Ed Wood Movie Script
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Ed Wood : Le Film / Ed Wood, États-Unis, 1994, 124 Minutes]
Document généré le 2 oct. 2021 15:36 Séquences La revue de cinéma Ed Wood Le film Ed Wood, États-Unis, 1994, 124 minutes Alain Dubeau Robert Morin Numéro 175, novembre–décembre 1994 URI : https://id.erudit.org/iderudit/59410ac Aller au sommaire du numéro Éditeur(s) La revue Séquences Inc. ISSN 0037-2412 (imprimé) 1923-5100 (numérique) Découvrir la revue Citer ce compte rendu Dubeau, A. (1994). Compte rendu de [Ed Wood : le film / Ed Wood, États-Unis, 1994, 124 minutes]. Séquences, (175), 24–25. Tous droits réservés © La revue Séquences Inc., 1994 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ les surréalistes n'auraient pas renié. À croire que le film qui, selon le cinéaste et les «psys» de l'époque, ne peut Bien entendu, tout cela ne serait pas si mal s'il n'y préféré de Wood était Un Chien Andalou. Non pas bien qu'être bénéfique à tous. Ainsi, un homme heureux en avait aussi le jeu outré et ampoulé de Dolores Fuller, très sûr que Glen or Glenda ait une quelconque affinité déshabillé ne sera-t-il pas plus productif dans son travail? digne dans son rôle de fiancée comprehensive. -
I Look at This Slush and Try to Remember — at One Time I Made Good
54 SHOWGIRLS, TEEN WOLVES AND ASTRO ZOMBIES HOLY WOOD! Growing up, we were always a family of movie-watchers. When my mum passed away in 2006, I devoted my only Empire editorial to how her guiding me through early screenings of The Wizard Of Oz and Psycho greatly informed my appreciation of how cinema could be artistic, scary and funny all at once. Her simple advice — ‘If a movie doesn’t grab you within 10 minutes, it’s probably not going to’ — similarly has stuck with me, both as a reviewer and a would-be scriptwriter. Dad’s appreciation of movies was less theoretical but also resonant. Two decades of watching war movies with the retired army reservist — ‘Look at that, walking on a ridge in silhouette!’ was a favourite, followed by a machine-gun noise to indicate he’d just killed all of our heroes — bred an intolerance for flagrant inauthenticity. It was also Dad, who as a salesman for publishers Harper & Row, one night brought home J. Hoberman and Jonathan MARCH Rosenbaum’s fantastic 1983 book Midnight Movies, which expanded my film reading beyond Famous Monsters, Starlog and Fangoria and opened my eyes to — and created an appetite for — the alternative cinema of George Romero, John Waters, David Lynch and Ed Wood. A year later, through his connections, Dad put me forward for a ‘Kids rate the movies’ feature in the Sydney Morning Herald. My 300-word review, of an Aussie flick called Street Hero, wasn’t exactly Pauline Kael calibre (‘The only fault I could pick, in my opinion, is that some scenes are a little unrealistic …’) but it was a start and definitely helped chart my course. -
Guide to the Ed Wood, Jr. Collection, 1966-2006. Collection Number: 7779
Guide to the Ed Wood, Jr. Collection, 1966-2006. Collection Number: 7779 Division of Rare and Manuscript Collections Cornell University Library Contact Information: Compiled Date EAD Date Division of Rare and Manuscript by: completed: encoding: modified: Collections RMC Staff October 2012 Anne Jones, Anne Jones, 2B Carl A. Kroch Library April 2012 April 2013 Cornell University Ithaca, NY 14853 (607) 255-3530 Fax: (607) 255-9524 [email protected] http://rmc.library.cornell.edu © 2012 Division of Rare and Manuscript Collections, Cornell University Library DESCRIPTIVE SUMMARY Title: Ed Wood, Jr. collection, 1966-2006. Collection Number: 7779 Creator: Wood, Edward D.(Edward Davis) Quantity: Forms of Material: Books, Magazines, Print outs, Placards, Poster. Repository: Division of Rare and Manuscript Collections, Cornell University Library Abstract: Pulp novels written anonymously and under various pseudonyms of the legendary psycho-sexual author and film-maker, Ed Wood, Jr., collected by pulp scholar Robert Legault (1950 to 2008). In addition, magazines, reference materials, posters and other ephemera. Language: Collection material in English BIOGRAPHICAL NOTE Edward Davis Wood, Jr. (October 10, 1924 to December 10, 1978), better known as Ed Wood, was an American screenwriter, director, producer, actor, author, and editor, who made a number of low-budget genre films and published pulp novels under various names. Ed Wood's fiction is as strange, idiosyncratic and out of step with his times and mores as his infamous movies. His novels inter-splice erotic segments with lengthy philosophical, sociological and psychological discourse. Rudolph Grey's biography "Nightmare of Ecstasy: The Life and Art of Edward D. Wood, Jr." (1992) and Tim Burton's biopic "Ed Wood," which earned two Academy Awards, brought attention to his life and work. -
