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“When I’m doing a movie, I’m not doing anything else. It’s all about the movie. I don’t have a wife. I don’t have a kid. Nothing can get in my way.”
Quentin Tarantino in 2009
GQ article Triumph of His Will

It’s offical—Once Upon a Time …. in Hollywood became the first movie I’ve ever seen in theaters more than three times. I saw it for the fourth time yesterday, and if I’d had the time I would have watched it again right way.

For me it’s just been a rare movie going experience and one that I’m not sure will come again any time soon.

And this from someone who wouldn’t consider himself a Quentin Tarantino fanboy. I went to Hateful Eight in 70mm and left disappointed. I appreciate his talent for remixing influences, but don’t enjoy his casual use of violence. I didn’t see any of his prior films in the theater more than once, many of his movies I didn’t even go to while they were in theaters, and I skipped Death Proof all together.

Which makes me wonder why Once Upon a Time … in Hollywood resonated with me so much. I think part of it was being alive in 1969 (albeit I was 8 and 9 years old then),  having spent five years in LA on the fringes of the film industry, being aware of the Charles Manson cult, and having a lifelong love of movies.

After seeing Once Upon with an almost full audience on the opening night the first comment I heard was from a 20-something girl who “What did I just watch?” My guess is she had little or no idea who Charles Manson was or what he and his cult did back in 1969.

Tarantino doesn’t spoon feed you that information with any expositional dumps. If any thing he downplays things. What he does brilliantly is play on expectations. Somewhere early in my first viewing I remember thinking “How is he going to land this plane.”

It was like Hitchcock’s bomb under the table. Screenwriting 101. As long as the audience sees the bomb under the table you can have actors at the table discuss anything and it will be riveting. Some do that for a scene or two. But here Tarantino does it for almost entire film. All but the last scene of the two hour and 40 minute film is a ticking bomb.

Tarantino and cast and crew layer the film with character studies wonderfully acted, a zillion culture reference, beautiful cinematography, and spellbinding sound tack. In a world crowded with content, it stands out as exceptional and emotional storytelling. It’s also one that rewards audiences with repeat viewings. (Well, at least the ones that don’t hate this film.)

For the dozen or so movies I’ve seen three times in theaters, I’ve found that three times is the maximum amount of viewings before I determine that the next time I see it will be on DVD or streaming. But what made this fourth viewing better that the others was I bought the movie sound track on CD (a first in the last decade or so) and listened to it repeatedly over the past week. It’s a joy all by itself. Then I also listened to Karina Longworth’s 12 part You Must Remember This podcast on “Charles Manson’s Hollywood.”

That podcast gave many wonderful insights into the times and people involved in the surrounding story. That podcast was released in 2015 and I wouldn’t be surprised if it was part of Tarantino’s inspiration with wanting wrap a story around that faithful hot August night in 1969.

On this fourth viewing I really appreciated the range of Leonardo DiCaprio’s performance. On the first viewing of the film I really wanted to see Matt Dillion in that roll of an aging actor. An actor that is closer to Brad Pitt’s age, and one who had some great leading roles 15-20+ years ago. (And one who as the same namesake as the sheriff on Gunsmoke.) But on a $90 million budget I understand needing someone who attract a wide audience so I wanted to see Tom Cruise as the aging actor. On the third viewing I was good with DiCaprio, but still wished he was 10 years older—or at least looked a little more worn. On this viewing, I was good with DiCaprio as is.

Though this is Tarantino’s ninth film this is his first film to complete while married. Perhaps that altered his sensibilities for the better. There is something intellectual (even mystical learning toward spiritual) in this film that I did experience in his pervious films.

Perhaps after the fifth viewing in theater (which their no doubt will be) I will be able to articulate what it is about this movie that’s made be respond the way I have. But in the meantime here are a few dots that were connected and memory doors that the movie opened for me and warranted my record breaking viewing.

