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The Collected Works: The Screenplays, Vol. 2: The Hospital / Network / Altered States
A collection of screenplays by this brilliant writer. The Hospital , Network , and Altered States .
342 pages, Paperback
First published February 1, 2000
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About the author
Paddy Chayefsky
75 books71 followersSidney Aaron "Paddy" Chayefsky , was an American playwright, screenwriter, and novelist. He is the only person to have won three solo Academy Awards for Best Screenplay.
He was considered one of the most renowned dramatists of the so-called Golden Age of Television. His intimate, realistic scripts provided a naturalistic style of television drama for the 1950s, and he was regarded as the central figure in the "kitchen sink realism" movement of American television.
Following his critically acclaimed teleplays, Chayefsky continued to succeed as a playwright and novelist. As a screenwriter, he received three Academy Awards for Marty (1955), The Hospital (1971) and Network (1976). Marty was based on his own television drama about a relationship between two lonely people finding love. Network was his scathing satire of the television industry and The Hospital was considered satiric.
Chayefsky's early stories were notable for their dialogue, their depiction of second-generation Americans and their sentiment and humor. They were frequently influenced by the author's childhood in the Bronx. The protagonists were generally middle-class tradesmen struggling with personal problems: loneliness, pressures to conform or their own emotions.
Chayefsky died in New York City of cancer in August 1981 at the age of 58.
He was considered one of the most renowned dramatists of the so-called Golden Age of Television. His intimate, realistic scripts provided a naturalistic style of television drama for the 1950s, and he was regarded as the central figure in the "kitchen sink realism" movement of American television.
Following his critically acclaimed teleplays, Chayefsky continued to succeed as a playwright and novelist. As a screenwriter, he received three Academy Awards for Marty (1955), The Hospital (1971) and Network (1976). Marty was based on his own television drama about a relationship between two lonely people finding love. Network was his scathing satire of the television industry and The Hospital was considered satiric.
Chayefsky's early stories were notable for their dialogue, their depiction of second-generation Americans and their sentiment and humor. They were frequently influenced by the author's childhood in the Bronx. The protagonists were generally middle-class tradesmen struggling with personal problems: loneliness, pressures to conform or their own emotions.
Chayefsky died in New York City of cancer in August 1981 at the age of 58.
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Displaying 1 - 6 of 6 reviews
February 4, 2026
The Network, written by Paddy Chayefsky and directed by Sidney Lumet
A different version of this note and thoughts on other books are available at:
- https://www.youtube.com/playlist?list... and http://realini.blogspot.ro/
Sidney Lumet was an exceptional director and the author of a wonderful book:
- Making Movies
In it, he explains the art of creating films, with the stories and the work involved in producing masterpieces like:
- Dog Day Afternoon, The Verdict, The Hill, Before the Devil Knows You’re Dead and others, including evidently The Network
The Network benefits from a powerful, meaningful script, which won the Academy Award for best screenplay.
And the cast is stellar:
- Peter Finch and Faye Dunaway have won the Oscars for their leading roles and other prestigious awards
- William Holden, Robert Duvall and the other members of the team are excellent
And the plot is so relevant in the world of today.
The completion for audiences and ratings would push many networks to do anything, under all circumstances.
Locally and elsewhere, I am overwhelmed by the lack of morality and ethics that pushes many to extremes…
Click here, or access our page to see how this star has given born to a strange being and what it looks like…and then they just show something which is anything but exceptional.
And of course, we live in the era of fake news and the word picked by The Oxford Dictionary for last year was:
- Post truth
The Donald accuses CNN and others of being the “fake news”, but he is responsible for the biggest number of lies ever to flow from the highest office.
There are also the friends of this phony, the Russians, seriously involved in spreading rumors and falsities, trying to influence elections, from America to France and Germany, where they attack those they don’t like.
The Network is set in the seventies, but there is the same fight for ratings, which bring in advertising and eventually profits.
Howard Beale is the character portrayed by Peter Finch and because his ratings are falling, he is laid off.
“Howard Beale: ...I want you to get mad. I don't want you to protest, I don't want you to riot, I don't want you to write to your congressman, because I wouldn't know what to tell you to write. I don't know what to do about the depression, the inflation, the Russians, or the crime in the streets. All I know is that first... You've got to get mad.”
