My Night at Maud's
My Night at Maud's known as My Night with Maud, is a 1969 French New Wave drama film by Éric Rohmer. It is the third film in his series of Six Moral Tales. Over the Christmas break in a French city, the film shows chance meetings and conversations between four single people, each knowing one of the other three. One man and one woman are Catholics, while woman are atheists; the discussions and actions of the four continually refer to the thoughts of Blaise Pascal on mathematics, on ethics and on human existence. They talk about a topic the bachelor Pascal did not cover – love between men and women. Jean-Louis, a solitary and serious engineer, has taken a job in Clermont-Ferrand where he knows nobody. Attending a Catholic church, he sees a young blonde woman and without knowing anything about her is convinced that she will become his wife. In the street he sees Vidal, an old Marxist friend now a university lecturer, who invites him to a concert the next evening. After the event, Vidal tells Jean-Louis he is going to see a friend and persuades him to come as well.
They arrive at the flat of Maud, a paediatrician, divorced. The three talk and drink, until Maud suggests that falling snow has made the drive to Jean-Louis' mountain village unsafe and he should stay. Vidal, who had hoped to stay, leaves. After further drink and talk, Maud reveals that there is only the one bed, which she gets into naked, suggests that Jean-Louis join her, he does, keeping his clothes on, but resists her advances. Hurt, she gets over the rejection and in the morning invites him to join her for a walk in the snow. Driving home, he sees the blonde girl from the church and, much encouraged in his dealings with women by his night with Maud, boldly introduces himself, her name is Françoise and she agrees to see him later. On the walk with Maud he is much more to the point where she has to restrain him. Meeting up with Françoise, he learns that she is a biology postgraduate and he goes back with her to her student room, where she refuses to kiss and puts herself to bed alone in another room.
She admits that the cloud between them is because she has been having an affair with a married man. Five years on, now married and on a beach with their child, the two meet Maud, she says she has remarried. Afterwards, Jean-Louis confesses to Françoise that he came from Maud's bed on the morning he first met her, he realizes that his wife's lover was Maud's husband. As they are now both happy together, they decide not to bring up the subject again. Instead, they go for a swim with their child. Jean-Louis Trintignant as Jean-Louis Françoise Fabian as Maud Marie-Christine Barrault as Françoise Antoine Vitez as Vidal Leonid Kogan as himself Guy Léger as Preacher Anne Dubot as Blonde Friend Marie Becker as Marie, Maud's Daughter Marie-Claude Rauzier as Student My Night at Maud's was made with funds raised by François Truffaut, who liked the script, was intended to be the third "Moral Tale". However, because the film takes place on Christmas Eve, Rohmer wanted to shoot the film on and around that day.
Actor Jean-Louis Trintignant was not available. One of the main themes concerns Pascal's Wager, which Maud discuss; the conversations are directly inspired by the 1965 television show The Talk on Pascal, made by Rohmer and included a similar debate between Brice Parain and Dominican Father Dominique Dubarle. The themes of chance and Pascal would be examined by Rohmer in his 1992 film A Tale of Winter; when the film was released in France in 1969, it received mixed reviews. Guy Teisseire of L'Aurore wrote that "The best compliment we can pay Éric Rohmer is to have done with My Night at Maud's a talking film. I mean the opposite of a talkative film where the text would be used to fill the gaps:, to say, a work in which eloquent silences are felt as lack of understanding about both is constant." Claude Garson of L'Aurore said that "We do not underestimate the ambition of such a work, but we say right away that film, with its own laws, does not lend itself to such a subject. The theater, or the conference would have better served the purpose of the authors, because such controversies have nothing photogenic, apart from the presence of the beautiful Françoise Fabian and that good actor Jean-Louis Trintignant."
Henry Chapier of Combat called it "a bit stiff and intellectual". Jean Rochereau of La Croix called it "A masterpiece... whose superb insolence toward everyone excites me and fills me." Jean de Baroncelli of Le Monde wrote that "It is a work that demands from the viewer a minimum of attention and complicity. We find ourselves on the fringes of worries and obsessions of the time: its commitment goes beyond the everyday, yet this is, in our view, worth the price.... We are grateful to Eric Rohmer for his haughty, austerity; the interpretation is brilliant." Penelope Houston wrote that "this is a calm, gravely ironic, finely balanced film, an exceptionally graceful bit of screen architecture whose elegant proportioning is the more alluring because its symmetry doesn’t hit the eye". It was Rohmer's first successful film both critically, it was screened and praised at the 1969 Cannes Film Festival, won the Prix Max Ophüls in France. It praised by critics there as well. James Monaco said that "Here, for the first time the focus is set on the ethical and existential question of choice.
