And, really, because condoms are somehow a difficult product to turn into a film.
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His way in is a potent visual symbol: A bloodstained script, taken from a murdered screenwriter, that Miles convinces Rick to help him turn into a film.
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He visited a vacant industrial complex in Sunset Park, Brooklyn, that his administration has vowed to turn into a film studio and work space for garment businesses.
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"I feel very well equipped to take over, and I think I can make an enormous difference," said Stewart, who has written books about his time in Afghanistan and Iraq, and whose life Hollywood actor Brad Pitt wants to turn into a film.
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Gary Crosby was reportedly cast as Granger's brother until replaced by Fabian, a pop singer who 20th Century Fox had just tried to turn into a film star with Hound Dog Man. The movie was not a success but the studio felt that Fabian might attract younger movie goers in support roles.
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Small returned to swashbucklers with another adaptation of a Dumas novel, The Man in the Iron Mask (1939), starring Hayward; this was one of Small's most popular films. Small bought the Howard Spring novel My Son, My Son! to turn into a film with Hayward. He also put Heyward into another swashbuckler, The Son of Monte Cristo (1940), a sequel to his 1934 hit, co-starring Joan Bennett.
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It also tells of Lili and Paul: Paul was a goatherd in the countryside of the Provence, until his sudden death at the age of 31. Lili is killed in 1917, during the First World War. Marcel is the only one left of their childhood company, now a successful film director. His company has purchased a large old house in the Marseilles area to turn into a film studio.
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Marcel is the only one left of their childhood company, now a successful film director. His company has purchased a large old house in the Marseilles area to turn into a film studio. When walking through the grounds he sees a familiar door and realizes that this is the last property on his childhood journey to his holiday home. In a burst of rage he picks up a rock and smashes the door and thus ends a bad spell.
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Around 1911 Hans Lorenz Stoltenberg also experimented with direct animation, rhythmically piecing together tinted film in different colors. He published a leaflet about it and claimed that many people growing up with the hand-colored films of Georges Méliès and Ferdinand Zecca would try their hand on painting on film at that time. In 1913 Léopold Survage created his Rythmes colorés: over 100 abstract ink wash / watercolor drawings that he wanted to turn into a film. Unable to raise the funds, the film was not realized and Survage only exhibited the pictures separately.
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In early January 1934, the play by Gladys Hurlbut and Emma B. C. Wells began a preview run in Philadelphia, starring Dorothy Gish and Howard Lindsay, prior to its opening on January 24 on Broadway at the Morosco Theater. The Motion Picture Herald also gave the play a very good rating, naming it one of that months plays which were "Almost too good for the screen". Towards the end of January and the beginning of February speculation began about whether the play would be optioned to turn into a film. In February, it was announced that RKO had purchased the film rights to the play, with the purchase price announced as $24,000.
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Charlie, who rejects formulaic scriptwriting, wants to ensure that his script is a faithful adaptation of The Orchid Thief but comes to feel that the book does not have a usable narrative and is impossible to turn into a film, which leaves him with a serious case of writer's block. Already well past his deadline with Columbia Pictures and despairing of writing his script with self-reference, Charlie travels to New York City to discuss the screenplay with Orlean directly. Too shy and socially awkward to speak with her upon arriving at her office and after he received the surprising news that Donald's spec script for a cliché psychological thriller, The 3, is selling for six or seven figures, Charlie resorts to attending McKee's seminar in New York and asks him for advice. Charlie ends up asking Donald to join him in New York to assist with the story structure.
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The four were brainstorming to find stories to adapt to film, with Freda suggesting Les Misérables, which the others were astonished at, feeling it would be impossible to turn into a film. The newspaper Corriere d'informazione spitefully commented on Freda's decision to adapt the story, stating that there was a lack of adventurousness in film makers and producers who were often adopting plays and books, with Arturo Lanocita stating, "The Bottom has been reached with director Riccardo Freda, who after thinking about it for a long time, decided to shoot the 39th version of Les Misérable, a novel which perhaps you've heard of." For the second time in a row, Freda worked on the film's script with Steno and Mario Monicelli, and for the first time Vittorio Nino Novarese, who was an art director who had just started his work as a screenwriter. The trio's script makes specific changes to the story: Marius becomes the son of the Ministry of Police and in the end Jean Valjean does not commit suicide but is killed by Tenardier.
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Tex and the Lord of the Deep was released theatrically in Italy in 1985. Italian film historian and critic Roberto Curti stated that the film was "ravaged" by critics and had disappointing box office returns. Giuliano Gemma spoke negatively about the film after its release, stating that the idea of making the film was good and that he was "delighted to accept it, but I think that, first of all, they made a mistake by choosing to adapt that story, Il signore dell'abisso, because there are such better ones in the series and [several] less difficult to turn into a film." Actually most of Tex adventures are run-of-the-mill western escapades pitting the ranger and his 'pards' against outlaws, desperados, villainous cattle/railway/oil magnates and other typical frontier antagonists...the choice of adapting one of the rare Tex sagas with supernatural elements could have stemmed from the ambition to capitalize on the interest generated during the early 1980s by the Indiana Jones movies, which successfully merged classical adventure tropes with occult and fantastic elements.
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