But he goes back on the air, with strange, maybe messianic messages, that thrill the executives of the network.
At least during the period when the Howard Beale Show becomes the number one and the public is in rapture
“…You've got to say, 'I'm as mad as hell, and I'm not going to take this anymore!' Then we'll figure out what to do about the depression and the inflation and the oil crisis. But first get up out of your chairs, open the window, stick your head out, and yell, and say it: "I'M AS MAD AS HELL, AND I'M NOT GOING TO TAKE THIS ANYMORE!"
The repeated command has become one of the most famous lines in the history of cinema and the dialogue is wondrous.
There are references to Anna Karenina, the lies told in the media, we have a love affair and a marriage break-up, the steps people are willing to take to get at the top, the sacrifice of decency and ethics for money and fame and so much more…
To end with, I thought the film was extremely funny, besides being thought provoking and advancing so many important themes- like Where The Truth Lies, success and happiness, the rat race, insanity, unethical business.
Here is the dialogue between strange bed fellows, business partners that have nothing in common, apparently, except a desire to make money, even when they are commies, guerillas or other sorts of fighters for “ideals”:
“Laureen Hobbs: Don't fuck with my distribution costs! I'm making a lousy two-fifteen per segment and I'm already deficiting twenty-five grand a week with Metro! I'm paying William Morris ten percent off the top, and I'm giving this turkey ten thou per segment, and another five to this fruitcake! And Helen, don't start no shit about a piece again! I'm paying Metro twenty-thousand for all foreign and Canadian distribution, and that's after recoupment! The Communist Party's not gonna see a nickel of this goddamn show until we go into syndication!
Helen Miggs: C'mon Laureen. The party's in for seventy-five hundred a week of the production expenses.
Laureen Hobbs: I'm not giving this pseudoinsurrectionary sedentarian a piece of my show! I'm not giving him script approval, and I sure as shit ain't gotten him into my distribution charges!
Mary Ann Gifford: [screaming] You fucking fascist! Did you see the film we made of the San Marino jail breakout, demonstrating the rising up of the seminal prisoner class infrastructure?
Laureen Hobbs: You can blow the seminal prisoner class infrastructure out your ass! I'm not knockin' down my goddamn distribution charges!
Great Ahmed Kahn: [fires off his gun through the ceiling] Man, give her the FUCKING overhead clause. Let's get back to page twenty-two, number 5, small 'a'. Subsidiary rights.”
A different version of this note and thoughts on other books are available at:
- https://www.youtube.com/playlist?list... and http://realini.blogspot.ro/
Sidney Lumet was an exceptional director and the author of a wonderful book:
- Making Movies
In it, he explains the art of creating films, with the stories and the work involved in producing masterpieces like:
- Dog Day Afternoon, The Verdict, The Hill, Before the Devil Knows You’re Dead and others, including evidently The Network
The Network benefits from a powerful, meaningful script, which won the Academy Award for best screenplay.
And the cast is stellar:
- Peter Finch and Faye Dunaway have won the Oscars for their leading roles and other prestigious awards
- William Holden, Robert Duvall and the other members of the team are excellent
And the plot is so relevant in the world of today.
The completion for audiences and ratings would push many networks to do anything, under all circumstances.
Locally and elsewhere, I am overwhelmed by the lack of morality and ethics that pushes many to extremes…
Click here, or access our page to see how this star has given born to a strange being and what it looks like…and then they just show something which is anything but exceptional.
And of course, we live in the era of fake news and the word picked by The Oxford Dictionary for last year was:
- Post truth
The Donald accuses CNN and others of being the “fake news”, but he is responsible for the biggest number of lies ever to flow from the highest office.
There are also the friends of this phony, the Russians, seriously involved in spreading rumors and falsities, trying to influence elections, from America to France and Germany, where they attack those they don’t like.
The Network is set in the seventies, but there is the same fight for ratings, which bring in advertising and eventually profits.
Howard Beale is the character portrayed by Peter Finch and because his ratings are falling, he is laid off.
