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Archive for the ‘Screenwriters’ Category

“I believe in the affirmation of life. If we lose that hope, if we lose the possibility of it, we’ve lost an awful lot.”
Writer/Director Paul Mazursky
Film Comment 1978 Interview

“I never thought, I’m going against the grain, I’m going to inform America about the problem of women, about society, about the bums on the street. I just thought, is this a good story, and can I make it work? The European directors I love really showed me that. You make the movie you want to make, that engages you, the movie that you have to make. They got away with it for a long time. And I guess I did too.”
Paul Mazursky
TheWrap

Oscar and Emmy nominated Paul Mazursky’s died a couple of weeks ago.  The  career of the producer, director, writer and actor spanned seven decades. I was in film school when his 1982 film Tempest came out and once remember seeing Mazursky walking across W. Olive Ave. in Burbank as I waited at the stoplight next to Warner Bros. Studios. (When you’re 21-years-old and from outside L.A. you don’t forget those Forrest Gump-like moments.)

At that time in his career he already had two Primetime Emmy nominations (The Danny Kaye Show) and  four  Oscar-nominations (writing Bob & Carol & Ted & Alice,  Harry & Tonto, An Unmarried Woman— the later also was nominated for Best Picture). But some of his more popular films were still to come including Moscow on the Hudson,  Enemies, A Love Story, and Down and Out in Beverly Hills.

“[Down and Out in Beverly Hillsmade me laugh and harder and more delight than any movie I’ve seen since Lost in America.”
Roget Ebert
1986 movie review on Siskel and Ebert

As an actor he also worked on a wide variety of  films and TV programs; Blackboard Jungle, The Twilight Zone, Antz, Curb Your Enthusiasm, and Kung Fu Panda 2.

But when I think of Mazursky, Tempest is what comes to mind first. He directed the film from a script he wrote with Leon Capetanos based on the Shakespeare play.  It won the audience award at the 1982 Toronto International Film Festival.

The reason I link Mazursky to that film is not even the film itself that starred John Cassavetes, Gena Rowlands and Susan Sarandon (and which just happens to be Molly Ringwald’s big screen debut), but because  Mazursky wrote a making of book on the film–fittingly called Paul Mazursky’s Tempest.

Keep in mind that in 1982 there was no Internet so behind the scene books were a key place to get a glimpse into the filmmaking process. I still have my copy of that book. Here’s a couple of shots from the book that may help you in scheduling your film.

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The Director’s Guild of America has a video interview of Mazursky online. And here are a couple of videos interviews the Writers Guild of America did with Mazursky did last year.

Scott W. Smith 

 

 

 

 

 

 

 

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Harold Ramis Earned His ‘Stripes’

 “I’m a writer-director-actor, which I’ve always kind of enjoyed. I compared it to the Olympic biathlon. “Not only can he cross-country ski, but he’s a terrific marksman as well.”
Writer-director-actor Harold Ramis

“Harold Ramis and I together did the ‘National Lampoon Show’ off Broadway, ‘Meatballs,’ ‘Stripes,’ ‘Caddyshack,’ ‘Ghostbusters’ and ‘Groundhog Day.’ He earned his keep on this planet. God bless him.”
Bill Murray on the death of Harold Ramis
New York Daily News

When you look at the run Harold Ramis had between 1978 and 1984 it’s a rather prolific string as a writer (Animal House, Meatballs, Caddyshack, Stripes, and Ghostbuster).  But don’t forget to add that to that his longer career (including Back to School, Groundhog Day, Analyze This) and a career which also included his wearing the hats of producer, director and actor. For someone with such a grasp of writing humor it may seem odd that he took a serious approach to writing movies.

“I have a great respect for the moviegoing experience. It’s such a unique thing. You’re not getting up and walking around the house or flipping channels during the dull parts. You’re in a dark space, and the movie fills most of your field of vision. You’re surrounded by sound, and the colors are deeply saturated, and faces are fifteen feet high. If it’s done well, you’re really going to feel some big emotions or have some big belly laughs. That’s why I’ve tried to stay away from mild satire. I want an audience to feel something more powerful for their ten bucks. If they’re going to spend two hours with me, I’d like to take them someplace special. I’m thinking of doing a marital comedy for one of the studios, but I want it to be so painful that it’ll have a profound effect on married couples who see it together. I want husbands to cringe, and their wives to glare at them, and couples to talk about it later and ask, ‘Do you feel that way?’ ‘What? No, no, of course not.’ I want to explore marriage without the usual Hallmark-card platitudes. Life is difficult, and I like movies that acknowledge that.”
Harold Ramis
The Believer interview in 2008