If it isn't clear within Maud, making the wager and whether or not they win or lose, that only enlarges the idea of "le pari"
Jean Marie Maurice Schérer or Maurice Henri Joseph Schérer, known as Éric Rohmer, was a French film director, film critic, novelist and teacher. Rohmer was the last of the post-World War II French New Wave directors to become established, he edited the influential film journal, Cahiers du cinéma, from 1957 to 1963, while most of his colleagues—among them Jean-Luc Godard and François Truffaut—were making the transition from film critics to filmmakers and gaining international attention. Rohmer gained international acclaim around 1969 when his film My Night at Maud's was nominated at the Academy Awards, he won the San Sebastián International Film Festival with Claire's Knee in 1971 and the Golden Lion at the Venice Film Festival for The Green Ray in 1986. Rohmer went on to receive the Venice Film Festival's Career Golden Lion in 2001. After Rohmer's death in 2010, his obituary in The Daily Telegraph described him as "the most durable filmmaker of the French New Wave", outlasting his peers and "still making movies the public wanted to see" late in his career.
Rohmer was born Jean-Marie Maurice Schérer in Nancy, Meurthe-et-Moselle department, France, the son of Mathilde and Lucien Schérer. Rohmer was a Catholic, he was secretive about his private life and gave different dates of birth to reporters. He fashioned his pseudonym from the names of two famous artists: actor and director Erich von Stroheim and writer Sax Rohmer, author of the Fu Manchu series. Rohmer received an advanced degree in history, he studied literature and theology as a student. Rohmer first worked as a teacher in Clermont-Ferrand. In the mid-1940s he quit his teaching job and moved to Paris, where he worked as a freelance journalist. In 1946 he published Elisabeth under the pen-name Gilbert Cordier. In about 1949, while living in Paris, Rohmer first began to attend screenings at Henri Langlois's Cinémathèque Française, where he first met and befriended Jean-Luc Godard, François Truffaut, Claude Chabrol, Jacques Rivette and other members of the French New Wave. Rohmer had never been interested in film and always preferred literature but soon became an intense lover of films and switched from journalism to film criticism.
He wrote film reviews for such publications as Révue du Cinéma, Temps Modernes and La Parisienne. In 1950, he co-founded the film magazine La Gazette du Cinéma with Rivette and Godard, however its existence was short-lived. In 1951 Rohmer joined the staff of André Bazin's newly founded film magazine Cahiers du Cinéma, of which he would become the editor in 1956. There, Rohmer established himself as a critic with a distinctive voice. Rohmer was known as being more politically conservative than most of the staff at Cahiers, his opinions were influential on the direction of the magazine during his time as editor. Rohmer first published articles under his real name but began using "Éric Rohmer" in 1955 so that his family would not find out that he was involved in the film world, of which they would have disapproved. Rohmer's best-known article was "Le Celluloid et le marbre" in 1955, which examines the relationship between film and other arts. In the article, Rohmer states that in an age of cultural self-consciousness, film is "the last refuge of poetry" and the only contemporary art form from which metaphor could still spring and spontaneously.
In 1957 Rohmer and Claude Chabrol wrote Hitchcock, the earliest book-length study of Alfred Hitchcock. It focuses on Hitchcock's Catholic background and is described as "one of the most influential film books since the Second World War, casting new light on a film-maker hitherto considered a mere entertainer". Hitchcock helped establish the auteur theory as a critical method and contributed to the re-evaluation of the American cinema, central to that method. By 1963 Rohmer was becoming more at odds with some of the more radical left-wing critics at Cahiers du Cinéma, he continued to admire US films while many of the other left-wing critics had rejected US films and were championing cinéma vérité and Marxist film criticism. Rohmer was succeeded by Jacques Rivette. In 1950 Rohmer made his first 16mm short film, Journal d'un scélérat; the film was made with a borrowed camera. By 1951 Rohmer had a bigger budget provided by friends and shot the short film Présentation ou Charlotte et son steak; the 12-minute film starred Jean-Luc Godard.