  1. When I was in film school in Los Angeles in the early 80s I briefly worked at Frank’s Camera in Highland Park (not far from Dodger Stadium) and I sold a camera to a fellow who worked in the film industry and I asked him if he had any advice for someone starting out. He looked at me dead serious and said “Don’t get married.” It was such unexpected advice that it hit me hard. In many ways working in film and television is like joining the circus and not exactly conducive to a normal family life. Tarantino has spoken openly about the sacrifices he made to become the great filmmaker he is. In my early 20s I met several people in L.A. who were in their 40s and 50s who had some success in Hollywood, yet were still waiting for their big break and I knew I didn’t want to be one of those people. I got married when I was 24-years-old and carved out a niche working in production and having a family life.  Tarantino says he didn’t even have a girlfriend until he was 25 (though he pointed out in a interview that he was “the king of first dates). He got married last year at age 56.
  2. When I moved to L.A. in 1981 I rented a studio apartment on Riverside Dr. in Burbank next to some horse stables connected to what is now called the Los Angeles Equestrian Center. I met my wife at that apartment complex. We once rented horses and went on a trail ride there. This week I read that’s where Tarantino’s parent met. In Once Upon a tourist from Tennessee named Connie goes on a horse back ride at Spahn Ranch. Tarantino’s mother is from Tennessee and named Connie.
  3. When Cliff Booth (Brad Pitt) says “Okay Kato” to Bruce Lee it snaped a memory to me that The Green Hornet (1966-67) was a favorite TV show of mine as a kid. I couldn’t tell you what a single episode was about, but I remember wearing a Green Hornet ring. This was a very distant memory and one that I wasn’t even sure was a real memory. So last night I googled “Green Hornet ring” and sure enough that was a real thing and I even found a commercial for it.
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  5. When I saw that Tarantino married 35-year-old Daniella Pick I wondered if Tarantino wasn’t getting into position to start a family. Yesterday I read that Daniella is pregnant. Tarantino has said that he wanted to make 10 films and then retire from feature filmmaking at age 60. It’s possible that that could happen. But it’s also probable that he’ll be creating long form streaming content, writing plays and books. And like Steven Soderbergh and Michael Jordan it’s possible that he’ll un-retire down the road. I hope he doesn’t stop creating because I kinda dig this (relatively) kinder, gentler Tarantino.
  6. I grew up on Burt Reynold’s movies as did Tarantino and while I haven’t heard anyone make this connection, but I wonder if The 14 Fists of McClusky wasn’t a nod to Reynold’s character Gator McKlusky in White Lighting (1973) and Gator (1976). Reynold’s  was cast to play the George Spahn character in Once Upon but unfortunately died before his parts were shot. (But Tarantino points out he did do table reads and rehearsals so it was his last role). Back in 1969, Reynolds started in the western Sam Whiskey.  Actress Tracey Roberts has a part in that film and is who I studied acting with in the early 80s. Laura Dern also studied with Roberts, and her father Bruce Dern is the one who replaced Reynolds as George Spahn. Screen Shot 2019-07-30 at 3.08.59 AM
  7. Like a lot of kids I grew up watching old westerns on TV, but I had the benefit of having a Western theme park not far from where I grew up. Six Gun Territory was a place in Ocala, Florida that had an old west town, gun fights and can-can girls. I not only visited a couple of times as a kid but shot part of my first 16mm film there. One of the times I visited my father drove my sister and I up in his Karmann Ghia. The same car that Pitt’s character drives around in Once Upon. 
  8. When Smokey and the Bandit starring Burt Reynolds hit theaters I was 16 years old and I remember well how exhilarating it was after the movie was over and getting in my car to drive away. Tarantino has said that Smokey and the Bandit is a movie that holds up well with repeated viewings. Tarantino is a writer/director who thinks of the audience from the early idea stages through post production. It’s how this movie takes me back to film school when I rode a motorcycle up and down Hollywood Blvd. at night.
  9. Even though Once Upon is a centered on a bromance, Margot Robbie, Margaret Qualley, and Julia Butter shine in their scenes. I would have been fine with Tarantino expanding any of their roles, but it would have pushed the movie over the 3 hour mark.
  10. Once Upon a Time … in Hollywood is still a full sensory experience even if you weren’t alive in the 1960s, if you never visited Six Gun Territory, if your dad didn’t have a Karmann Ghia, and even if you never even visited Los Angeles —but you may not see it four+ times.

