“I write in toilets, on planes, when I’m walking, when I stop the car. I make notes. If I am working at a studio, I work at the studio in the morning, then come home. I am really writing two days instead of one. After the studio, I have my second day [at home]. I write whenever I can.”
Richard Brooks
Oscar-winning screenwriter (Elmer Gantry)
The only thing that stopped Richard Brooks from writing was his death in 1992. Before that the writer/director originally from the slums of Philadelphia racked up four decades of credits on films such as In Cold Blood, Blackboard Jungle, The Professionals, and Cat on a Hot Tin Roof—all of which were nominated for Academy Awards.
As a side note, I am working on a script now that has some parallels to In Cold Blood (1967) and I just watched the film last year for the first time. From the story angle that Truman Capote wrote and for which the movie is based on, to the cinematography by Conrad Hall, to the performances on screen, In Cold Blood is a fine tuned movie. (Check out the film Capote, too. How many movies are made on the research done for a book & movie?)
In Cold Blood was based on events that occurred in a small town in Kansas back in 1959, it is also a disturbing movie as it offers glimpse into the human heart.
In Cold Blood was also directed by Brooks giving you a deeper understanding of his talent. He directed a total of 24 films getting Oscar-nominated performances out of ten different actors including Paul Newman, Lee J. Cobb, and Elizabeth Taylor. I’m always interested in the events that paved the way for writers to break into Hollywood and Brooks did it the usual way—he wrote. He wrote a lot.
After studying journalism at Temple University, he struggled to land a job at a newspaper during the depression because they were letting reporters go, not hiring them. (Sound familiar?) He eventually landed in New York doing radio and started directing plays before heading to Hollywood. But long before Brooks spent his final days in his house in Beverly Hills (which was paid for by his creative endeavors) he wrote stories and learned his craft before anyone paid him a dime.
“I’d written some short stories before, but none was published. Anyway, every day, another short story. Everything became grist for a short story. It began to drive me crazy . . . a different plotline every day. My ambition: write one story a week instead of a different story every day. In about eleven months I wrote over 250 stories.”
Richard Brooks
Backstory 2: Interviews with Screenwriters of the 1940s and 1950s/Patrick McGilliagan
So before he won an Academy Award, and before he adapted (with John Huston) the script for the classic Humphrey Bogart/Edward G. Robinson film Key Largo, he wrote—in case you missed it—250 short stories. Two, five, zero. Next time you hear a writer complain about not getting anyone to buy (or even read their script) ask them how many stories they’ve written.
And I should point out for good measure that Brooks, who served in World War II, is one more Marine in Hollywood folklore.
Big hat tip to Scott Myers at Go Into The Story for the extended passage on Brooks that he pulled from McGilliagan’s book.
[…] “I write in toilets, on planes, when I’m walking, when I stop the car. I make notes. If I am working at a studio, I work at the studio in the morning, then come home. I am really writing two days instead of one. After the studio, I have my second day [at home]. I write […] Original Source… […]
Thanks, Scott, for your thoughts about Richard Brooks, a person I feel that I’ve come to know from talking to people who knew him and from reading what he wrote about screenwriting.
Given that Brooks wrote three novels, including one that was reworked into the Oscar-nominated “Crossfire,” he had an interesting take on adapting the stories of others. I came across his comments on that subject while researching a biography about Brooks.
Brooks believed that because books communicate with words, they spark an intellectual response first and then an emotional one. Films, because they deal in images rather than words (sorry, screenwriters!), spark emotional responses first and intellectual ones second, he believed. Thus, he continued, a translation from words to images is necessary and prevents a film from being exactly like the book upon which it is based.
Perhaps that is an epiphany expected of a writer-director (he wrote 21 of the 24 movies he directed and wrote for 10 or so films before he turned director in 1950). Brooks used that point of view to pursue themes in films that were not necessarily important to the author of the original work – or even in the original work. He used “In Cold Blood” as a platform to assail capital punishment, and he changed the main character in “Looking for Mr. Goodbar” because he thought she lacked joy in life – which was central to the character in Judith Rossner’s book, I think.
One fact many people misinterpret when they read Brooks’ bio material is his Marine Corps service. While a Marine, he never served overseas and was never under fire during WWII. He spent two years in the Marines working in the Corps’ film unit, putting together documentaries and training films. From his military experience he wrote “The Brick Foxhole,” which led him back to the movies.
His experience as a reporter – he worked for six or so years for newspapers in the 1930s – led him to research his subjects like a reporter. He even did that with “In Cold Blood,” retracing ground Capote had already covered to satisfy himself that he was getting at the truth of things. For Richard Brooks, nothing mattered more than truth.
Thanks Doug. I think I’m going to use your response as a post in the coming days to make sure more people read it.
I once saw a TV film biography on PBS , a biography on Richard Brooks. Is that film available and where can I find it?