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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a customizable eBook format; dozens of chapters about the script and the film that detail the movie’s development; rare historical documents such as production notes, storyboards and candid photos; and an interactive image gallery of costumes, on-set stills, movie posters, set designs and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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“The core fear is what can happen to you, personally. Your body. That’s what horror films deal with, precisely. We are a very thin skin wrapped around a pumping heart and guts. At any given moment it can come down to that, be it diseases, or somebody’s assault, or war, or a car wreck. You could be reduced to the simple laws of physics and your body’s vulnerability. The edged weapon is the penultimate weapon to disclose that reality to you.”
~ Wes Craven, 1996, promoting Scream

MAMET
Well, that, to me, is always the trick of dramaturgy; theoretically, perfectly, what one wants to do is put the protagonist and the audience in exactly the same position. The main question in drama, the way I was taught, is always what does the protagonist want. That’s what drama is. It comes down to that. It’s not about theme, it’s not about ideas, it’s not about setting, but what the protagonist wants. What gives rise to the drama, what is the precipitating event, and how, at the end of the play, do we see that event culminated? Do we see the protagonist’s wishes fulfilled or absolutely frustrated? That’s the structure of drama. You break it down into three acts.

INTERVIEWER
Does this explain why your plays have so little exposition?

MAMET
Yes. People only speak to get something. If I say, Let me tell you a few things about myself, already your defenses go up; you go, Look, I wonder what he wants from me, because no one ever speaks except to obtain an objective. That’s the only reason anyone ever opens their mouth, onstage or offstage. They may use a language that seems revealing, but if so, it’s just coincidence, because what they’re trying to do is accomplish an objective… The question is where does the dramatist have to lead you? Answer: the place where he or she thinks the audience needs to be led. But what does the character think? Does the character need to convey that information? If the answer is no, then you’d better cut it out, because you aren’t putting the audience in the same position with the protagonist. You’re saying, in effect, Let’s stop the play. That’s what the narration is doing—stopping the play… It’s action, as Aristotle said. That’s all that it is—exactly what the person does. It’s not what they “think,” because we don’t know what they think. It’s not what they say. It’s what they do, what they’re physically trying to accomplish on the stage. Which is exactly the same way we understand a person’s character in life—not by what they say, but by what they do. Say someone came up to you and said, I’m glad to be your neighbor because I’m a very honest man. That’s my character. I’m honest, I like to do things, I’m forthright, I like to be clear about everything, I like to be concise. Well, you really don’t know anything about that guy’s character. Or the person is onstage, and the playwright has him or her make those same claims in several subtle or not-so-subtle ways, the audience will say, Oh yes, I understand their character now; now I understand that they are a character. But in fact you don’t understand anything. You just understand that they’re jabbering to try to convince you of something.
~ David Mamet

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