Scott W. Smith

 

 

 

 

 

 

 

 

 

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“The Hollywood we were driving to that fall of ‘63 was in limbo. The Old Hollywood was finished and the New Hollywood hadn’t started yet.”
Andy Warhol
Popism

Once Upon a Time … in Hollywood is a strange mixtape (with alternative tracks) of the ups and downs of the movie industry. Writer/director Quentin Tarantino could have picked any era in the past 100 years and told a different version of the same story. Only the names change. He chose 1969 which was a memorable year in so many ways.

The movies True Grit and The Wild Bunch were the old guard and Easy Rider and Midnight Cowboy were the new guard and they well represented the changes going on in Hollywood. And in the 1969 movie Butch Cassidy and the Sundance Kid the famous old west bank robbers are told,It’s over don’t you get that? Your times is over and you’re gonna die bloody, and all you can do is chose where.”

Tarantino wraps his fictitious story around the true events of the Mason cult killings in Los Angeles in the summer of ’69 that for many signaled the end of the peace and love hippy movement.

“Many people I know in Los Angeles believe that the Sixties ended abruptly on August 9, 1969.”
Joan Didion

But Tarantino actually made a buddy love story of sorts between fading actor Rick Dalton (Leonardo DiCaprio) and his stuntman Cliff Booth (Brad Pitt) that is full of his high brow, low brow approach to filmmaking. Some of Tarantino’s favorite movies are male bonding stories (Big Wednesday, Fandango, Rio Bravo).

Burt Reynolds would have loved this movie as his influence on Tarantino is unmistakable. (Reynolds was originally cast in the movie but unfortunately died before the movie was shot.)

Reynolds was one of those actors that did what movies and television shows he could in the ’50s and ’60s until he was able to become a movie star in with release of Deliverance in 1972. (After becoming the biggest box office star in Hollywood for several years he would eventually have his own Rick Dalton moment of falling off the Hollywood radar. But he was able to bounce back an earn his sole Oscar nomination for his role in Boogie Nights.)

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“Navajo Joe” (1966) starring Burt Reynolds and directed by Sergio Corbucci

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Quentin Tarantino was named after the character Quint (Burt Renyolds on the right) from the classic Tv show Gunsmoke. Hal Needham performed the stunts for Reynolds on Gunsmoke.

“I’ll tell you one of the greatest moments I’ve had in these however many years we’ve been at it in this town: getting to spend two days with Burt Reynolds on this film.”
Brad Pitt (on doing table reads and spending time with Reynolds)
Esquire interview with Michael Hainey

Watch the 2016 documentary The Bandit centered around Reynolds and his stuntman (turned Smokey and the Bandit director) Hal Needham either before or after watching Once Upon a Time … in Hollywood and it will only enhance your appreciation of Tarantino’s creative gift of making old things new.

This post isn’t a review of the movie but more what the movie stirred in me with the hopes that it will help provide you a roadmap wherever you are on your filmmaking journey.

Tarantino is two years younger than me and I imagine we have many of the same cultural references growing up; watching Batman, Kung Fu, The Lone Ranger, Bruce Lee in The Green Hornet reruns and old westerns and war movies on TV, and Billy Jack and Willard in theaters. Before learning to drive a whole generation was exposed to its share of fist fights and gun battles. As it’s been said—movies reflect the culture they help produce. Heck, that could be the theme of Once Upon a Time … in Hollywood as one of the Manson family cult members says as much.

Inspired by many great films of the ’70s I found my way to Hollywood, California in 1981. If Once Upon a Time … in Hollywood captures the glorious fading light of old Hollywood, I found a decade later that the glory had all but departed. Seedy would be the best way to describe Hollywood at that time. I quickly landed a studio apartment in safe and quiet Burbank.

