100 Books Like Little Miss Sunshine

This book coined the maxim far and away the most quoted in Hollywood to this day: “Nobody knows anything.” I first read it the year before I broke in. My copy is heavily annotated with yellow highlighter and red pen; a black paperclip still marks the second of Goldman’s two capitalized maxims, “Screenplays are structure.” The value of this book to anyone wanting to understand – or survive in – Hollywood is that, ironically, Goldman, one of the most successful screenwriters and novelists in Hollywood history, knew almost everything, not only about screenwriting, but also the psychology, cautious care, and perilous feeding of actors, directors, executives, and the rest of the Hollywood zoo. It’s both a textbook and survival guide, illustrated with a veteran’s vivid stories about life behind the tinsel.

“You never really succeed,” Andrew W. Marlowe tells the editors of Tales from the Script, “You always fail at a higher level.” So: first you can’t finish your script, then you can’t get it read, then you can’t sell it, then you can’t get it made, then it’s made – but badly. Or, in Marlowe’s case, it’s made into Air Force One and you’re asked to repeat the trick. “Even when you get to the top there’s this realization: ‘Okay, the view is great, but tomorrow I gotta get up and start climbing the mountain again.’” If you find that depressing, don’t be a screenwriter. If you see it as a challenge, read on…

Make a list of great American movies of the 20th century—Sidney Lumet has directed a lot of them. 12 Angry Men. Dog Day Afternoon, Serpico, Network, The Wiz, The Verdict, and so many more. When his book came out in 1995, there had never been a book like it.

Sidney Lumet was giving away his secrets? Wow. I purchased it immediately. When I learned that Mr. Lumet was to appear at a book signing in my city, I arrived early, toting my precious, already dogeared volume, and stood in line to get it signed. For all these years since its publication in 1995, it has stood at or near the top of best-selling books about making movies.

I must have read a hundred books about story structure over the years. Somehow, perhaps because of some story-related blind spot on my part, none of them ever seemed to stick.

My problem was always the middle. Middles can sag. It seems that a story's interior becomes little more than the wasteland a protagonist must traverse to get from the mystery of a beginning to the ultimate challenge of an ending.

Yorke's Into The Woods celebrates the middle. He reminds us that the essential crux of a story lies in its midpoint. Right at the heart of an effective story, he argues, lies a fundamental transformation, a change so great that the protagonist emerges with new powers into a new world.

Furthermore, by analysing stories in five acts rather than three, he allows for an elegant symmetry in which the first and fifth, second, and fourth acts mirror one another.… show more.

Possibly my favorite book ever (only time will tell) this novel is a fever dream of Ike “Vikar” Jerome’s journey into Hollywood starting in 1969 and expanding over a decade.

With a tattoo of Montgomery Clift and Elizabeth Taylor from A Place in the Sun on his bald head, this novel reads like Forrest Gump in the way that Vikar shows up at historical moments in Hollywood’s golden age, making friends with thinly veiled Hollywood titans as they get their start in the film industry. 

Only a small fraction of the millions of Americans in uniform during World War II were engaged in combat operations. Harris’s well-researched account zeroes in on the service of five Hollywood directors, who, like many other professionals, were asked to adapt their civilian skills to wartime needs.

Tacking back and forth between Washington and other stateside locales and posts far afield—from Midway and the Aleutian Islands to North Africa and Italy—the book’s carefully drawn action conveys the far-flung exploits of filmmakers during the war as well as how those experiences impacted their craft.

Ted Sennett is one of the most prolific and widely-read writers about Hollywood and this book on 1939 is one of his very best works. It is filled (one might even say, stuffed) with behind-the-scenes stories. The writing is sometimes critical and analytical rather than gushing as in some of Sennett's many coffee table books. He concentrates on only seventeen 1939 movies so one doesn't get a full picture of that amazing year of movies. It's good to see some lesser-known classics like Midnight and Angels Have Wings included in the seventeen.

I stumbled across this beautiful non-fiction hardback while I was searching for books that would immerse me fully into Honey Black’s world, when I first started writing my novel.

This is an excellent book recounting the scandals of Old Hollywood – Clark Gable and Errol Flynn included – complete with an impressive amount of authentic photographs that bring every story to bright, technicolour life. A lot of the scandals referred to in my novel were discovered through reading this book!

Though not a book, the film starring Will Ferrell and Emma Thompson borrowed heavily from "Niebla" by Miguel de Unamuno, a Spanish novel about a character who becomes aware he is being narrated by a writer and goes to visit the writer. This film lives rent-free in my heart because the style of self-awareness that Ferrell’s character experiences in this film is close to the way I conceived of the meta-awareness of the characters Forsyth and Kintyre in The Untold Tale. I love the idea of someone learning they are being puppeteered and breaking free of the expected, the prescribed, and the narrative laid out for them. Maybe that’s why I like the film The Truman Show so much, too.

This is a sweeping epic of a book and should be required reading for any student of film history.

Told in a manner that is at once intimate and authoritative, it reads like both a textbook and a biography, detailing the lives of a series of historical figures as a means of relating the history of the Black image in film.

In doing so, Haygood contextualizes the cinematic developments of the past by placing them alongside the social and political developments of the time, showing that you can never truly separate fact from fiction.