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Posts Tagged ‘Atlanta’

“Have you ever wondered why it had to be so hard to get through school? Or just make it from day to day? Well, that’s because what you were building (your foundation) had to be strong enough to support the weight of whatever you could dream. And if you’re like me, you’re a huge dreamer.”
Tyler Perry
2016 Tuskegee University commencement speech  

How big is Tyler Perry Studios in Atlanta, Georgia? Well, as CBS’s Norah O’Donnell points out, if you take the Los Angeles/Burbank studios of Warner Bros., Paramount, and Disney and combined them together—they’d still be smaller than Tyler Perry’s 330 acres studio.

Scott W. Smith 

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“Without a network, creative work does not endure…without Paris, there is no Hemingway.”
Jeff Goins
The Unfair Truth About How Creative People Really Succeed

Filmmaker Robert Rodriguez has his filmmaking network of people down in Austin, but he also has a literal network—El Rey Network. And when you own a network you can line up interviews with your director friends, which is exactly what The Director’s Chair with Robert Rodriguez is all about.

“It was a thrill to be able to feel that I was a director from a studio at 24 or 25, but when I came out to Hollywood and was making Finian’s Rainbow…everything I wanted to do wasn’t somehow permitted. I wanted to make the film on location—it was about sharecroppers in Kentucky and I go, ‘Can I go to Kentucky and have dancers dancing around with tobacco?’, ‘Oh no, no, we gotta do it on the sets from Camelot.’ I used to sit there with George Lucas, who was about 19, and we would just grump about we couldn’t do this and we can’t do that. And we started to fantasize, let’s go make a film driving across the country. And we’ll make a truck that has all the necessary equipment and we won’t even know exactly what we’re going to shoot. If we hear there’s mine disaster we’ll all go to the mine disaster and incorporate that into the movie. We made The Rain People that way. And then we were so mobile that we said, well gee, we have a whole studio in a truck, we don’t have to go back to L.A., we can go to San Francisco and be close enough to L.A. to have the access to the actors and the prop houses, and the resources, and not be in the center of it. I essentially combined the culture of a theater club with the reality of filmmaking as we learned at USC and UCLA and that was Zoetrope.”
Oscar-Winning writer/producer/director Francis Ford Coppola (The Godfather, Patton)
Interview with Robert Rodriguez
The Director’s Chair, Episode 5

The Coppola family, food & film model is much of what Rodriguez has created in Austin, Texas—which has an entrenched film community that’s avoided being in the center of the film business. This is what Rodriguez told Coppola in the above interview:

“Family and food and film kind of all seem to go together for you, and it inspired me to do that. I started my own studio [Troublemaker Studios]. I work with my family, and I’ve had other filmmakers come to my sets and see that I’m working with my kids—they’ve gone off and worked with their kids and have done fantastic work. You’ve kind of started this little revolution.”

P.S. If you want to add faith to family, food & film outside L.A., look at what the writer/director team of Alex and Stephen Kendrick of Kendrick Brothers Productions are doing in (an unlikely place) Albany, Georgia. This past weekend their film War Room ended up #1 at the domestic box office, ending Straight Outta Compton‘s three week run in the top spot. Produced by Sony Pictures for $3 million War Room hasn’t even been out two weeks and has passed $30 million at the box office. I think it’s the first time a specifically Christian faith based film has finished #1 at the box office. Back in 2008 I wrote the post Shrimp, Giants & Tyler Perry and talked about the niche that Perry and the Kendrick Brothers were cooking down in Georgia.

Related posts:
‘Who said art had to cost money?’—Coppola
‘Take a Risk’—Coppola
Coppola & Roger Corman
The Francis Ford Coppola Way
Screenwriting & the Little Fat Girl from Ohio
‘Super-Serving Your Niche’

Scott W. Smith

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This has been a good week for hip-hop artist Lecrae as his new album Anomaly sits at number 1 on the Billboard album charts. Thursday night he was on The Tonight Show Starring Jimmy Fallon performing with the band The Roots, and on Monday Lecrae was featured in the Washington Times.

While less known than Maroon 5 and its lead sing Adam Levine, who Lecrea replaced at the top of the Billboard Album charts,  the 34-year-old  is not a newcomer. Now based in Atlanta, he’s actually sold over a million albums. The former drug dealer turned Christian has been outspoken against how some rappers and hip-hop artist glamorize the gangsta lifestyle with references to drugs, gangs, and guns.