I finished film school at Columbia College Hollywood which at that time was on North La Brea which meant everyday I drove past Disney Studios, The Burbank Studios, and the back of Universal Studios as I made my way over the hill from the San Fernando Valley on Barham Blvd in Burbank to Cahuenga into Hollywood and usually down Sunset Blvd. or Hollywood Blvd., and past the studio that Charlie Chaplin built all in a 20 minute drive to school.

My first job while in school there was as a driver for BERC (Broadcast Equipment Rental Company) in Hollywood and that was my ticket to getting into NBC, CBS, and ABC studios delivering equipment. Other jobs led getting on the Paramount lot in Hollywood and Twentieth Century Fox in Culver City.

Back in the ’80s I bought books and scripts at Larry Edmonds Cinema and Theatre Bookshop, ate at The Musso & Frank Grill and the Formosa Cafe, saw movies at the Egyptian Theatre, the Cinerama Dome, and the Chinese Theatre, and went to concerts at the Hollywood Bowl, drove through Beverly Hills, rented equipment from Birns and Sawyer, and of course, walked many times down the Hollywood Walk of Fame. All things that you can still do today if you want to experience old Hollywood.

And if you really want to be trippy go see Once Upon a Time … in Hollywood at the Bruin Theatre in Westwood Village which is featured in the movie when Sharon Tate (Margot Robbie) goes to see the movie she’s in (The Wrecking Crew).  And if you want to go full Tarantino you can go watch Once Upon a Time … in Hollywood again at the New Beverly Cinema owned by Tarantino.  (Which is just one block off La Brea and around the corner from Pink’s Hot Dogs and where I went to film school—because all things are connected in Tarantino’s universe.)

Here’s another odd connection. When I was a fresh out of film school 16mm camera operator/editor for Motivational Media I once shot an interview with Kirk Cameron at the lesser known Warner Bros. Ranch in Burbank which is 32 acres full of Hollywood history dating back to the 1930s. That shoot was in 1987 when Cameron was a teenager and one of the stars of the TV show Growing Pains. Also appearing in episodes of Growing Pains was not only an up and coming actor named Leonardo DiCaprio, but a then unknown actor named Brad Pitt.

While living in Burbank director Paul Mazursky (Bob & Carol & Ted & Alice) once walked in front of my car and at crosswalk by the Warner Bros. lot, I walked on the set on The Johnny Carson Show (thanks to a security guard on one of my deliveries), and I saw director John Huston (The Searchers) in a wheelchair outside of FotoKem a few months before he died in 1987. (Actually the same facility where some of the post-production work was done on Once Upon a Time … in Hollywood.)

And one final touch of Hollywood history I experienced in Burbank was meeting Richard Farnsworth standing in line at a movie concession stand in the mid-’80s. He was best known then as an actor in The Grey Fox and The Natural, but he first spent 30 years as a Hollywood stuntman working on films like Red River, Gunga Din, Spartacus, Ben Hur and a whole bunch of TV westerns. (Farnsworth’s Oscar nomination for The Straight Story at age 79 and 167 days is still the record for the oldest Oscar nominee for Best Actor.)

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Because all things are connected in Quentin Tarantino’s world, notice that  the character Farnsworth plays just got released from San Quentin.

I think Farnsworth would have gotten a kick out of Once Upon a Time … in Hollywood. When I asked him if he was Richard Farnsworth he genuinely seemed pleased that I recognized him. I’m sure he saw plenty of Rick Dalton’s in his days—and probably felt like Rick Dalton when he was no longer needed to fall off a horse or drive a chariot.

P.S. Just last week I was watching Butch Cassidy and the Sundance Kid again and did a couple of screen grabs because I thought I could use them on a post about lighting. But Robert Redford and Paul Newman seem to fit in right here along side Pitt and DiCaprio.

