Capturing Your Country & Hometown

Here’s an exchange found in Creative Screenwriting magazine, Volume 4, #3 (Fall 1997) that should be an encouragement to you wherever you are writing in the world;

Geoff Jordan: You’ve written a couple of scripts set in Omaha, Nebraska. Why?
Alexander Payne: Because I kind of ‘get” Omaha’s world. If you’re going to make movies in whatever country you’re in, you want to somehow “capture” it. It’s kind of a cliche that early in your career you always go to your roots. It’s all about what you know, or think you know, even if you don’t. I just like Omaha. I’ve always lived here. I mean, my grandparents were here; my father was here. My whole life has been here. Even when I left to go to college at eighteen, I’ve always come back here. So, there’s a kind of constant thread that now, as I’m starting to make movies, it’s kind of fun to go back.

Since that interview, Payne has won two Oscars for his screenwriting; Sideways (2005) and The Descendants. Neither which happen to be set in Omaha as were his films Citizen Ruth, About Schmidt, and Election.

P.S. Bonus for readers of this blog in Greece; While Alexander Payne was born in Omaha, Nebraska, he is of Greek decent and was born with the name Alexander Constantine Papadopoulos.

Scott W. Smith

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Children of the Corn & Trainwrecks

“I can easily tell you what (Children of the Corn) doesn’t have, namely a solid narrative, good direction, complex characters, strong performances, and genuine terror. And yet, it remains an undyingly popular movie 25 years on.”
DVD Review

All week I’ve been in Sioux City, Iowa working on a production and I picked up a book yesterday that said the first feature film shot in this area was the 1984 Children of the Corn based on a Stephen King short story. The 92 minute film has a strong enough fan base to recently have been released in Blu-Ray for its 25th anniversary edition.

The original film starred Peter Horton and Linda Hamilton and cost $300,000. to make and went on to make over $17 million. at the box office. Six spin-offs have been made and while none were wildly successful there are some actresses who picked up some early experience working on one of the franchise films. The 1995 Children of the Corn III: Urban Harvest was the début film of Charlize Theron, Naomi Watts starred in the Children of the Corn IV: The Gathering, and Eva Mendes is one of the stars in Children of the Corn V.

A TV version of the film was shot in Lost Nation, Iowa in ’08 (see photos) and shown on the Sci Fi channel in 2009. It was written and directed by Donald P. Borchers who was a producer on the original 1984 Children of the Corn.

And not that long ago Variety announced that the Weinsteins were producing a remake of the original with Ehren Kruger writing the script. (But I couldn’t find any other evidence that the movie was still in development. Maybe the TV version killed it.) But with the success of Avatar 3-D can Children of the Corn 3-D be too far off?

Though the stories takes place in Nebraska (usually a place called Hastings), for various reasons the films have been shot in various states including the first one in Iowa. Not sure why the original Children of the Corn was shot in and around Sioux City but I know it’s part of their folklore. Just like Lewis & Clark (and gang) passing through here on their famous journey west. They even have a monument for Sergeant Charles Floyd who died here in Aug. 20, 1804.

I couldn’t find a monument for anything related to the filming of Children of the Corn. Maybe it’s hidden in a corn field somewhere. (Then again, I wasn’t looking for one.) But what I did find was something somewhat related to Children of the Corn from a screenwriting perspective in a Q&A with Stephen King.

TIME magazine Nov. 23, 2007  Q&A: Talking with Stephen King

Gilbert Cruz: There have been so many movies and TV miniseries made from your stories and, not to be disrespectful, but some of them are stinkers. Sleepwalkers, Sometimes They Come Back and its various sequels, etc… How do you maintain quality control? Do you even try?
Stephen King: I’d go crazy. I don’t try to maintain quality control. Except I try to get good people involved. The thing is, when you put together a script, a director, and all the other variables, you never really know what’s going to come out. And so you start with the idea that it’s like a baseball game — you put the best team you can on the field, and you know that, more times than not, you’re gonna win.

