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Posts Tagged ‘Paul Newman’

“The idea for The Glass Menagerie came very slowly, much more slowly than Streetcar, for example. I think I worked on Menagerie longer than any other play. I didn’t think it’d ever be produced. I wasn’t writing it for that purpose. I wrote it first as a short story called ‘Portrait of a Girl in Glass,’ which is, I believe, one of my best stories. I guess Menagerie grew out of the intense emotions I felt seeing my sister’s mind begin to go.”
Tennessee Williams
The Paris Review interview 

Watching actors perform Tennessee Williams’ words on stage, TV, and in movies—or even on the Internet—may not make you a better writer, but I believe they can make you more human.  If you’re tired of, or need a break from special effect extravaganzas or high-concept schlock that, to borrow Shakespeare’s phrase, are “full of sound and fury, signifying nothing,” get a copy of The Glass Menagerie and read it slowly.

When I was driving through Mississippi last month I picked up a used copy of the printed play The Glass Menagerie for under five dollars at Square Books in Oxford. The pages had fallen out of my old original copy of the book and there was something poetic about buying the play again by the Mississippi born Tennessee Williams in the town square where Mississippi born William Faulkner used to wander. (And for what it’s worth Faulkner wrote a book titled The Sound and the Fury.)

The Glass Menagerie, a four character play, premiered in Chicago in 1944 and it debuted on Broadway the following year where it won the  New York Drama Critics’ Circle Award for Best Play of that year. Critics championed the play from the very beginning. Even today when critics question a revival performance it tends to be in casting choices and stage direction.  I recall one reviewer who once wrote something to the effect that poorly performed Williams was better than no Williams at all.

One of the greatest creative opportunities of my life was doing a three month acting workshop with Arthur Mendoza working on The Glass Menagerie. This was back in the ’80s in Los Angeles shortly after Williams died and just before the Paul Newman directed version was released in 1987.  Mendoza had studied with Stella Adler for ten years before turning to teaching himself, and embraced the view that it was worth it for the actor to study the playwright as well as the play. (Some acting teachers stress importance only on the written word.)

Believe it or not we only worked on the opening monologue of Tom. Three months of working on a long monologue which begins:

“Yes, I have tricks in my pocket, I have things up my sleeve. But I am the opposite of a magician. He gives you illusion that has the appearance of truth. I give you truth in the pleasant disguise of illusion.”

I didn’t know much about acting, writing—or life—back then, but I knew that both Tennessee Williams and The Glass Menagerie were special. Beyond Williams’ poetic style of writing is a primal story. A story of loss and broken dreams. It’s an emotional story full of external and internal conflict that touches on basic human relationships between mother and son,  father and son, mother and daughter, husband and wife, brother and sister—can you get any more universal? Mix in themes of love, hope, and dreams and it’s no surprise that the play still has life today.

In fact, just two months ago The Glass Menagerie once again opened on Broadway (for a limited run through February) and the reviews have been outstanding.

“This production makes clear that ‘The Glass Menagerie’ belongs on the same exclusive shelf as ‘Long Day’s Journey Into Night,’ ‘Death of a Salesman’ and Williams’s own ‘Streetcar Named Desire.’ It is not a lovely little memory play; it’s a great memory tragedy.”
Wounded by Broken Memories
NY Times, September 26, 2013

Below are some links to past productions of The Glass Menagerie, including the full 1973 version starring Katharine Hepburn.  Another thing that keeps The Glass Menagerie in circulation is there is never a lack of great actors who would like their shot at playing one of the four roles.

Scott W. Smith

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One of the great things about watching films over and over again is you begin to notice little details and see patterns emerge.  Ideally the first time you watch a movie you are simply engaged in the story.  Then you go back as a screenwriter looking for clues as to what made the films work, and more importantly what will make you a better screenwriter and filmmaker. One things you’ll notice in many films—off the top of my head The Verdict, A Beautiful Mind, Erin Brockovich and Juno come to mind—is in those films the main characters (Paul Newman, Russell Crowe, Julia Roberts and Ellen Page) are in almost every scene in the movie. There’s a reason for that.