Scott W. Smith

Harold Ramis 

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“Without people who believe in you as a writer, or in your screenplay, or in the film itself, it would have been impossible.”
Oscar-nominated screenwriter Craig Borten (Dallas Buyers Club)

In the post Screenwriter Melisa Wallack I mentioned how she co-wrote Dallas Buyers Club with Craig Borten. Wallack waited for more than 10 years so see the film get made, but Borten actually had a vision of this film for more than 20 years. Dallas Buyer Club producer Robbie Brenner read one of Borten’s early drafts before Wallack came on board to co-write the script.

Brenner  told Alexandra Cheney at Variety of her journey with the script. (A script that Brad Pitt was once attached to.):

“It’s such an amazing story but throughout the time it took we wanted to kill ourselves. And the frustration, the peaks and valleys and not getting the movie made and then getting the script back, I feel like this is just the most amazing completion. The whole thing came full circle. We spiritually and emotionally made this movie and all of the wrongs, all of the frustrations have been righted. This is what you dream of.”
Robbie Brenner
Oscars: Emotional End To Long Road For ‘Dallas Buyers Club’

Borten had a personal connection to Ron Woodroof’s story. He told the Philadelphia Inquirer, “I had gone through some similar experiences with my father having lymphoma, in terms of the doctors, and dealing with the medical establishment, the protocol, the coldness. My father was thinking of seeking out alternative treatments in Mexico – so Ron’s experiences spoke to my heart.”

Borten is originally from Philadelphia and studied international relations at Syracuse University. He’s credited as one of the writers of The 33 that will be released later this year.

“I’ve sold some other screenplays, and I sold some other pitches, and adapted some stuff over the years. But I’ve never got anything to the finish line. [Until the Dallas Buyers Club was produced.] People ask, if you knew it would be 20 years, would you still have done it? And that’s been a tough question to answer. But sitting here today, I can tell you it was worth it.”
Craig Borten
Interview with Steven Rea, The Philadephia Inquirer 

Related Post: Jailbait, rejection & Screenwriter Mark Boal’s Start (“You have to be willing to get your teeth kicked in continually before you achieve even a modicum of success.—Oscar winning screenwriter Mark Boal)

Scott W. Smith

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As I looked over the names of the 2014 Oscar nominees one named jumped out at me that I knew I had not pulled any quotes from in the six years of doing this blog. In fact, the name was totally off my radar. Melisa Wallack is now on a lot more radars than she was a few days ago. She’s now Oscar-nominated screenwriter Melisa Wallack.

She’s nominated along with Craig Borton for writing Dallas Buyers Club. I decided to dig around on the Internet and see what I could find out about Wallack. And surprise, surprise her hometown is the Minneapolis area. (One of the inspirations of this blog was this unknown writer in Minneapolis who pounded out a spec script on her way to becoming Oscar-winning screenwriter Diablo Cody.)

Wallack moved to LA in ’95 as a businesswoman and by ’05  was named by Variety as one of the top 10 screenwriters to watch. But her Midwest upbringing paved the way for her to write a story about a about an electricians and hustler with AIDS who fights the system for himself and others to get the medication they need.

“I grew up in an idyllic town outside Minneapolis with my parents and five siblings. We had dinner together almost every night … My father would listen to us recount what we had learned at school that day. One of my most vivid memories of this nightly ritual was my father’s insistence that we tell him how we knew something was true. Who said it? Where did we read it? How did we know it was, in fact, true? It wasn’t until many years later that I understood what my father was doing.

“…For me, Ron’s [Ron Woodroof played by Matthew McConaughey] story transcends AIDS. It applies to every one of us in every aspect of our lives. It speaks to the danger of becoming passive participants who follow written protocols and so-called experts’ opinions instead of our own instincts. It reminds me of my nightly conversations with my father and his insistence that we distinguish opinion from fact. It reminds me that it is important to be an active member of society and, in the words of Ron Woodroof, that ‘everyone should ask questions.'”
Melisa Wallack
LA Times, Spirit of Champions drove the ‘Dallas Buyers Club’ script

BTW—That 2005 Variety article about Wallack mentions the Dallas Buyers Club script was what made her a screenwriter to watch. It also said that was her first script and that she began writing in 1999. I’m not sure when she and Borton completed the script but it appears that Dallas Buyers Club took at least 10 years to get produced. Add to that Borton interviewed Ron Woodroof for three days back in 1992 (a month before Woodroof died) and wrote a couple version of the script before he met Wallack,  meaning in total it took over two decades for that story find its way to earning 6 Oscar-nominations including Best Picture.