“Howard Beale: ...I want you to get mad. I don't want you to protest, I don't want you to riot, I don't want you to write to your congressman, because I wouldn't know what to tell you to write. I don't know what to do about the depression, the inflation, the Russians, or the crime in the streets. All I know is that first... You've got to get mad.”
But he goes back on the air, with strange, maybe messianic messages, that thrill the executives of the network.
At least during the period when the Howard Beale Show becomes the number one and the public is in rapture
“…You've got to say, 'I'm as mad as hell, and I'm not going to take this anymore!' Then we'll figure out what to do about the depression and the inflation and the oil crisis. But first get up out of your chairs, open the window, stick your head out, and yell, and say it: "I'M AS MAD AS HELL, AND I'M NOT GOING TO TAKE THIS ANYMORE!"
The repeated command has become one of the most famous lines in the history of cinema and the dialogue is wondrous.
There are references to Anna Karenina, the lies told in the media, we have a love affair and a marriage break-up, the steps people are willing to take to get at the top, the sacrifice of decency and ethics for money and fame and so much more…
To end with, I thought the film was extremely funny, besides being thought provoking and advancing so many important themes- like Where The Truth Lies, success and happiness, the rat race, insanity, unethical business.
Here is the dialogue between strange bed fellows, business partners that have nothing in common, apparently, except a desire to make money, even when they are commies, guerillas or other sorts of fighters for “ideals”:
“Laureen Hobbs: Don't fuck with my distribution costs! I'm making a lousy two-fifteen per segment and I'm already deficiting twenty-five grand a week with Metro! I'm paying William Morris ten percent off the top, and I'm giving this turkey ten thou per segment, and another five to this fruitcake! And Helen, don't start no shit about a piece again! I'm paying Metro twenty-thousand for all foreign and Canadian distribution, and that's after recoupment! The Communist Party's not gonna see a nickel of this goddamn show until we go into syndication!
Helen Miggs: C'mon Laureen. The party's in for seventy-five hundred a week of the production expenses.
Laureen Hobbs: I'm not giving this pseudoinsurrectionary sedentarian a piece of my show! I'm not giving him script approval, and I sure as shit ain't gotten him into my distribution charges!
Mary Ann Gifford: [screaming] You fucking fascist! Did you see the film we made of the San Marino jail breakout, demonstrating the rising up of the seminal prisoner class infrastructure?
Laureen Hobbs: You can blow the seminal prisoner class infrastructure out your ass! I'm not knockin' down my goddamn distribution charges!
Great Ahmed Kahn: [fires off his gun through the ceiling] Man, give her the FUCKING overhead clause. Let's get back to page twenty-two, number 5, small 'a'. Subsidiary rights.”
February 27, 2018
Paddy Chayefsky (1923-1981) was a brilliant writer and in this book we can find two wonderful screenplays: "The Hospital"(1971) and "Network" (1976). Both winners of the Academy Award. I recommend this book and the movies, especially "The Hospital", a powerful black comedy, hilarious, thought-provoking, one of the finest ever made. "You may die laughing" (The New York Daily News)
December 12, 2018
Chayefsky perfected madness and satire in script form. The Hospital is a hilarious mystery set in a Manhattan hospital losing itself within its own bureaucratic whiplash. Network contains some of the best dialogue in cinema -- it is a film I never, never tire of. And Altered States is a curious science fiction foray into evolution, ripe with psychedelic time slips and apocalyptic visions (it's only flaw is the love story that withers come the climax). An essential collection from King Chayefsky.
May 31, 2012
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June 7, 2019This is why it is one of the best screenplays ever:
https://americanrhetoric.com/MovieSpe...
Arthur Jensen: You have meddled with the primal forces of nature, Mr. Beale, and I won't have it! Is that clear? You think you've merely stopped a business deal. That is not the case! The Arabs have taken billions of dollars out of this country, and now they must put it back! It is ebb and flow, tidal gravity! It is ecological balance!"
You are an old man who thinks in terms of nations and peoples. There are no nations. There are no peoples. There are no Russians. There are no Arabs. There are no third worlds. There is no West. There is only one holistic system of systems, one vast and immane, interwoven, interacting, multivariate, multinational dominion of dollars. Petro-dollars, electro-dollars, multi-dollars, reichmarks, rins, rubles, pounds, and shekels.