Stay with the money. The audience came because you advertised the star. Shoot the star. (NB: Howard Lindsay,* coauthor of the plays Arsenic and Old Lace, Life with Father, State of the Union, et cetera, once privately printed a small volume of stage wisdom. One of his axioms was: take the great lines from the secondary characters and give them to the lead. This works like gangbusters in film and on stage).”
David Mamet
Bambi VS. Godzilla
page 112

*Lindsay (1889-1969) along with writing partner Russel Crouse won the Pulitzer Prize for their 1946 play State of the Union, but they are better known for their work on the Tony Award-winning The Sound of Music. Lindsay’s had more than 25 films made from his work and was the co-screenwriter of the Fred Astaire & Ginger Rogers movie Swing Time. That movie features the Oscar-winning song The Way You Look Tonight, which has been covered by many people including Frank Sinatra, Ella Fitzgerald and Billie Holiday. The song was also featured in the 1991 film Father of the Bride and sung by Steve Tyrell. Today many people are most familiar with the Rod Stewart rendition.

Related Post: Screenwriting Quote #143 (Elia Kazan)” ‘Have your central character in every scene.’ This is a way of ensuring unity to the work and keeping the focus sharp.”

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“Ultimately, it all comes down to one of the grand old rules of screenwriting: whenever possible – show, don’t tell.”
Ray Morton
Script magazine

The Verdict

An early version of The Verdict screenplay by David Mamet:
INT.  COFFEE SHOP - DAY

          Galvin sitting in the deserted coffee shop in his raincoat.
          Reading a section of the paper.  He picks up his teacup, drinks.
          Lowers it to the table.

          ANGLE - INSERT

          Galvin twists tea bag around a spoon to extract last drops of
          tea.  His hand moves to his felt pen lying on the table.  He
          moves his hand to the paper, open at the obituary section.  We
          SEE several names crossed out.  He circles one funeral listing.

          ANGLE

          Galvin sitting, raises cup of tea to his lips.  Looks around
          deserted coffee shop.  Sighs.

Now look again at the above still frame from that movie. Notice anything different? No tea cup, right? Either Mamet, or director Sidney Lumet, or  actor Paul Newman, or somebody else said, "This guy's an alcoholic—what better way of showing that than to have him knocking back a stiff one with his morning donut?" Newman's performance in that scene shows you the desperate state this man is in without a word being spoken. In fact, the whole opening minutes of the film wonderfully shows you a man in need of redemption. 
 
"IF YOU PRETEND THE CHARACTERS CANT SPEAK, AND WRITE A SILENT MOVIE, YOU WILL BE WRITING GREAT DRAMA. IF YOU DEPRIVE YOURSELF OF THE CRUTCH OF NARRATION, EXPOSITION, INDEED, OF SPEECH. YOU WILL BE FORGED TO WORK IN ANEW MEDIUM - TELLING THE STORY IN PICTURES (ALSO KNOWN AS SCREENWRITING).

David Mamet

Memo to The Unit writers

“This is age-old screenwriting advice but it’s so true. SHOW don’t TELL. I can’t tell you how much more impactful it is on a reader to SEE a character take on an issue as opposed to being told of an issue. It would be like Han Solo saying ‘I’m a badass,’ instead of SHOWING him kill Greedo. This is a mistake I see a TON of beginner writers make. They have their characters offhandedly say something like ‘I took a year of karate lessons’ and then later in a key scene kick someone’s ass. It feels false because we never SAW them perform karate.”
Carson Reeves

“Remember, the first rule of film is Show Don’t Tell.” 
William C. Martell
Does Your Script Smell?

“In the eternal struggle to “show” and not “tell” in your screenplays, pictures can be your best friend. Instead of building a whole scene where your characters argue about how good things ‘used to be,’ just show your hero catch a glance of a picture on the fridge showing the family in happier times. In fact, look to use photographs in every aspect of your script to convey quick easy backstory about your characters (i.e. need to convey that one character is adventurous? Show a picture of them rock climbing.”
Carson Reeves
ScriptShadow

 

Show, Don’t Tell (Part 2)

Scott W. Smith


 



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“Being born in Dodge City, I really wanted to know where the trains were going. The first real light I saw was in a movie theater. I just wanted to know where they were making those movies.”
Dennis Hopper

“He was a Midwestern boy on his own…”
Bob Seger
Hollywood Nights

Dennis Hopper was born in Dodge City, Kansas and spent his early years on farm. When he was nine he moved to Kansas City, Missouri (where he took Saturday art classes with Thomas Hart Benton) and then on to San Diego area when he was 13, eventually being named “Most Likely to Succeed” at  Helix High School in La Mesa.

