Screenwriter Edward Anhalt had a more than a 40-year career after graduating from Columbia University’s School of Journalism. While two of his most popular films were Jeremiah Johnson and The Young Lions, his two Academy Awards were for Panic in the Streets and Becket.
Along the way his work was produced by an amazing group of people:
Elia Kazan, Robert Redford, Henry Fonda, Ricard Burton, John Frankenheimer, Shelly Winters, Burt Landcaster, Bob Hope, Edward Dmytryk, Montgomery Clift, Elvis and Marlon Brando.
I often find it interesting and helpful to learn how writers write, and I came across this old interview of Anhalt where he laid out his writing process:
“I write longhand and from that I go to tape. I read the scene, and if it doesn’t sound right when I replay it, I do it over. Although I’m not a very good actor, it works for me. So I can play a number of parts. Brando taught me that. He does that—where he’ll play all the parts and listen to himself. So I do that and I transmit that over the telephone to my secretary, who has a telephone pickup on her end, and then she takes it off her tape onto the typewriter. Then once a day or so, we meet. She comes down to the boat or I go to her house, or whatever, and she gives me the pages.”
The Screenwriter Looks at the Screenwriter
by William Froug
You may not have a secretary or a boat, but who can’t afford a pen and a pad of paper? And you can probably pick-up a used cassette recorder for $5 or a fancey new digital one for $75. For a couple bucks toss in some index cards and you’re off to the races. There are a lot of things people will tell you you need to be a screenwriter, but what you really need is a story and willpower.