|Mission to Mars||2000||Associate Producer||n/a||1|
|The Silence of the Lambs||1991||Screenplay||(Adaptation)||1|
|Mission to Mars||2000||Screenplay||n/a||1|
|All the Pretty Horses||2000||Screenplay||(Adaptation)||1|
|Before and After||1996||Screenplay||n/a||1|
|The Father Clements Story||Screenplay||n/a||1|
|Shrek the Third||2007||Consultant||Creative Consultant(Story)||1|
|Shrek 2||2004||Consultant||Story Consultant||1|
|Taught playwriting at Yale University|
|First produced teleplay, "Hooters", adapted for the Playboy Channel|
|Wrote screenplay, "Before and After"|
|Was named master artist in residence at Atlantic Center for the Arts|
|First New York production, "Hooters", at Playwrights Horizons|
|First screenplay produced, "White Palace"; co-written with Alvin Sargent|
|Adaptated "The Silence of the Lambs" as a film; won Oscar|
|First produced play, "Terra Nova", at Yale Repertory Theatre|
|Served as associate producer on "Mission to Mars"|
|Penned the screenplay adaptation of "All the Pretty Horses"|
|Co-wrote adaptation of "Terra Nova" for the BBC|
|First network TV-movie, "The Father Clements Story" (NBC)|
|Adapted Thomas Harris' novel "Red Dragon" to the screen|
|Melinda Kahn||Wife||married December 11, 1977|
|School of Drama, Yale University|
|Yale College, Yale University|
|Tally did uncredited script "doctoring" on the 1994 release, "Outbreak".|
|"The original scripts I wrote, most of them years ago, didn't get made. I don't know whether it's because they weren't good enough or any of the myriad other reasons that movie scripts don't get made. But it seems like now I'm identified as doing adaptations. I get more offers for that kind of work than anything else. I enjoy doing adaptations. I think that when you do an adaptation you perhaps have a slightly better chance of having it turn into a movie because everyone starts on the same page. The producer, the studio executives, everyone has some idea of what the project is when you start. They've read the book. There's less mystery in it for them. It's maybe a little less scary for them to go forward that way." --Ted Tally, quoted in THE HOLLYWOOD REPORTER, January 27, 1992|
|"[A movie] is not fun unless it gets made. And unless it gets made, you're never going to feel legitimized. An unproduced sript is not publishable, and you can't get a bunch of your actor friends to put it on as an off-Broadway show. A film script is only good for one thing. Otherwise, it's dead. And in many cases you don't even own it." --Tally quoted in SEMINAR IN PLAYWRITING: THE FULL-LENGTH PLAY by Richard Toscan (1995).|
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