The Sense and Sensibility: Screenplay & Diaries : Bringing Jane Austen's Novel to Film

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Emma Thompson spent five years translating Jane Austen's work to the screen. Fans of the film will treasure this beautiful volume that includes her screenplay, diaries of the writing and the filming, and many gorgeous color pictures from the film.

Book Description

This engaging and beautiful book includes the complete Academy Award-winning script and Thompson's own diaries detailing the production of the film, reviewed by Stanley Kauffmann in The New Republic as "vivid, funny, and gamy." 88 photos including 36 in color.

Customer Reviews:

Emma Thompson's dazzling adaptation of Jane Austen's novel.......2001-11-28

If you read Jane Austen's "Sense and Sensibility" before or after seeing the 1996 film version then I think it is pretty easy to conclude that Emma Thompson's Oscar for Best Screenplay adaptation was richly deserved. After writing and performing a series of short skits for British television, Thompson was approached by producer Lindsay Doran to write the screenplay. Thompson began by dramatizing every scene in the novel, which resulted in 300 hand written pages to be followed by 14 drafts as the 1811 novel was crafted into the final script. The result was a script that manages to be not only romantic and funny, but also romantic and funny in the best Austen sense of both words.

Be aware that this is the Original Script, not to be confused with the Shooting Script. This should be clear as soon as you beginning reading, because originally Thompson had the scene shifting back and forth between Mrs. Dashwood and Elinor/John and Fanny Dashwood (credit for this revision must go, I believe, to Film Editor Tim Squyres, who recut the scene so that we get all of one side and then the other instead of alternating back and forth as in the original script). Overall the strengths of Thompson's script are in two main directions. First, she manages to convey the scope of the novel in a two-hour screenplay, no mean task. Second, the little details she adds to Austen's story are simply marvelous. For example, her use of Shakespeare's Sonnet 116 ("Let me not the marriage of true minds"), which Marianne and Willoughby share to their great mutual delight and which Marianne repeats standing in the rain looking at Willoughby's new estate. In fact, Thompson revised the first scene to make it even better, having Willoughby misquote a key word in an elegant bit of foreshadowing. Thompson also makes one nice little change at the end. While Austen has Elinor bolt from the room to cry outside during the happy ending. Thompson creates a wonderful moment by having her stay in the room and having the rest of her family flee. There are not too many scenes where you are crying and laughing at the same time, but Thompson certainly created one (and has the added virtue of relying on herself as an actress to nail the performance as well). All of these are marvelous examples of playing to the strength of the cinema to bring Austen's novel to the screen.

But we get much more than just the screenplay in this volume, because Thompson includes excerpts from her diaries kept during both the writing of the screenplay and the actual production of the film. It would be nice if there was more insight into what she was thinking when writing the screenplay as I am always interested in how decisions were made and where inspiration comes from, but Thompson makes up for that with her little tales of working with director Ang Lee and the rest of the cast in making the film. Finally, in the Appendices, there is a very choice little treat, namely Imogen Stubbs' Prize-Winning Letter, written to Elinor from Lucy. Do not worry; by the time you read it you will understand why it is so hysterical. There is also a list of the fine homes and estates where "Sense and Sensibility" was filmed if you happen to be roaming around England and are interested in looking for such things.

A look inside the making of the film.......2000-11-21

Most for-sale screenplays are just that -- screenplays. Emma Thompson, who wrote the screenplay for the delightful Jane Austen film "Sense and Sensibility," chose to include journal entries throughout the filming of the movie as well, in addition to the winning entry of a contest to see who could write the best letter from Fanny to Elinor.

There is wit in the descriptions and the photos, all well-captured. The journal entries are entertaining and a good look into the making of a movie. Although be forewarned -- because they dress like the characters of S&S, they do not talk like them. There is definitely some verbal crudeness in the book, men and women alike, but if you can overlook that (or are used to it) then this book will be a delightful read for any Jane Austen fan.

A fascinating look at a remarkable film........2000-07-07

There are three separate parts to this fine volume; introduction, script and diaries. The producer of the film, Lindsay Doran, opens the door for us with her wonderful introduction. At age 13, she was determined that not only was "Jane Austen a very stupid writer," but also she would "never, never read one of her stupid books again."

