Search Results: Titles starting with T from Royal Books, Inc.

Burbank, CA: American Zoetrope / Warner Brothers, 1971. Two vintage borderless reference photographs from the 1971 film, both showing Robert DuVall and Maggie McOmie in states of undress. Given everything that would follow, "THX-1138" could easily be described as the most successful student film of all time, developed by George Lucas in 1967 as a short called "Electronic Labyrinth: THX 1138 4EB" while he was attending the University of Southern California's film school. The feature film version was one of the first efforts produced under the auspices of Lucas' friend, Francis Ford Coppola. 10 x 8 inches. Near Fine.

Burbank, CA: American Zoetrope / Warner Brothers, 1971. Vintage black-and-white oversize double weight still photograph from the 1971 film. Shown are George Lucas and an assistant setting up a shot of Robert DuVall, with Lucas placing calipers on DuVall's head. With the Warner Brothers studio stamp on the verso, along with a notation regarding the shot and its reference number. Given everything that would follow, "THX-1138" could easily be described as the most successful student film of all time, developed by Lucas in 1967 as a short called "Electronic Labyrinth: THX 1138 4EB" while he was attending the University of Southern California's film school. The feature film version was one of the first efforts produced under the auspices of Lucas' friend, Francis Ford Coppola. Written by Lucas and Walter Murch, the film set a standard for dystopian stories that would inform dozens of films in its wake. Oddly, Lucas did not continue down the pessimistic path, choosing instead to engage in the broader… Read More

Burbank, CA: Walt Disney Productions, 1982. Collection of six vintage film still photographs (three of which are borderless) from the French release of the groundbreaking 1982 film. Featuring an image of Jeff Bridges and Cindy Morgan in their Grid bodysuits as well as various images of computer graphics that represent the Grid. Jeff Bridges plays a game designer who ends up in the very game he's been programming, and who must defeat the computer-generated image of his money-grubbing employer. The pinnacle of computer graphics technology at the time, a hybrid of back-lit live action and computer-generated visuals, "TRON" was one of the first of many films to reflect the burgeoning video game craze of the 1980s. The creation of these hybrid graphics took the work of at least four distinct graphics firms, with over 550 people involved in post-production work. While critically acclaimed for its flashy visual spectacle, "TRON" fared more poorly at the box office than the studio expected, though in… Read More

N.p.: Oshima Productions, 1999. Two vintage reference photographs taken on the set of the 1999 film, one showing director Nagisa Oshima near a camera setup, the other showing Oshima laughing with composer Ryuichi Sakamoto and actors Takeshi Kitano and Ryuhei Matsuda. With manuscript ink annotations on the verso. Based on the 1969 novel "Shinsengumi Kepp roku" by Ryotaro Shiba. Oshima's final film, set in the final years of the Edo period in Japan, following a young, skilled swordsman who unwittingly causes sexual tension in an elite all-male samurai group. Shot on location in Kyoto. 6.5 x 4.75 inches. Fine.

N.p.: N.p., 1930. Vintage photograph of F.W. Murnau, cinematographer Floyd Crosby, a sound engineer, and extras on location during shooting of the 1931 film. Considered the first example of "docufiction." The fourth and final film made by Murnau during his time in the US. Murnau and Robert J. Flaherty wrote the unpublished story "Turia," based on a South Sea legend Flaherty had heard while working on W.S. Van Dyke's "White Shadows in the South Seas" (1928), which would later evolve into "Tabu." Two young lovers on the idyllic island of Bora Bora find themselves in danger when an old warrior declares the girl to be the Chosen Maid. Refusing, the lovers run off to a "westernized" island were the boy earns a living as a pearl diver and lands in debt. When the old warrior discovers their location, they plan another escape, requiring the boy paying off his debts by pearl diving in shark-infested waters. Winner of an Academy Award for Best Cinematography. Shot on location in Tahiti and the Leeward… Read More

Budapest: Nyugat, 1909. First Edition. First Edition. INSCRIBED by the author on the first blank. Text in Hungarian. Melchior Lengyel was a Hungarian writer and dramatist. After emigrating to the United States in 1937, he found work in Hollywood, where he received an Academy Award nomination for Best Original Story for "Ninotchka," directed by Ernest Lubitsch, who he collaborated with frequently. Basis for the 1914 US film, "The Typhoon," directed by Reginald Baker and starring Sessue Hayakawa and Gladys Brockwell, and the 1933 German film directed by Robert Wiene and starring Liane Haid and Viktor de Kowa, and later released in a heavily censored and re-shot version as "Polizeiakte 909." Very Good in stiff wrappers, lacking the dust jacket. Gift inscription on the front flyleaf. Partial separation on the front wrapper, with two brief dampstains to the rear corners, and chipping and rubbing overall.