Hopper succeeded at a lot of things—unfortunately they weren’t all good for him.

His acting career started by performing Shakespeare as a teenager at The Old Globe at San Diego’s Balboa Park, and he then headed to Los Angeles when he was 18 and did some TV work before landing a role in classic James Dean films Rebel Without a Cause and Giant. On a PBS interview, Hopper would say of the actor from Marion, Indiana, “James Dean was the best actor that I ever saw work, really. He was just incredible.”

Hopper also worked with four other Midwestern actors who made their mark in Hollywood (Marlon Brando & Montgomery Cliff/Omaha, John Wayne /Iowa-Nebraska, and Paul Newman/Ohio). When Hopper died yesterday he had more than 200 credits as an actor. But he’s probably known best for just a handful or so roles on top of the James Dean films; Apocalypse Now, Blue Velvet, True Romance, Speed, and his Oscar-nominated role in Hoosiers. When the dust all settles he may be best remembered for directing and starring in Easy Rider for which he also received an Oscar nomination for co-writing the screenplay.

“There are moments that I`ve had some real brilliance, you know. But I think they are moments. And sometimes, in a career, moments are enough.”
Dennis Hopper

Hopper rode motorcycles with Steve McQueen, hung out with Miles Davis, Lenny Bruce and Jack Nicholson, he collected and created art, he was at the civil-rights march from Selma to Montgomery which was led by Martin Luther King Jr., along with his Hollywood career that spanned 56 years.

And while Hopper had his days in the sun, he had his years (decades?) in the darkness. His was a life of excess— alcoholism, cocaine, heroin, LSD, hallucinations, abuse, violence, multiple failed marriages, detox clinics, jail, psychiatric wards, and orgies. But somehow he managed to rebound time and time again and somehow lived to be 74. (Even in his final days as he was in the midst of a divorce, he reportedly had “marijuana joints throughout his compound’ and loaded guns nearby to help ease the pain of his cancer and perhaps provide an exit—Hopper was Shakespearean to the end.)

I’ll always prefer to remember Hopper as his role in Hoosiers as the brilliant, yet alcoholic, Shooter. The story of a town drunk and a disgraced coach who both have a shot at redemption. That’s the hope I have for everyone, especially the artists—the crazy ones who seem to have a harder time than most dealing with demons.

“I am just a middle-class farm boy from Dodge City and my grandparents were wheat farmers. I thought painting, acting, directing and photography were all part of being an artist. I have made my money that way. And I have had some fun. It’s not been a bad life.”
Dennis Hopper
USA Today

Scott W. Smith

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“I don’t know if any studio would make Butch Cassidy today.”
William Goldman

When I was a kid there was a place in Florida called Six Gun Territory that was an old west theme park near Ocala. They had a rail road, a saloon complete with can-can dancers, old-time photo studio, and most importantly they staged bank robberies and shootouts in the street. I still remember being around 9-years-old and the feel and the sound of walking on the gravel streets wearing cowboy boots.

I have many fond memories of that place and even shot my first 16mm film there. I remember ending that film paying homage to The Great Train Robbery by ending with a shot of a gunfighter shooting into the camera for no other reason than I thought it looked cool.

Every time I watch the opening scene of Butch Cassidy and the Sundance Kid I think of Six Gun Territory. I don’t know if that was the first movie I ever saw set in the old west but I know it’s the one I go back to the most. It’s also the second highest rated western (after High Noon) on AFI’s top 100 films (1997) joining just a handful of other  Westerns that  made the list (Shane, Stagecoach, The Wild Bunch, Unforgiven).

Paul Newman and Robert Redford speaking screenwriter William Goldman’s words—that’s great stuff.  It took Goldman eight years to write the script which paid him a record fee up to that date of $400,000.  He also took home the Oscar for the 1970 film.

I sometimes watch favorite films with the sound off to get a different perspective. The movie holds up well without the great banter (“Think you used enough dynamite there Butch?”) With the sound off you follow the story easily and it plays as a visually stunning action film. (Though personally I could do without the trendy zoom lens shots.)