Lost to Bias
Lost to Bias Gender fluidity, queer themes, and challenges to heteronormativity in the work of Edward D. Wood, Jr. Jason C. A. Meredith Department of Media Studies Master’s Thesis 30 ETCS credits Cinema Studies Master’s program in Cinema Studies 120 ECTS credits Spring term 2020 Supervisor: Bo Florin Lost to Bias Gender fluidity, queer themes, and challenges to heteronormativity in the work of Edward D. Wood, Jr. Jason C. A. Meredith Abstract The premise of this study is to investigate homonormative concepts in the works of Edward D. Wood, Jr. Following a contextualisation of the time period he was active in, the thesis interacts with camp as a concealed queer discourse and a political voice. Concepts of crossdressing as challenges to heteronormativity are observed in relation to Woods cinematic canon and persona. Case analyses of Glen or Glenda (1953) and Take It Out in Trade (1970) observe how mentioned methodologies are applicable. The conclusions relate data exhibiting queer discourses held by Wood. Camp as a signifier of queer representation and counter oppression is identified as a discourse within Wood’s films. Examples given demonstrate how this is obscured within the agency of narrators, dialogue and metaphors. As camp evolves post-Stonewall, an adherence to camp as a parody of heteronormativity is acknowledged in later Wood pieces. Exploring concepts of crossdressing in Wood’s cinema, drag and transvestism can be excluded. Through crossdressing we find a stage for gender performativity as to reunite with the heteronormative challenges of his debut film. This reunion progresses to a compliance with homonormativity in his final feature films. -
ED WOOD by Scott Alexander & Larry Karaszewski
ED WOOD by Scott Alexander & Larry Karaszewski Directed by Tim Burton FIRST DRAFT November 20, 1992 FADE IN: INT. HAUNTED MANSION PARLOR - NIGHT We move through a spooky shrouded parlor, as a storm rages outside. THUNDER roars, and lightning flashes in the giant windows. in the center of the room lies an oak coffin. Suddenly the lid starts to creak open. A hand crawls past the edge... and then the lid slams up! Famed psychic CRISWELL pops out. Criswell, 40, peers at us intently, his gleaming eyes framed under his striking pale blonde hair. He intones, with absolute conviction: CRISWELL Greetings, my friend. You are interested in the unknown, the mysterious, the unexplainable... that is why you are here. So now, for the first time, we are bringing you the full story of what happened... (extremely serious) We are giving you all the evidence, based only on the secret testimony of the miserable souls who survived this terrifying ordeal. The incidents, the places, my friend, we cannot keep this a secret any longer. Can your hearts stand the shocking facts of the true story of Edward D. Wood, Junior?? EXT. NIGHT SKY Lightning CRACKS. We drift down past the dark clouds... through the torrential rain... and end up... OPTICAL: EXT. HOLLYWOOD - NIGHT We've landed in Hollywood, 1952. We're outside a teeny, grungy playhouse. The cracked marquee proclaims "'THE CASUAL COMPANY,' WRITTEN AND DIRECTED BY EDWARD D. WOOD, JR." Pacing nervously in the rain is ED WOOD, 30, our hero. Larger-than-life charismatic, confident, Errol Flynn-style handsome, Ed is a human magnet. -
Wood, Ed (1924?-1978) by Gary Morris