“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

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Related posts:
Tarantino Gumbo Soup Film School
Star Wars Vs. Smokey and the Bandit (Remembering Burt Reynolds)
Sacred Land, Moving Pictures (post ends with a clip from Billy Jack) 
Writing ‘Butch Cassidy & the Sundance Kid’
‘The way I wrote…’ —Tarantino

 

Scott W. Smith

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When you have a clear idea of a plot, write out the entire story as interestingly as you can. Keep in mind that the audience is not interested in seeing actions which people do generally, but in seeing what specific actions specific persons do in specific circumstances.”
Screenwriter Frances Marion 
How to Write and See Film Stories (1937)

Moneyball is a movie I adore and return to often. Here are two scenes from that movie that show something specific about the game of professional baseball. But they are also  scenes that are universal. Since people throughout time have had to do some kind of work to survive and be productive in this world —getting fired or firing people is a part of life.

And Office Space is another work related movie that comes to mind as unpacking specifically what Peter (Ron Livingston) does in a given day to avoid being fired. It’s a great scene because of the twist at the end.

And another scene that comes to mind dealing with specificity is from Breaking Bad.

You don’t have to be a fan of baseball, work in a cubical, or have an interest in chemistry/meth to enjoy the stories of Moneyball, Office Space, and Breaking Bad because the writers drilled deep into the specific aspects of the characters.

P.S. Speaking of work . . . over the weekend I made significant progress on lining up details for the release of my book this month.

Scott W. Smith

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This post originally ran in 2010 and I’m reposting it in light of Jim Harrison’s death last Saturday:

“Later that night the ocean again entered Tristan’s dreams…”
Legends of the Fall (Jim Harrison)

“So many nights I just dream of the ocean…”
Changes in Latitudes, Changes in Attitudes (Jimmy Buffett)

I’m not sure what the connection is between writer Jim Harrison and musician Jimmy Buffett, but I’m pretty sure there is one. Some secret Livingston/Key West handshake.

And somewhere in that connection is a spirit that resonates a longing not limited to the books, poems, and songs they’ve created but they’ve tapped into a desire to experience what it means to be alive. And to desire to not only live a life in full—or to use Hemingway’s phrase “all the way up”— but also to have “a good death.”

The 1994 movie Legends of the Fall, based on a novella by Harrisonis a movie I watch every couple of years. I don’t know if it’s the scenery where director Edward Zwick (Glory) picked to shoot the film in the beautiful Canadian Rockies. I don’t know if it’s the cinematography that captured that beauty—for which DP John Toll won an Oscar in 1995. I don’t know if it’s the actors—or simply Brad Pitt’s character Tristan or his Lawrence of Arabia/John Waynelike  introduction, or the James Horner music—whatever the reason, I find Legends of the Fall repeatedly enjoyable to watch.

Critics were spilt at the time of its release and it’s not hard to see why. It has one foot in being an epic story and one foot in melodrama. Tricky territory. And I think that was by design in an attempt for the movie to gain a large audience of both men and women.  Coming off the heals of a Dances with WolvesLegends of the Falls fell short at the box office & Academy Award-wise compared with Dances (which won Pest Picture and 7 total Oscars and made $184 million domestic). But Legends is the one I return to again and again.

Perhaps Legends the film split the vote more than the book did and paid the price. You have wild horses, guns and war for the men and beautiful western clothes, lawn tennis, and a romance normally associated with a romance novel or soap opera for the ladies. And if any men were on the fence, Pitt’s flowing hair (often perfectly backlit) kept them from going over. I’m never surprised when men tell me they’ve never seen the film. Perhaps a sweeping generalization and an oversimplification, but that’s my take. It’s too—to use Harrison’s word—pretty.