And in my case, more of the movies than not — if we except things like Return to Salem’s Lot, Children of the Corn 4, The Children of the Corn Meet the Leprechaun or whatever it is — if you do that, then most times you’re going to have something that’s interesting anyway. That doesn’t mean you’re going to have the occasional thing that’s just a train wreck like Dreamcatcher, because that happens, right?

May all your train wrecks be as interesting as Stephen King’s.

Scott W. Smith

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“Up in the Air” Over Iowa

“I just happen to find life funny. Everywhere I look I see comedy…often where it’s inappropriate. “
Jason Reitman
Director Juno/Up in the Air

After the success of Juno Jason Reitman’s had the clout to make a film like Avatar. A big budget extravaganza. Instead he made Up in the Air. A film that not only works on many levels, but that was also shot in an area dear to my heart—flyover country. Granted some of it is literally  in the air in the vast stretch of land between New York and L.A., but the are plenty of Midwest moments including George Clooney’s business headquarters and what he has of a home both being located in Omaha, Nebraska.

And this won’t be a spoiler, but there is even a nice little moment tied into Dubuque, Iowa.

Somehow Reitman directed a film (co-written with Sheldon Turner) that deals with contemporary issues of the economy and yet gave it a timeless feel of a classic film. Somehow he made a film that touches on psychology, sociology, and even the meaning of life and along the way entertains us and makes us laugh.

I don’t know specifically which states the movie was actually shot in but I do know that Reitman did location scouting in Michigan and Missouri that impacted the making of the film:

“At a certain point during scouting, I realized that the scenes that I had written of people getting fired were just inauthentic. We needed something that spoke to the times and what was really happening. I cut out all the firing scenes in the movie and we put ads out in the paper, both in Detroit and St. Louis, saying that we were making a documentary about job loss.”
Jason Reitman
Free Press article by Julie Hinds

Twenty of those people where chosen to be film. To paraphrase Clooney’s character who fires people for a living, being fired brings new opportunities.

But the authentic ground work for the movie is rooted in the book Up in the Air written by Walter Kirn. And though there are many differences to the movie, the heart of the story came from Kirn’s own travel experiences:

I wrote this book in [Earl], Montana of all places, in a snowbound winter on a ranch thinking about airports and airplanes and thinking about a particular conversation I’d had that had startled me. I sat down in a first class cabin – somebody else must have been paying – and you know, I’m the guy you don’t want to sit next to on an airplane because I want to know your story and want to tell you mine and I asked him where he was from this line is in the movie. He said, “I’m from right here” and I said, “What do you mean by that?” He said, “Well, I used to have an apartment in Atlanta but I never used it. It just collected dust and then I got a storage locker, I stay in hotels and am on the road 300 days a year. So this is where I’m from and this is my family.” He pointed to a flight attendant and said, “I know her. I know her name. I know her kids’ names.” And I thought, this is a new creature. I felt like an ornithologist discovering a new bird and when you’re a novelist and you discover a new creature and you discover a sort of new environment in which this creature is possible, you have to write the book.
Walter Kirn
CinemaBlend. com article by Perru Nemiroff

So far Up in the Air has been named the best picture of 2009 by the National Board of Review and the Washington D.C. Area Film Critics Association. Personally, it will be the only film in 2009 I will see multiple times in the theaters. Actually, the first one since Juno. In case I’ve understated myself—if you like fine writing, go see this film.

12/28 Update: Found out that Walter Kirn was born in Akron, Ohio and raised in Marine on Saint Croix, Minnesota (just outside the greater suburbs of Minneapolis/St. Paul). For some reason that doesn’t surprise me. How many times have writers from Minnesota come up in this blog?

Related posts: Filmmaking Quote #6 (Jason Reitman)
Screenwriting Quote of the Day #117 (Jason Reitman)

Scott W. Smith

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ScriptGirl from Iowa & Nebraska

And I thought it was pretty cool that Nebraska produced financial guru Warren Buffett, screenwriter Alexander Payne (Sideways, Election), and actor Marlon Brando, but now I’ve learned that ScriptGirl was born and partially raised in Nebraska (and has strong enough ties there to spend Thanksgiving in the Cornhusker state this year). And on top of that she was an Art History major at the University of Iowa.

