Rating: 
Summary: out of touch curmudgeon
Review: Goldman, who hasn't written a good film in a quite a while, states that the 90's was the worst decade in film history. Which only shows that he's an out of touch curmudgeon railing against "kids today." Cranks like Goldman can't appreciate or acknowledge the excellence of such newcomers as Quentin Tarantino and Paul Thomas Anderson. There are many other excellent filmmakers from the independent film movement, and their cumulative work has created a genuine renaissance of film art. The 90's were as fertile as the 70's. There were a lot of bad 90's movies, to be sure, but most of them came from the major studio "factory," where Goldman certainly made his contribution.
Rating: 
Summary: A fun book about the trade
Review: Golman's Which Lie Did I Tell is a must for anyone who wants to learn the basics of screenwriting as well as the basics of the film trade. Golman goes into great lengths to describe how Hollywood works and how writing a script for Hollywood works.As examples, Goldman uses his own scripts (The Princess Bride, Misery), analyzing them, telling us the problems he had while writing them and giving us his honest opinion about the final script and the final film product. Goldman also analyzes what he believes to be some of the best film sequences of all time, telling us why they work so well and why they are so brilliant (he uses scenes from There's Something About Mary, Chinatown, Fargo and his very own Butch Cassidy And The Sundance Film). Unfortunately, the book loses momentum in its last part. Here, Goldman has written a short script and tries to show us how he develops his ideas while writing a screenplay. He also asked some of his friends from the business to peer-analyze the script. This section doesn't bring us much insight and is, quite frankly, a bore. The book's better moments come when Goldman tells us where he finds his ideas and how these ideas become stories. I love the section in which he describes the process he goes through when adapting a book for the screen (using his scripts for Misery and Absolute Power). Overall, this is a very interesting, often funny, usually informative look on the screen trade and the art of screenwriting. Anyone who wants to learn a bit more about the subject should start with this book. Just be warned that you won't find a great deal of elightenment here.
Rating:
Summary: Reveals the truth behind Hollywood
Review: Have you ever wondered how Hollywood really operates . . The personalities, the power games, the real dramas that go on behind the camera? William Goldman's 'Adventures in the Screen Trade' became required reading for Hollywood incumbent and aspirant alike, especially screenwriters. Goldman, in case you didn't know it, is a two-time, Oscar-winning screenwriter who has penned several classics, ranging from 'Butch Cassidy and The Sundance Kid', 'Marathon Man' and 'Misery' to 'All The President's Men', 'The Princess Bride' and many others. His tell-all book became a bestseller and opened the door to many inferior insider exposes. But it cost him dearly. Goldman's phone stopped ringing for five years. He became, as he describes it, a leper in Hollywood. No one would hire him; no one would touch anything he had written for several years. Fortunately for him, and for us, the tide changed and Goldman went on to write more great movies and books, including his latest ~ a sequel to 'Adventures' ~ 'Which Lie Did I Tell?' This book picks up where the first left off 18 years ago, revealing the secrets of the movie business and examining life on the set of various movies scripted by the author. There are many differences between this insider look and others, but the most important for writers is the fact that it is from a script writer's viewpoint. Goldman takes the reader by the hand and shares the secrets of the trade in an intimate and often humorous manner. He discusses several leading writers; dissects classic scripts, showing why they work; and he even includes the first draft of a screenplay written specially for the book. This gives the reader a blow-by-blow examination of the process of screenwriting. The book is sprinkled with sidebars that address various issues, such as why do we write, writing adaptations and writing original screenplays. At the very least, this is an honest, no-holds-barred look at the Hollywood deal makers and breakers as well as the idiosyncrasies of the business. Depending on your viewpoint, 'Which Lie Did I Tell?' is an excellent writer's introduction to Hollywood or an excellent screenwriter's course, which includes unique experiences, instruction and advice from one of the best-known talents in the business. -- Michael Meanwell, author of the critically-acclaimed 'The Enterprising Writer' and 'Writers on Writing'. For more book reviews and prescriptive articles for writers, visit www.enterprisingwriter.com
Rating: 
Summary: Okay