Pitt even jokes on the DVD commentary that the movie’s like a L.L. Bean catalog. This is what the original source writer had to say of the refined mountain life portrayed in the movie;

“I did have issues, as they say now, with certain parts of the film, because I thought, ‘Do they have a French dry cleaner right down the street or something like that?,’ ’cause everybody looked— pretty. But so many people seem to like it and I have no objections because it’s a director’s medium. When you accept your check you’re selling your kid.” 
Jim Harrison
NPR, All Things Considered, Feb. 08, 2007

The movie basically extracts the characters that Harrison created and somewhat places them in a new story. Col. Ludlow (Anthony Hopkins), Alfred (Aidan Quinn), Samuel (Henry Thomas), Tristan (Pitt) and others are all there. Susannah’s role (Julia Ormond) is altered and beefed up. Heck, the book opens with the brothers going to the war where in the movie that doesn’t occur until the 32 minute mark. The book is more Tristan focused and covers more of his far away adventures. Like writer Walter Kirn (who also happens lives in Livingston, Montana where Harrison lives part of the year) said of the movie Up in the Air that was based on his book of the same name—the book is not the movie, and the movie is not the book, but they have the same DNA.

To director Zwick’s credit I think he and screenwriters Bill Wittliff and Susan Shiliday, as well as the talented cast & crew created a film that continues to have legs (and a heartbeat) more than 15 years after it was created and that’s not an easy accomplishment. (And something that I don’t think any of the other films based on Harrison’s work have achieved.)

As a side note, though Harrison has homes now in both Arizona and Montana, and has traveled widely, this is what he wrote a few years ago:

“I have several dear friends in Nebraska and the Niobrara River Valley in the Sandhills is my favorite beautiful spot on earth.” 
Jim Harrison

In my adventures over the years I have been fortunate to experience such things as witnessing a full solar eclipse in Salzburg, been free diving with large green turtles in Hanauma Bay in Hawaii, and flown in a seaplane over the Amazon River, but one of the most unbelievable and unexpected experiences I’ve ever had is watching thousands of Sandhill Cranes fill the sky on the edge of the Nebraska Sand Hills.

To beat the drum once again you don’t need to be in New York and L.A. to find adventures or stories worth telling. Certainly, even a somewhat remote place such as Nebraska has been fertile ground for writers from Harrison (Dalva), to Willa Cather (My Antonia) and screenwriter Alexander Payne (Election, About Schmidt).

“Of course Nebraska is a storehouse for literary material. Everywhere is a storehouse of literary material. If a true artist were born in a pig pen 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

May you all have eyes to see.

Up in the Air—The Novel vs. The Film

Scott W. Smith

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“The first rule of Fight Club is you do not talk about Fight Club. The second rule of Fight Club is you do not talk about Fight Club.”
Tyler Durden (Brad Pitt)

I’m breaking the first two rules of Fight Club today by talking about Fight Club. But it’s okay because it’s really Fight Club author Chuck Palahniuk talking about where he got the original idea for his novel Fight Club. (I had never read or heard this account until a few days ago when I watched the movie version and listened to the commentary by Palahniuk and Fight Club screenwriter Jim Uhls.)

“I had gone on a vacation hiking and camping. I’d gotten into a really big fight with some people over noise at night in the woods. Some people who just had to camp right next to our camp—just had to bring some huge radio some 3,000 feet up the Pacific Crest Trail and have some big blow out party in the middle of the night. And I came back to work at the end of my vacation with my face just bashed—like Jack in the urinal next to his boss. My face was so awful, so trashed that nobody would acknowledge it, because to acknowledge it somehow they would have to find out something about my private life they just didn’t want to know. So for three months as my face slowly changed color and started coming back to white people would look at my chest, and they would talk to my Adam’s apple, and they would say, ‘So, how was your weekend? Did you do anything interesting?’ And I’d be looking at them with two huge black eyes and say, ‘No. How about you/’It just seemed so ludicrous that I thought if you looked bad enough no one would ever dare ask you what you did with your free time, and that was the genesis of Fight Club.”
Fight Club author Chuck Palahniuk

The irony, of course, is people often go hiking and camping to disconnect from their everyday worlds and reconnect with nature and have a peaceful experience—unplugged from the everyday noise. Yet if Palahniuk has a peaceful hiking and camping experience he doesn’t end up getting in a fight and perhaps Fight Club never gets written.