I always thought that if Diablo Cody wouldn’t have broken through with Juno she would have evolved into something like ScriptGirl. (Actually, they are the same age so I imagine they attended the University of Iowa at the same time. Interesting.)  ScriptGirl for the uninitiated is the persona of a sexy librarian/farm girl-type turned savvy Hollywood script sale reviewer. While she doesn’t cover her breasts much she does a fine job covering recent script sales in an informative and entertaining way.

Her coverage (and lack of coverage) has helped her build a fan base of  around 8,000 You Tube subscribers (one video currently has 890,846 views). She is also well covered on the social media front including Facebook, Myspace, and twitter. Quentin Tarantino is said to be a fan.

So what prepared ScriptGirl for her online success?

“I didn’t go to film school. I studied art history. But, like so many others, I was drawn to the movie business and came to Los Angeles. I’ve tried or suffered through a lot of different industry jobs. But screenwriting to me was always the ultimate destination. After a couple years of flailing around, I managed to find an agent who liked my romantic comedy and shopped it around. It was optioned by the production company of an actor I shall not name, and I had some meetings on other projects. It was a pretty heady time for this Thai/German farmgirl from Nebraska. But before I could even put a down payment on a Prius, the rom-com was out on its keister, promises of other jobs dried up, and I was back to the harsh reality of 9-5 living.”
ScriptGirl
Interview with Kim Townsel

I’m not sure how much of a moneymaker it is for the small team that puts together ScriptGirl (there are You Tube ads and the occasional product placement of Red Bull or Final Draft) but it has to be good exposure. ScriptGirl now has a regular column at Script magazine. From a screenwriter’s perspective it’s a succinct way to follow script sales and it’s always encouraging to hear ScriptGirl’s closing words; ”You can’t sell it if you don’t write it.”

So if you’ve never seen the Bellview/Omaha, Nebraska native (and Iowa educated) ScriptGirl in action, welcome to her world. (In case you’re wondering, Bellview is just across the river from Iowa. I’m starting to think this Midwest thing is becoming trendy.)

BTW-Did you know that when Alexander Payne was growing up in Omaha that Warren Buffett was actually a neighbor? And did you know Warren Buffett and Jimmy Buffett are distantly related?

Related Posts:

The Juno-Iowa Connection

Screenwriting from Nebraska

Scott W. Smith

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Once Upon a Time in Hollywood… (Part 9)

Once upon a time…a 16-year-old farm girl from a small town in Iowa decided to parlay her good looks into an acting career in Hollywood. She ended up working as prostitute. I know that sounds like a classic cliche, but it wasn’t quite as it seems. For the farm girl was Donna Reed and she won an Oscar for her role as a prostitute in the classic 1953 film From Here to Eternity.

Reed is also known for her role opposite Jimmy Stewart in the Christmas classic It’s a Wonderful Life. She ended up being in more than forty films and had a successful TV program (The Donna Reed Show) from 1958-1966. (Reed died of cancer in 1986 and in her hometown of Denison, Iowa they now have the Donna Reed Foundation for the Performing Arts.)

While it’s true that Reed’s success is not the norm for most who’ve headed to Hollywood over the years, the path to Southern California is well marked from decades of young hopefuls from all over America with stars in their eyes. And there are plenty of dream come true stories of everyone from Brad Pitt to Hilary Swank doing basically what Reed had done in 1937. (For what it’s worth Swank was born in Lincoln, Nebraska and Pitt was raised in Springfield, Missouri, both in the middle of the country like where Reed was from.)

Maybe that model for actors will play out for another hundred years, but maybe it won’t. Over the past two years I written about how writers, actors, and filmmakers have done their thing outside L.A. and found success. (Sometimes great success.) I think that will be a growing trend.

