Paddy Chayefsky - Revision history

UDScott: Moving from Category:Best Adapted Screenplay Academy Award winners to Category:Films whose writers won Best Adapted Screenplay Academy Award using Cat-a-lot

2026-04-22T16:30:25Z

Moving from Category:Best Adapted Screenplay Academy Award winners to Category:Films whose writers won Best Adapted Screenplay Academy Award using Cat-a-lot

← Older revision		Revision as of 16:30, 22 April 2026
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	[[Category:Playwrights from the United States]]		[[Category:Playwrights from the United States]]
	[[Category:Best Original Screenplay Academy Award winners]]		[[Category:Best Original Screenplay Academy Award winners]]
	[[Category:Best Adapted Screenplay Academy Award ~~winners~~]]		[[Category:Films whose writers won Best Adapted Screenplay Academy Award]]

UDScott: +Category:Best Adapted Screenplay Academy Award winners; ±Category:Academy Award winners→Category:Best Original Screenplay Academy Award winners using HotCat

2026-04-22T16:25:39Z

+Category:Best Adapted Screenplay Academy Award winners; ±Category:Academy Award winners→Category:Best Original Screenplay Academy Award winners using HotCat

← Older revision		Revision as of 16:25, 22 April 2026
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	[[Category:Academy Award winners]]		[[Category:Best Original Screenplay Academy Award winners]]
			[[Category:Best Adapted Screenplay Academy Award winners]]

Philip Cross: /* Quotes */ ce

2024-06-28T19:27:05Z

Quotes: ce

← Older revision		Revision as of 19:27, 28 June 2024
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	** TV Play, ''The Big Deal'' (1953) - Act II (p.112)		** TV Play, ''The Big Deal'' (1953) - Act II (p.112)

	* ~~...~~Now, the word for television drama is depth, the digging under the surface of life for the more profound truths of human relationships. I cannot help but feel that this is where drama is going. People are beginning to turn into themselves, looking for personal happiness. The jargon of introspection has become everyday conversation. The theater and all its sister mediums [i.e. film; TV; books] can only be a reflection of their times, and the drama of introspection is the drama that the people want to see.		* Now, the word for television drama is depth, the digging under the surface of life for the more profound truths of human relationships. I cannot help but feel that this is where drama is going. People are beginning to turn into themselves, looking for personal happiness. The jargon of introspection has become everyday conversation. The theater and all its sister mediums [i.e. film; TV; books] can only be a reflection of their times, and the drama of introspection is the drama that the people want to see.
	** Paddy Chayevsky's discussion of ''The Big Deal'', titled ''Television Craft'' (p.126-132, at p.132)		** Paddy Chayevsky's discussion of ''The Big Deal'', titled ''Television Craft'' (p.126-132, at p.132)

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	** Paddy Chayevsky's discussion of ''Marty'' (also discussing ''The Mother'' (1954)), titled ''Two Choices of Material'' (p.173-179, at p.173)		** Paddy Chayevsky's discussion of ''Marty'' (also discussing ''The Mother'' (1954)), titled ''Two Choices of Material'' (p.173-179, at p.173)

	* Marty was a comment on the social values of our times.		* ''Marty'' was a comment on the social values of our times.
	** Paddy Chayevsky's discussion of ''Marty'', at p.176. [i.e. A main point in ''Marty'' being whether a male should pursue a female because of her beauty, or because of the rest of ~~what~~ she is.]		** Paddy Chayevsky's discussion of ''Marty'', at p.176. [i.e. A main point in ''Marty'' being whether a male should pursue a female because of her beauty, or because of the rest of who she is.]