P.S. Wallack was born in Wayzata, MN which is not far from the Minneapolis suburb of Crystal, MN where Diablo Cody wrote her Juno script. Back in ’08 I visited the Starbucks where Cody wrote much of the script. See the post Juno Has Another Baby (Emmy).

Related Post:

The Oscars Minnesota-Style
The Coen Brothers on Raising Money (Joel & Ethan Coen are also from Minneapolis)
Screenwriting Postcard from Minneapolis
Screenwriting Quote #3 (Charlie Kaufman) Many don’t connect the Oscar-winning screenwriter with Minneapolis, but that’s where he was living before he moved to LA .

Scott W. Smith

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The Secret Life of Steve Conrad

“Life is about courage and going into the unknown.”
Cheryl Merhoff  (Kristen Wiig)
The Secret Life of Walter Mitty (2013) written by Steve Conrad

“I never left [Chicago]. I just feel good here. Ever since I got off the (“L”) train for my interview at college, it felt right to me…It’s an easy city to write in; half the year you’re inside. My friends are here. I’ve made working relationships in other places that have proved really vital to me. I don’t think you can hide away here and hope that you’ll just be served by the quality of your writing.”
Screenwriter Steve Conrad (The Secret Life of Walter Mitty)
Chicago Tribune article by Nina Metz
(Conrad does spend 15-20 weeks away from home on business.)

Conrad is scheduled to direct a biopic he wrote on John Belushi—who was from the Chicago suburb of Wheaton, IL.

P.S. Live outside L.A.? “Try to contact reputable managers who are open to new writers. A scribe who lives in Colorado needs a mouthpiece here [Los Angeles] in town who can work on her behalf.”Christopher Lockhart

Related Posts:

Screenwriting da Chicago Way (2.0)
Before John Hughes was John Hughes (Part 3) “The Tribune referred to me as a ‘former Chicagoan.’ As if, to do anything, I had to leave Chicago. I never left.” Writer/director John Hughes
The Secret to Being a Successful Screenwriter (Seriously) About John Logan, who like Conrad went to Northwestern University, and spent 10 years living in Chicago working a day job, living in a studio apartment, and honed his writing on the way to becoming an Oscar-nominated screenwriter.
Screenwriting Quote #40 (Valentine’s Special)“I think the lesson in everything that happened to me, for people, is don’t listen to the odds, not to listen to the naysayers, to listen to the odds of you getting hit by lighting and getting kidnapped by terrorist are greater than your screenplay being done–if you have a story to tell just write it.” Screenwriter Nia Vardalos (My Big Fat Greek Wedding) who spent time in Chicago doing comedy with Second City.
Four Year Annivesary Includes this quote from an Oscar-winning screenwriter who was born and raised the Chicago area: “Here’s my unsolicited advice to any aspiring screenwriters who might be reading this: Don’t ever agonize about the hordes of other writers who are ostensibly your competition.  No one else is capable of doing what you do.”–Diablo Cody

Scott W. Smith

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“Just focus on the writing and everything else will fall into place.”
Aaron Guzikowski

While the name Aaron Guzikowski may not roll off the tongue as easy as saying Diablo Cody,  there are similarities between the two screenwriters . Cody is a writer with Chicago/Iowa City/Minneapolis roots who worked a regular (non-creative) job at an advertising agency until her writing got the attention of a Hollywood insider. Guzikowski is a writer from the greater Boston area (Brockton), who had been living in Brooklyn, NY and working a regular (non-creative) job in advertising until his writing got the attention of a Hollywood insider.

Both had been writing since their youth and followed that path through college. Cody studied media studies at the University of Iowa and Guzikowski studied art and film at the Pratt Institute. Cody’s Juno made The Black List before it got produced and became a well reviewed movie and a box office hit—and she won an Academy Award for the script. Guzikowski’s Prisoners also made The Black List, and though just released in theaters it has been well reviewed and is on its way to being a box office hit. (It finished #1 at the box office this past weekend.) Time will tell about any Academy Awards.

One of the big differences between the two writers is Cody was discovered while writing a blog, while Guzikowski via an old school query letter sent in the mail. Cody says she wrote the first draft of Juno in six weeks, and Guzikowski said he took two years to write Prisoners. Regardless, if you’re looking for contemporary success stories of screenwriters who were once living outside of L.A. and working regular day jobs then Cody and Guzikowski (one female, one male) are as solid  examples as you can find.