On this viewing I also realized that it perfectly matches Goldman’s “stay with the money” theory. Studios pay actors a lot of money, because audiences pay money to see stars. How many scenes do you think there are in Butch Cassidy and the Sundance Kid that don’t include Butch Cassidy (Paul Newman) and/or the Sundance Kid (Robert Redford)? The grand total is…zero. In fact, there is one scene where the town’s men talk about what to do about these bank robbers, and it’s more humorous by having Butch and Sundance listening to the discussion from a hotel balcony. Stay with the money.

“The essential opening labor a screenwriter must execute is, of course, deciding what the proper structure should be for the particular screenplay you are writing. And to do that, you have to know what is absolutely crucial in the telling of your story—what is its spine? Whatever it is, you must protect it to the death…(The theme of  Butch Cassidy & the Sundance Kid is) times are changing, and you have to change with them—if you want to survive.”
William Goldman 

Adventures in the Screen Trade

If I recall my philosophy class correctly, it was Heraclitus who said a long, long time ago that “you can’t step in the same river twice.” I think the times are always changing and that’s a good thing to realize. It was true of the old west, and it’s true of the new west, the Midwest, Key West—wherever you live. “The times they are a-changin’.”

By the way, Six Gun Territory pre-dated Disney World but closed in 1984. The land where it sat is now a strip mall. If you want to survive….

Scott W. Smith

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Screenwriter Stewart Stern has popped up on this blog before because he was educated at the University of Iowa and he wrote the screenplay for Rebel Without a Cause. Yesterday, I discovered an interview with himStewart Stern; Out of the Soul, Interview by Margy Rochin, which is part of the UC Press E-Books Collection online.

Anytime you can read about someone who has worked Marlon Brando, James Dean, Paul Newman, Dennis Hopper and Rebel Without a Cause director Nicholas Ray, and has been nominated for two Oscars (Teresa and Rachel, Rachel), I think you might be able to learn something. I always like hearing how an idea was formed so I enjoyed the reading Stern’s description of the ground work and inspiration behind Rebel Without a Cause;

“Nick told me about all of the research that he had done: about middle-class young people. He wanted it to be specifically about them because he said that there was a big misconception that so-called juvenile delinquency was a product of economic deprivation. He felt that it was emotional deprivation…That’s when, at my request, he called his contacts at Juvenile Hall, and I went down and began researching it. I spent ten days and ten nights there, or two weeks, posing as a social worker, talking to the kids or just being there when they were processed. Then they opened up all of the psychological workups that they had done down at Juvenile Hall on the kids they brought in. Family backgrounds, records of their behavior. Whatever they had, they opened up to me. So, I was able to dig as far as it was possible to dig, in order to understand who these kids were and to create a prototype.

I couldn’t figure out what to write until I went to see On the Waterfront [1954] and got all charged up and came home and just began writing.”

Towards the end of the interview Rochin asked a question about why Stern believed Rebel Without a Cause speaks to every generation of youth.

“I think one of the things that it talked about was love, a real need for connection. And for the recognition that everything that people condemn in us as some kind of nefarious behavior—experimental behavior, dangerous behavior—is absolutely pure, sweet, incorrect reaching-out. Living on the assumption that people are trustworthy. On the assumption that, as Marlon said, we all come out of the same crucible of pain. That we are all human and that nothing stands in the way of that.”

Isn’t that the kind of guy you’d like to sit under and glean a little writing wisdom? Well, you actually can. In 2004, Stern was one of the founders of The Film School in Seattle, and also teaches through the University of Washington’s Extension Program, and does a writing workshop every summer at the Sundance Institute’s Screenwriters Lab.

Scott W. Smith

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“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.

Scott W. Smith


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Ellen Page can skate. Really skate. Roller derby-style to boot. That alone makes Drew Barrymore’s directorial debut Whip It worth seeing. But wait, there’s more….

Most people know Page for her Juno role, but the 22-year-old Oscar nominated actress from Nova Scotia already has a decade old career having been in over 25 films and TV programs. We know Page can act but it’s special to watch the actress continue to blossom. Special in that way you see Elizabeth Taylor in A Place in the Sun or Paul Newman in The Hustler where you see great talent being revealed.