	* It is my current belief that the function of the writer is to give the audience some shred of meaning to the otherwise meaningless pattern of their lives. Our lives are filled with endless moments of stimulus and depression. We relate to each other in an incredibly complicated manner. Every fiber of relationship is worth a dramatic study. There is far more exciting drama in the reasons why a man gets married than in why he murders someone. The man who is unhappy in his job, the wife who thinks of a lover, the girl who wants to get into television, your father, mother, sister, brothers, cousins, friends - all these are better subjects for drama than ''[[w:Iago\|Iago]]''. What makes a man ambitious? Why does one girl always try to steal her kid sister's boy friends? Why does your uncle attend his annual class reunion faithfully every year? Why do you always find it depressing to visit your father? These are the substances of good television drama; and the deeper you probe into and examine the twisted semiformed complexes of emotional entanglements, the more exciting your writing becomes.		* It is my current belief that the function of the writer is to give the audience some shred of meaning to the otherwise meaningless pattern of their lives. Our lives are filled with endless moments of stimulus and depression. We relate to each other in an incredibly complicated manner. Every fiber of relationship is worth a dramatic study. There is far more exciting drama in the reasons why a man gets married than in why he murders someone. The man who is unhappy in his job, the wife who thinks of a lover, the girl who wants to get into television, your father, mother, sister, brothers, cousins, friends - all these are better subjects for drama than ''[[w:Iago\|Iago]]''. What makes a man ambitious? Why does one girl always try to steal her kid sister's boy friends? Why does your uncle attend his annual class reunion faithfully every year? Why do you always find it depressing to visit your father? These are the substances of good television drama; and the deeper you probe into and examine the twisted semiformed complexes of emotional entanglements, the more exciting your writing becomes.

Philip Cross: "Marty" (1955) won the Best Adapted Screenplay Oscar; "Hospital" (1971) & "Network" (1976) the Original Screenplay Oscar

2024-06-28T19:24:18Z

"Marty" (1955) won the Best Adapted Screenplay Oscar; "Hospital" (1971) & "Network" (1976) the Original Screenplay Oscar

← Older revision		Revision as of 19:24, 28 June 2024
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	[[File:Paddy Chayefsky HS Yearbook.jpg\|thumb\|right\|You don't get to be good-hearted by accident. You get kicked around long enough, you become a professor of pain.]]		[[File:Paddy Chayefsky HS Yearbook.jpg\|thumb\|right\|You don't get to be good-hearted by accident. You get kicked around long enough, you become a professor of pain.]]
	'''[[w:Paddy Chayefsky\|Sidney Aaron "Paddy" Chayefsky]]''' ([[29 January]] [[1923]] – [[1 August]] [[1981]]) was an American playwright, screenwriter and novelist. He is the only person to have won three solo Academy Awards for ~~Best~~ ~~Screenplay~~.		'''[[w:Paddy Chayefsky\|Sidney Aaron "Paddy" Chayefsky]]''' ([[29 January]] [[1923]] – [[1 August]] [[1981]]) was an American playwright, screenwriter and novelist. He is the only person to have won three solo [[w:Academy Awards\|Academy Awards]] for writing both adapted and original screenplays.

	== Quotes ==		== Quotes ==
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	* CANTOR: And ye shall know Him in the strangest costumes and in the strangest places.		* CANTOR: And ye shall know Him in the strangest costumes and in the strangest places.
	** TV Play, ''[[w:~~Holiday_Song~~\|Holiday Song]]'' (1952) (Adapted from a ''Reader's Digest'' article titled ''It Happened on the Brooklyn Subway''.) - Act III (p.31) '' [Page numbers per the Simon and Schuster Inc. 1956 paperback collection of six of Paddy Chayefsky's plays written for television, each of which is followed by the author's comments on the play in question. (These plays are peppered with multitudes of interesting directions showing how an author might write notes within a play for filming to have his intentions more clearly understood.)]''		** TV Play, ''[[w:Holiday Song\|Holiday Song]]'' (1952) (Adapted from a ''Reader's Digest'' article titled ''It Happened on the Brooklyn Subway''.) - Act III (p.31) '' [Page numbers per the Simon and Schuster Inc. 1956 paperback collection of six of Paddy Chayefsky's plays written for television, each of which is followed by the author's comments on the play in question. (These plays are peppered with multitudes of interesting directions showing how an author might write notes within a play for filming to have his intentions more clearly understood.)]''

	* MR FAULKNER: Give the facts a good look in the face, John.		* MR FAULKNER: Give the facts a good look in the face, John.

Wheatfromchaff: /* Television Plays by Paddy Chayefsky (1955) */ Tidying previous

2022-12-22T11:35:13Z

Television Plays by Paddy Chayefsky (1955): Tidying previous

Wheatfromchaff: /* Quotes */ Added quotes from "Television Plays by Paddy Chayefsky" (1955), a book of 6 plays plus writer's comments on each [=13 quotes from 268 pages]

2022-12-20T14:39:48Z

Quotes: Added quotes from "Television Plays by Paddy Chayefsky" (1955), a book of 6 plays plus writer's comments on each [=13 quotes from 268 pages]

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 == Quotes ==
 === ''[[w:Marty (film)|Marty]]'' (1955) ===
 [[File:Ernest Borgnine-Betsy Blair in Marty trailer.jpg|thumb|right|You see, dogs like us, we ain't such dogs as we think we are.]]