Most 16-year-olds who follow their Hollywood dreams don’t end up with an Oscar to donate to their hometown when they die as Reed did.  Most don’t even get a SAG card. But here’s the thing—these days the odds are in your favor to work in production if you stay where you are and learn your craft.

Of course, there are more opportunities in L.A. but there is also much more experienced competition. And with L.A.’s high unemployment rate that’s more true than ever. (Plus harder to get any job while you wait for your break.) Cameras and editing equipment are cheaper and better than they have ever been. If you’re a writer or actor I’m sure there are production people you can connect with wherever you live (and vice versa).

There have been plenty of actors and writers over the years you have jumped over to the production side as well and this is a great time for you to do this as well.

Programs like Final Cut Pro are relatively inexpensive ($1,000.) and that is the same program that many feature film programs are cut on these days. Go to Lynda.com and for $25. a month you have not only many online tutorials to learn Final Cut Pro, but also about a zillion other creative software programs.)

There are blogs, books, DVDs and podcasts where you have access today to information that the typical film student didn’t even think about ten years ago. You don’t have to jump into the deep-end, but you have to at least stick your toes in the water and move forward.

You don’t have to start out making a feature film, start out by making a one minute film. Make a spoof on what you think really happened to those pilots in the cockpit who lost contact with traffic controllers for an hour and a half. Show it to your friends, stick it on the web—see where it leads. (Send me a link as well, and give me a story credit.)

This is the time to try some new things. But do what you can to avoid the prostitution thing.

Scott W. Smith

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Screenwriting Quote of the Day #2 (Skip Press)

Our screenwriting quote of the day comes from Skip Press on the benefits of gathering actors together to do a reading of your script:

“If you live in Keokuk, Iowa, and write a screenplay, you might find that actors will flock to you for the chance to participate in a reading. I don’t know much about the actors in Iowa, but I do know the Iowa Writers Program is one of the best in the world. And if the movie About Schmidt is any indication of what you can do in Iowa, there’s great work to be done there.”
                                                     Skip Press
                                                     The Complete Idiot’s Guide to Screenwriting
                                                     Chapter 19 What a Reading Can Show You
                                                     Page 241

Notice how Iowa always gets picked on as the last place you’d expect anything to be happening in the film world? Hence, that’s why I chose the name Screenwriting from Iowa.

Now I have been to Keokuk in the southeast corner of Iowa (on the Mississippi River) and they actually have a film festival there called the Keokuk Independent Film Festival so, yes, my guess is you can find actors to read your script in a remote place like Keokuk. (And just for the record Keokuk is about two hours from Marceline, MO where Walt Disney spent time part of his childhood and about an hour away from Hannibal, MO where Mark Twain was raised.)

But I do have to correct Skip on one thing and that is the script for About Schmidt was written by Nebraska native Alexander Payne and filmed in Omaha, Nebraska. Granted just over the Missouri River from Iowa, but I wanted to make that clarification. (It’s kind of like that distinction that folks in Southern California like to make between LA County and Orange County. Or 213 and 818 area codes. Similar, yet different.) But he is correct when he says that there is great work to be done here in Iowa. And I’m guessing wherever you live and write.

To learn more about the Iowa Writers’ Workshop that Skip said “is one of the best in the world” read my post The Juno-Iowa Connection.

And I am planning on following Skip’s advice by doing a reading of a new script I hope to complete this month, so if there are any actors interested in the Cedar Valley please contact me via email at info@scottwsmith.com. (I could arrange something in Minneapolis, Des Moines, Chicago, or even Keokuk if there is a group of actors interested.)

And for the record, Alexander Payne who won an Academy Award for best adapted script for Sideways (written with Jim Taylor) shows that you can come from Omaha and do well in Hollywood. And I don’t know how many actors there are in Omaha now, but that’s where Montgomery Clift and Marlon Brando came from so they have a good heritage. (To read more about Nebraska please read Screenwriting from Nebraska.)