The film was not completed until 1961. In 1952 Rohmer began collaborating with Pierre Guilbaud on a one-hour short feature, Les Petites Filles modèles, but the film was never finished. In 1954 Rohmer made and acted in Bérénice, a 15-minute short based on a story by Edgar Allan Poe. In 1956 Rohmer directed, wrote and starred in La Sonate à Kreutzer, a 50-minute film produced by Godard. In 1958 Rohmer made a 20 minute-short produced by Chabrol. Chabrol's company AJYM produced Rohmer's feature directorial debut, The Sign of Leo in 1959. In the film an American composer spends the month of August waiting for his inheritance while all his friends are on vacation and becomes impoverished, it included music by Louis Sagver. The Sign of Leo was recut and rescored by d
An Unmarried Woman
An Unmarried Woman is a 1978 American comedy-drama film written and directed by Paul Mazursky and starring Jill Clayburgh and Alan Bates. The film was nominated for the Academy Award for Best Picture and Clayburgh was nominated for an Academy Award for Best Actress; the perfect life of wealthy New York City wife Erica Benton is shattered when her stockbroker husband Martin leaves her for a younger woman. The film documents Erica's attempts at being single again, where she suffers confusion and rage; as her life progresses, she begins to bond with several friends and finds herself inspired and happier by her renewed liberation. The story touches on the overall sexual liberation of the 1970s. Erica finds love with a rugged, yet sensitive British artist; the abstract expressionist paintings in the film were created by artist Paul Jenkins, who taught Alan Bates his painting technique for his acting role. It was nominated for three Academy Awards including Best Picture, Best Actress and Best Writing, Screenplay Written Directly for the Screen.
Mazursky's screenplay won awards from the New York Film Critics Circle and the Los Angeles Film Critics Association. Jill Clayburgh won the award for Best Actress at the 1978 Cannes Film Festival; the film was nominated for several 1978 New York Film Critics Circle Awards, including Best Film, Best Direction, Best Actress and Best Supporting Actress. The film is recognized by American Film Institute in these lists: 2006: AFI's 100 Years...100 Cheers – Nominated Vincent Canby in The New York Times wrote, "Miss Clayburgh is nothing less than extraordinary in what is the performance of the year to date. In her we see intelligence battling feeling – reason backed against the wall by pushy needs." Pauline Kael in The New Yorker wrote: An Unmarried Woman may give Mazursky the popular success that his films Blume in Love and Tonto and Next Stop, Greenwich Village should have given him – Erica, the heroine, sleeps in a T-shirt and bikini panties. There are so few movies that deal with recognizable people that this detail alone is enough to pick up one's spirits...
Jill Clayburgh has a cracked, warbly voice – a modern polluted-city huskiness... When Erica's life falls apart and her reactions go out of control, Clayburgh's floating, not-quite-sure, not-quite-here quality is just right. Though An Unmarried Woman is viewed as a "feminist movie" due to the female lead, not everyone was happy with the way in which a divorced, single mother was portrayed. Todd Gitlin and Carol S. Wolman co-authored a review of An Unmarried Woman, published in Film Quarterly in the Autumn 1978 issue, that unapologetically criticized Paul Mazursky's screenplay. Referring to the film, they describe it as a "Romantic cartoon that keeps up with'life-style' trends". Derogatory words such as "buffoon", "klutz" and "uppity woman" are common throughout the review; the authors critique themes within the movie and offer suggestions of how Mazursky could have done better to further the Women's Liberation Movement ideals. In "A Subject for the Seventies", Charlotte Brunsdon and Jane Clark cite films such as Alice Doesn't Live Here Anymore, Looking for Mr. Goodbar, Julia, to signal the turning point that women can play the lead role in a film and succeed.