Philip Cross: ce

2022-11-20T10:15:35Z

← Older revision		Revision as of 10:15, 20 November 2022
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	{{DEFAULTSORT:Chayefsky, Paddy}}		{{DEFAULTSORT:Chayefsky, Paddy}}
⚫	[[Category:Novelists from the United States]]
⚫	[[Category:Screenwriters from the United States]]
	[[Category:1923 births]]		[[Category:1923 births]]
	[[Category:1981 deaths]]		[[Category:1981 deaths]]
		⚫	[[Category:Novelists from the United States]]
		⚫	[[Category:Screenwriters from the United States]]
	[[Category:People from New York City]]		[[Category:People from New York City]]
	[[Category:Playwrights from the United States]]		[[Category:Playwrights from the United States]]

Philip Cross: correct chronology

2022-11-20T10:14:40Z

correct chronology

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 * '''[[War]] isn't a fraud, Charlie, it's very real.''' At least that's what you always tried to tell me, isn't it? That we shall never get rid of war by pretending it's unreal? It's the virtue of war that's the fraud, not war itself. It's the valor and the self-sacrifice and the goodness of war that needs the exposing. And here you are being brave and self-sacrificing, positively clanking with moral fervor, perpetuating the very things you detest merely to do "the right thing". Honestly, Charlie, your conversion to morality is really quite funny. All this time I've been terrified of becoming Americanized, and you, you silly ass, have turned into a bloody Englishman
 ** Emily Barham
 === ''[[w:The Hospital|The Hospital]]'' (1971) ===
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 * '''It's hard for me to take your despair very seriously, Doctor. You obviously enjoy it so much.'''
 ** Barbara Drummond.
 ===''[[w:Altered States|Altered States]]'' (1980) ===

GreenMeansGo: Moving from Category:American screenwriters to Category:Screenwriters from the United States using Cat-a-lot

2019-05-14T16:00:40Z

Moving from Category:American screenwriters to Category:Screenwriters from the United States using Cat-a-lot

← Older revision		Revision as of 16:00, 14 May 2019
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	{{DEFAULTSORT:Chayefsky, Paddy}}		{{DEFAULTSORT:Chayefsky, Paddy}}
	[[Category:Novelists from the United States]]		[[Category:Novelists from the United States]]
	[[Category:~~American~~ ~~screenwriters~~]]		[[Category:Screenwriters from the United States]]
	[[Category:1923 births]]		[[Category:1923 births]]
	[[Category:1981 deaths]]		[[Category:1981 deaths]]

GreenMeansGo: Moving from Category:American playwrights to Category:Playwrights from the United States using Cat-a-lot

2019-05-13T15:34:48Z

Moving from Category:American playwrights to Category:Playwrights from the United States using Cat-a-lot

← Older revision		Revision as of 15:34, 13 May 2019
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	[[Category:1981 deaths]]		[[Category:1981 deaths]]
	[[Category:People from New York City]]		[[Category:People from New York City]]
	[[Category:~~American~~ ~~playwrights~~]]		[[Category:Playwrights from the United States]]
	[[Category:Academy Award winners]]		[[Category:Academy Award winners]]

← Older revision		Revision as of 11:35, 22 December 2022
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	* CANTOR: And ye shall know Him in the strangest costumes and in the strangest places.		* CANTOR: And ye shall know Him in the strangest costumes and in the strangest places.
	** TV Play, ''Holiday Song'' (1952) (Adapted from a ''Reader's Digest'' article titled ''It Happened on the Brooklyn Subway''.) - Act III (p.31) '' [Page numbers per the Simon and Schuster Inc. 1956 paperback collection of six of Paddy Chayefsky's plays written for television, each of which is followed by the author's comments on the play in question. (These plays are peppered with multitudes of interesting directions showing how an author might write notes within a play for filming to have his intentions more clearly understood.)]''		** TV Play, ''[[w:Holiday_Song\|Holiday Song]]'' (1952) (Adapted from a ''Reader's Digest'' article titled ''It Happened on the Brooklyn Subway''.) - Act III (p.31) '' [Page numbers per the Simon and Schuster Inc. 1956 paperback collection of six of Paddy Chayefsky's plays written for television, each of which is followed by the author's comments on the play in question. (These plays are peppered with multitudes of interesting directions showing how an author might write notes within a play for filming to have his intentions more clearly understood.)]''