Fortunately for the rest of the world, Ms. Doran changed her mind, and some twenty-five years after that first erroneous conclusion, has brought us this wonderfully witty, and extremely faithful film version of this first novel by Austen. As producer of the Kenneth Branagh/Emma Thompson film, DEAD AGAIN, she became acquainted with the woman who was not only a phenomenal actress, but also a gifted writer-one with a sense of humor and a strong romantic bent. These two qualities had proven to be the stumbling block over nearly ten years of searching for the right scriptwriter for Sense and Sensibility.

It took nearly seven years to come up with something close to a shooting script, sandwiched as it had to be between Thompson's many award-winning acting chores. Serendipity was obviously at work, however, and eventually, a budget was established, and casting accomplished.

Many of the actors Emma had envisioned in various roles had participated in a read-through the year prior to the filming; they were all in the film, in those same roles.

While the Dashwood ladies are all suitable beautiful, it is the men who are truly gorgeous. ("Repellently so," writes Ms. Thompson in the diary portion, referring to Hugh Grant. "He's much prettier than I am.") With his look-alike Richard Lumsden, they are the brothers Ferrar, Edward and Richard, with Greg Wise as the fickle Willoughby. Alan Rickman (be still my heart!) brings maturity and virility to the role of Colonel Brandon. The sets and costumes are sumptuous.

Interspersed with the actual shooting script and the diaries are some 50 photographs, 36 of them in luscious color. One script looks pretty much like another, but this one allows Ms. Thompson's wry wit to shine, especially in some of the non-spoken words. Of course, not every scene from the book could be included; the movie would have been more than six hours had they been. But the essentials are here, along with all the major characters. Providing testimony to just how perspicacious was the choice of writer is the number of awards garnered by Thompson for this, her first film script.

The diaries portion begin with a production meeting on January 15, 1995 and continue through July 9 of that year. A very small mention is made of Hugh Grant's visit to California, where he'd gone for his next film project after the completion of filming his scenes in England. A final two pages describes the 'location' houses chosen to represent those lived in by the families in the novel.

It may come as somewhat of a surprise to some readers to discover rather explicit language in the diaries. In addition to an apparent fascination with the alimentary process, our Emma has a bit of a potty-mouth, as do some of the gentleman involved, and their words are recorded, one presumes unhappily, all too accurately. They seem curiously jarring and out of place in a book otherwise devoted to the pristine words of Jane Austen.

Nevertheless, this is a lovely, hefty book; one which will bring the reader back to it time and again. There is always a new and enjoyable nugget to be mined from its various depths.

Great marriage of screenplay and journal writing.......2000-02-28

The screenplay itself is a must-read for anyone wanting an education in bringing a well-loved story to life. Emma Thompson does an ingenius job of crafting scenes that are faithful to Austen's original while inventing more that add character development and plot intrigue. I especially like her diary, though. For those who wonder what to include in a memoir of an experience, this journal is a rich model of self-disclosure and humor. I heartily recommend it!

Excellent Book!.......2000-01-04

I truly enjoyed this work by Emma Thompson. Not only is the screenplay included, with pictures, but also there are diary entries by Thompson that give insights into the making of the movie. If you loved this movie, you should read this book. I really enjoyed it.

Story Sense: A Screenwriter's Guide for Film and Television

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Story Sense
One of the Best
Most In Depth, Useful Screenwriting Book
The best screenwriting I've seen!
Absolutely great book

Story Sense: A Screenwriter's Guide for Film and Television
Paul Lucey
Manufacturer: McGraw-Hill Humanities/Social Sciences/Languages
ProductGroup: Book
Binding: Paperback

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ASIN: 0070389969

Book Description

This is the first true textbook for a course in screenwriting. Story Sense provides specific strategies for writing story, character, and script. A wealth of techniques are suggested so that screenwriters can select those that work best for them. The book has been conceived as a working manual for screenwriters and offers hands-on advice for solving the many problems that crop up as the work progresses. In addition, the book includes examples of script format, a glossary of film terms, the Writer's Guild's compensation terms, and such insider examples as a sample studio script evaluation form, a sample script analysis, a sample studio reader's questionnaire, and a sample re-write.

Customer Reviews:

Story Sense.......2007-07-18

If you are serious about becoming a screenwriter, this book will be a valuable addition to your professional library. Lucy goes into depth on subjects other authors ignore or treat lightly. Usually if you can learn one or two things from a screenwriting book, it's worth reading. This book clarifies subjects other authors fail to explain. Lucy not only explains all the loose ends, but ties them together. There are a lot of good books on screenwriting, and this is one of them. Cynthia Whitcomb has a couple of books on screenwriting that you might also want to read.