Though some of these films were released before An Unmarried Woman, none received the same level of criticism, nor equal the level of praise received. The authors' theory as it relates to the success of this film stems from the fact that Erica is "normal", whereas in the other films that are mentioned, each main character has a flaw, whether it be they are "unwanted", or "desirable but a mess"; the two main criticisms pointed out by Brunsdon and Clarke are that An Unmarried Woman is not relatable to all women because of the affluent life that Erica lives, that though the film shows Erica's journey to independence, she does not want to be alone and seeks out a relationship with Saul. As of June 2018, An Unmarried Woman holds a rating of 89% on Rotten Tomatoes based on 19 reviews. An Unmarried Woman on IMDb An Unmarried Woman at Rotten Tomatoes An Unmarried Woman Overview Vincent Canby Review
Heywood "Woody" Allen is an American director, writer and comedian whose career spans more than six decades. He began his career as a comedy writer in the 1950s, writing jokes and scripts for television and publishing several books of short humor pieces. In the early 1960s, Allen began performing as a stand-up comedian, emphasizing monologues rather than traditional jokes; as a comedian, he developed the persona of an insecure, fretful nebbish, which he maintains is quite different from his real-life personality. In 2004, Comedy Central ranked Allen fourth on a list of the 100 greatest stand-up comedians, while a UK survey ranked Allen as the third-greatest comedian. By the mid-1960s, Allen was writing and directing films, first specializing in slapstick comedies before moving into dramatic material influenced by European art cinema during the 1970s, alternating between comedies and dramas to the present, he is identified as part of the New Hollywood wave of filmmakers of the mid-1960s to late 1970s.
Allen stars in his films in the persona he developed as a standup. Some of the best-known of his over 50 films are Annie Hall, Manhattan and Her Sisters, Crimes and Misdemeanors. In 2007 he said Stardust Memories, The Purple Rose of Cairo, Match Point were his best films. Critic Roger Ebert described Allen as "a treasure of the cinema". Allen has received many honors throughout his career, he has won four Academy Awards: three for one for Best Director. He garnered nine British Academy Film Awards, his screenplay for Annie Hall was named the funniest screenplay by the Writers Guild of America in its list of the "101 Funniest Screenplays". In 2011, PBS televised the film biography Woody Allen: A Documentary on the American Masters TV series. In 1992 Dylan Farrow accused Allen of molesting her, an accusation he has denied; the accusation gained new life with the rise of the Me Too movement. In 2019 Amazon canceled the release of his film A Rainy Day in New York, filmed in 2017. Allen is suing Amazon for breach of contract for $68 million.
He is shooting a film in Spain. Allen was born Allan Stewart Konigsberg in the Brooklyn borough of New York City, he and his sister, were raised in Midwood, Brooklyn. He is the son of Nettie, a bookkeeper at her family's delicatessen, Martin Konigsberg, a jewelry engraver and waiter, his family was Jewish, his grandparents immigrated to the US from Russia and Austria and spoke Yiddish and German. Both of Allen's parents were raised on the Lower East Side of Manhattan, his childhood was not happy. Allen spoke German quite a bit in his early years, he would joke that when he was young he was sent to inter-faith summer camps. While attending Hebrew school for eight years, he went to Public School 99 and to Midwood High School, where he graduated in 1953. Unlike his comic persona, he was more interested in baseball than school and his strong arms ensured he was first to be picked for a team, he impressed students with his extraordinary talent with magic tricks. For pay, he wrote jokes for agent David O. Alber.
At the age of 17, he changed his name to Heywood Allen and began to call himself Woody Allen. According to Allen, his first published joke read: "Woody Allen says he ate at a restaurant that had O. P. S. Prices—over people's salaries." He was earning more. After high school, he attended New York University, studying communication and film in 1953, before dropping out after failing the course "Motion Picture Production", he left before the end of the first semester. He taught himself rather than studying in the classroom, he taught at The New School and studied with writing teacher Lajos Egri.p.74 Allen began writing short jokes when he was 15, the following year began sending them to various Broadway writers to see if they'd be interested in buying any. He began going by the name "Woody Allen". One of those writers was Abe Burrows, coauthor of Guys and Dolls, who wrote, "Wow! His stuff was dazzling." Burrows wrote Allen letters of introduction to Sid Caesar, Phil Silvers, Peter Lind Hayes, who sent Allen a check for just the jokes Burrows included as samples.
