Laurents was soon hired to write the screenplay for a remake of the 1934 Greta Garbo film The Painted Veil for Ava Gardner.

The screenplay by Lean and H. E. Bates is based on the play The Time of the Cuckoo by Arthur Laurents.

The screenplay by Arthur Laurents was based on his college days at Cornell University and his experiences with the House Un-American Activities Committee.

What was intended to be the final draft of the screenplay was written by Laurents and Pollack at Stark's condominium in Sun Valley, Idaho, and Laurents, dismayed to discover very little of his work remained when it was completed, left the project.

Hitchcock attempted to hire Arthur Laurents to complete work on the screenplay, but he refused, leaving an unfinished draft and the shooting schedule rapidly approaching.

The night before their initial meeting, Granger coincidentally met Arthur Laurents, who had written the film's screenplay, which was based on the play Rope's End, a fictionalized account of the Leopold and Loeb murder case.

Bonjour tristesse is a 1958 film directed and produced by Otto Preminger from a screenplay by Arthur Laurents based on the novel of the same title by Françoise Sagan.

The show was first announced in The New York Times on October 5, 1961: " For the winter of 1962, Laurents is nurturing another musical project, The Natives Are Restless.

A meager description was furnished by Mr. Laurents, who refused to elaborate.

In 1955, theatrical producer Martin Gabel was working on a stage adaptation of the James M. Cain novel Serenade, about an opera singer who comes to the realization he is homosexual, and he invited Laurents to write the book.

Laurents, however, was committed to Gabel, who introduced him to the young composer / lyricist Stephen Sondheim.

Laurents liked the lyrics but was not impressed with the music.

Bernstein suggested they rework East Side Story and set it in Los Angeles, but Laurents felt he was more familiar with Puerto Ricans and Harlem than he was with Mexican Americans and Olvera Street.

In New York, Laurents went to the opening night party for a new play by Ugo Betti, and there he met Sondheim, who had heard that East Side Story, now retitled West Side Story, was back on track.

Meanwhile, Laurents had written a new draft of the book changing the characters ' backgrounds: Anton, once an Irish American, was now of Polish and Irish descent, and the formerly Jewish Maria had become a Puerto Rican.

Laurents ultimately invented what sounded like real street talk but actually was not: " cut the frabba-jabba ", for example.

With the help of Oscar Hammerstein, Laurents convinced Bernstein and Sondheim to move " One Hand, One Heart ", which he considered too pristine for the balcony scene, to the scene set in the bridal shop, and as a result " Tonight " was written to replace it.

Laurents felt that the building tension needed to be alleviated in order to increase the impact of the play's tragic outcome, so comic relief in the form of Officer Krupke was added to the second act.

Another song, " Kid Stuff ", was added and quickly removed during the Washington, D. C. tryout when Laurents convinced the others it was helping tip the balance of the show into typical musical comedy.

Robbins was involved with Bells Are Ringing, then Bernstein with Candide, and in January 1957 A Clearing in the Woods, Laurents ' latest play, opened and quickly closed.

The film was adapted by Millen Brand, Arthur Laurents ( uncredited ) and Frank Partos from the novel by Mary Jane Ward.

1876 The first rice mill was built by Gustave Laurents and D. Derouen.

* Stage ( Musical ): In 1991, a Broadway musical, Nick & Nora with a book by Arthur Laurents, lyrics by Richard Maltby, Jr., and music by Charles Strouse was based on the characters.

Gypsy's memoir, titled Gypsy, was published in 1957 and was taken as inspirational material for the Jule Styne, Stephen Sondheim, and Arthur Laurents Broadway musical Gypsy: A Musical Fable.

It later was reported she was negotiating with Daniel Mann instead, and Laurents would be adapting his play for the screen.

The movie was adapted by Guy Bolton and Arthur Laurents from the play by Bolton and Marcelle Maurette.

The first name was borrowed from urbane television producer Hubbell Robinson, who had hired Laurents to write an episode of ABC Stage 67.