Review: Have you ever wondered how Hollywood really operates . . The personalities, the power games, the real dramas that go on behind the camera? William Goldman's `Adventures in the Screen Trade' became required reading for Hollywood incumbent and aspirant alike, especially screenwriters. Goldman, in case you didn't know it, is a two-time, Oscar-winning screenwriter who has penned several classics, ranging from `Butch Cassidy and The Sundance Kid', `Marathon Man' and `Misery' to `All The President's Men', `The Princess Bride' and many others. His tell-all book became a bestseller and opened the door to many inferior insider exposes. But it cost him dearly. Goldman's phone stopped ringing for five years. He became, as he describes it, a leper in Hollywood. No one would hire him; no one would touch anything he had written for several years. Fortunately for him, and for us, the tide changed and Goldman went on to write more great movies and books, including his latest ~ a sequel to `Adventures' ~ `Which Lie Did I Tell?' This book picks up where the first left off 18 years ago, revealing the secrets of the movie business and examining life on the set of various movies scripted by the author. There are many differences between this insider look and others, but the most important for writers is the fact that it is from a script writer's viewpoint. Goldman takes the reader by the hand and shares the secrets of the trade in an intimate and often humorous manner. He discusses several leading writers; dissects classic scripts, showing why they work; and he even includes the first draft of a screenplay written specially for the book. This gives the reader a blow-by-blow examination of the process of screenwriting. The book is sprinkled with sidebars that address various issues, such as why do we write, writing adaptations and writing original screenplays. At the very least, this is an honest, no-holds-barred look at the Hollywood deal makers and breakers as well as the idiosyncrasies of the business. Depending on your viewpoint, `Which Lie Did I Tell?' is an excellent writer's introduction to Hollywood or an excellent screenwriter's course, which includes unique experiences, instruction and advice from one of the best-known talents in the business. -- Michael Meanwell, author of the critically-acclaimed 'The Enterprising Writer' and 'Writers on Writing'. For more book reviews and prescriptive articles for writers, visit www.enterprisingwriter.com
Rating:
Summary: entertaining
Review: I agree with other reviewers that this book was entertaining. I enjoyed it, although i also agree with the idea that it's a bit rambling. The sample script beginning at the end of the book, critiqued by other writers, was probably the most interesting part of the book because of the insight it provides to writers' approaches. I only wish that goldman had included an email address for the reader to express opinions.
Rating:
Summary: surprised by any bad reviews
Review: I devoured this book, and immediately told friends how much I enjoyed it. Many of my praise was met with "the first one was better" and "the Times hated it." I can't see why. Sure, Goldman does lean toward the cosy (constant use of phrases like "what's a mother to do?"), but the anecdotes and brave critiques were priceless. I also picked up a great lesson about screenplay writing: enter a scene late, and leave early. That alone was worth the read.
Rating: 
Summary: Nothing New Here
Review: I enjoyed Goldman's ADVENTURES IN THE SCREEN TRADE, which is why I went out and paid retail for this one. I shouldn't have. Goldman has not aged well. He doesn't have enough fun "Hollywood Insider" stories left to tell, he's painfully ill-equipped to teach screenwriting (You wouldn't think so, but it becomes obvious very quickly), and he's REALLY out of touch. (Is he the only writer who didn't understand the Coen Brothers' THE BIG LEBOWSKI?) In general, I'm surprised by the poor quality of this book. Goldman's prose is first-draft quality, and his observations are no longer interesting, much less incisive.
Rating:
Summary: You'll, at least, like parts of it
Review: I found the book entertaining and helpful, but I haven't read his first memoir which many reviewers seem to like better. Goldman has an easy style that a reader can just breeze through, but his strong opinion may be a turnoff to some. The writer of ABSOLUTE POWER, a mildly entertaining Eastwood vehicle, has the chutzpah to harshly criticize SAVING PRIVATE RYAN. His observations are interesting and I am still trying to decide if they are valid. Either way, he takes a stand and that makes the book more daring. I enjoyed the anecdotes quite a bit. It was funny to hear Goldman quote Michael Douglas asking Val Kilmer if he wanted a career like Mickey Rourke or Eric Roberts when Kilmer was being difficult on the set of GHOST AND THE DARKNESS. What I liked best was Goldman's breakdown of stories into screenplays. He goes a good way to explaining why some stories are great, but won't film well. He explains the difference between a screenplay you give to the studio head and the screenplay the director uses to shoot from. Finally, he writes the first hour of a screenplay. He asks us to evaluate it. He then consults several Hollywood screenwriters to evaluate it. It's interesting how much insight a particular person will have on a certain element of the work, while ignoring something others are bothered by. This goes a good way to explaining why a script doctor can be good or bad for a film. I was expecting to read a straight forward memoir of Hollywood, but what I got was a how-to class on screenwriting as well, and it was a pleasant surprise.
