The Schreiber Theory: A Radical Rewrite of American Film History

A successful writer/director gave me this book because he loved it and it drove him nuts. He and I talk movies all the time and we usually disagree. When he told me about The Schreiber Theory, I knew I had to read it. Then, once I opened it, I couldn't put it down. It's a fascinating new idea for anyone who wonders why movies mostly suck right now and how they can get better. I highly recommend it.

Even if this book wasn't so well-written and witty, so persuasive, it would be worth the (modest) cover price just for the discussions it can start. You don't have to agree with David Kipen to get something out of his theory. It would be surprising, though, if you could read the book and not come out with a different perspective about how and what you think about film.

If only all film theory was this smart and readable! This is a thoughtful book that finally asks (and answers) the obvious question: who really is the author of a film? David Kipen's voice is fresh and funny as he questions that moldy oldie, the auteur theory. A great book for people who love movies.

I love this book. Wish all writing about film had a sense of humor like this. Best part was reading about the old screenwriters -- the "schreibers"! Glad to read about this one in the LA Times.

This is one of the most refreshing books about the movies I've ever read. To call it a diatribe is to, well, lie. It's actually an amazingly friendly book, and it actually gives a lot of credit to the theory it takes issue with -- the auteur theory, the French theory that directors deserve all the credit for a movie. This book says that maybe that's unreasonable, and maybe the writer deserves more credit than we normally give them. In other words, it's a reasonable approach, and the whole second half of the book backs the theory up with a really interesting list of snapshots of famous screenwrites past and present. Plus, the writing herre is really great -- frankly, this guy is a scream, and really talks about movies in a way that "fills you in." The biographical note on the flap says he's written for the Hollywood Reporter, Variety, Boxoffice . . . making the claim that he's a "self-appointed critic" obviously, well, a lie from somebody who must have gotten a bad review under their real name. In fact, the author's "insider" knowledge shows and yet the book is interesting in a way that was more general than that, in a way that considered the whole creative process of making movies. This book is a rare combo -- smart and fun.