P.S. A few days ago Jeff Goldsmith  (@yogoldsmith) tweeted this; “So @chuckpalahniuk told me he’s working with David Fincher & @trent_reznor to do a rock opera – an enhanced version of the film!”

P.P.S. Fight Club screenwriter Jim Uhls taught a class on CreativeLive called The Screenwriters Toolkit that is currently on sale for $41. I haven’t watched the class, but in general I love what the CreativeLive team produces. And since people often complain about the lack of teaching material by working screenwriters of well done produced films this would seem a good opportunity to fill that void.

Scott W. Smith

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“If you don’t think it can get worse, it can—and it will.” 
Sgt. Don “Wardaddy” Collier (Brad Pitt) in Fury

’Twas in another lifetime, one of toil and blood
When blackness was a virtue and the road was full of mud
Shelter From The Storm/Bob Dylan

“I’m a Veteran. I was in the Navy, in the submarine corps. I come from a military family. Both of my grandparents were in World War II and retired as officers. One fought in the Pacific and one fought in Europe. The whole family was in the war. I grew up exposed to it and hearing the stories, but the stories I heard weren’t kind of the whole ‘Rah, rah, rah! We saved the world!’ They were about the personal price and the emotional price. The pain and the loss are the shadows that sort of stalk my family. That was something that I wanted to communicate with people. Even though it was literally a fight of good against evil and it had an incredibly positive outcome, the individual man fighting it was just as tired, scared and freaked out as a guy operating a base in Afghanistan or a guy in the jungle in Vietnam.”
Fury writer/director David Ayer
Collier interview with Steve ‘Frosty’ Weintraub

P.S. I think Brad Pitt’s line in Fury —”Ideals are peaceful, history is violent”—is the most profound movie line this year. A quote that you’d expect attributed to Patton or Lincoln. If AFI ever does the list 100 Years…100 Profound Movie Lines, I expect that line to be there. And if that line was ad libbed on the set by Pitt (as Ayer’s has said in interviews) then Pitt deserves an ad lib line of the year award.

Related posts:
Screenwriting from Hell “There are certain rules about a war, and rule number one is young men die.”
Filmmaking Quote #24 (Brad Pitt)
Brad Pitt and the Future of Journalism
Writing ‘Black Hawk Down’

Scott W. Smith

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“Entertainment is not frivolous; through entertainment you can actually make people aware of things. And throughout the ages art has always had a huge influence on history… It seemed to me like a kind of an obvious thing to do, to make a film about slavery—just like it’s an obvious thing to make a film about the Second World War or the Holocaust…There really aren’t too many films about slavery.”
Writer/director Steve McQueen (12 Years a Slave)
Combined from interviews with Danielle Berrin and  Elvis Mitchell

Jeremy Kleiner at Plan B knew me and he knew Steve [McQueen]and he said, ‘look, we don’t really have any development money, we can’t really help you.’ This was not a standard development situation. It became a spec script. But he said, ‘if you guys can work out what you want to do and if you’re willing to go write a script and do it on spec and turn it into something that works and Steve is happy with it, we’ll find a way to put it together.’ At that point, Jeremy was one of those producers where if he says that we’ll put it together, you believe that he means it.”
Oscar-nominated screenwriter John Ridley (12 years a Slave)
BuzzFeed interview with Adam B. Vary

12 Years a Slave received 9 Oscar nominations including Best Picture for producers Brad Pitt, Dede Gardner, Jeremy Kleiner, Steve McQueen and Anthony Katagas. Pitt is the sole owner of Plan B Productions and it was just announced a few days ago that his group would be partnering with Oprah Winfrey on a film about Martin Luther King called Selma.

Related Posts:
25 Links Related to Blacks & Filmmaking
Filmmaking Quote #24 (Brad Pitt)
Brad Pitt & the Furture of Journalism
Martin Luther King Jr. & Screenwriitng (Tip #7)

Scott W. Smith

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