Titlebook: Robert De Niro at Work; From Screenplay to S Adam Ganz,Steven Price Book 2020 The Editor(s) (if applicable) and The Author(s) 2020 Robert D

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Conclusion,President Trump. The chapter looks at how de Niro responded to the de-aging technology in . (2019), and considers his commitment to publishing his father’s work and notebooks, in another recent sign of De Niro’s commitment to archiving his process.

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Introduction,well as revealing many different kinds of writing De Niro creates in the process of preparation, it helps to reorient screen studies towards regarding the performer as an active agent in the development of a film, and screenwriting studies towards studying screenplays as material texts. The Introduc

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The Robert De Niro Archive and the Screenplay as a Boundary Object, of script annotation. Not only screenplays, but also the actor and the archive, can be thought of as ‘boundary objects’, intersecting productively with multiple users and for multiple purposes. For the actor these include exploring costume and physical appearance in relation to the narrative; organ

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,,ned to this point, and becoming an active collaborator with screenwriter Paul Schrader and director Martin Scorsese in creating the character of Travis Bickle. Focusing on De Niro’s script annotations for particular scenes, it shows how, for example, he writes biographical monologues, thinks about d

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,, from a literary novel, and he was playing a romantic lead role for the first time, but with an inexperienced and under-performing actor playing his love interest, Kathleen. The extraordinarily detailed script annotations show De Niro grappling with these problems, with the title pages preserving a

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Book 2020dapted and personalised for the specific use of the individual and their role. As the archive reveals, nobody works more closely with the script than the actor, and no actor works more on a script than De Niro..? ? ? ? ? ? ? ??