It is the international system of currency which determines the totality of life on this planet. That is the natural order of things today. That is the atomic and subatomic and galactic structure of things today! And YOU have meddled with the primal forces of nature, and YOU... WILL... ATONE!
Am I getting through to you, Mr. Beale? You get up on your little twenty-one inch screen and howl about America and democracy. There is no America. There is no democracy. There is only IBM, and ITT, and AT&T, and DuPont, Dow, Union Carbide, and Exxon. Those are the nations of the world today.
What do you think the Russians talk about in their councils of state, Karl Marx? They get out their linear programming charts, statistical decision theories, minimax solutions, and compute the price-cost probabilities of their transactions and investments, just like we do.
We no longer live in a world of nations and ideologies, Mr. Beale. The world is a college of corporations, inexorably determined by the immutable bylaws of business. The world is a business, Mr. Beale. It has been since man crawled out of the slime. And our children will live, Mr. Beale, to see that... perfect world... in which there's no war or famine, oppression or brutality. One vast and ecumenical holding company, for whom all men will work to serve a common profit, in which all men will hold a share of stock. All necessities provided, all anxieties tranquilized, all boredom amused.
And I have chosen you, Mr. Beale, to preach this evangel.
Beale: But why me?
Jensen: Because you're on television, dummy. Sixty million people watch you every night of the week, Monday through Friday.
Screenplay: Paddy Chayefsky, Network (1976)
https://americanrhetoric.com/MovieSpe...
Arthur Jensen: You have meddled with the primal forces of nature, Mr. Beale, and I won't have it! Is that clear? You think you've merely stopped a business deal. That is not the case! The Arabs have taken billions of dollars out of this country, and now they must put it back! It is ebb and flow, tidal gravity! It is ecological balance!"
You are an old man who thinks in terms of nations and peoples. There are no nations. There are no peoples. There are no Russians. There are no Arabs. There are no third worlds. There is no West. There is only one holistic system of systems, one vast and immane, interwoven, interacting, multivariate, multinational dominion of dollars. Petro-dollars, electro-dollars, multi-dollars, reichmarks, rins, rubles, pounds, and shekels.
It is the international system of currency which determines the totality of life on this planet. That is the natural order of things today. That is the atomic and subatomic and galactic structure of things today! And YOU have meddled with the primal forces of nature, and YOU... WILL... ATONE!
Am I getting through to you, Mr. Beale? You get up on your little twenty-one inch screen and howl about America and democracy. There is no America. There is no democracy. There is only IBM, and ITT, and AT&T, and DuPont, Dow, Union Carbide, and Exxon. Those are the nations of the world today.
What do you think the Russians talk about in their councils of state, Karl Marx? They get out their linear programming charts, statistical decision theories, minimax solutions, and compute the price-cost probabilities of their transactions and investments, just like we do.
We no longer live in a world of nations and ideologies, Mr. Beale. The world is a college of corporations, inexorably determined by the immutable bylaws of business. The world is a business, Mr. Beale. It has been since man crawled out of the slime. And our children will live, Mr. Beale, to see that... perfect world... in which there's no war or famine, oppression or brutality. One vast and ecumenical holding company, for whom all men will work to serve a common profit, in which all men will hold a share of stock. All necessities provided, all anxieties tranquilized, all boredom amused.
And I have chosen you, Mr. Beale, to preach this evangel.
Beale: But why me?
Jensen: Because you're on television, dummy. Sixty million people watch you every night of the week, Monday through Friday.
Screenplay: Paddy Chayefsky, Network (1976)
October 11, 2024
What is there left to say about Network? It's completely not hyperbole to say it is one of the all time classics. A cynical look at a deeply cynical society and is every bit as relevant now as it was then. If anything we are much further down the rabbit hole that began around the time the film debuted. The other two films are not quite at that level but very well written of course. You get a window into some of the tropes associated with the author as he reuses situations and characters into these very different stories. Chayevsky is a true master and anyone interested in the craft should definitely take note.
Displaying 1 - 6 of 6 reviews