As a result of the jokes Allen mailed to various writers, he was invited age 19, to join the NBC Writer's Development Program in 1955, followed by a job on The NBC Comedy Hour in Los Angeles. He was hired as a full-time writer for humorist Herb Shriner earning $25 a week, he began writing scripts for The Ed Sullivan Show, The Tonight Show, specials for Sid Caesar post-Caesar's Hour, other television shows.p.111 By the time he was working for Caesar, he was earning $1,500 a week. He worked alongside Mel Brooks, Carl Reiner, Larry Gelbart, Neil Simon, he worked with Danny Simon, whom Allen credits for helping form his writing style. In 1962 alone he estimated. Allen wrote for the Candid Camera television show, appeared in some episodes, he wrote jokes for the Buddy Hackett sitcom Stanley and for The Pat Boone Chevy Showroom, in 1958 he co-wrote a few Sid Caesar specials with Larry Gelbart. After writing for many of television's leading comedians and comedy shows, All
Atlantic City (1980 film)
Atlantic City is a 1980 French-Canadian romantic crime film directed by Louis Malle. Filmed in late 1979, it was released in France and Germany in 1980 and in the United States in 1981; the script was written by John Guare. It stars Burt Lancaster, Susan Sarandon, Kate Reid, Robert Joy, Hollis McLaren, Michel Piccoli, Al Waxman. Atlantic City was released on December 1980 by Paramount Pictures, it received critical acclaim and was nominated for the Big FiveAcademy Awards: Best Picture, Best Director, Best Actor, Best Actress, Best Original Screenplay, but didn't win in any category. Despite this it was a box office disappointment, grossing 12.7 million against its $7.2 million budget. Sally is a young waitress in an Atlantic City casino who has dreams of becoming a blackjack dealer in Monte Carlo. Sally's estranged husband Dave returns to her one day with the intention of selling a large amount of cocaine that he had stolen in Philadelphia and meets Lou, an aging former gangster who lives in Sally's apartment building and runs a numbers game in poor areas of the city.
Dave convinces Lou to sell the cocaine for him, but as Lou sells the first batch, Dave is attacked and killed by the mobsters from whom he had stolen the drugs. Lou is left with the remaining cocaine and continues to sell to impress Sally, whom he has long pined for, with money. Sally and Lou make love one day, they leave. Sally is fired from the casino. Lou sells most of the remainder of the cocaine, while both Sally and the mobsters discover Lou's affiliation with Dave; the mobsters are killed when Lou produces a gun and shoots them. He and Sally steal their car and leave the city; that night, from a motel outside Atlantic City, they watch the TV news reporting on the killing. A police sketch of the suspect is shown, it looks nothing like Lou. Lou is overjoyed with pride, he confesses to Sally that this was the first time he had killed anyone. At the motel the next morning, Lou takes the phone to the bathroom to call Grace and brag about the killings. Sally wakes and takes half of the money with the intention of sneaking off.
Lou returns to Atlantic City to be with Grace. Working together, they sell the remaining portion of the cocaine, walk off arm in arm with renewed respect for each other; the film features a cameo by Wallace Shawn as a waiter in a restaurant. Atlantic City was filmed on location in and around Atlantic City and South Jersey and New York. Although filmed in the United States, the film was a co-production between companies based in France and Canada. Aside from Burt Lancaster, Susan Sarandon, local extras, most of the cast originated from Canada or France; the film allowed Canadian actors such as Kate Reid and Al Waxman to transition into American film and television roles. The production companies allotted Louis Malle the money to make a film with the stipulation that it be made before the year 1979 ended. Malle had a difficult time finding the right script to direct and with time running out his girlfriend Susan Sarandon suggested using a story written by her friend John Guare, a playwright most notable for his plays House of Blue Leaves and Six Degrees of Separation.
Guare suggested that the story take place in Atlantic City, still for the most part suffering from the urban deterioration that prompted the legalization of gambling as a solution to save the city. The three met over dinner in early 1979 to work out quirks in the script and began shooting within a few months. Principal photography commenced on October 31, 1979 and moved swiftly along finishing by December 30, 1979 just in time for the end of the year. Malle filmed at an opportune time in that he was able to capture old Atlantic City: gambling was still in its early stages there, with only two casino hotels open. Most of the city's old resorts and entertainment piers were still standing, albeit in a severe state of disrepair. Within a couple of years of the filming, most of these old hotels would fall victim to the wrecking ball as they were replaced with new casinos. To frame the picture, Malle foreshadows the great transition of the famous resort town in the opening credits by featuring footage of the implosion of the once-grand and historic Traymore Hotel on the Atlantic City Boardwalk.
