Customer Reviews

Adventures in the Screen Trade

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Goldman (whose credits include Butch Cassidy and the Sundance Kid, Marathon Man, Misery, and the Princess Bride, and who is also a terrific novelist) was the first screenwriter whose name I recognized as having appeared on the credits of several films. He has since become my favorite, so when I found that he had written a book on the workings of the screenwriter in Hollywood--a town for which I have always had great fascination--I knew I had to read it. Unfortunately, it was years before I finally got around to it.

To give you an idea how good I think this book is, I had read Stephen King's Needful Things (app. 800 pages) in five days and that was at that point my quickest pace. Well, I read Adventures in the Screen Trade (including the full script of Butch Cassidy and the Sundance Kid--a terrific read in itself, and alone worth the price of the book--a total of 600 pages) in two days. I just couldn't put the thing down, and I find that phrase to be a cliche of the most odious order. I was reading it at breakfast, on my commute in, at lunch, the commute out, all evening, and before bed. Goldman writes such a gripping story of his experiences in Tinseltown, that I was drawn in, always wondering what was going to happen next.

Only once did my interest flag, and that was halfway through a screen adaptation of a story presented in the book just beforehand. The story was ten pages, the adaptation forty, so I simply felt at that point that I was reading the story over, it was just longer. However, once I got over that and realized that the point of the exercise was to illustrate the differences in form, I read again with relish.

Goldman writes with a nicely conversational style--but not overtly so--that draws you in to his world. I think that this book would be especially of interest to anyone who wants to write for Hollywood (although you may not wish to continue with that dream after reading this), or any writers in general (as he goes over form and structure that is relevant to all writing), or to a fan of the behind-the-scenes workings of Hollywood.

The allusion to the "skin trade" in the title isintentional of course. Goldman is playing the old saw about thescreenwriter as very well-paid whore. Be that as it may, this is an excellent book. If you're even thinking of becoming a screenwriter you ought to read it. You may change your mind, and then again you may not. You'll learn some screenwriting tricks and get a vivid glimpse inside the industry, circa 1982.

Goldman has a style that is as earnest as all heck, emphatic, breezy, engaging, flippant, a little high schoolish-but that plays. He thinks very highly of himself, but he is also a modest man. (Reasonable combination.) He trashes some people here, lionizes some others, but bottom line, he's not afraid to reveal himself, foibles and all. His two main rules of Hollywood are: NOBODY KNOWS ANYTHING and SCREENPLAYS ARE STRUCTURE (his caps). He means that nobody knows ahead of time what is going to be a successful movie, and it's a mistake to think that screenplays are mainly dialogue (I used to think that) because what really counts is the structure.

Part One is about "Hollywood Realities" and it's the best part of the book: who controls whom and what, the pecking order, etc. Part Two he calls "Adventures" and it's about what it was like making some of the movies he was involved in; and remember Goldman wrote some top drawer films: Butch Cassidy and the Sundance Kid (1969), All the President's Men (1976), to name a couple. This part is also very good. Part Three he calls "Da Vinci" from the title of a short story he wrote as a young man that he turns into a screen play for the edification of his readers. The story is a dog and the screenplay not very readable, but it's good textbook stuff. A highlight is George Roy Hill's acidic comments on the script. I give Goldman credit for including that and I also give him credit for telling it like it is from his POV. He's one very professional, very hard-working writer with a fine understanding of movie psychology, somebody well worth listening to. END

Like screenwriter William Goldman, I love movies. I love everything about them -- from their scores (especially those by John Williams or James Horner) to the actors (particularly Sean Connery, Gene Hackman, Kevin Spacey and Cary Grant) to the directors (Shyamalan, Cameron, Welles and Reiner) to the screenwriters (Mamet, Shyamalan and, of course, William Goldman).

Goldman's book "Adventures in the Screen Trade" is one of the best books I've read in years. It is chock-full of fascinating anecdotes...crisp, witty, honest writing...and enough "dirt" on Hollywood to keep a half dozen gossip columnists busy at their keyboards for days.

So well-written and fun is Goldman's book that I think even if I wasn't a budding screenwriter and avid movie-goer, I still would have found his peek behind the scenes in Hollywood to be an engrossing read.

But for me, a true film nut, this book is indispensable. It contains plenty of tips on how to write screenplays, sure, but the most important lesson I learned from Goldman's book is that Hollywood is a brutal, fickle and cutthroat place to do business and that I'd best develop a thick skin if I'm going to send my screenplays there.

Since reading Goldman's book, I noticed many of the movies I've enjoyed over the years have been written by him -- including Princess Bride (one of my all-time favorites), Magic, Butch Cassidy and the Sundance Kid, Misery and even the just-released Jurassic Park 3!

"Adventures in the Screen Trade" is a superb book. I highly recommend it.