Wood, Ed (1924?-1978) by Gary Morris Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2002, glbtq, Inc. Ed Wood in a Reprinted from http://www.glbtq.com promotional photograph for his breakthrough film, Glen or Glenda (1953). During his lifetime, 1950s transvestite director Edward D. Wood, Jr., also known as Ed Wood, worked diligently--if sometimes despairingly--at the margins of Hollywood, making bizarre low- budget films that went almost entirely unnoticed. He died in 1978 a penniless alcoholic, but posthumously became the center of one of cinema's most enduring cults. Opposing camps celebrated and reviled him using the same epithet: "the world's worst director." Born in Poughkeepsie, New York, on October 10, 1924 (some sources give 1922), Wood served in the United States Marine Corps from 1942 to 1946. According to legend, he stormed the beaches of Tarawa wearing women's underwear beneath his uniform. After the service, he moved to Hollywood, where he made his first film, the no-budget western, Crossroads of Laredo (1948). Five years later, collaborating with producer George Weiss, he directed his breakthrough film, Glen or Glenda, also known as I Changed My Sex, which would start his fitful career and his reputation as a hack of prodigious proportions. This "torn-from-the-pages-of-life" story, based on the then-scandalous sex change of Christine Jorgensen became a fractured but compelling exercise in autobiography, as Wood himself played the lead roles of Glen and his cross-dressing alter ego Glenda. A cult favorite with little critical following, Wood has nonetheless been defended by some critics, including Danny Peary, as among the most interesting directors of the post-World War II film scene. -
Representations of Monstrous Transsexuality in the Frankenstein Film, 1945-1975
DePaul University Via Sapientiae College of Communication Master of Arts Theses College of Communication Spring 6-12-2020 Built bodies: Representations of monstrous transsexuality in the Frankenstein film, 1945-1975 Carmilla M. Morrell DePaul University, [email protected] Follow this and additional works at: https://via.library.depaul.edu/cmnt Part of the Communication Commons, and the Other Film and Media Studies Commons Recommended Citation Morrell, Carmilla M., "Built bodies: Representations of monstrous transsexuality in the Frankenstein film, 1945-1975" (2020). College of Communication Master of Arts Theses. 34. https://via.library.depaul.edu/cmnt/34 This Thesis is brought to you for free and open access by the College of Communication at Via Sapientiae. It has been accepted for inclusion in College of Communication Master of Arts Theses by an authorized administrator of Via Sapientiae. For more information, please contact [email protected]. Built Bodies: Representations of Monstrous Transsexuality in the Frankenstein Film, 1945-1975 by Carmilla Mary Morrell Thesis Presented to the Faculty of the Graduate School of DePaul University in Partial Fulfillment of the Requirements for the Degree of Master of Arts in Media and Cinema Studies DePaul University June 2020 Abstract Built Bodies: Representations of Monstrous Transsexuality in the Frankenstein Film, 1945-1975 By Carmilla Mary Morrell DePaul University, 2020 Thesis Advisor: Michael DeAngelis Committee: Dan Bashara This thesis considers the relationship between representations of the Frankenstein’s Monster on film and the transsexual identity to argue that they can be ontologically consolidated into the figure of the Monstrous transsexual: a constructed, hybrid being whose uncategorizability within conventionally rigid structures of sex and intolerable embodiment of incongrous “parts” renders them as simultaneously powerful with radical potential and vulnerable from ostracization, oppression, and hostility. -
Ed Wood : Le Film / Ed Wood, États-Unis, 1994, 124 Minutes]
Document generated on 09/23/2021 12:31 p.m. Séquences La revue de cinéma Ed Wood Le film Ed Wood, États-Unis, 1994, 124 minutes Alain Dubeau Robert Morin Number 175, November–December 1994 URI: https://id.erudit.org/iderudit/59410ac See table of contents Publisher(s) La revue Séquences Inc. ISSN 0037-2412 (print) 1923-5100 (digital) Explore this journal Cite this review Dubeau, A. (1994). Review of [Ed Wood : le film / Ed Wood, États-Unis, 1994, 124 minutes]. Séquences, (175), 24–25. Tous droits réservés © La revue Séquences Inc., 1994 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ les surréalistes n'auraient pas renié. À croire que le film qui, selon le cinéaste et les «psys» de l'époque, ne peut Bien entendu, tout cela ne serait pas si mal s'il n'y préféré de Wood était Un Chien Andalou. Non pas bien qu'être bénéfique à tous. Ainsi, un homme heureux en avait aussi le jeu outré et ampoulé de Dolores Fuller, très sûr que Glen or Glenda ait une quelconque affinité déshabillé ne sera-t-il pas plus productif dans son travail? digne dans son rôle de fiancée comprehensive.