Rating: 
Summary: interesting anecdotes, sloppy writing and editing
Review: One caveat to this review, I am not in the movie business and about the only interest I have about movies stops at the local multiplex or blockbuster.That said, I found there to be a lot of interesting stories, ideas and observations here. Often the author does stray into the "you kids today!" territory, but just as often his observations are dead on. Here's the real problem with this book, it was written over a long weekend. The narrative rambles, like it was dictated by someone also doing the Sunday Times crossword at the same time. Ideas are put forth, support promised and then several paragraphs of asides, by the end of which you have forgotten what the hell was going on. This style of writing gets old very quickly. Then to add to the confusion we get "mcNugget" style writing, where chapters contain multiple unrelated Big Ideas. I do not doubt for a minute when the author says he did poorly in writing classes. The one great lesson from the book is its explanation why the hero in a movie always finds a parking space right where he needs to park- a movie (and a script) is all about the action. Another minor quibble is how Goldman stresses over and over again about how important the script is, and how critics never seem to mention the script, unless the movie is bad. He seems to think a bad movie is more about bad actors. All in all sort of a double standard. The edition I read (hardback) was full of typos (is it Durbant or Durband? Same sentence, make up your mind). All in all a great collection of anecdotes and insights rendered almost worthless by sloppy writing.
Rating:
Summary: Wildly uneven but entertaining
Review: Pros: The gossipy parts of this book are a lot of fun. And this reader admires the author's candor and honest assessment of his abilities. Plus, there is a lot of good tips and writing lessons to be gleaned from this rambling work. Cons: Definitely could have been edited to remove so many of the distracting asides and sloppy writing. Most alarming to this reader was the last section where author presents an original screenplay and asks some associates to critique it. Granted, "The Big A" is billed as a first draft but I was shocked at how bad it was, even more shocked that none of author's readers (both in his book and on this site) call him on it. (At first I thought the author was attempting a parody along the lines of Naked Gun, but when I realized he was writing it with a straight face, I better understood why he hasn't written a decent screenplay in over a decade. ) One last point: The gratuitous profanity used throughout this book was tiresome and unnecessary, characteristic of a lazy writer and an even lazier editor.
Rating: 
Summary: Entertaining and Useful
Review: Some of the other reviewers criticize Goldman for expressing strong opinions. Personally, I would prefer reading a strong opinion with which I might disagree to being spoonfed crap that I supposedly Want To Hear. I *love* strong opinions. Goldman wrote a Clint Eastwood movie that didn't become a classic, so How Dare He Dislike "Saving Private Ryan"? So, "Absolute Power" wipes out "The Princess Bride" and "Butch Cassidy"? And if he writes a mediocre movie, his opinions about what makes a movie good are no longer valid? This is akin to what a book reviewer came up with when James Cagney wrote that one of the finest actresses he'd ever worked with was Doris Day. The reviewer raked Cagney over the coals for that, forgetting that (A) Doris Day was damned good in "Love Me or Leave Me" with Cagney and (B) Cagney was certainly a better judge of whom he liked to work with than the reviewer. Cagney was talking about Day's talent and potential; the reviewer only saw "Pillow Talk" glazing in front of his eyes. Opinions from professionals like Cagney or Goldman may be disagreed with, but certainly not dismissed. This book is highly recommended, both for its extremely fun anecdotes and especially for the screenwriting tutorial, which is blessed with abundant common sense. As an aspiring screenwriter, my goal after reading this book is to study the breeziness, the flow of Goldman's storytelling and find a way to apply it to my own voice. If you are a movie fan, buy this book. If you want to write screenplays, buy two copies, one for the shelf and one you can mark up with hi-liter pens and post-it notes.
Rating:
Summary: Hey, I thought it was great!
Review: There is a world of difference in perspective between an Academy Award winning screenwriter and a writer that has optioned a couple of scripts (at best) and then goes on to write a "how to" book. You gotta give Mr. Goldman respect. I appreciate that he has taken the time (even if it does seem like therapy at times) to tell his side of the story. There are many great writers out there that haven't and I'm sure they've got some stories to tell as well. Maybe they don't want to rock the boat or they couldn't be bothered. The fact that William Goldman does makes him special.
Rating: 
Summary: Movie madness
Review: This book is too conversational. Goldman is too dramatic and weepy. His modesty is so ridiculously schmaltzy, as to be laughable! And his trying to pass off his success as a novelist at such a young age as somehow unforunate is an insult to anyone with talent who never got a lucky break. And, I'm sorry, while I think he has written wonderful screenplays, the ONE totally original produced screenplay he wrote (THE YEAR OF THE COMET) stank (despite what he argues about it in this book!). His good movies were either from historical ideas (BUTCH CASSIDY, A BRIDGE TOO FAR, GHOST IN THE DARKNESS), or adaptations of others peoples ideas (WALDO PEPPER was the director's idea) other peoples' books (HARPER, ABSOLUTE POWER) TV shows (MAVERICK), or his own books. That perhaps is not a fair criticism. "Marathon Man" was his original novel, from which he adapted a screenplay. And it's a great flick. But I do think he should have written at least one good original screenplay, that STARTED as a screenplay, to be preaching so bluntly to other writers. (And the original screenplay he includes in the book is terrible!) But, he obviously has talent as a writer. So he is definitely worth listening to. I read ALL THE PRESIDENTS MEN, and that Goldman was able to carve out a brilliant screenplay from that busy book, is to be commended. Regarding Goldman's reference to critics and the British in this book, I would highly recommend Goldman's book THE SEASON (that is a brilliant book). He expands on his take on both critics and the British in the chapters "The Approvers" and "Snob Hit." And as far as his thinking directors are overpraised, here are two quotes from good directors backing him up: Billy Bob Thorton said, "The writer creates the whole story. The actors bring the characters to life. The cinematographer shoots it. The composer does the score. A middle-manager comes in to organize these people, and suddenly it's a Joel Schumaker film." Middle-manager! I love it! David Lean said, "I never thought of myself as an artist. I always thought I was just the fellow who ORGANIZED the artists." This book is definitely a mixed bag, but I do recommend it.