It just so happens that a few years ago I was a cameraman on a video production in Chicago that featured Lecrae. Perhaps that will give me some street cred the next time I give a talk to high school and college students. (Perhaps I can bookend it with that certificate I showed in yesterday’s post for helping shoot some interviews for Spielberg’s Shoah project. )

Below is a clip from the Jimmy Fallon website where Lecrae talks about how the song Nuthin’ came to be, followed by the song  itself from the Anomaly album.

P.S. Oregon filmmaker Edd Blott who I’ve featured a few times on this blog, directed the Lecrae music video Don’t Waste Your Life which currently has 7 million views on You Tube. Related Post: Don’t Waste Your Life (2.0) Scott W. Smith

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“Nearly every moment of every day we have the opportunity to give something to someone else— out time, our love, our resources —and I have always found more joy in giving when I did not expect anything in return.”
Truett Cathy

I had the opportunity to hear Truett Cathy speak probably 20 years ago when I was running audio where he was speaking. I only remember one thing from that talk; he said that he learned as a kid selling magazines in kind of a newsstand/street style (think the Newsies—without the singing and dancing)  and he learned that some people would always pay more for a magazine, even if it was essentially the same magazine, just because it was more expensive.

Cathy moved on from selling magazines to selling chicken sandwiches. Lots of them. The New York Times reported that in 2013 the company he founded, Chick-fil-A, had “1,800 restaurants and sales of more than $5 billion.” Cathy died this week at the age of 93.

“Rising to prominence between Robert Woodruff, who took over Coca-Cola in the 1920s, and Sam Walton, who began the Walmart chain with a small store in Bentonville, Ark., in 1950, Mr. Cathy was one of a handful of Southern entrepreneurs who in one lifetime took small, hometown companies to a global level.”
Kim Severson
New York Times 

As of March 2014 Forbes listed Cathy’s net worth at $6.2 billion. That put him on the list of the top 250 wealthiest Americans. Not bad for a man born in a small town in Georgia with a high school education, who started working as a youth during The Great Depression. But more impressive is his philanthropic work. In 2008 he won the William E. Simon Prize for his charity work that included work with foster children and awarding more than $23 million in scholarship funding.

And while the man who spent 50 years as a Sunday School teacher may not seem like a candidate for having a hand in movie business but he did that as well. He helped finance the faith-based film on basketball great Pete Maravich, The Pistol, The Birth of a Legend (1991). Maravich was an undersized player as a youth who would go on to be named as one of the 50 Greatest Basketball Players in NBA History. 

More recently Cathy. via the Cathy Family Trust, helped with financing Pinewood Atlanta Studio.

Georgia’s film tax incentives make it one of the top five production destinations in the US.  (The Frank Darabont created TV program The Walking Dead films in Georgia.) Pinewood’s newly opened studio just south of downtown Atlanta has 288 acres and six sound stages up to 30,000 square feet.

“Pinewood Atlanta’s location will contribute significantly to Georgia’s growing reputation as a top draw for movie and television productions. We welcome the business this world-renowned company will bring to the state and the jobs it will create for our crew base and supporting companies.”
Georgia Gov. Nathan Deal

A couple of months ago I read that Marvel’s Ant-Man with be shot at Pinewood Atlanta.

So when you read articles about Atlanta the New Hollywood, you can give Cathy some of the credit (or, if you’re in L.A., some of the blame). He earned his wealth (to borrow that title from the great Anne Lamott book on writing) bird by bird—and cow by cow.

‘Put two Cows on a billboard with a bucket of paint and a brush, and they’ll create some unexpected opportunities…The Cows still haven’t learned to spell, but five years after they painted their first billboard, Chick-fil-A had doubled our sales volume. The lesson from the Cows is the lesson of my life: Take advantage of unexpected opportunities.”
S. Trutte Cathy
Eat Mor Chikin:Inspire More People

P.S. Pinewood Studios is not the only game in Atlanta either. EUE/Screen Gems Studio Atlanta has 10 stages, Atlanta Filmworks Studio and Stages has 57,000 square feet of production space, Raleigh Studios in Atlanta has four sound stages, and there’s Tyler Perry Studio. There are others—but you get the idea.