Louis Malle hired composer Michel Legrand to write a score for the film. In the end, Malle decided against using a score for the film, opted for all the music in the film to be diegetic: the only music used is that which exists in the world of the characters; the music that Susan Sarandon's character plays from her tape player is the aria "Casta Diva" from Vincenzo Bellini's opera Norma. The opening shot of the old Traymore Hotel being demolished is shown to convey the notion that the city's old hotels were being demolished to make way for the new casinos. However, the Traymore was in fact demolished in 1972, years before the ga
Pulp Fiction is a 1994 American crime film written and directed by Quentin Tarantino. Starring John Travolta, Samuel L. Jackson, Bruce Willis, Tim Roth, Ving Rhames, Uma Thurman, it tells several stories of criminal Los Angeles; the film's title refers to the pulp magazines and hardboiled crime novels popular during the mid-20th century, known for their graphic violence and punchy dialogue. Tarantino wrote Pulp Fiction in 1992 and 1993, incorporating scenes that Avary wrote for True Romance, its plot occurs out of chronological order. The film is self-referential from its opening moments, beginning with a title card that gives two dictionary definitions of "pulp". Considerable screen time is devoted to monologues and casual conversations with eclectic dialogue revealing each character's perspectives on several subjects, the film features an ironic combination of humor and strong violence. TriStar Pictures turned down the script as "too demented". Miramax co-chairman Harvey Weinstein was enthralled and the film became the first that Miramax financed.
Pulp Fiction won the Palme d'Or at the 1994 Cannes Film Festival, was a major critical and commercial success. It was nominated for seven Oscars, including Best Picture, won Best Original Screenplay, its development, marketing and profitability had a sweeping effect on independent cinema. Pulp Fiction has been regarded as Tarantino's masterpiece, with particular praise for its screenwriting; the self-reflexivity, unconventional structure, extensive homage and pastiche have led critics to describe it as a touchstone of postmodern film. It is considered a cultural watershed, influencing movies and other media that adopted elements of its style. In 2008, Entertainment Weekly named it the best film since 1983 and it has appeared on many critics' lists of the greatest films made. In 2013, Pulp Fiction was selected for preservation in the United States National Film Registry by the Library of Congress as "culturally or aesthetically significant". Pulp Fiction's narrative is told out of chronological order, follows three main interrelated stories: Mob contract killer Vincent Vega is the protagonist of the first story, prizefighter Butch Coolidge is the protagonist of the second, Vincent's partner Jules Winnfield is the protagonist of the third.
The film begins with a diner hold-up staged by a couple moves to the stories of Vincent and Butch. It returns to where it began, in the diner. There are a total of seven narrative sequences. Sequences 1 and 7 overlap and are presented from different points of view, as do sequences 2 and 6. According to Philip Parker, the structural form is "an episodic narrative with circular events adding a beginning and end and allowing references to elements of each separate episode to be made throughout the narrative". Other analysts describe the structure as a "circular narrative". Hitmen Jules Winnfield and Vincent Vega arrive at an apartment to retrieve a briefcase for their boss, gangster Marsellus Wallace, from an associate, Brett. After Vincent checks the contents of the briefcase, Jules shoots one of Brett's associates declaims a passage from the Bible before he and Vincent kill Brett for trying to double-cross Marsellus, they take the briefcase to Marsellus, but have to wait while he bribes champion boxer Butch Coolidge to take a dive in his upcoming match.
The next day, Vincent purchases heroin from his drug dealer, Lance. He shoots up drives to meet Marsellus's wife Mia, whom he had agreed to escort while Marsellus was out of town, they eat at a 1950s-themed restaurant and participate in a twist contest return home with the trophy. While Vincent is in the bathroom, Mia finds his heroin, mistakes it for cocaine, snorts it, overdoses. Vincent rushes her to Lance's house. Butch double-crosses wins the bout, accidentally killing his opponent. At the motel where he and his girlfriend Fabienne are lying low and preparing to flee, Butch discovers she has forgotten to pack his father's gold watch, a beloved heirloom, flies into a rage. Returning to his apartment to retrieve the watch, he notices a gun on the kitchen counter and hears the toilet flush. Vincent exits Butch shoots him dead; as Butch waits at a traffic light in his car, Marsellus spots him by chance and chases him into a pawnshop. The owner, captures them at gunpoint and ties them up in the basement.