Universal City: Universal, 1975. Draft script for the television film that first aired on February 6, 1977, on NBC. A dramatization of the rise and fall of US Senator Joseph McCarthy, whose Red Scare fearmongering and persecution of suspected communists and homosexuals (and other so-called subversives) at the height of his political power proved to be his eventual downfall. Nominated for six Emmy awards and winning two, including one for Best Screenplay. Red untitled wrappers. Title page present, dated November 20, 1975, with credits for screenwriter Lane Slate. 160 leaves, with last page of text numbered 157. Xerographically reproduced on yellow stock, rectos only, with yellow revision pages throughout, dated variously between 3/8/76 and 6/28/76. Pages Near Fine, wrapper Near Fine, with creasing to the binding, bound with two gold brads.

Tokyo: Nikkatsu, 1960. Draft script for the 1960 film. Text in Japanese. Two inmates are killed when a police truck is assaulted and the driver is held responsible for negligence. He takes it upon himself to find the bandits who attacked the van. Pink titled perfect-bound wrappers. Title page present. 118 leaves, with last page of text numbered 23. Mechanical duplication. Pages Near Fine, wrapper Near Fine. Grant Japan. Criterion Collection Eclipse 17, Nikkatsu Noir.

Los Angeles: Twentieth Century-Fox, 1962. Draft script for the 1963 film. Single annotation in manuscript pencil on page 71. Based on the 1961 Broadway comedy. A conservative father's efforts to protect his rebellious hippie daughter frequently backfire, leading him into a variety of humorously scandalous situations. The fourth of five pictures director Henry Koster made with James Stewart, a collaboration beginning with "Harvey" in 1950. Tan titled wrappers, noted as REVISED SCREENPLAY on the front wrapper, rubber-stamped production No. 983, dated AUGUST 13, 1962. Title page present, dated August 13, 1962, noted as Revised Screenplay, with credits for screenwriter Nunnally Johnson and playwrights Phoebe and Henry Ephron. 144 leaves, with last page of text numbered 142. Mimeograph duplication on eye-rest green stock, rectos only. Pages Near Fine, wrapper Very Good plus, slightly yapped, bound internally with three gold brads.

London: GTO Films, 1981. Vintage pressbook from the 1981 British film. Kit includes one full-color bifold booklet and three studio still photographs. A comic documentary film following the exploits of British pop group Madness, following their rise to fame from their humble pub-band origins. Booklet: 11.5 x 8.5 inches. Very Good plus, with a light vertical crease on the fore-edges. Photographs 8 x 10 inches. Very Good plus, one with annotations in manuscript ink on the recto.

Washington, DC: Capitol Music, 1932. Original sheet music for the song "Take Me to the Dance Marathon," played by impressario Zeke Youngblood at the beginning of each of his marathons, and dedicated to him. Interestingly, this copy is signed by seven couples on the front wrapper, each also accompanied by a number, indicating that they were likely participants in one such contest. Although they had existed in one form or another for centuries, dance marathons, where partners needed to continually dance or move in order to avoid elimination, achieved their cultural zenith during the Great Depression, where couples would go to sometimes extreme lengths to compete for prize money, as dramatized in the classic 1935 proletarian novel "They Shoot Horses Don't They" by Horace McCoy. Concern for the health of the participants, as well as pressure from churches and women's groups, led to the gradual dying out of the phenomena, although they are still staged by colleges as charity events today. 9.25 x 12… Read More

London: Eagle-Lion, 1947. Vintage reference photograph of director Ronald Neame and a camera crew filming a scene on the set of the 1947 UK film noir. Printed mimeo snipe affixed to the verso, along with the stamp of the J. Arthur Rank Organization. An opera singer becomes an amateur detective in order to absolve her husband of a crime he did not commit. Neame's directorial debut. 10 x 8 inches. Near Fine. Grant UK. Selby UK. Spicer UK.

London: Eagle Lion / J. Arthur Rank, 1947. Vintage reference photograph of director Ronald Neame and a camera crew filming a scene on the set of the 1947 UK film noir. Stamp of the J. Arthur Rank Organization on the verso, along with a stamp crediting photographer Charles Trigg. An opera singer becomes an amateur detective in order to absolve her husband of a crime he did not commit. Neame's directorial debut. 10 x 8 inches. Near Fine. Grant UK. Selby UK. Spicer UK.