	* MR FAULKNER: Give the facts a good look in the face, John.		* MR FAULKNER: Give the facts a good look in the face, John.
	** TV Play, ''Printer's Measure'' (1953) (A TV play based on a short story Paddy Chayefsky had written in college.) - Act I (p.53)		** TV Play, ''[[w:Printer%27s_Measure\|Printer's Measure]]'' (1953) (A TV play based on a short story Paddy Chayefsky had written in college.) - Act I (p.53)

	* MR HEALY: Are the people any wiser than they were a hundred years ago? Are they happier? This is the great American disease, boy! This passion for machines. Everybody is always inventing labor-saving devices. What's wrong with labor? A man's work is the sweetest thing he owns. It would do us a lot better to invent some labor-''making'' devices. We've gone mad, boy, with this mad chase for comfort, and it's sure we're losing the very juice of living.<br>BOY: The world changes, Mister Healy. The old things go, and each of us must make peace with the new.		* MR HEALY: Are the people any wiser than they were a hundred years ago? Are they happier? This is the great American disease, boy! This passion for machines. Everybody is always inventing labor-saving devices. What's wrong with labor? A man's work is the sweetest thing he owns. It would do us a lot better to invent some labor-''making'' devices. We've gone mad, boy, with this mad chase for comfort, and it's sure we're losing the very juice of living.<br>BOY: The world changes, Mister Healy. The old things go, and each of us must make peace with the new.
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	** Paddy Chayevsky's discussion of ''Marty'', at p.176. [i.e. A main point in ''Marty'' being whether a male should pursue a female because of her beauty, or because of the rest of what she is.]		** Paddy Chayevsky's discussion of ''Marty'', at p.176. [i.e. A main point in ''Marty'' being whether a male should pursue a female because of her beauty, or because of the rest of what she is.]

	* It is my current belief that the function of the writer is to give the audience some shred of meaning to the otherwise meaningless pattern of their lives. Our lives are filled with endless moments of stimulus and depression. We relate to each other in an incredibly complicated manner. Every fiber of relationship is worth a dramatic study. There is far more exciting drama in the reasons why a man gets married than in why he murders someone. The man who is unhappy in his job, the wife who thinks of a lover, the girl who wants to get into television, your father, mother, sister, brothers, cousins, friends - all these are better subjects for drama than Iago. What makes a man ambitious? Why does one girl always try to steal her kid sister's boy friends? Why does your uncle attend his annual class reunion faithfully every year? Why do you always find it depressing to visit your father? These are the substances of good television drama; and the deeper you probe into and examine the twisted semiformed complexes of emotional entanglements, the more exciting your writing becomes.		* It is my current belief that the function of the writer is to give the audience some shred of meaning to the otherwise meaningless pattern of their lives. Our lives are filled with endless moments of stimulus and depression. We relate to each other in an incredibly complicated manner. Every fiber of relationship is worth a dramatic study. There is far more exciting drama in the reasons why a man gets married than in why he murders someone. The man who is unhappy in his job, the wife who thinks of a lover, the girl who wants to get into television, your father, mother, sister, brothers, cousins, friends - all these are better subjects for drama than ''[[w:Iago\|Iago]]''. What makes a man ambitious? Why does one girl always try to steal her kid sister's boy friends? Why does your uncle attend his annual class reunion faithfully every year? Why do you always find it depressing to visit your father? These are the substances of good television drama; and the deeper you probe into and examine the twisted semiformed complexes of emotional entanglements, the more exciting your writing becomes.
	** Paddy Chayevsky's discussion of ''Marty'', at p.178.		** Paddy Chayevsky's discussion of ''Marty'', at p.178.
			[[File:Love_padlocks_on_the_Butchers%27_Bridge_(Ljubljana).jpg\|thumb\|right\|<small>CHARLIE: That's what marriage is, Arnold. It's a job. You work at it. You work at it twenty-four hours a day. It's your job to make that person feel happy. You have to sit and think, "How am I going to make that person feel happy?" It's your job to make that other person happy. And, if your girl is halfway decent, she's going to make it her job to make you happy. Then you get to feel, I can depend on this person. And that's love, man. That's the greatest thing in the world. There's nothing like it. Arnold, I don't know how to explain this to you . . . but that's what my wife does for me. She's the one that makes life worth living.</small>]]