And they both did it not by writing a great script but by writing material that had a voice and connected them with people inside Hollywood who could help develop that voice. The great scripts and the great movies—and the big money— came later.

“[Guzikowski] finished the screenplay for Prisoners while working at an ad agency in New York – getting up at 5 a.m. to write most workdays, penning his thoughts whenever he could at work, then coming home again to write.”
Maria Papadopoulos
The Enterprise

Back in 2009, I wrote the post called The Breakfast Club for Writers where I pointed out how Elmore Leonard, John Grisham, and Ron Bass all once got up at 5 AM to write before their day jobs. So I guess Guzikowski’s in the club.

But the real take away from Guzikowski is the commitment to craft.

“When it comes to submissions, the only thing you want to stand out is the writing, so it pays to adhere to industry standards. As for competition, there’s not much point thinking about it. Just concentrate on the story you’re trying to tell….I signed with my manager first (through a query letter), worked with him for two years developing Prisoners, then after I completed it, I signed with my agent. You don’t really need an agent until you have something that’s ready for market. In terms of how hard it was, working on the script was the hard part, and if you pay enough dues on that end, then securing representation — even without having previously sold anything — becomes a lot easier.”
Aaron Guzikowski
2009 Q&A/Limite Magazine

P.S. The Boston area sure has a solid history of producing excellent screenwriters.

Related Posts:
The 99% Focus Rule (Tip #70)
The Idea is King (Focus not writing the great script, but the “right script”)
Screenwriting from Massachusetts
Will Simmons’ Road to Hollywood (Black List writer who was delivering pizzas in Boston a few years ago.)
Writing “Good Will Hunting” These former no-name writers won an Academy Award for their first produced screenplay.

Scott W. Smith

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“Charlie don’t surf.”
Lieutenant Colonel Bill Kilgore (Robert Duvall) in Apocalypse Now
Screenplay by Francis Ford Coppola and John Milius

Hightower Beach
©2013 Scott W. Smith

This morning I took the above photo and decided to make it a challenge to use it as a springboard for a new post. How could I take a sunrise surfer shot and tie it into something useful about screenwriting? Well, to make a long story short I found an interview with Francis Ford Coppola and John Milius talking about Apocalypse Now that they collaborated on together.  I found the You Tube video on a website that is somewhat new to me called Cinephilia and Beyond . The site is a tremendous resource and I believe originates from a filmmaker in Zagreb, Croatia. On Twitter @LaFamiliaFilm. (I see a “Screenwriting from Croatia” post forming.)

So all the way from Croatia via a turn in Satellite Beach, Florida here’s an interview between the filmmaker who made the quintessential Mafia film (The Godfather) and the one who made the quintessential surfer film (Big Wednesday) talking about how they made Apocalypse Now, how George Lucas was the original director on the project, and how the now classic film had a rocky start out of the gate.

“When the movie first came out it was very dicey which way it was going to go. And I really had my life realy based on it— I’d financed it, and it was starting to get a negative buzz. It had gotten horrible reviews. I remember the reviewer Frank Rich wrote in his review, ‘This is the greatest disaster in all of fifty years of Hollywood’..my feelings were so hurt by this pronouncement.”
Francis Ford Coppola

If you’ve never seen Apocalypse Now, definitely put it on your list of films to watch/study. (Will it help add emphasis if I you knew that last year Quentin Tarantino put it on his list of Top 12 Films of All Time?)

“[Robert Duvall] came to me and he wanted to know what all those surfing terms were. Exactly what they were. He wanted to go down to Malibu and look at surfers—see how they walked around, what they did. He wanted to know when he talked about a cutback that he knew what a cutback was.”
John Milius

P.S. File this one under odd connections: In the interview Coppola talks about going to UCLA at the same time as did Jim Morrison of The Doors. Music from the Doors is played in Apocalypse Now. Morrison was born in Melbourne, Florida just a few miles from where I took the above photo of the surfer that started this post in the first place. Apocalypse Now came out when I was a senior in high school and it was by far the most transformational movie experience of my then 18 year existence. And the scene where The Doors’ song The End plays is still mesmerizing (even on You Tube).

Related Posts:
Writing “The Godfather (take 1)
Postcard #22 (Kelly Slater Statue)
Jack Kerouac in Orlando
Surf Movie History 101
Kelly Slater on the Digital Revolution
Off Screen Quote #12 (Kelly Slater)
“Take a Risk”—Coppola

Scott W. Smith

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