N.p.: N.p., 1958. Final Draft script for the 1959 film. Based on the first play on Broadway to have been written by an African American playwright, about the challenges of a Black youth growing up in a predominantly white neighborhood. In 1991, "Jump Cut" magazine reassessed the play (and subsequent screenplay), calling it a pioneering work. Yellow titled wrappers, with credits for production company Hecht-Hill-Lancaster along the bottom edge of the front wrapper. Title page present, dated October 1, 1958, noted as Final Draft, with credits for screenwriters Julius Epstein and Louis Peterson. 119 leaves, with last page of text numbered 108. Mimeograph duplication on eye-rest green stock, pages dated variously between 10/1/58 and 10/2/58, rectos only, with blue and eye-rest green revision pages throughout, dated variously between 10/22/58 and 11/3/58. Pages Near Fine, wrapper Near Fine, bound with three gold brads.

N.p.: John Erwin, 1953. Two vintage oversize double weight photographs from the premiere of the 1953 play. Both photos feature a very young Louis Gossett (who later changed his stage name to Louis Gossett, Jr.), and one features African American actress and singer Maxine Sullivan. Both photos credit photographer John Erwin and the Lyceum Theatre in New York, as well as producers Thomas Noyes and Lyn Austin. One photo has its credits etched on the white margin at the bottom (from the negative), the other with more formal printed credits. The first play on Broadway to have been written by an African American playwright. Louis Peterson made his breakthrough with the play, about the challenges of a black youth growing up in a white neighborhood. Louis Gossett, in the lead role, was still in high school at the time. Frederick O'Neal, co-founder of the American Negro Theatre, also starred in the play. It was adapted to the screen by Peterson in 1959. The play ran for eight weeks at the Lyceum Theatre,… Read More

Los Angeles: Twentieth Century-Fox, 1944. Final Draft script for the 1944 film, with name of actor and entertainer Phil Silvers, who played himself in the film, in manuscript pencil on top left of distribution page. Based on the popular radio series "Take It or Leave It" (1940-1949) starring host Phil Baker (which would later become the television game show "The $64,000 Question" [1955-1958]), young sailor Eddie Collins (Edward Ryan) finds out his wife (Madge Meredith) is pregnant while on shore leave and appears on the quiz show to raise money for his wife's obstetrician. Collins chooses "Films" as his category which serves as a framework for a compilation of clips from other Twentieth Century-Fox films. Blue titled wrappers, noted as FINAL on the front wrapper, rubber-stamped copy No. 109 and production No. 988, dated MARCH 9, 1944. Distribution page present, with receipt intact. Title page present, dated March 9, 1944, noted as Final Script, with credits for screenwriter Harold Buchman. 60… Read More

Burbank, CA: Palomar Pictures, 1969. Vintage borderless double weight photograph of Woody Allen's mug shot, from the 1969 film. Woody Allen's first film as a director, one of the great American comedies, the film that set the template for Allen's 1970s work. Set in and shot in San Francisco and inside the walls of San Quentin State Prison. 9.25 x 7 inches. Near Fine.

San Francisco: Hillary Productions, 1968. Vintage Tentative Shooting Schedule for the 1969 film, copy belonging to casting director Marvin Paige, with the annotation of his name in manuscript marker in the top right corner of the title page, and two underlines to "tentative," dated June 7, 1968. The 51 page shooting schedule, covering the 50 days of shooting, from 6/17/68 through 8/23/68, is printed horizontally on goldenrod leaves, and contains copied annotations on five pages, circling the sequence number, interior or exterior sequence, night or day sequence, and a needed effect. Woody Allen's directorial debut, one of the great American comedies, the film that set the template for Allen's 1970s work. Allen stars as Virgil Starkwell, a terribly inept bank robber, whose life is told documentary-style, with an FBI voiceover as well as interviews with his family and friends. Set and shot on location in San Francisco and San Quentin State Prison. Self wrappers with front wrapper integral with… Read More

N.p.: N.p., 1969. Collection of six vintage borderless satin-finish photographs from the 1969 film. Woody Allen's directorial debut, the film that set the template for Allen's 1970s work. Allen stars as Virgil Starkwell, a terribly inept bank robber, whose life is told documentary-style, with an FBI voiceover as well as interviews with his family and friends. Set and shot on location in San Francisco and inside the walls of San Quentin State Prison. 7 x 9.5 inches. Near Fine.

Burbank, CA: American Broadcasting Company [ABC], 1969. Collection of 217 individually numbered contact sheets, amounting to 2650 images, from the 1969 film. Housed in two original three-ring binders from the film's publicity department. The occasional frame is circled or crossed through in red marker. A robust collection that documents nearly every facet of the film's production, including numerous candid images of the cast and crew at work. Woody Allen's first film as a director, one of the great American comedies, the film that set the template for Allen's 1970s work. A massive archive documenting the birth of an utterly new and unique voice in cinema, one that would become something even bigger in 1979. Set and shot in San Francisco and inside the walls of San Quentin State Prison. Sheets 8 x 10 inches, most in three-hole mylar sleeves, some with holes punched directly in left margin, others laid in. Very Good overall, few frames excised, general modest edgewear. Binders with signs of use… Read More