Many actors have stumbled in trying to play convincing roles as an athlete so I appreciate it when it’s done well. It was not a safe choice for Page or Barrymore, but they pulled it off.

Now I remember the roller derby in its 1970s incarnation.  Not that I was really a fan, but back then the roller derby was hard to miss because in a pre-cable TV and Internet world you only had three main channels to chose from. So on weekends somewhere between bowling, fishing and wrestling you had the roller derby. The roller derby was popular enough in the 70s to have a few films made about it including Unholy Rollers (1972), the documentary Derby (1972) and Raquel Welch in Kansas City Bomber (1972)–and let’s throw in the futuristic Rollerball (1975) for good measure.

Today the revival in roller derby is relatively small in comparison which may account for the soft opening this weekend at the box office. (That and people can’t seem to get enough of zombies.) But Barrymore and screenwriter Shauna Cross have put together a fine and entertaining film that also has a layer of wisdom in it, so I think it will continue to gather a following for years to come.

There is one scene, one line in particular (and this gives nothing away) that I thought was brilliant. It’s when Page’s character simply says, “I don’t want to be that girl.” It’s a moment that I don’t remember ever seeing in a film before and would benefit every teenage girl who is feed a steady diet of pop culture in regard to relationships. (Also part of that relationship plotline involves a t-shirt from the 80s Christian heavy metal band Stryper. I got a kick out of that as back in my L.A. days as a 16mm director and cameraman I shot an interview with Stryper’s lead singer Michael Sweet. If I find some photos from that shoot I’ll post them.)

At its core, Whip It is a coming-of-age story. Or as Save the Cat screenwriting teacher Blake Snyder calls it a rite of passage (ROP);

The ROP yarn…has three telling indicator: (1) The Problem, (2) the ‘wrong way’ to fix it, and (3) the solution to the problem: acceptance.'”

There are trampings involved with any genre and it’s hard to be original when you are dealing with a story that centers around sports, but I think Barrymore and Cross bring some subtle nuances to the film. One being the role of the parents played by Marica Gay Harden and Daniel Stern. Stern of course brings clout not only with his Wonder Years background, but as being in one of the greatest coming-of-age films/sports films ever—Breaking Away. Great casting choice. And way to go in not making the parents total dorks. (Took a page from Juno there.)

From a screenwriting perspective I do think they missed a huge opportunity to show some three dimensionality by at least giving a nod to the fact that the tribe some girls may want to be in is being in beauty pageants. What if Page’s best friend in the film would have really been gung-ho for doing the pageant thing? That’s the kind of dynamic that made John Hughes films like The Breakfast Club stand out. We’re all different and we’re all in this together.

Recently actress Sela Ward, who was raised in Mississippi, said this in an interview with Parade magazine;  “Growing up in the South, it’s all about manners and propriety. Every weekend, I went to charm school at the Sears department store, where I learned such fabulous tidbits as how to blot your face with a damp cloth to remove some of the powder and give yourself a little glow.” Not every girl is going to grow up and be dignified, refined and as graceful as Sela Ward. But those traits haven’t hurt her career any and there is still a man or two who finds that more attractive than blood and tattoos.

Two other missed opportunities were on the sound track. The dry opening to the film would have benefitted from a jump start montage of the roller derby girls intercut with shots of Page’s character getting ready for a beauty pageant with the song Roller Derby Saved My Soul by Uncle Leon and the Alibis playing. And on the credits Devo’s Whit It would have been a fitting tribute and left audiences with a big smile.

Whip It may not be as insightful as the classic Texas movie  The Last Picture Show, but you could put it on the shelf with the old John Travolta/Debra Winger film Urban Cowboy. It’s a fun film with a few life lessons thrown in, and a wonderful start for Barrymore. And she can really skate, too.

Whip It (Part 3)

Scott W. Smith

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Every once in a while I pick up William Goldman’s book Adventures in the Screen Trade and flip through it. I don’t know if that or Syd Fields’ book Screenplay was the first book on screenwriting I ever read, but I remember discovering them both while in film school. Many have built on the foundation of structure that Fields laid out, but I don’t think that any writer has come close to writing a better overall book on screenwriting than Goldman’s since it was published back in 1983.

