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By MCN Editor editor@moviecitynews.com

WARNER BROS. DIGITAL DISTRIBUTION LAUNCHES “INSIDE THE SCRIPT” DIGITAL PUBLISHING INITIATIVE

MOVIE FANS CAN NOW OWN DIGITAL VERSIONS OF SCRIPTS FROM ICONIC FILMS INCLUDING “CASABLANCA,” “BEN-HUR,” “AN AMERICAN IN PARIS” AND “NORTH BY NORTHWEST” COMPLETE WITH RARE NOTES, PUBLICITY STILLS AND OTHER INTERACTIVE ASSETS

FIRST “INSIDE THE SCRIPT” TITLES NOW AVAILABLE ON iBOOKSTORE, KINDLE AND NOOK®
BURBANK, CALIF., April 30, 2012 – Warner Bros. Digital Distribution (WBDD) today announced the launch of “Inside the Script” – a digital publishing initiative that gives movie fans an innovative new way to go deep inside their favorite films.  Available now for iBookstore, Kindle and NOOK by Barnes & Noble, “Inside the Script” is a series of highly illustrated eBooks that contain the film’s actual shooting script, rare materials from the Warner Bros. Corporate Archive and much more.  The first series of “Inside the Script” titles are based on timeless, cinematic treasures including “Casablanca,” “Ben-Hur,” “An American in Paris” and “North by Northwest.”

“Inside the Script” offers movie fans an all-access pass to go behind-the-scenes of the films they know and love.  Every “Inside the Script” title includes the film’s complete shooting script in a customizable eBook format; dozens of chapters about the script and the film that detail the movie’s development; rare historical documents such as production notes, storyboards and candid photos; and an interactive image gallery of costumes, on-set stills, movie posters, set designs and behind-the-scenes photos.
“People love movies because of the stories they tell,” said Thomas Gewecke, President of Warner Bros. Digital Distribution. “Now we can give fans rarely seen details of how these stories came together and take their enjoyment of films to a whole new level.”
Highlighted elements from “Inside the Script” titles include:


“Casablanca”

– Jack Warner’s telegrams and memos
– Producer Hal Wallis’ script and production notes
– Production Code Administration letters, notes and seal of approval
– Telegram from producer Hal Wallis refuting his fight with Jack Warner

“Ben-Hur”
– Rare behind-the-scenes materials including makeup and wardrobe tests, production design sketches, sample matte paintings
– A forward and captions written by Charlton Heston’s son, Fraser C. Heston
– Excerpts from Charlton Heston’s acting and shooting journals during filming
– Details about the development of Panavision and MGM’s proprietary widescreen process (MGM Camera 65)


“An American in Paris”
– Full shooting script
– Detailed descriptions from continuity script’s musical numbers
– Treatment for the ballet sequence from Vincente Minnelli’s papers
– Set design paintings from the MGM production design collection
– Tickets to the film’s Hollywood premiere from MGM makeup artist John Truwe


“North by Northwest”
– Director Alfred Hitchcock’s editing and main title sequence notes
– Composer Bernard Herrmann’s music notes
– Photos and documents from Alfred Hitchcock’s papers:
– story department photos
– storyboards and photos of crop duster sequence
– production schedules and daily scene reports
– hair and makeup tests
– costume sketches
“Inside the Script” releases are now available for iBookstore, Kindle and NOOK for $9.99 per title.  For more information visit www.facebook.com/insidethescript.



About Warner Bros. Digital Distribution
Warner Bros. Digital Distribution (WBDD) oversees the electronic distribution of Warner Bros. Home Entertainment Group’s content through Video-On-Demand, Pay-Per-View, Electronic Sell-Through and Subscription Video-On-Demand via cable, satellite, online and mobile channels.   WBDD also distributes content through third party digital retailers and licensees.  A worldwide industry leader since its inception, WBDD also manages the Studio’s E-commerce sites that include WBShop.com and WarnerArchive.com.  Twitter: @WBDigitalDist

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Aloha is the movie equivalent of a man in a donkey suit with a tree branch growing out of his forehead. I don’t know what the fuck this movie is. It feels like Cameron Crowe tried to make some Pynchonesque contemporary riff on Casablanca, then either or he or the studio chickened out halfway through and tried to turn it back into Jerry Maguire. But don’t confuse Aloha with hackwork. It’s more like a mad scientist had 10 beakers bubbling, and instead of unlocking cold fusion, he blew up his lab and melted an ear. I swear, this movie is like some bastard offspring of Casablanca, Inherent Vice, ‘Goosebumps,’ and ‘Baywatch Hawaii.’ My takeaway? Making movies is hard, yo.”
~ Vince Mancini

“We don’t defy the laws of physics: There are no flying men or cars in this movie. So it made sense to do it old-school: real vehicles and real human beings in the desert. We shot the movie more or less in continuity, because the cars and the characters get really banged up along the way. The biggest benefit of digital technology for me was that the cameras were smaller and much more agile, so you could put them anywhere. We also spent a huge amount of time on spatial awareness—making sure the viewer could follow the action and understand what was happening. There has to be a strong causal connection from one shot to the next, just the same way that in music, there has to be a connection from one note to the next. Otherwise it’s just noise. Too often, if you just cram a lot of stuff into the frame, you get the illusion of a fast pace. But there’s no coherence. It doesn’t flow. It comes off as headbanging music, and it can be exhausting. We storyboarded the movie before we had a script: We had 3,500 boards, which helps the cast and crew understand how everything is going to fit together. Movies are getting faster and faster. The Road Warrior had 1,200 cuts. This one has 2,700 cuts. You have to treat it like a symphony.”
~ George Miller

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