Rating: 
Summary: Was this a first draft?
Review: This book was probably a better concept on paper than the result. I knew that several parts of this book were previously published in Premiere magazine, but I bought it on the strength of Goldman's first "Adventures in the Screen Trade" which I really enjoyed. "What Lie Did I Tell?", however, doesn't live up to its predecessor. It just comes across as "thrown together" as opposed to "thought out". What saves this from being a total waste of time is Goldman's conversational style of writing. It was also nice to learn a bit (and I emphasize "a bit") about Goldman himself and his childhood and his teaching at Princeton University. The best parts for me: 1. The section where he discusses what makes a good story - he uses several newspaper/magazine articles as starting points and then points out what he thinks would make good scenes/sequences in a film. 2. THE BIG A - this is a spec Goldman wrote for the book and then sent to other professional screenwriters (Scott Frank, Tony Gilroy etc.) and gets their input. Interesting opinions - but all of them go to show that, essentially, art is subjective. Last thought: Pantheon needs better copy editors. I found several typos (yes, I know it's a first edition but...). This is, afterall, a book about writing. I'd be mortified if it were my book. BOTTOM LINE: Save your money, get it from your local library when they get it in stock. And that's a shame, because I was totally psyched to read this - the cover design is very cool though.
Rating:
Summary: Part memoir, part instruction book
Review: This book would be invaluable for anyone thinking of trying to earn a living as a screenwriter. Opening with Goldman's recolections of his pariah status in the early 80's, it follows his return to writing books and screenplays (Maverick, Misery, Absolute Power). I did not realize that he had also written the book, on which the Princess Bride was based, and it was very revealing the process he took to produce that book. Be forwarned, he is very caustic and sarcastic at times, but it is tempered with real insight. He also includes snipets of his work...as written, and gives unlimited advice to anyone who would want to follow in his footprints. The final section is almost a master class of writing, he provides a screenplay, and comments from various well known writers. I enjoyed the memoir and the honesty.
Rating:
Summary: Good
Review: This is a good book for any movie buff. Parts of it I'd already read, as excerpts in "Premiere" magazine before this was published. But there is plenty new, even for "Premiere" magazine subscribers. He tells wonderful anecdotes about working with Clint Eastwood and others, and how he once stood next to Sylvester Stallone by a swimming pool, to find he is little over 5'5" (! ). And of course, there is plenty about screenwriting. He includes an unfinished screenplay toward the end, that he has other successful screenwriters critique, some of whom do it brutally! (But the screenplay has so much that is inept about it, I just wonder if Goldman's writing chops are gone. In his 1969 book THE SEASON, about Broadway, Goldman wrote about two critics who were about Goldman's age now, and he thought their best days were behind them, and wondered if they shouldn't have been "put out to pasture." Well, now that Goldman's that old, he might not like it so much when I say perhaps he sould be put out to pasture, too. That might sound harsh, but read his partial screenplay in the book. For one thing, he names a male character Shirley! ). Anyway, the non-script parts of the book are first-rate, and some of them movingly personal. This isn't as good as its prequel, nor could it be. But Goldman is a true insider, and tells secrets of all types that few people have, and even fewer people are willing, or able, to tell.
Rating: 
Summary: Self-important rantings
Review: This is perhaps the most self-conscious (in the worst sense of the term), self-important and pedantic book I have read in years. Goldman has some excellent insights into the world of movie and script making, along with some choice anecdotes, but you have to muddle through an insufferable ego along the way. Definitely not worth the trip.
Rating:
Summary: A Brief Comment
Review: This review will service little more than my own ego, so for those of you looking for an in-depth commentary on Goldman's latest, look elsewhere. ...I must say that regardless of how you feel about Goldman's talent, you must admit that the guy has been around the block and certainly knows what the hell he's talking about, even as he says "Nobody knows anything." The guy has forgotten more about Hollywood and screenwriting than most of us will ever know. And that includes amateurs and professionals alike. (That, too, vented, I believe the guy has talent in spades, but like all writers, he has moments of brilliance, and some not so bright.) His commentaries on getting his scripts made are funny and insightful, even if he doesn't own up to the fact that, while people may not be interested in a movie about red wine, the movie wasn't very good to begin with, either. Sad but true, "Year of the Comet" was worth skipping. The rest of it, all humorous, insightful, worthwhile stuff. Worth reading even if you have the slightest inkling of trying to write a screenplay. I especially like the comments by other screenwriters about his orignal screenplay...I can't think of many writers who would print some of those comments. In the end, pick it up. It's a good read: Fun, quick, instructful, even if Goldman is a bit immodest (though he claims otherwise). Read it.
|