Goldman stands alone in being able to have a long lasting career as a screenwriter with a string of great movies as well as being able to explain the process of screenwriting. I’d guess that 90% of all screenwriting teachers and screenwriting book authors have never had a feature film produced from their work, and probably 8% have had movies made that were made but you’ve never heard of, never saw, did poorly at the box office, or did okay at the box office but really weren’t that good.

So for  William Goldman to write the national bestseller Adventures in the Screen Trade and also write the screenplays for Butch Cassidy and the Sundance Kid, Marathon Man, The Princess Bride, Misery, and All the President’s Men is unbelievable. And that doesn’t include all his films or all the script doctoring he’s done, or the two Oscars he’s won.

As a living, breathing screenwriter William Goldman is a giant and he stands alone. So if you haven’t read Adventures in the Screen Trade, seen his movies, or read his scripts, you now know where to start to begin understand screenwriting. All I’m doing here is pointing the way.

I’d also like to point out that Goldman has strong Midwest roots. He was born in Chicago and raised in Highland Park, Illinois and received his undergraduate degree in English from Oberlin College in Ohio.  After getting his master’s at Columbia, Goldman wrote the novel Harper which got the attention of Paul Newman who would star in the film version of that book. (It’s worth noting that Newman was just a few years older than Goldman and had graduated from Kenyon College, also in Ohio.)

It’s also worth noting that before Goldman turned his talents to screenwriting he had already written five novels and had three plays on Broadway.

“If you want to be a screenwriter and you live in Des Moines, that’s a terrible curse to bear. It’s a terrible curse in Los Angeles, too—but at least you’re not alone. And oh boy, when you’re beginning, does that matter….”
William Goldman
Adventures in the Screen Trade
page 84

Now Goldman wrote those words over 25 years ago and while it still may be a curse to want to be a screenwriter, at least the Internet has helped writers have one big support group. A great place to get information and network. And these days there are writers groups all over the country—even in Des Moines, Iowa. Not to mention filmmakers, too. (And don’t forget those film incentives.)

Tomorrow we’ll look at a couple recent success stories that couldn’t have happened 25-years ago.

(And just for the record, Des Moines is so hip these days it’s now known as DeMo. At least that’s what is known as by some of the creatives who live and work in the East Village.)

Scott W. Smith

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Mentioning yesterday that the character William Holden played in Sunset Boulevard was a screenwriter from Dayton, Ohio triggered in my mind an actor/comedian with Dayton ties, Jonathan Winters. Winters was born in Bellbrook, Ohio, raised in Springfield, Ohio and went to Kenyon College in Gambier, Ohio (where Paul Newman also attended) where he studied acting and began developing his humor. He also studied cartooning at the Dayton Art Institute and became a local radio personality at WING-AM in 1949.

His stay at WING was short lived because he had a tendency to go off-script and in an interview in 2000 Winter’s explained,  “I had to have some fun while I was there. Consequently, I was asked to leave. I remember the exact words: ‘Do the time. Do the temperature. And put on Nat King Cole.'” He then spent a few years in radio at a station in Columbus, Ohio. 

He eventually would move to New York and became a stand-up comedian. He found great success on TV even having his own TV shows The Jonathan Winters Show and The Wacky World of Jonathan Winters. He also recorded many comedy albums and Comedy Central Presents: 100 Greatest Stand-Ups of All Time listed Winters at #18. His wacky, off-the-wall humor greatly influenced Robin Williams. Over the years Winters has appeared in over 50 films and in 1999 he was honored with the Mark Twain Prize for American Humor.

In a day and age of reality TV programs and news filled with an unmarried woman having octuplets one wonders that if Jonathan Winters was starting his career today what he would have to do to be considered wacky and off-the-wall. 

“Now the freaks are on television, the freaks are in the movies. And it’s no longer the sideshow, it’s the whole show. The colorful circus and the clowns and the elephants, for all intents and purposes, are gone, and we’re dealing only with the freaks.”
                                                                        Jonathan Winters 

Update 3/28/08; So it turns out that my aunt worked at WING in Dayton when Winters was starting out on the radio and he had a thing called the breakfast club there where they would record before a live audience. And sometime while my mom was a student at Fairview High School in Dayton she did a couple skits at the  breakfast club with Jonathan Winters.  

Now I am working on a script that takes place in a retirement home, wouldn’t it be something….

Scott W. Smith

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