Maynard is joined by a security guard. Butch knocks out the gimp, he decides to save Marsellus, returning with a katana from the pawnshop. He kills Maynard. Marsellus informs Butch that they are as long as he tells no one about the rape and departs Los Angeles forever. Butch picks up Fabienne on Zed's chopper. Earlier, after Vincent and Jules have executed Brett in his apartment, another man bursts out of the bathroom and shoots at them wildly, missing every time. Jules professe
Stojan Steve Tesich was a Serbian American screenwriter and novelist. He won the Academy Award for Best Original Screenplay in 1979 for the film Breaking Away. Steve Tesich was born as Stojan Tešić in Užice, in Axis-occupied Yugoslavia on September 29, 1942, he immigrated to the United States with his sister when he was 14 years old. His family settled in Indiana, his father died in 1962. Tesich graduated from Indiana University in 1965 with a BA in Russian, he was a member of Phi Kappa Psi fraternity. He went on to do graduate work at Columbia University, receiving an MA in Russian Literature in 1967. After graduation, he worked as a Department of Welfare caseworker in Brooklyn, New York in 1968. In the 1970s, he wrote a series of plays that were staged at The American Place Theatre in New York City; the first of these plays, The Carpenters, premiered during the 1970-1971 season. Baba Goya made its debut at the theater in May 1973; that year, the play was staged at the Cherry Lane Theatre under a different name.
Tesich's screenplay for Breaking Away had its origins in his college years. He had been an alternate rider in 1962 for the Phi Kappa Psi team in the Little 500 bicycle race. Teammate Dave Blase rode 139 of 200 laps and was the victory rider crossing the finish line for his team, they subsequently developed a friendship. Blase became the model for the main character in Breaking Away; the film was a hit, Tesich won the Academy Award for Best Original Screenplay. He created a short-lived TV series of the same name, his play Division Street opened at the Ambassador Theatre in New York City on October 8, 1980. The production starred Keene Curtis, it closed after 21 performances. The play was revived in 1987 with Saul Rubinek in the lead role. Tesich reunited with Peter Yates, the director of Breaking Away, on the 1981 thriller film Eyewitness, he adapted John Irving's novel The World According to Garp for the screen in 1982. The best-selling novel had been described as unfilmable. Tesich returned to the sport of cycling with the screenplay for American Flyers.
The main characters were two brothers, played by Kevin Costner and David Marshall Grant, who enter a long-distance bicycle race in the Colorado Rockies. His novel Karoo was published posthumously in 1998. Arthur Miller described the novel: "Fascinating—a real satiric invention full of wise outrage." The novel was a New York Times Notable Book for 1998. The novel appeared in a German translation as Abspann, it was translated in France in 2012 where it was acclaimed by the critics and became a best-seller. Tesich died in Sydney, Nova Scotia, Canada following a heart attack, he was 53 years old. In 1973, Tesich won the Drama Desk Award for Most Promising Playwright for the play Baba Goya, known under the title Nourish the Beast. Tesich won the following awards for the Breaking Away screenplay in 1979, whose original working title was Bambino: Academy Award, Best Original Screenplay National Society of Film Critics Award, Best Screenplay New York Film Critics Circle Award, Best Screenplay Writers Guild of America Award, Best-Written Comedy Written Directly for the Screen Screenwriter of the Year, ALFS Award from the London Critics Circle Film Awards, 1981He received a nomination in 1980 for a Golden Globe for Best Screenplay-Motion Picture.
In 2005, the Serbian Ministry for diaspora established the annual Stojan—Steve Tešić Award, to be awarded to the writers of Serbian origin that write in other languages. Breaking Away Eyewitness Four Friends The World According to Garp American Flyers Eleni The Carpenters, play for television, 1973 Nourish the Beast, play for television, 1974 Apple Pie, television series, 1978 Breaking Away, television series, 1980-1981 The Carpenters, 1970 Lake of the Woods, 1971 Nourish the Beast performed under the title Baba Goya, 1973 Gorky, 1975 Passing Game, 1977 Touching Bottom, 1978 Division Street, 1980 The Speed Of Darkness, 1989 Square One, 1990 The Road, 1990 Baptismal, 1990 On the Open Road, 1992 Arts & Leisure, 1996 Summer Crossing, was published in a German translation as Ein letzter Sommer and in a French translation as Price Karoo, paperback edition in 2004 with new introduction by E. L. Doctorow. Division Street & other plays. New York: Performing Arts Journal Publications, 1981. 171 pages.
Contents: Division Street -- Baba Goya -- Lake of the Woods -- Passing Game. Steve Tesich on IMDb A Few Moments with Steve Tesich by Dejan Stojanović