Related Posts:
Martin Luther King Jr. and Screenwriting (Includes a photo I took in Atlanta on the weekend after Coretta Scott King died.)
“Super-Serving Your Niche” Includes a photo of Tyler Perry’s studio I took when I drove through Atlanta last year.
Creativity and Milking Cows

Scott W. Smith

 

 

 

 

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TylerPerryStudio

This morning I returned some rental equipment to PC&E Atlanta and learned that Tyler Perry’s Studio wasn’t far away. So  heading south on I-285 back to Florida I made a slight detour to drive by Mr. Perry’s 200,000 square foot studio. As I took the above photo I recalled the Tyler Perry phrase “Super-Serving Your Niche”— that I first heard Edward Burns say on Jeff Goldsmith’s podcast, but found the same essential comment in a Vanity Fair interview:

“I worked with Tyler Perry last summer on this film called Alex Cross. While we were shooting, he told me that he had just recently re- watched Brothers McMullen and he asked me why that in 15 years, I hadn’t revisited the world that Brothers McMullen and She’s the One had, that Irish-American working-class milieu. Quite honestly, I didn’t have a reason. The story just never presented itself to me. He said, ‘Please take some advice from me. Think about super-serving your niche. I would imagine that a lot of Irish-American folks out there, who felt a connection to those themes and characters, would love to see another of those kind of films from you. ‘”
Edward Burns on his film The Fitzgerald Family Christmas
2012 Vanity Fair interview by Julie Miller 

Related Posts:
Shrimp, Giants & Tyler Perry
The First Black Filmmaker

P.S. Many thanks to Stephen at PC&E for handling my last-minute rental request. In you’re in Atlanta or going to be doing a production in the Atlanta area check out PC&E because it’s an impressive rental house and studio set-up.

Scott W. Smith

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“Most screenwriters are unemployed, chronically unemployed.”
Screenwriter Tom Lazarus (Stigmata)
Secrets of Film Writing

“It’s either very lucrative and exciting, or nothing.”
Screenwriter Anthony Peckham (Invictus) on screenwriting

(Note: Though this post is now several years old it continues to get solid hits because it’s such a basic question. I’ve chosen not to update the NFL references because that’s a continually moving target. Just exchange the names for the current hot players of whatever year you’re reading this post.)

When people think of how much professional football players make they tend to focus on the big numbers. Brett Favre’s $20 million dollar one year contract with the Minnesota Vikings. Payton Manning’s $99.2 million seven year contract with the Indianapolis Colts. But the truth is most rookies in the NFL earn around $300,000 per year. Deduct taxes, agent fees, a down payment on a house, and an expensive sports car or two and there’s not that much left. (Relatively speaking, of course.)

Then factor in that most pro football careers last less than four years (NFL=Not For Long) and you can see why the majority of players who play in the NFL really have under a million dollars to their name when they retire.  And when you factor in a history of NFL players making bad investment decisions it’s not hard to understand why so many end up filing for bankruptcy when their short careers are over. (Hence, the ESPN documentary Broke.)

Often when people think of Hollywood writers they tend to once again think of the multi-million dollar deals. (Like Basic Instinct banking Joe Eszterhas $3 million—back in the early 90s.) But the truth is most writers (factoring both union and non-union) won’t make any money this year from their writings. (According to the Writer’s Guide of America-West (WGAW) recent report, of the 8,129 union members in 2007 3,775 were unemployed.) Depending on different sources working WGAw members seem to average between $40,000-$110,000. per year. (Key word there is “working” WGAw members.) Factor in the cost of living where most writers live (New York & L.A.) and  that’s probably about the earning power of (just a wild guess) $20,000-65,000. in much of the country.

On the film side a good rule of thumb is scripts can make up between 2-5%  of the total budget. So on a $50 million dollar film that could be as much as $2.5 million.(The highest paid spec script to date I believe  is $5 million to M. Night Shyamalan for Unbreakable, though that may have included his directing fee.)  But it also means on a $200,000 indie film could mean the screenwriter was paid $4,000. (And independent films make up the majority of the 500 or so feature films made per year. )

“When you’re not in the [WGA] you’re just grateful for anything that’ll you give you a month of rent or a couple months of rent. My first couple of jobs were New York independent things…of course, there wasn’t a lot of money for an untested writer. So if somebody had read some things you’d written, or a play you’d written, or a script you’d written on spec then sometimes you’d get paid 5,000 bucks, if you’re lucky, on a good day maybe 10,000 bucks.
Screenwriter Chris Terrio (Argo) taking about getting his start on DP/30

Of course, what screenwriters make globally will vary greatly. In Nigeria—Nollywood— they are making a lot of movies, but most budgets are sub-$100,000. And even in Hollywood what screenwriters make will vary. At the top of the Hollywood feature film food chain are working WGA writers who generate writing income several ways. Nailing down those exact numbers is hard, but this is how the top screenwriters can make $100,000 or $200,000 a week and millions over the course of the year:

—Writing assignment (developing new script from book, article, or an idea)
—Punch-up a script (take an existing script and add action and make it more dynamic, tweak the dialogue, and/or add humor to make funnier)
—One to three week polish of a script 
—Page one re-write. Take an existing screenplay that has promise, but needs a lot of work, and make it a script worth producing.
—Residuals (DVD/Blue-Ray/digital sales, Tv and foreign rights)
—Speaking (college and corporate work)
—Spec work (selling a screenplay without a deal from a producer or studio)
—Story meetings (A gathering of writers to kick around story concepts. Seen by some as a negative direction for the industry, as it’s the equivalent of kicking tires.)

On the TV side writers can be paid per script or as a staff writer. The highest paid are the ones who create a hit network show and stay on as producer/writers. If that show stays on the air for five years and goes into syndication then they can afford to buy a small tropical island.  (Largely based on the success of the TV show Seinfeld, Jerry Seinfeld’s net worth is in the hundreds of millions—and maybe over a billion dollars by the time you read this.)  A good gig if you can land it, but that doesn’t describe most TV writers.

“On balance, television writers today are the highest-paid practitioners of the literary profession in history. But mark the phrase on balance. If you can sell two one-hour scripts per year, which is a pretty good average for a freelance writer, that’s about $40,000 per year, before taxes. That figure is comparable to or less than the yearly average of elementary school teachers and considerably less than plumbers. The majority of working writers fall into this financial category. It’s only when you get the top 5 to 10 percent that you find writers and hyphenates who routinely earn six figures a year or more.”
J. Michael Stracznski, writer/producer
(Babylon 5, Changeling)
The Complete Book of Screenwriting

Granted that book was published in 1996 (and I think the minimum range for a 90 minute or less story & teleplay these days is around $30,000.*) but in a world of reality TV programing there is less scripted work being produced. (I know there are a lot fewer soap operas being produced than in 1996.)

“In 24 hours, NBC has just three hours of dramas and comedies. And, on some nights those make way for Dateline or Deal No Deal.”
Charles B. Solcum
Written By, August/September 2009
page 19

I have a writer friend with network credits in L.A. who was recently offered a job on a cable TV program that would pay her just a little more than her unemployment benefits. When you live in a land where rent is $1,500-3000. per month these are trying times. One more reason to live outside L.A., right?

Screenwriter John August recently wrote an excellent post What’s wrong with the business where he addressed some of these issues. I’ve quoted from that article before, but this is worth repeating because the industry is changing and the young, creative people coming up are going to embrace the changes;

“To become one of those inventors of industry, you need to surround yourself with similarly ambitious people. Film school is a good choice, but so is living and working in the right neighborhood in Silverlake or Brooklyn or Austin — or more likely, a place I wouldn’t even realize is a hotbed.”
Screenwriter John August
(Big Fish, Corpse Bride)

Could that hotbed be a place like Des Moines, Iowa? Steven Spielberg thinks so. He told Katie Couric on the NBC Today Show back in 1999, “I think that the Internet is going to effect the most profound change on the entertainment industries combined. And we’re all gonna be tuning into the most popular Internet show in the world, which will be coming from some place in Des Moines.”

Wait a minute, didn’t John August go to Drake University in Des Moines? That Spielberg is a genius, you know? And didn’t Diablo Cody go to school in Iowa City? If John August and Diablo Cody ever move back to Iowa then you know that this blog will at least be assured a small footnote in the history of screenwriting.

I wouldn’t bet on that anytime soon, but I would bet that within ten years places now known more for football like Minnesota & Indianapolis (as well as Detroit, Austin, Atlanta, Memphis…and, of course, Cedar Falls) will see writers and filmmakers rise up (and stay put) as they embrace the digital revolution and the opportunities it brings.

Related Post: Investing in Screenwriting. (I have a quote in there by Max Adams who explains how a $500,000. feature script option can really translate to a mere $3,500. per year for the writer who worked on that script.)

* To see current Writers Guild of America’s Theatrical and Television Basic Agreement visit the WGA-West website.