Speaking of Nebraska, if anyone knows where I can get a copy of Robert Duvall’s 1977 directorial debut We’re Not the Jet Set please let me know. (It’s a documentary about a rodeo family in Ogallala, Nebraska.) And speaking of We’re Not the Jet Set, here’s a song by that title recorded by Tammy Wynette & George Jones that I’m guessing you’ve probably never seen or heard. (I hadn’t until yesterday.)

7:36 PM Update: I just came back from seeing Jim Carrey in Yes Man where even he had a blast in Lincoln, Nebraska.

 

Text Copyright ©2009  Scott W. Smith

 

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Screenwriting from Nebraska

“Of course Nebraska is a storehouse for literary material. Everywhere is a storehouse of literary material. If a true artist were born in a pigpen and raised in a sty, he would still find plenty of inspiration for work. The only need is the eye to see.”
                                                                                                        Willa Cather
                                                                                                        My Antonia

 

In other posts we’ve looked at screenwriters from Iowa and some surrounding states- Illinois, Wisconsin, Missouri, and Minnesota, but today let’s head to the west and take a look at Nebraska. 

Before we get to the screenwriting part of that state let me say that Nebraska has produced four giants of cinema on the performing end of feature films; Henry Ford, Fred Astaire, Montgomery Clift and Marlon Brando.

Toss in producer Darryle F. Zanuck, TV personalities Johnny Carson, Dick Cavett as well as other actors James Coburn, Nick Nolte, Janine Turner and most recently Hilary Swank and you have a nice roster of entertainment talent from this Midwest state.

But no list of creatives from Nebraska is complete without mentioning Pulitzer Prize-winning writer Willa Cather whose novels O Pioneers! & My Antonia have had lasting success.

As we look at screenwriting from Nebraska there is one name that stands out in bold, Alexander Payne. The Academy-Award winning writer of Sideways grew up just over the Iowa border in Omaha, reportedly on the same street as Warren Buffett. His films Election, About Schmidt, and Citizen Ruth were all shot in Nebraska.

Payne earned his master’s degree at the UCLA where one of his teachers was Lew Hunter. Lew’s also from Nebraska and his resume is more of a creative journey. He earned two master’s degrees, worked as a radio DJ, an NBC page, story executive and wrote the Emmy-nominated script Fallen Angel, before going on to be the co-founder of the M.F.A. screenwriting program at UCLA. His book Screenwriting 434 flowed out of that class. 

A couple years ago I was reading a screenwriting book by Skip Press and saw that Lew Hunter now lived part of the year in Superior, Nebraska. Since I was heading from Cedar Falls, Iowa in a few days for a shoot in Colorado Springs I found Superior on a map and decided I could make a slight detour and pass through there. (Superior, by the way,  is called the “Victorian Capital of the Midwest.”)

I tracked down Lew’s email and sent him a note. He was in town and welcomed me to not only stop by but to stay the night in his writer’s house that he uses for workshops. So I was able to not only spend some time talking with him about his various experiences in the industry but stayed up at night watching old tapes from his UCLA classes of various people like Billy Wilder talking to his class. 

I later interviewed him for this article that appeared in Create Magazine.

Where did you grow up?
I grew up on a farm outside the small, 392-person village of Guide Rock, Nebraska.

How did growing up on a farm prepare you for a career in Hollywood?
I was given a sense of a work ethic when I was five years old. I did all the things kids do on a farm.

Was there any expression of the arts or creativity in your home?
My mother was quite a different farmwomen. She was a graduate of the University of Nebraska, in music generally and violin specifically.And she went to the New England Conservatory of Music. My mother had me doing piano lessons when I was 3 years old. And she read Shakespere, “Beowulf” and Greek legends with me on her knee. My father was sort of a Will Rogers character in terms of humor and style.

