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Loos had two siblings: On pronouncing her name, Loos is reported to have said, "The family has always used the correct French pronunciation which is lohse. However, I myself pronounce my name as if it were spelled luce, since most people pronounce it that way and it was too much trouble to correct them.
Beers Loosfounded a tabloid for which her mother, Minerva "Minnie" Smith did most of the work of a newspaper publisher. Eventually Beers Loos' spendthrift ways caught up with them, and inBeers Loos took an offer to manage a theater company in San Diego. It was around this time that she started shaving years off her true age.
Loos had known she wanted to be a writer since she was six, and she also wanted to free herself of the shackles of stock performance. After graduating from San Diego HighLoos devised a method of cobbling together published reports of Manhattan social life, mailing them to a friend in New York who would submit them under their own name for publication in San Diego.
Her father had turned out some one-act plays for the stock company, and encouraged Anita to work in the field herself. She wrote The Ink Well, a successful piece for which she would receive periodic royalties. Griffithwas her third screenplay and the first to be produced. Loos dredged real life and real situations for her scenarios: Between andshe turned out scripts, only four of which went unproduced,  and she would write scenarios before she ever saw the inside of a studio.
Her mother, Minnie, had objected to Loos working in Hollywood. Intrying to escape her influence, Loos married her first husband, Frank Pallma, Jr. Many of the scripts she turned out for Griffith went unproduced.
Some he considered unfilmable because the "laughs were all in the lines, there was no way to get them onto the screen," but he encouraged her to continue, because reading them amused him. They had an instant rapport, and Loos would remain a Vanity Fair contributor for several decades.
Loos and company realized that Douglas Fairbanks' acrobatics were an extension of his effervescent personality and parlayed his natural athletic ability into swashbuckling adventure roles.
His Picture in the Papers was noted for its wry style of discursive and witty subtitles: The name was something like this: You can only think it. During this time Loos, Fairbanks and Emerson collaborated well together, and Loos was getting as much publicity as either Lillian Gish or Mary Pickford.
He would readily admit that he "had never been, nor could be, faithful to any one female.
She would be wrong on both counts. She would later write: In addition to their film "collaborations" the couple wrote two books: Though the scripts carried both names, they were mostly products of Loos alone.Scenario, the Magazine of Screenwriting Art, Vol.
3, No. 2, Summer by Paul Attanasio, Robert Gordon, Claire Denis, Jean-Pol Fargeau, Martin Goldsmith and a great selection of similar Used, New and Collectible Books available now at benjaminpohle.com Screenwriting Articles; Genres. Author, teacher and script consultant D.B. Gilles discusses the importance of comic relief in screenwriting.
By D.B. Gilles.
How Technology Has Ruined Romantic Comedy. Danny Manus explains how technology has taken the romance out of romantic comedies. A further instalment (see Issue 37) on the career of this fabled American screenwriter. Elaine Lennon examines in detail Towne’s contribution to this key film of the post-classical Hollywood era.
From information on writing for film & television to other screenwriting topics, Script Mag has been the #1 source for scriptwriters for over 15 years! DOUGLAS PASZKIEWICZ is a world class illustrator and writer. His work is regularly featured in several national publications including Mad Magazine, Too Much Coffee Man Magazine, and others.
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