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From the Oscar-winning screenwriter of Butch Cassidy and the Sundance Kid and The Princess Bride (he also wrote the novel), and the bestselling author of Adventures in the Screen Trade comes a garrulous new book that is as much a screenwriting how-to (and how-not-to) manual as it is a feast of insider information.
If you want to know why a no-name like Kathy Bates was cast in Misery-it's in here. Or why Linda Hunt's brilliant work in Maverick didn't make the final cut-William Goldman gives you the straight truth. Why Clint Eastwood loves working with Gene Hackman and how MTV has changed movies for the worse-William Goldman, one of the most successful screenwriters in Hollywood today, tells all he knows. Devastatingly eye-opening and endlessly entertaining, Which Lie Did I Tell? is indispensable reading for anyone even slightly intrigued by the process of how a movie gets made.
- Sales Rank: #406255 in Books
- Color: Multicolor
- Brand: Goldman, William
- Published on: 2001-02-20
- Released on: 2001-02-20
- Original language: English
- Number of items: 1
- Dimensions: 8.00" h x 1.06" w x 5.14" l, .79 pounds
- Binding: Paperback
- 512 pages
Amazon.com Review
Something odd, if predictable, became of screenwriter William Goldman after he wrote the touchstone tell-all book on filmmaking, Adventures in the Screen Trade (1983), he became a Hollywood leper. Goldman opens his long-awaited sequel by writing about his years of exile before he found himself--again--as a valuable writer in Hollywood.
Fans of the two-time Oscar-winning writer (Butch Cassidy and the Sundance Kid, All the President's Men) have anxiously waited for this follow-up since his career serpentined into a variety of big hits and critical bombs in the '80s and '90s. Here Goldman scoops on The Princess Bride (his own favorite), Misery, Maverick, Absolute Power, and others. Goldman's conversational style makes him easy to read for the film novice but meaty enough for the detail-oriented pro. His tendency to ramble into other subjects may be maddening (he suddenly switches from being on set with Eastwood to anecdotes about Newman and Garbo), but we can excuse him because of one fact alone: he is so darn entertaining.
Like most sequels, Which Lie follows the structure of the original. Both Goldman books have three parts: stories about his movies, a deconstruction of Hollywood (here the focus is on great movie scenes), and a workshop for screenwriters. (The paperback version of the first book also comes with his full-length screenplay of Butch; his collected works are also worth checking out). This final segment is another gift--a toolbox--for the aspiring screenwriter. Goldman takes newspaper clippings and other ideas and asks the reader to diagnose their cinematic possibilities. Goldman also gives us a new screenplay he's written (The Big A), which is analyzed--with brutal honesty--by other top writers. With its juicy facts and valuable sidebars on what makes good screenwriting, this is another entertaining must-read from the man who coined what has to be the most-quoted adage about movie-business success: "Nobody knows anything." --Doug Thomas
From Publishers Weekly
Two-time Oscar-winning screenwriter Goldman follows up his irreverent, gossipy and indispensable screenwriting bible, Adventures in the Screen Trade (1983), with this equally wise, tart and very funny account of the filmmaking process. He begins with the surprising admission that he was a "leper" in Hollywood between 1980 and 1985: after Magic (1978), he was unable to get any screenplays produced until The Princess Bride (1987). (Moviegoers' loss was readers' gain: during those years he wrote six novels.) Wildly opinionated ("Vertigo--for me, the most overrated movie of all time") but astute, Goldman is a 35-year industry veteran with lots of tales and a knack for spinning them. He knows how to captivate his audience, peppering his philosophical advice with star-studded anecdotes. Whether he's detailing why virtually every leading actor turned down the lead in Misery before James Caan offered to be drug-tested to get the part, or how Michael Douglas was the perfect producer but the wrong actor for The Ghost and the Darkness, Goldman offers keen observations in a chatty style. In the last section of the book, he gamely offers readers a rough first draft of an original screenplay. Even more bravely, he includes instructive, intuitive and sometimes scathing critiques by fellow screenwriters, including Peter and Bobby Farrelly (There's Something About Mary), Callie Khouri (Thelma & Louise) and John Patrick Shanley (Moonstruck). Movie buffs of all stripes, even those with no interest in writing for the screen, will enjoy this sublimely entertaining adventure. (Mar.)
Copyright 2000 Reed Business Information, Inc.
From School Library Journal
YA-In this sequel to Adventures in the Screen Trade (Warner, 1989), Goldman instructs his audience in the art and industry of screenwriting and filmmaking, while regaling them with stories from his career. From The Memoirs of an Invisible Man to Absolute Power, this master storyteller explains his role and his thought processes for each film, at the same time delivering an exposition on how stories are written and films are made. Sprinkled throughout is his advice for future screenwriters. In the second section, he analyzes classic film sequences, setting each scene, quoting excerpts from the screenplays, and then explaining what made them great. Finally, the author offers story ideas and examines their potential for the big screen. Students of films will find this book entertaining and informative.
Jane S. Drabkin, Potomac Community Library, Woodbridge, VA
Copyright 2000 Reed Business Information, Inc.
Most helpful customer reviews
22 of 23 people found the following review helpful.
Too much Butch, but still a fun read
By Cliff Rives
I'm a huge fan of Goldman's books and most of his screenplays, and the original Adventures in the Screen Trade still stands as the definitive how-Hollywood-works primer. It's great to have him deconstructing the industry once again, praising some unlikely subjects--who would think the 67-year old author of Marathon Man would have picked the Farrelly brothers' There's Something About Mary as 1998's best film?--and attacking even more unlikely subjects--would you expect the screenwriter of A Bridge Too Far to loathe Saving Private Ryan? Goldman does, and how.) I have two key problems with Which Lie Did I Tell, however. One is, many Goldman fans will have seen a lot of this text before. Much of this material has appeared in Premiere Magazine over the years, as well as in collections of Goldman's screenplays. Long-time Goldman enthusiasts, then, might be a bit miffed about buying recycled material. My other misgiving is Goldman's tendency to rely too much on Butch Cassidy and the Sundance Kid when he's trying to get a point across. The original Adventures, remember, included the complete Butch screenplay and a lot of background material about the real-life duo and the making of the film. So it's disconcerting to see scene after scene from Butch used in the new book, along with many of the same anecdotes Goldman told us the first time around. On the other hand, if you're going to use a single film for a lot of your examples of screenwriting, you could do a lot worse than an Oscar-winning Western classic. So, if you read (and liked) Adventures in the Screen Trade and haven't read Goldman's movie pieces elsewhere, give this review an extra star and give Which Lie Did I Tell a try. If you know every line of Adventures and sought out everything Goldman has written since then, you might consider waiting for the paperback. (Hey, he's rich and his children are grown, no one's going to starve if you pass on the hardcover.)
0 of 0 people found the following review helpful.
Great rollicking yarn about show business in the 1970's and ...
By Amazon Customer
Great rollicking yarn about show business in the 1970's and 80's. For insiders and wannabe's - it's a fun read.
0 of 0 people found the following review helpful.
Four Stars
By Jane Ressler
good book
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