Tämä sivusto käyttää evästeitä palvelujen toimittamiseen, toiminnan parantamiseen, analytiikkaan ja (jos et ole kirjautunut sisään) mainostamiseen. Käyttämällä LibraryThingiä ilmaiset, että olet lukenut ja ymmärtänyt käyttöehdot ja yksityisyydensuojakäytännöt. Sivujen ja palveluiden käytön tulee olla näiden ehtojen ja käytäntöjen mukaista.
" Freddie Maas's revealing memoir offers a unique perspective on the film industry and Hollywood culture in their early days and illuminates the plight of Hollywood writers working within the studio system. An ambitious twenty-three-year-old, Maas moved to Hollywood and launched her own writing career by drafting a screenplay of the bestselling novel The Plastic Age for ""It"" girl Clara Bow. On the basis of that script, she landed a staff position at powerhouse MGM studios. In the years to come, she worked with and befriended numerous actors and directors, including Norma Shearer, Joan Crawford, and Eric von Stroheim, as well as such writers and producers as Thomas Mann and Louis B. Mayer. As a professional screenwriter, Fredderica quickly learned that scripts and story ideas were frequently rewritten and that screen credit was regularly given to the wrong person. Studio executives wanted well-worn plots, but it was the writer's job to develop the innovative situations and scintillating dialogue that would bring to picture to life. For over twenty years, Freddie and her friends struggled to survive in this incredibly competitive environment. Through it all, Freddie remained a passionate, outspoken woman in an industry run by powerful men, and her provocative, nonconformist ways brought her success, failure, wisdom, and a wealth of stories, opinions, and insight into a fascinating period in screen history.… (lisätietoja)
This book details the history of Hollywood in the early silent days as well as the transition to sound. Addiitonally, you got to find out what it was like to grow up in New York City in the early 19th century. Maas was an independent woman who, after leaving Columbia University because they weren't teaching her anything, obtained work in Universal Studios New York story department and eventually worked her way to the top of the department. However, she really wanted to write and although they told her if she would manage the department for a year they would send her to California to write at the end of the year, when the time came, they did not follow through and she made her way to the West Coast at her own expense. She met many of the early Hollywood notables and did get a script produced as a major film (The Plastic Age) for Clara Bow. Her natural curiosity and ambition to succeed, as well as her manner of telling things like it was, did not endear her to the men running the studios. She had many writing assignments "appropriated by" and credited to higher ranking men in the studio. She also describes meeting her husband and their attempts to work together to write scripts for the studios but again getting shut out despite having many ideas that sounded so interesting but ended up being ahead of their time. It is a great picture of the way the studio system treated a bright, intelligent, amibitious woman and while they forced her out of the business, her amazing attitude toward life allowed her to write this highly readable book at age 99 and who outlived all the studio big wigs when she left us at age 111. ( )
" Freddie Maas's revealing memoir offers a unique perspective on the film industry and Hollywood culture in their early days and illuminates the plight of Hollywood writers working within the studio system. An ambitious twenty-three-year-old, Maas moved to Hollywood and launched her own writing career by drafting a screenplay of the bestselling novel The Plastic Age for ""It"" girl Clara Bow. On the basis of that script, she landed a staff position at powerhouse MGM studios. In the years to come, she worked with and befriended numerous actors and directors, including Norma Shearer, Joan Crawford, and Eric von Stroheim, as well as such writers and producers as Thomas Mann and Louis B. Mayer. As a professional screenwriter, Fredderica quickly learned that scripts and story ideas were frequently rewritten and that screen credit was regularly given to the wrong person. Studio executives wanted well-worn plots, but it was the writer's job to develop the innovative situations and scintillating dialogue that would bring to picture to life. For over twenty years, Freddie and her friends struggled to survive in this incredibly competitive environment. Through it all, Freddie remained a passionate, outspoken woman in an industry run by powerful men, and her provocative, nonconformist ways brought her success, failure, wisdom, and a wealth of stories, opinions, and insight into a fascinating period in screen history.
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