What lead to your Hollywood writing career?
I went over to the story department at Disney Studios. After two years of reading scripts and books trying to get the material into the studio, I was having lunch with Ray Bradbury about doing the “Martin Chronicles,” and we were talking and I said, Ray I’m really thinking about being a writer, and I’ve read about 2,000 scripts and about 90 % are feces. And I think I can be in that top 10 percent of feces. And he gave me two books to read, One was “The Wisdom of Insecurity” by Alan Watts and the other was Dorothea Brande, “Becoming a Writer.”

So how did you actually make that transition to becoming a writer?
I had saved up enough money to focus on writing for a year and wrote six feature-length scripts. The more ponies you pick in the race, the greater your chances of winning. After the year was up my money had run out and I needed a job. My agent called and said that ABC and Aaron Spelling wanted my script, “If Tomorrow Comes” (about Japanese/Americans held captive in California during WWll) and that started my writing career.

The American Screenwriters Association awarded you with a Lifetime Achievment Award a few years ago. But you paid your dues. That’s a valuable lesson for young writers.
Everyone pays their dues to become successful. I’ll give you a perfect example. Screenwriter Brian Price is sitting in my UCLA graduate 434 class and I hold up a Variety (magazine). And on the front page it says first-time writer sells script to Universal. And I said to Brian, “How many scripts did you write before you became a first-time screenwriter?” and he says, “Ten.” I joined WGA (Writers Guild of America) in 1969 and came to Hollywood in 1956.

It seems like more people than ever are writing screenplays. What is your advice anyone wanting to be a screenwriter?
The most important thing I would tell anyone in terms of writing of any kind is when I was at Northwestern, John Steinbeck came and gave a talk and afterwards I went up to him and asked, “What must I do to become a wonderful writer?” Mr. Steinbeck twitched his beard a little with his thumb and forefinger and he said, “Write.” And turned and walked away.

Graduates in the UCLA M.F.A. program are required to write between six and eight screenplays before they graduate. That’s a lot of writing.
It astonishes me when someone telling me they’re a writer and I ask how many screenplays they’ve written and they say, “One.” You’ve got to do the process. Somewhere between four and six scripts is the equivalent of getting up on water skies.

Is it simply talent that separates UCLA Alumni writers David Ward, Francis Ford Coppola, Eric Roth, Alan Ball, David Capthem and former student of yours Alexander Payne from other writers?
It’s three things. Tenacity, focus, and there is an element of luck involved. Of course, there is the street phrase, “The harder I work the luckier I get.” I don’t think they’re smarter than anyone reading this transcript. I believe everyone has the opportunity to be a wonderful screenwriter.

Do you think with the digital technology there is going to be a new style of writing emerging or a revolution in storytelling outside of New York and LA?
I don’t think there will be a new style of writing, but I think it will be easier opportunities for people to knock people off their socks if they have a good story. It will always come doen to story and character and character and story. With a computer editing bay, a DV camera, very little money, and some talented friends and a good script, you’re going to be able to come up with something that’s going to knock people’s socks off. It’s very exciting to think of some boy or girl in some ghetto around the world will get ahold of a computer and tell a story like “Salaam Bombay.” 

Twice a year (June & September) Lew hosts 14-day workshops patterned after the UCLA M.F.A. screenwriting program.  Learn more about Lew and his workshop at lewhunter.com. Lew and his wife Pamela are gracious hosts and I think any screenwriter would benefit from spending a couple weeks in Nebraska learning from Lew.  

 

Copyright 2008 Scott W. Smith

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Sneaky Long Screenwriting

“If you follow your passion, the money will follow. Success, in my opinion, involves sheer luck, hard work and humility.”
                                                           Anthony Zuiker, creator CSI TV programs

 

“I’m Zack Johnson and I’m from Cedar Rapids, Iowa. That’s about it, I’m a normal guy.”

                                                           Zack Johnson, professional golfer 
 

Last year at this time Zack Johnson’s above quote caused laughter from the press corp in Augusta, Georgia as he spoke those words before a national TV audience after winning the prestigious Masters at Augusta National golf tournament.