Rating:
Summary: I was entralled but he comes off really bitter
Review: I have no idea how many stars to rate this book. I could not put it down yet I felt as if I was being told how talented he was just a few too many times. As in every aspect of life the truly gifted never have to toot thier own horn. I have never heard someone like Johnny Carson discuss his greatness. I think what makes Mr.Carson so beloved is his humility. Mr. Goldman has a lot to teach and a wonderful career. I did not understand his need at mean spirited swipes at fellow industry folks. Who cares if no one in Hollywood is tall? I don't. The part of the book that was lost on me was the sad attempt of Mr. Goldman to take full writing credit of "Good Will Hunting". 1. a trip to boston would not give anyone the "southie" insight as well as two home grown guys. 2. the first draft with the goverment chasing Will was well known and talked about. 3.if Mr.Goldman had described Affleck and Damon as anything but untalented and out of work,it would have given him some credibility. 4.Goldman makes a dig that I thought was the best laugh of the book. "If Affleck and Damon are so talented,what have they done in five years?" is he serious? he is still beating every bit of life out of Butch and Sundance after more than twenty years. Affleck and Damon have nothing to fear,they won Oscars and will again. If Oscars truly went to the best performance Bill Murray would have one for Rushmore for best supporting actor. I love film and have studied all aspects of the art.I love having a film bring me to tears or creeping up on me weeks after I have seen it. I am producing two indie films and the best lesson I learned from this book,is to keep your life real. Fame is a drug and it seems someone is missing his fix. s and will again. If
Rating: 
Summary: A wonderful book for the aspiring writer
Review: I haven't enjoyed a book about the film industry so much since reading the mesmerising The Kid Stays in the Picture, by Robert Evans (an appalling man, a great book). As an aspiring and horribly procrastinating writer, I found this a deeply moving and energising book. Did I know that every writer hates writing, finds reading their own stuff mortifying and hates people criticising it? To be honest, I didn't. The other thing is that is truly extraordinary, is his revelation that the only book thing he has written, really loves, and is proud of, is the Princess Bride, again a very worthy and inspirational one. Having read a lot of books, and often the whole works of individual authors, I really believe that even great authors only have one world class book in them. For me, there were two episodes from the book that really moved me. The first, is his meeting with his hero author, and makes a complete prat out of himself. His treatment of him as a god, upsets his hero, because he ignores the pain and suffering that his writing has caused. While his moving writing on the life and death of Andre the Giant, really brought tears to my eyes. This isn't a gossipy book about Hollywood. It isn't even a book about screen writing. It's about the fundamental process of being a writer, and how to do it. I now know two major things about writing. You don't have a hope of being a successful writer unless you find someone to criticise your work, deeply, and thoroughly, and you can't ever hope it will get any easier. You're always going to want to be somewhere else, doing something more interesting, than putting stuff on paper. Just for the record I've only read this and The Princess Bride, I don't think I will be reading any more, because I don't want my illusions about the man destroyed. But thank you, my friends for buying me the book to try and give me a kick, and thank you Mr Goldman, for having written a self help book for one aspiring and horribly procrastinating writer. The only points of discord for me are niggles, and not related to the value of the book. His repect for David Lean, for example, puts my teeth on edge, as he was a monomaniacal abomination who destroyed a large number of lives, to make one great film, and a number of very bad ones (Ryan's Daughter anyone). The other is that he sometimes doesn't see the wood for the trees. Simply put, in his screenplay at the end of the book, it all works if set in the noir era (1930's to 1940's). The other point is that if his great film (The Princess Bride, obviously) had been put throught the proper Hollywood marketing machine and had the right budget, it would not have come out with the same wonderful cheesy feeling (bad sets, etc), that is part of its joy. So he, very luckily in my opinion, traded a hit film with a beautiul looking Zoo of Death, for a eternal classic. An ironic example of the luck, that he is so at pains to emphasise, is all part of the movie business.
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