Update 12/09: Since this is a popular post as far as views I will update it from time to time and welcome your input on correcting any numbers. While reading over the WGAw report I made another connection between screenwriting & the NFL. On the film side there were 1,553 male writers employed in the last year of the report. That’s about 150 less writers than players in the NFL any given year. If you’re a female writer it just gets harder as they make up just 24% of all members in the guild. I don’t write these stats to discourage you but to help you know how solid your writing has to be to make a living doing this. And to also encourage you to keep your eyes open for alternative ways to earn a living in film, TV, and the Internet.

Update 3/12/10: Just read on Scott Myers’ blog Go Into The Story that the average production worker salary in the motion picture and tv industry is $74,400 a year.

Update 5/14/10: Residuals are another way film and TV writers get paid. I once worked with an actress who had worked on a popular TV show back in the day who told me she made $40,000 a year in residuals. A nice base. Check out the post Question: Do screenwriters get a percentage on the back end? by Scott Myers.

Update 11/08/10: Interesting article about football player (Keith Fitzhugh) who turns down NFL offer to keep his train conductor job.

Update 1/15/11:  “Let’s talk money, because no one ever does. A top tier screenplay deal these days might be for a million dollars or more. Most are far, far less, but let’s work with those crazy high numbers, in fact let’s say 2 million dollars, though nobody is paying that any more. Wow that’s a lot of money. But consider. With a writing partner, that gets cut down to $1,000,000., and after taxes, lawyers, agents, managers, and the WGA, let’s hope you get to keep $400,000.

That’s still a truckload of money, life changing, but they don’t give you that all at once. It might take six months to a year just to get the contract done, and the deal is contingent on the film going into production, and if it does that might take a year or three or five, and also the WGA has to grant full credit at the end of it all, which often doesn’t happen. But let’s say it all goes well, which means the ‘highest paid screenwriter in history’ is actually taking home around $200,000. a year, at least on that one deal. Which is good money, real good money, more than I ever imagined making, and let me tell you I do own a dream home in the hills … but it’s not in the fly-a-Learjet-to-your-own-private-island-in-the-Caribbean category.”
Screenwriter Terry Rossio (Shrek & Pirates of the Caribbean)
Interview with John Robert Marlow 

Update 2/11/11 “For every writer I know that lives high on the hog I know twenty who buy their bacon at Costco.”
Josh Friedman (War of the Worlds)

And this from the book Power Screenwriting:
“The truth is, the odds of writing and selling a screenplay are probably just as great as winning the state lottery or the next Publisher’s Clearing House Sweepstakes. Yet, with the emphasis directed towards the big bucks sale, the aspiring screenwriter may be deprived of one of the greatest transformational processes known to man: spinning a well-told story.”
Michael Chase Walker

Update 3/24/11: “Most writers never sell scripts. Why should you be any different?”
Christopher Lockhart who is the Story Editor for WME
From the post The Right Stuff on his blog THE INSIDE PITCH.  

Update 5/29/11: This is the WGA’s current minimum basic agreement (MBA) for a screenplay purchase:
Between $500,000 & $1.2 million budget: $42,930
Between $1.2 million and $5 million: $42,930
Between $5 million or more: $87,879

Keep in mind those are union numbers—and minimun numbers at that. (Top writers making much, much more than scale.) But if a non-union company buys your script expect less. If you wrote the screenplay with another writer cut those numbers in half, and of course, deduct for taxes, lawyers, agents, etc.

Update 7/6/11: This post is by far the most viewed post of all time on this blog and you may enjoy this post today from Scott Myers on his blog Go Into The Story: Reader Question: How much does a top screenwriter get paid for a rewrite?

Update 11/08/11: “Most writers are middle class; 46% did not even work last year. Of those who do work, one quarter make less than $37,700 a year and 50% make less than $105,000 a year. Over a five year period of employment and unemployment, a writer’s average income is $62,000 per year.” Writers Guild of America, West

Update 2/22/12: Bureau of Labor Statistics in May of 2010 listed the mean annual wage for writers (including screenwriters) and authors at $65,960 (with $109,440 being in the 9o percentile).

Update 12/11/13: Even though this post is now four years old it continues to get steady hits and is by far the most viewed post I’ve ever written. But I’d like you to take the time to jump over to the post and read what Oscar-winning screenwriter Michael Arendt has to say about what I call The 99% Focus Rule. And a positive thing  that’s happened since I originally posted this is quality cable TV has exploded —as well as groups like Netflix producing their own programs— opening up new opportunities and a broader income stream for writers.