One of the Best.......2006-01-01

This should be required reading for any type of writer--novelist, screenwriter, playwright. The sections on plot and character development are worth double what this book costs.

Too many "how-to" books on writing perpetrate the image of a writer as a conduit for mysterious creative forces. While I'm not entirely discounting that image, there needs to be a balance between writing as an art and writing as a craft. This book falls firmly in the craft column. It demands you cast aside any artistic pretensions and get down to the plumbing of creating a story. And it doesn't stop with the obligatory pep talk--Lucey shows you how it's done. And he shows it better than any other writing how-to out there.

If I could give this ten stars I would. Highly recommended.

Most In Depth, Useful Screenwriting Book.......2004-11-01

This book should be a mandatory read for writers of all types and all levels. Story Sense offers the tools to develop an entertaining, clever plot with emotionally and psychologically dimensional characters. It takes you step by step through idea, plot, and character formulation, as well as explains how to develop structure, dramatization, and everything else you need to write the perfect screenplay or fictional story. You will find yourself highlighting passages and constantly refering back to this "bible" throughout your writing journey. Keep this book close by, it has all the answers you need as a writer.

The best screenwriting I've seen!.......2003-05-08

I have read many screenwriting books and this is the most complete. It takes you by the hand through each step of the process. I would recommend it to anyone interested in screenwriting. The book even states that if you follow the steps in the 12 chapters it should take you 120 hours and would be equivelent to a college course. No need for any other training. This book is it!

Absolutely great book.......2003-02-18

When ordering several books on screenwriting this book caught my eye because of the high ratings afforded it by others. After reading it I fully concur with what others had to say. I went out and purchased DVDs of the four main example films (The Verdict, Terminator, Sleepless in Seattle, and Witness) that Mr. Lucey focuses on and they allowed me to pick up the fine points described in the text. His vast experience in script writing shows through in each of the topics discussed. I cannot recommend this book highly enough. For a detail-oriented individual such as myself, this book met all my expectations. If you are interested in this topic, this book is a "must have" by all means.

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Tough but interesting...
THIS BOOK WILL NOT IMPROVE YOUR FILMS!
A must read for all filmmakers, The basis of all great films

The Film Sense
Sergei M. Eisenstein , and Jay Leyda
Manufacturer: Harcourt
ProductGroup: Book
Binding: Paperback

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ASIN: 0156309351

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The theory of "montage" or editing, developed by early Soviet filmmakers, reached its deepest expression in the writings of Sergeii Eisenstein, undeniably the most profound theorist of film art. This book contains the clearest and most accessible introduction to his ideas about the cinema. Eisenstein, who directed "The Battleship Potemkin" and "Alexander Nevsky," was a master propagandist as well as a superb filmmaker. In this book, he argues passionately that these two crafts are closely related.

Book Description

Sergei Mikhailovich Eisenstein, born in Riga in 1898, first achieved world fame with his silent film, Potemkin in 1925. Although he only completed six films in his lifetime, he is considered one of the most influential film-makers and film theoreticians of all time.

The Film Sense draws upon Eisenstein's experience in the creation of Strike, Potemkin, Ten Days That Shook the World, Old and New and Alexander Nevsky to discuss films as a medium that would appeal to all the senses, not just the emotions and the intellect. The book also includes a complete list of his work and a bibliography.

Customer Reviews:

Tough but interesting..........2000-11-14

Though no book will make you a filmmaker, some will help you refine your vision. This book, for me, added some poetry and texture to the imagery already in my mind. Pretty much the only thing that will improve your film skills, is making them.

THIS BOOK WILL NOT IMPROVE YOUR FILMS!.......2000-02-28

If you want to improve your own films, this book will not help you (I doubt that any book would). If you can actually figure out what Eisenstien is trying to say (which would probably take 3 readings, but who has the time?) you will find only obscure and vague theories. They are interesting in what they reveal about Eisenstein and his films, but they will not help you as a filmmaker!

A must read for all filmmakers, The basis of all great films.......1997-11-10

Eisenstein thoughts on montage and how the mind interpets film is invaluable when creating films of one's own. Read the book 3 times to learn it for the first.