The director demanded the role of Hubbell be made equal to that of Katie, and throughout filming, for unexplained reasons, he kept Laurents away from Redford.

Franco Zeffirelli was the first choice for director, and he met with Laurents, Sondheim, and Rodgers, who fell asleep during their discussion.

* TCM Remembers 2011: Farley Granger, Diane Cilento, Miriam Seegar, Anna Massey, Sybil Jason, screenwriter Jimmy Sangster, James Arness, Annie Girardot, Susannah York, William Campbell, Linda Christian, Jane Russell, Michael Sarrazin, Edith Fellows, Peter Falk, Pete Postlethwaite, Len Lesser, screenwriter Kevin Jarre, John Howard Davies, Paul Picerni, Betty Garrett, producer Gil Cates, Marilyn Nash, agent Sue Mengers, writer / designer Polly Platt, Hideko Takamine, Jeff Conaway, Edward Hardwicke, Tura Satana, Neva Patterson, cinematographer Gunnar Fischer, Mary Murphy, Dana Wynter, Elaine Stewart, Lena Nyman, Roberts Blossom, Jackie Cooper, Harry Morgan, Googie Withers, Barbara Kent, Cliff Robertson, Margaret Field, Anne Francis, Yvette Vickers, Paulette Dubost, Charles Napier, Maria Schneider, Norma Eberhardt, John Wood, director Sidney Lumet, composer John Barry, John Neville, Bill McKinney, Kenneth Mars, director Ken Russell, director Peter Yates, G. D. Spradlin, Leslie Brooks, Paul Massie, David Nelson, Jill Haworth, producer John Calley, screenwriter Arthur Laurents, Michael Gough and Elizabeth Taylor.

It was directed by Arthur Laurents and choreographed by Scott Salmon, with set design by David Mitchell, costume design by Theoni V. Aldredge, and lighting design by Jules Fisher.

Bosley Crowther of the New York Times observed, " In adapting for the screen Arthur Laurents ' stage play The Time of the Cuckoo, Mr. Lean and H. E. Bates discarded most of the individual shadings and psychological subtleties of that romance.

He enthusiastically contacted Laurents and the two discussed changes that could be made to improve the show.

Anyone Can Whistle is a musical with a book by Arthur Laurents and music and lyrics by Stephen Sondheim.

Eager to work with both Laurents and Sondheim, Angela Lansbury accepted the lead role as Mayoress Cora Hoover Hooper, despite her strong misgivings about the script and her ability to handle the score.

Laurents, ignoring criticism about the show's message being trite and its absurdist style difficult to comprehend, poured his energies into restaging rather than dealing with the crux of the problem.

Sondheim worked closely with book writer Arthur Laurents to create the show.

West Side Story is an American musical with a book by Arthur Laurents, music by Leonard Bernstein, lyrics by Stephen Sondheim, and conception and choreography by Jerome Robbins.

He arrived in Hollywood to choreograph the dance sequences for The King and I, and he and Laurents began developing the musical while working on their respective projects, keeping in touch with Bernstein, who had returned to New York.

When the producer of The Painted Veil replaced Gardner with Eleanor Parker and asked Laurents to revise his script with her in mind, he backed out of the film, freeing him to devote all his time to the stage musical.

In 2007, Arthur Laurents stated, " I've come up with a way of doing Side Story that will make it absolutely contemporary without changing a word or a note.

The fiery campus radical organized rallies and a peace strike, and the memory of her fervor remained with Laurents long after the two lost touch.

Laurents decided to develop a story with a similar character at its center, but was unsure what other elements to add.

Laurents had been impressed with They Shoot Horses, Don't They?

Stark was less enthused, but agreed because Pollack assured him he could deliver Robert Redford for the role of Hubbell, which Laurents had written with Ryan O ' Neal in mind.

A decade after the film was released, Redford, having made peace with Laurents, contacted him to discuss the possibility of collaborating on a new project, and eventually the two settled on a sequel to The Way We Were.

In 1996, Streisand came across the sequel Laurents had written, and decided she wanted to produce and direct it as well as co-star with Redford, but didn't want to work with Stark.