I read it in one week. One week! Does't seem that impressive, but that specific week was a very busy ONE and the average time it takes me to read a 400+ page book in a (to me) foreign language is about two months... IF you are interested in the movie-business, read this thing, it'll be worthwile to you, and that's garanteed by this humble screenwriter. Want to know why you shouldn't invent a story that contains fifty camels raging through Central Park? Read Goldman's book. Want to know what is left of your screenplay after the sometimes (literally) disastrous influence of directors, producers, actors, directors of photography, et many cetera? Read tha damn book. Want to know how big you are, as a screenwriter, in the business (think atom, AND rhinoceros)? Read it. Want to read a book that is not only very interesting, but also makes you laugh out loud occassionaly? ... O.k., he swears about every other page, but if you can't handle swearing on paper, just don't even think of entering the magically beautiful world of Hollywood (or would it not...accept you?). And his use of language makes his writing strong, impressive. It leaves an imprint on your brain, that either makes you turn away from any Hollywood aspirations for ever, or wanting to pack and head for L.A. right away.(Why? Read the book!)

I have read a lot of books about screenwriting, filmmaking, and related topics. I learned more in Goldman's book than in most of those other books put together, and it was so wildly interesting and entertaining that I couldn't tear myself away.

Goldman is alternately self-congratulatory and self deprecating, proud and humble, excited and blase. His prose reflects his love for telling a good story with good reversals, and his screenwriting technique becomes apparent throughout the book. What also becomes apparent is Goldman's genius, and the precarious balance between success and selling out inherent in the screenwriting trade.

I learned about filmmaking in a way I never have, and got the opinion and perspective of a true veteran in the field. And, this book is a great read by a gifted author!

This book contains a general history of Goldman in Hollywood, as well as a rundown of all his scripts and the experiences he had writing them and seeing them come into maturity as films (or not). It also contains the full screenplay for "Butch Cassidy and the Sundance Kid" as well as a screenplay written from one of Goldman's old short stories which is especially interesting because it comes with critiques from an art director, editor, cameraperson, and director. Intertwined within this framework is Goldman's philosophy on writing as well as dozens of lessons on how to improve as a writer.

I enjoyed this book greatly, and look forward to reading his follow-up to it, "Which Lies Did I Tell." Without a doubt, this book is required reading for ANYONE who wishes to be a screenwriter, and probably also for anyone who is remotely interested in Hollywood and the movies.

Fascinating, in-depth, irreverent, funny, inspiring...

Although he often bites the hand that feeds him, Goldman gives a stirring account of back-lot Hollywood, and how it views writers. Written in the 80's, much of Goldman's views still ring true. Truly a must read for anyone trying to break into Hollywood (especially screenwriters), or just anyone hungry for fascinating anectdotes.

One of the few authors to whom I have written a fan letter. This is a great read on it's own merit. More than that, it is an absolute must to read this before you dig into those boring, senseless, textbook-like tomes on screenwriting. This is the real deal written by someone who has actually crafted some fantastic films, not just some guy whose only accomplishment is writing a book about screenwriting.

If you're an aspiring actor, director, or screenwriter, this book is something you will not be able to put down for two reasons- 1. On ever page you will learn something new about the movie industry 2. It reads like a entertaining conversation with Goldman spilling all knowledge-every juicy secret, about the how the movie business really is. Through all his years in his field Goldman has developed a keen understanding of everyone's perspective and he lays all the cards on the table. If you're thinking of working in Hollywood and having a go in the business, this book will help prepair you.

"Adventures in the Screen Trade" is a wonderful book that was a pleasure to read. In order to appropriately recommend it for you, however, I need to break it down into categories... as it has different strengths depending on your needs.

From the standpoint of an enjoyable look into one of the top screenplay writers in Hollywood, I would give it a 5 out of 5. I found myself creating time that I didn't have to keep reading it because I wanted to hear inside stories from the point of view of a professional writer working with stars such as Newman, Redford, etc. It was both funny and charming to hear war stories ranging from catastrophes to simply magical occurrences.

From the point of view of a would be filmmaker using this book as a resource, I can only give it a 3. I would still recommend it to read, but not for pearls of wisdom. There are some helpful insights, but, like many books on the entertainment industry, it is filled with more "war stories" than hard advice.

There is one section that is interesting, though daunting. He breaks down a short story that he wrote into a screenplay, then gets top players in the industry to discuss their relevant roles (production designer, D.P., director, etc). It is very enlightening to hear their responses to the material and what they view the strength of it is.

Finally, there is another pearl to be gleamed from Goldman's book... and that is why movies are getting to be such cookie cutter pictures (and that was written in the 1980's... what would he think today?). He specifically shows that a lot has to do with needing to write parts that will attract stars. This is very helpful, and a true lesson, though I would guess most non professional screenwriters will blow it off.

Overall, a fantastic read but just better than average textbook. Happy reading!

All would-be writers should read this book, even if they're not interested specifically in screenwriting, which is of course its primary focus. Battles to get your words through committees exist in all fields of commercial publishing, and the same rules that make a compelling screenplay work are applicable to all stories, be they fiction or non-fiction, print publications, film, or television. Always find your spine and be prepared to throw out anything that doesn't stick to it, Goldman writes; that simple rule is the most useful thing anyone ever told me about writing, ever.

Wendy M. Grossman --freelance journalist and author