Sense of Direction: Some Observations on the Art of Directing

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A priceless beginner's (or not beginner's) book!
Sobering Testament
Some great stuff
An impeccable and indespensable document
Great passion communicated with cool logic

Sense of Direction: Some Observations on the Art of Directing
William Ball
Manufacturer: Drama Publishers
ProductGroup: Book
Binding: Paperback

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ASIN: 0896760820

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A priceless beginner's (or not beginner's) book!.......2005-09-30

This book has opened my eyes to a greater view of the audition process as an actor. It has also awakened a fire in me to direct. I am planning on directing my first play this coming Fall, and I really feel prepared with this book and the class I'm taking now. A great text for discussion for directing classes.

Engagingly written.

Sobering Testament.......2005-09-01

SENSE OF DIRECTION is a text every director will want to take a look at, even if, years later, some of Ball's advice seems dated (or too expensive-he was not a man to shy away from large budgets and extended rehearsals if he thought them necessary.) In person he could be rather abrasive, to the point of being ridiculous, like Ross Hunter in a caftan. But on the pages of his book, he exhibits a warm, spiritual nature, almost like a priest. Since the days of the Chekhov dynasty, the director has of course assumed near divine proportions in the theater and you get the feeling Ball enjoyed that role, but he is often very courteous towards his actors. He even goes so far as to say that "one of the director's most important qualifications is knowing when NOT to interrupt his actors."

He was a professional director and the book covers every contingency from "first reading to opening night." Some of Ball's advice is not going to help you if you are an amateur. He gives the advice that actors, like cattle, can't hold too many ideas in their heads at one time so he urges the director to come up with a shorthand of small verbs or nouns with which the actor might make himself aware at all times. "Seduce," for example, might be his direction to the actor playing Cleopatra. Sounds elementary, but it works! After all, he was the man who boasted that he discovered Annette Bening.

He notes that often, for the first ten minutes of a play, the audience finds itself uncomfortable, with a marked realization of the artificiality of theater. They are sitting in a dark room and watching a bunch of people all lit up pretending to be real. As directors our job is to make those first ten minutes fly by so that the dream can swamp the audience and take them along with us on our journey. In passages like this one, he writes beautifully. Within a year or two after completing his book he was summarily fired from ACT and not long after that he had left this world for another, behind the curtains of life. Sad ending for what was once a glorious if eccentric career.

Some great stuff.......2005-07-17

William Ball's "Sense of Direction" has some excellent information for those involed in, or thinking about becoming involved in, directing. However, Mr. Ball is coming from the world of professional actors and sometimes his advise is not applicable for directors involved in educational theatre.

An impeccable and indespensable document.......2000-07-26

Mr. William Ball, the former artistic director and founder of The American Conservatory Theatre in San Fransisco, boils down almost forty years of teaching, acting and directing experience into possibly the most effective,educational and practical document about directing. I shudder to use the word text book as that term implies dry academia- an approach which leads to the the death of the theatre- but really this book is indespensable to any theatre director. Ball lays out in a logical, simple and jargon free manner the nuts and bolts of building a balanced right and left brained community which has complete and utter access to the creative impulse. Everything in Ball's book is transferable, practical (sorry about using that term again but it is true)and impeccably rendered. For any theatre director, I strongly suggest purchasing this book as the foundation of any library. Five out of five stars.

Great passion communicated with cool logic.......1999-12-18

A wealth of practical insight. It could serve as a model for all "how to" books: utterly clear, in stark, spare prose that nevertheless conveys enormous passion for the art. I picked it up as part of a workshop at the Yale Drama School, and have reread it many times. It's a kind of checklist of decisions that must be made by the director, from the most profound philosophical ones to the nuts and bolts of costume design. Mr. Ball's voice here is the one that any director would want to provide his actors in rehearsal: calm, clear, thoroughly informed, and obviously in command.

Compression for Great Digital Video: Power Tips, Techniques, and Common Sense (With CD-ROM)

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Balance of breadth and depth
Interesting in some Ways
MUST HAVE for anyone working in DV Production
A must have.....
A must have.....

