“It’s very hard to live up to an image.”
Last night at the Sundance Film Festival Sam Levinson won the Waldo Salt Screenwriting Award for Another Happy Day. Unfamiliar with Levinson, I was curious to see the path that the 25-year-old writer/director took to make his first feature.
“I guess it goes back to what I said about fanatically watching films since I was very young. I began to see to the film in my head and then as a reference point, I watched certain films, each of them for different reasons, but all of them had aspects of the way I wanted to shoot this film. There was nothing haphazard here, and this is not a criticism of any other style of filmmaking but I never had any thoughts of shooting this film in a verité style. I always saw this film as somehow, ‘formally informal.’ I am in no way comparing my film to these, but I went back again and again, to three extremely different types of films. I watched. ‘Who’ s afraid of Virginia Woolf,’ directed by Mike Nichols, ‘Hannah and her Sisters,’ directed by Woody Allen and ‘Carnal Knowledge,’ again Nichols.”
I haven’t seen Another Happy Day, but since it’s an emotional drama surrounding an upper-class wedding and a dysfunctional family, it’s hard at first glance to not connect it to Rachel Getting Married. (Written by director Sidney Lumet’s daughter, Jenny.)
Turns out that Sam is the son of director Barry Levinson (Diner, Rain Man, The Natural). I’m sure Sam picked up a thing or two from his brilliant father at the dinner table.
Add Oscar-winning screenwriter Sofia Coppola (Lost in Translation) into the mix and you definitely see a trend emerging. So if you happen to be looking for an alternative to USC/UCLA/AFI film school, don’t have a Minneapolis background (Coen Brothers, Diablo Cody, Nick Shenk), and are looking for a way to break into screenwriting— then having a father who is a gifted and talented director can help. And I hate to complicate matters, but the elder Lumet, Coppola and Levinson are Oscar-winners, as well. (Plus I’m not sure if adoption counts.)
Truth is statistically very few sons and daughters of Hollywood’s successful producers, directors, writers, and actors make it as big as their mother or father. There’s a special burden attached to the situation. Think of the pressures of being, say, the daughter of Elvis and wanting to have a musical career. If you don’t need the money—it’s really not worth the all the pain of constantly being compared to the king. You don’t get the luxury of failing and of taking the time to find your own voice.
So congrats to Sam Levinson (and Sofia and Jenny) for stepping up to the plate. (And keep in mind Jenny Lumet was working as a school teacher when she sold Rachel Getting Married.)
“I was driving a truck and studying to be an electrician.”
21-year-old Elvis Presley talking in 1956 about what he did before his musical career took off.
On the other hand, if you happen to be a truck driver (or a son or daughter of a truck driver) living in a two-room house in, say, Tupelo, Mississippi and you’re writing screenplays and don’t have a single contact in Hollywood—just keep writing and making connections. Who knows, maybe you’ll hook-up with a filmmaker in Memphis and bigger things will happen for both of you. It’s happened before. Dream big, but take little steps.
“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.”
Memphis-based Craig Brewer,
writer/director Hustle & Flow
If there’s ever an Elvis of screenwriting I’d put my money on that person not being someone who comes from Hollywood royalty, but from a background that looks more like this…