But do normal guys come from seemingly nowhere to win their first major tournament against the greatest golfers in the world? Do normal guys fend off Tiger Woods, one of the greatest golfers in the history of the game?

Zack Johnson was sneaky long.

Sneaky long is a golf phrase which describes a golfer, a golf shot, or a particular hole that looks deceptively underrated. Think of it like an Adam Sandler/Bill Murray-like fellow in his goofiest outfit coming up to some serious golfers and saying, “You guys want to put a little money on who can hit the next ball the longest?” They take the bet thinking the guy doesn’t have a chance and he ends up taking their money.

Sneaky long is the underdog that causes snickers. Rocky, Seabiscuit, and Erin Brockovich were all sneaky long. Audiences love an underdog mainly because the underdog represents us and our deepest wishes.

When a 36-year-old writer broke into the TV business (in a business where 30 is old) with a script for an episode for the TV show Hunter (followed by scripts for even lesser remembered TV shows) few probably thought that within ten years this guy was going to write a movie that would win five Oscars. But that’s what happened after Randell Wallace wrote Braveheart.

Johnson’s hometown of Cedar Rapids, Iowa has had it’s share of sneaky long characters. NFL quarterback Kurt Warner not only grew up in Cedar Rapids but went to the same high school as Johnson. When no large schools offered him a football scholarship, he signed with the University of Northern Iowa, a Division II college right here in Cedar Falls, Iowa.

It wasn’t the big-time college football that he’d hoped for, but at least he thought he’d start all four years. However, he sat the bench for three years before making his marking mark his senior year by becoming the Gateway Conference’s Offensive Player of the Year.

Following graduation, he worked as a grocery stocker at HyVee (where I shop these days to pick up the vibe) and then played arena football in Des Moines. Next was pro ball in Europe before joining the St. Louis Rams where he was booed in his first game. He went on to be twice voted the top player in the NFL and Super Bowl XXXIV MVP. Someday they’ll do a movie about his life.

One could even say that artist Grant Wood was sneaky long. He was a schoolteacher and artist who lived in a small apartment above a carriage house in (you guessed it) Cedar Rapids, where he eventually painted one of the most recognizable (and copied and parodied) paintings in the history of art—American Gothic.

Wood once said, “I had to go to France to appreciate Iowa.” He also coined the term regionalism to define his belief that an artist should “paint out of the land and the people he knows best.”

Isn’t that what Van Gogh did in Arles? Isn’t that what Winslow Homer did in Maine? Isn’t that what Faulkner did in Oxford, what Steinbeck did in Monterey, what O’Connor in Georgia, what Ibsen did in Norway, what Willa Cather did in Nebraska, and what Horton Foote (Tender Mercies) has done in Texas?

This is the heartbeat of Screenwriting from Iowa. Hollywood will always make its tent pole movies. Movies will always have a LA/New York thrust because that’s where the majority of studios, crews, and talent are located.

But if the writer’s strike signaled one thing it’s the times are changing. As the founder of The Geek Squad said recently, “What people don’t understand is the internet hasn’t yet started.” I believe new forms of distribution will fuel a revival in regionalism.

“What regional filmmaking means to me is not only utilizing the actors of your area, the musicians and the artists, but probing what it means to that region. And for me, the thing about Memphis that I’ve always responded to is its music scene, from Sam Phillips recording Howlin’ Wolf, Rudus Thomas, Elvis Presely, Johnny Cash, Jerry Lee Lewis, Charlie Rich.”
                                                               Craig Brewer, writer/director Hustle & Flow  

Audiences for years have been complaining about the lack of originality and seemingly endless repetition of remakes and sequels. (And again that’s why they flocked to Juno.) And writers have struggled with the pressure to write what they think will sell to the masses rather than writing what they know and really want to write.

While advertising dollars are shrinking along with the writing dollars for TV jobs, the advertising dollars are not going away. They’re heading to the internet. And audiences are no longer satisfied the the TV limitations they’ve had in the past. They like being their own Internet programers. 