Compression for Great Digital Video: Power Tips, Techniques, and Common Sense (With CD-ROM)
Ben Waggoner
Manufacturer: CMP Books
ProductGroup: Book
Binding: Paperback

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ASIN: 157820111X

Book Description

Compression for Great Digital Video is an essential reference for encoding digital video and audio for the Web, CDROM, DVD, and other media. Digital video professionals achieve better and faster results by learning everything that happens before compression (shooting, editing, and capturing) and after compression (getting files on the server, getting reliable bandwidth, and end-user configuration). This book provides a solid foundation in the fundamentals of light, vision, and compression technology applicable to any compression software. It also teaches how to use the most popular applications to optimize files for maximum quality, efficiency, and manageability.

Compression for Great Digital Videoshows readers how to achieve better results quicker when encoding digital video and audio for the Web, CD-ROM, DVD, and other media.

Customer Reviews:

Balance of breadth and depth.......2004-10-21

This book is not meant for beginners. The reviewer who gave the book one star is simply clueless, who obviously chose to ignore the preface, which clearly says that "this book is for compressionists ..." (i.e., not for total beginners, who should see Digital Video for Dummies).

The author of this book manages to do exactly what he promises, which is to detail the use of a vast number of tools, to generate digital video in countless formats, on innumerable types of media. The possible permutations when all tools, formats, and media are taken together is simply mind-numbing, which is why such a book is necessary in the first place. Any dedicated amateur (or even professional) compressionist needs to know whether there is a better way to do what he or she stumbled across by accident on the vast Internet. This book very clearly describes many of the best combination of tools and strategies to produce the best content possible. The writing style is very fluid and friendly, although I would stop short of calling the book an easy read, because the amount of information is too overwhelming for a straight read; instead, I would use it almost like a reference and jump to a particular chapter to refresh my memory and skills just before undertaking a new compression task.

With so much information to write about, I am sure the book was an organizational nightmare for the author, and although he did an overall great job in organizing it, there are still numerous spots where he could have done a better job of introducing a topic before using it to explain other topics. Examples that come to mind: referring to DirectShow without describing it, or creating examples based on video editing tools like Cleaner without first introducing the tool (there are others).

All in all, this is a book that I will continue to use often.

Interesting in some Ways.......2003-05-23

The rest of the reviewers wrote glowing responses to this book. From our perspective, it could include more background and easily to understand steps on how to utilize some of the tools, techniques, and methods of compression. Are there any other books out there for digital compression in more detail that take into consideration the latest technology issues that might have a bearing such as DTV, HDTV, World Wide Uses on legacy systems as well as state of the art systems.

MUST HAVE for anyone working in DV Production.......2002-11-08

Compression for Great Digital Video
Ben Waggoner

Full Disclosure: I am not a compressionist nor have I ever met Ben. Although, he has answered more than one of my questions in the COW Cleaner Forum.

This book is for compressionists, people who want to be compressionists, and people who on occasion need to pretend they're compressionists (pg. 3). With this clear objective stated up front, Ben opens up and let's his brain pour out over each and every page, all 447 of them.

Right from the beginning I was more than a little intimidated and excited at the same time, just from reviewing the Table of Contents. Ben organizes his knowledge into 25 chapters, a glossary, index and a CD-ROM. I will not list all 25 chapters but trust me, if you can think of it Ben covers it.

The first section (Chapters 1-11) is about general principles of vision, compression, and how compressed video operates (pg. 3). No matter what compressionist category you think you fall into, you will learn something in these first chapters, even if it turns how to be how much you forgot since grade school.

The next section (Chapters 12-24) covers specific video tools and technologies (pg. 3). Ben covers them all and yes, I read them all even the ones that I do not use. Most of the information here I was already formula because when I first started working with Cleaner I studied (yes, studied) the manual. However, now that I have my feet wet the information covered here makes more sense.

The last Chapter (Chapter 25) consists of three extensive tutorials that highlight many of the concepts, formats, and tools discussed throughout the book (pg. 3). They cover; Streaming, Progressive Downloading, and Animation for Video Games. So, if your work covers any of these your in luck, if not (such as me) than you may need to read certain Chapters again to pick up what you missed the first time. The CD only contains short snippets of each projects source files. If you'd like the full-length content you will have to order a DVD-ROM from Ben's website. I have to cry foul here, sure you don't need the full-length content to `get the point' but no where on the outside of the book does it tell you that you will only get snippets. I mention this for those of you that get angry over `thin slim' CD's.

Compression for Great Digital Video is an easy and delightful read. It's not very often that you come across a book that covers this much technical information and yet still manages to be clearly understood. Ben fully explains everything that he mentions and often he even provides additional references should you require more information. This book is a MUST HAVE for anyone who find themselves compressing digital video.