	* Nearby is the boss, a man in his thirties. He is bent over a machine, working on it with a screw driver. The boss is really a pleasant man; he works under the illusion, however, that gruffness is a requisite quality of an executive.		* Nearby is the boss, a man in his thirties. He is bent over a machine, working on it with a screw driver. The boss is really a pleasant man; he works under the illusion, however, that gruffness is a requisite quality of an executive.
	** From Paddy Chayevsky's author direction notes on ''The Mother" (1954). At p.195.		** From Paddy Chayevsky's author direction notes on ''[[w:The_Mother_(The_Philco_Television_Playhouse)\|The Mother]]'' (1954). At p.195.

	* OLD LADY: I'm sixty-six years old, and I don't know what the purpose of it all was. <br>SON-IN-LAW: Missus Fanning . . . <br>OLD LADY; An endless, endless struggle. And for what? For what? ''[She is beginning to cry now]'' Is this what it all comes to?		* OLD LADY: I'm sixty-six years old, and I don't know what the purpose of it all was. <br>SON-IN-LAW: Missus Fanning . . . <br>OLD LADY; An endless, endless struggle. And for what? For what? ''[She is beginning to cry now]'' Is this what it all comes to?
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	* CHARLIE: That's what marriage is, Arnold. It's a job. You work at it. You work at it twenty-four hours a day. It's your job to make that person feel happy. You have to sit and think, "How am I going to make that person feel happy?" It's your job to make that other person happy. And, if your girl is halfway decent, she's going to make it her job to make you happy. Then you get to feel, I can depend on this person. And that's love, man. That's the greatest thing in the world. There's nothing like it. Arnold, I don't know how to explain this to you . . . but that's what my wife does for me. She's the one that makes life worth living.		* CHARLIE: That's what marriage is, Arnold. It's a job. You work at it. You work at it twenty-four hours a day. It's your job to make that person feel happy. You have to sit and think, "How am I going to make that person feel happy?" It's your job to make that other person happy. And, if your girl is halfway decent, she's going to make it her job to make you happy. Then you get to feel, I can depend on this person. And that's love, man. That's the greatest thing in the world. There's nothing like it. Arnold, I don't know how to explain this to you . . . but that's what my wife does for me. She's the one that makes life worth living.
	** TV Play, ''The Bachelor Party'' (1953) - Act III (p.256)		** TV Play, ''[[w:The_Bachelor_Party\|The Bachelor Party]]'' (1953) - Act III (p.256)

	* The writer [i.e. at rehearsals] should stay away from the actors except to let them know how much he is delighted by them. Actors, like everyone else in show business, need this constant reward. Don't flatter an actor unless he deserves it, but most professional actors, if they are responsive, will give you frequent cause for praise. Other than this, don't meddle with them. Actors will always come up to the writer, if he is around at rehearsals, and try to talk their parts out with him. The writer must refer them to the director. The director has his own idea of how to approach each actor, and advice from the writer will just confuse the actor and diffuse the director's authority.		* The writer [i.e. at rehearsals] should stay away from the actors except to let them know how much he is delighted by them. Actors, like everyone else in show business, need this constant reward. Don't flatter an actor unless he deserves it, but most professional actors, if they are responsive, will give you frequent cause for praise. Other than this, don't meddle with them. Actors will always come up to the writer, if he is around at rehearsals, and try to talk their parts out with him. The writer must refer them to the director. The director has his own idea of how to approach each actor, and advice from the writer will just confuse the actor and diffuse the director's authority.
	** From Paddy Chayevsky's writer discussion of ''The Bachelor Party", at p.267.		** From Paddy Chayevsky's writer discussion of ''The Bachelor Party'', at p.267.

	=== ''[[w:Marty (film)\|Marty]]'' (1955) ===		=== ''[[w:Marty (film)\|Marty]]'' (1955) ===