We don’t know what it will look like yet, but the writing jobs (and acting, producing, directing, editing, and shooting jobs) will follow. Like the era from silent movies to sound pictures the industry is shifting.

Hollywood is stocked with talent from all across the United States and Canada. We enjoy hearing stories of Katie Holmes being from Toledo, Ohio and Julia Roberts from Smyrna, Georgia. Even the greater Cedar Rapids area alone has its share of actors in recent films and TV programs.

Elijah Wood (Lord of the Rings)
Eric Rouse (Superman Returns)
Michele Monaghan (Mission Impossible III)
Tom Arnold (The Final Season)
Michele Emerson (Lost)
Ron Livingston (Office Space)
Ashton Kutcher (The Guardian) 

Did you know that Kutcher grew up in rural Homestead, Iowa and once had a job sweeping up Cheerio dust at the General Mills factory in Cedar Rapids? That was before he became a biochemical engineering student at the University of Iowa, New York model, film and TV actor, and husband of Demi Moore.

Kutcher had the looks, drive, talent, and quirky good fortune to make a name for himself that thousands of small town actors, writers, directors will never find in Hollywood. And what happens to those actors, writers and directors who don’t find fame or fortune in L.A.?  

Do they embrace that hotel manager job? Have a career in sales for a health club or a real estate company in the valley? Move back home and unpack their suitcase full of broken dreams? Probably a little of all of that, but it’s going to become less necessary for talent to have to be in New York and LA.

This trend has already been seen in the advertising world as Crispin Porter in Miami was chosen to launch the Mini Cooper campaign years ago. (More recently they revamped VW’s image.) And Virginia’s Martin Agency has been doing the UPS Brown and quirky Geico cavemen & gecko ads. (At Martin they used to have a sign in the creative department that read, “Nobody comes to Richmond for the restaurants.”) Creativity Magazine has called Martin the “Third most creative agency in the world.” And they’re in Virginia! Changing times indeed.

But wherever the sneaky long actor, writer, or director lives they need to keep plugging away at the craft. Keep learning and keep creating.

I’ve said before in workshops I’ve given, “Don’t quit your day job, because you never know how that can serve your work.” (Not to mention it pays the biils.) Johnny Depp says he used to use different voices in the telemarketing job he had when he first moved to L.A. from Florida. 

Then there is Anthony Zuiker’s story. After the show he created, CSI, became the top rated scripted show he told Creative Screenwriting magazine, “Three years ago I was living in Vegas as the night manager of the Mirage Hotel tram line.” (Zuiker whose creation has since grown into the hit shows CSI:New York and CSI:Miami has Chicago roots. How many years until CSI: Cedar Falls?)

But when Zuilker was a night manger he was also writing. It was while working at a motel when he actually found the inspiration for his first TV script. ”The police and I are in this motel room searching for evidence when an officer lifts up the bed skirt. All I see is a pair of eyes before she leaps from beneath the bed clawing at my face. And I thought, ‘There’s a show here.’” (By the way if you’re interested in having Zuilker speak to a group of yours contact the Greater Talent Network.)

Certainly golfer Zack Johnson has followed Zuilker’s advice: ”If you follow your passion, the money will follow. Success, in my opinion, involves sheer luck, hard work and humility.” Johnson was not the top golfer on his college team at Drake. (Congrats, by the way, to Drake men’s basketball coach Keno Davis for getting AP Coach of the Year last week.) Johnson even wasn’t the #1 golfer on his high school team.

But he had passion and kept improving his game until he got to slip on the famed green jacket at Augusta on his way to making $4 million dollars last year. 

Whether you’re making music videos in Minneapolis, turning out B-grade cable scripts, teaching high school theater in Tulsa, a grocery store stock boy, a night tram manager in Vegas, a daytime tram operator in Orlando,  or someone sweeping up Cheerio dust in a factory you have to believe that you’re sneaky long and can surprise a lot of people with what you write. But you have to be writing to get there. 

 

Copyright 2008 Scott W. Smith

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