(1972)
1828:&
1822:(1971)
1816:(1970)
1810:(1969)
1693:
1687:Oxford
1650:
1582:
1563:
1544:
1525:
1467:
1121:Family
1073:Danger
902:Marnie
878:(1975)
864:Novels
823:stroke
736:Family
535:Family
510:Family
502:Family
343:After
333:did".
288:Marnie
272:Marnie
261:While
256:Marnie
154:Career
148:Dallas
126:(born
106:Spouse
81:, U.S.
64:, U.S.
37:Allen
817:Death
738:with
720:with
671:with
243:, by
1738:IMDb
1691:ISBN
1674:2008
1648:ISBN
1631:2008
1606:2008
1580:ISBN
1561:ISBN
1542:ISBN
1523:ISBN
1491:2008
1465:ISBN
1442:2022
1417:2019
1197:2019
883:Film
649:and
589:and
585:for
448:and
384:film
357:and
233:and
69:Died
47:Born
41:1970
1736:at
1710:313
1042:Tru
767:as
760:Tru
752:Tru
641:of
527:ABC
438:'s
394:'s
146:in
2358::
2320:,
2312:,
2238:,
2011:,
1708:.
1685:.
1665:.
1617:.
1597:.
1482:.
1433:.
1370:^
1306:^
1289:^
1274:^
1257:^
1241:^
1217:^
1187:.
1160:^
467:.
184:.
39:c.
1784:e
1777:t
1770:v
1699:.
1676:.
1656:.
1633:.
1608:.
1588:.
1569:.
1550:.
1531:.
1512:.
1493:.
1473:.
1444:.
1419:.
1199:.
897:)
57:)
53:(
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