Update 6/11/17: While this post was on how much screenwriters get paid in the U.S., I should at least touch on the various ways writers can get paid for their work. This seems to be the core areas:
Spec script (You don’t get paid to write unless the script sells.)
Writing assignment (A writer is asked to write the script.)
Open assignment (Where several writers are asked to come in a pitch their take on what they’d do with a concept and one of the writers is chosen.)
Rewrite/polish (Could be as short as one day, but one to three weeks seems to be common. Enough time to take a script in various stages of either pre-production, production, and post-production and work your magic. Punch up the humor, tighten the structure, round out a character—something that makes the script better. I’ve heard the numbers between $100,000-$500,000 a week tossed around so that’s great money for those who get that kind of work. (Though the WGA minimum for a polish is in the $12,000 range when I last checked.) And it could also be a page one rewrite where a studio or production company likes a basic concept of a script the bought, but it needs a complete overhaul before it goes into production.
Staff Writers on network on cable TV shows
Residuals Backend money that comes from things like DVD sales and when a feature plays on TV. Jerry Seinfeld has made hundreds of millions of dollars as the co-creator of Seinfeld which has made an estimated $3 billon in syndication. So if you really want to make a killing as a writer the gold at the end of the rainbow is having a hit TV show.

Closing thought: “There’s more to life than a little money, you know?…Don’t you know that?”
Sheriff Marge Gunderson in Fargo
Written by Ethan Coen & Joel Coen

Scott W. Smith

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“I don’t believe the American public will believe, itself, what comes up on that panavision screen next March.”
James Dickey in a letter to a friend
while the movie Deliverance was being shot

Since I mentioned both director John Boorman and Liberal Arts in the last few days that lead me to the writer of Deliverance, James Dickey. It took Dickey ten years to write the novel and he also wrote the screenplay for the 1972 movie that would be his only feature film release. (Though he did also write the TV version of Jack London’s The Call of the Wild.) 

Dickey was born and raised in the Atlanta area and was an athlete in high school and began writing poetry while serving in the Army during World War II flying combat missions in the South Pacific. He didn’t want the girls back home to forget him. After the war he attended Vanderbilt and earned a B.A. in philosophy and minored in astronomy and then went on to earn an M.A. in English.

After school he taught at what is now Rice University before being recalled to active duty in the U.S. Air Force due to the Korean War. He later worked as a copywriter in Atlanta and in New York where he said he was “selling his soul to the devil in the daytime and buying it back at night.”

He published his first book of poetry in 1960 and appointed in 1966 he as the Poet Laureate Consultant to the Library of Congress.  In 1977 he was invited to read his poem “The Strength of Fields” at President Jimmy Carter’s inauguration. And just to top off an interesting life, he played Sheriff Bullard in Deliverance. 

Though Dickey’s popularity exploded after the movie Deliverance was released he taught and wrote poetry until he died in 1997. His limited role with Hollywood  may have something to do with the stories of the behind the scene drama of the Deliverance location shoot that sometimes matched the drama on-screen of Burt Reynolds and his buddies little boating adventure. In short, Dickey was banned from the set.

Dickey was like many a classic southern writer – greatly talented and greatly flawed. Given to drink and sometimes hard to get along with Dickey was an exaggerator and liar on par with the father in the movie Big Fish. (While Dickey was in many flight missions over the South Pacific during World War II he was never the pilot he claimed to be.)

Dickey’s oldest son, Christopher Dickey, an accomplished writer and speaker (who also has a website and blog) , wrote the book Summer of Deliverance about his father and the film. (Christopher worked on the film including standing in as Ned Beatty’s character in the famous pig scene.)

Christopher also has done us all a favor by setting up the blog, James Dickey: Deep Deliverance, devoted to his father and his writings. And where I found this quote from a You Tube link where James says in a distinctly slow southern draw:

“To anyone who reads my work, I would like to have it deepen him and make him more aware of possibilities… of the mystery of things, and the strangeness of the creation — the universe. Although as much as I write about death, disease, and mutilation, and so I on, I essentially consider myself an affirmative poet. I remember hearing that Beethoven once said, ‘He who truly knows my music can never know unhappiness again.’ I would like to think it had some effect of that sort.” 

And as a side note here’s something interesting to ponder from one of Dickey’s letters, “I heard from John Boorman day before yesterday, and he says Marlon Brando is definitely going to play Lewis (Burt’s character) in the film version of Deliverance. I certainly hope so, for that would bring Nicholson in, and after that the rest would be easy, provided we don’t get Brando’s and Nicholson’s heads bashed in on some of those rocks up in north Georgia, which is quite easy to do.”

Scott W. Smith

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