A must have............2002-10-23

As somebody who compressed video - and 2D & 3D animations, a couple of years before Ben, I still found this to be a great book, a good read and well laid out. I'm sure I'll be refering to this book every now and then for a good time to come.

A must have............2002-10-23

As somebody who started compressing video - and 2D & 3D animations, a couple of years before Ben, I still found this to be a great book, a good read and well laid out. I'm sure I'll be refering to this book every now and then for a good time to come.

The Corporeal Image: Film, Ethnography, and the Senses

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The Corporeal Image: Film, Ethnography, and the Senses
David MacDougall
Manufacturer: Princeton University Press
ProductGroup: Book
Binding: Paperback

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ASIN: 0691121567

Book Description

In this book, David MacDougall, one of the leading ethnographic filmmakers and film scholars of his generation, builds upon the ideas from his widely praised Transcultural Cinema and argues for a new conception of how visual images create human knowledge in a world in which the value of seeing has often been eclipsed by words.

In ten chapters, MacDougall explores the relations between photographic images and the human body-the body of the viewer and the body behind the camera as well as the body as seen in ethnography, cinema, and photography. In a landmark piece, he discusses the need for a new field of social aesthetics, further elaborated in his reflections on filming at an elite boys' school in northern India. The theme of the school is taken up as well in his discussion of fiction and nonfiction films of childhood. The book's final section presents a radical view of the history of visual anthropology as a maverick anthropological practice that was always at odds with the anthropology of words. In place of the conventional wisdom, he proposes a new set of principles for visual anthropology.

These are essays in the classical sense--speculative, judicious, lucidly written, and mercifully jargon-free. The Corporeal Image presents the latest ideas from one of our foremost thinkers on the role of vision and visual representation in contemporary social thought.

FILM FORM; THE FILM SENSE Two Complete and Unabridged Works

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FILM FORM; THE FILM SENSE Two Complete and Unabridged Works

Manufacturer: Meridian Books
ProductGroup: Book
Binding: Paperback
ASIN: B000GSBKXM

In the Realm of the Senses (BFI Film Classics)

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Essential reading for Oshima buffs

In the Realm of the Senses (BFI Film Classics)
Joan Mellen
Manufacturer: British Film Institute
ProductGroup: Book
Binding: Paperback

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ASIN: 1844570347

Book Description

Declared obscene in Japan, where it has never been shown in its entirety, Oshima Nagisa's In the Realm of the Senses was shown uncut at the Cannes Film Festival in 1976; thirteen screenings were required to satisfy audience demand. The unprecedented explicitness of the sexual acts depicted in the film caused widespread controversy. But this is not a film that sets out simply to shock. Oshima's account of a couple whose sexual obsession finds its ultimate expression in murder (based on a notorious true-life incident in 1936 Tokyo) was animated by deep political convictions.
As Joan Mellen explains, Oshima wished to break with social conventions as well as the filmmaking culture of the past. Refusing to follow the lead of the masters who had gone before him--Mizoguchi, Ozu, Naruse, and Kurosawa--Oshima attacked the sense of victimhood he saw everywhere in his country. In In the Realm of the Senses, Oshima's lovers seek to combat social repression through sexual transgression--but they fail in, as Mellen says, "what may be the most brilliant dystopic vision ever to appear on film."

Customer Reviews:

Essential reading for Oshima buffs.......2005-11-10

Invaluable reading for anyone interested in behind-the-scenes and front-of-the-camera insight into this classic Japanese director. Mellen's "In the Realm of the Senses" is truly "The Story of Oshima." It proved to be essential research for my own forthcoming book, "SADA: An Erotic Tale of Love and Murder."

Film form;: Essays in film theory, and The film sense (Meridian books, MG 10)

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Film form;: Essays in film theory, and The film sense (Meridian books, MG 10)
Sergei Eisenstein
Manufacturer: World Pub. Co
ProductGroup: Book
Binding: Unknown Binding
ASIN: B0007E9PC8

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Sense and Sensibility
Emma Thompson , and Jane Austen
Manufacturer: Bloomsbury Publishing PLC
ProductGroup: Book
Binding: Paperback

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The Sense and Sensibility Screenplay & Diaries: Bringing Jane Austen's Novel to Film (Newmarket Pictorial Moviebooks)

ASIN: 0747530602

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