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Posts Tagged ‘Joe Eszterhas’

“HOLLYWOOD is easy to hate, easy to sneer at, easy to lampoon.”
Raymond Chandler’s essay Writers in Hollywood published in the Atlantic in 1945

I’m going to go out on a limb and say that novelist/screenwriter Raymond Chandler (The Big Sleep, Double Indemnity) was not in a happy place when he wrote the essay  Writers in Hollywood which was published in the Atlantic back in 1945.

“The making of a picture ought surely to be a rather fascinating adventure. It is not; it is an endless contention of tawdry egos, some of them powerful, almost all of them vociferous, and almost none of them capable of anything much more creative than credit-stealing and self-promotion. Hollywood is a showman’s paradise. But showmen make nothing; they exploit what someone else has made.”
Raymond Chandler
Writers in Hollywood 

“The first picture I worked on was nominated for an Academy award (if that means anything), but I was not even invited to the press review held right in the studio. An extremely successful picture made by another studio from a story I wrote used verbatim lines out of the story in its promotional campaign, but my name was never mentioned once in any radio, magazine, billboard, or newspaper advertising that I saw or heard – and I saw and heard a great deal. This neglect is of no consequence to me personally; to any writer of books a Hollywood by-line is trivial.
Raymond Chandler
Writers in Hollywood

“Few screenwriters possess homes in Bel-Air, illuminated swimming pools, wives in full-length mink coats, three servants, and that air of tired genius gone a little sour. Money buys pathetically little in Hollywood beyond the pleasure of living in an unreal world, associating with a narrow group of people who think, talk, and drink nothing but pictures, most of them bad, and the doubtful pleasure of watching famous actors and actresses guzzle in some of the rudest restaurants in the world. I do not mean that Hollywood society is any duller or more dissipated than moneyed society anywhere: God knows it couldn’t be. But it is a pretty thin reward for a lifetime devoted to the essential craft of what might be a great art.”
Raymond Chandler
Writers in Hollywood

But that essay was written over 65 years ago, and he was talking about a Hollywood studio system of the 30s & 40s. One we ironically look back on as the golden era of Hollywood—the era before TV muddied the waters. Time and time again you hear 1939 named as the best year ever in the history of motion pictures: Mr. Smith Goes to Washington, Stagecoach, Gone with the Wind, The Wizard of Oz. (And 1941 wasn’t too bad either: Citizen Kane, The Maltese Falcon, Meet John Doe, Suspicion, Sergeant York, How Green Was My Valley, Sullivan’s Travels.)

Every era produces its share of bad people and bad movies, but given a little time all of that is forgotten and we remember mostly the great movies—and the great filmmakers who made those movies. My guess is back in 1945 Chandler was too close to the egos—the sauguage making—to step back and see that some great movies were made.

When I first saw Double Indemnity 40 years after it was made I knew nothing of Raymond Chandler (screenwriter), Billy Wilder (screenwriter/director), or James M. Cain (who wrote the novel).  I was unaware of the tension Chandler and Wilder had in writing the script—I just knew it was a great film.  (I did know Fred MacMurray from the TV show My Three Sons, so it did take some effort seeing him as the bad guy.)

It would be interesting to see what Raymond Chandler would write today about Hollywood, independent filmmaking, global cinema, and even television. But he did end his 1945 essay with a little hope:

“In spite of all I have said, the writers of Hollywood are winning their battle for prestige. More and more of them are becoming showmen in their own right, producers and directors of their own screenplays. Let us be glad for their additional importance and power, and not examine the artistic result too critically. The boys make good (and some of them might even make good pictures). Let us rejoice together, for the tendency to become showmen is well in the acceptable tradition of the literary art as practiced among the cameras.
Raymond Chandler
Writers in Hollywood

Chandler would have liked Joe Eszterhas a lot.  And I imagine if Chandler were alive to watch the 2008 Academy Awards he would have smiled when screenwriter/”showman” Diablo Cody won her Oscar for Juno and simply said, “You go girl.” And I think he’d be proud—and amazed— of the modern filmmakers that produced Winter’s Bone, The Artist, and Life of Pi.

To paraphrase what David Mamet said of theater, “Cinema is always dying, and always being reborn.”

Related post: The Original Screenwriting Rock Star

And since it’s Martin Luther King Jr. Day— Martin Luther King Jr Special

Scott W. Smith

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Do you have a picture of “when I’m 64″?
“No, no. I hope we’re a nice old couple living off the coast of Ireland or something like that —looking at our scrapbook of madness.”
John Lennon Interview
1971 Rolling Stone Interview

John Lennon never had a chance to flip through his scrapbook of madness. He was shot and killed 30 years ago today. He was 40 years old. I was a teenager in Orlando when I heard the news and what I remember most about that day—or I guess the day after the shooting—is how the many cars around Central Florida drove around with their lights on during the daytime. Like a big funeral procession. I had never seen that before and haven’t seen it since. And I don’t know if that was a local thing or was going on all over the country and/or world.

I was looking for a story about Lennon that was different from ones you’ve heard or will hear today and this is what I came up with:

“There’s a wonderful story that took place up in the north of Scotland that not many people know about. (John Lennon) crashed his car up in Scotland soon after he had married Yoko Ono. And as a result of that he was hospitalized. They ran the car into a ditch. And so here he is way in the wilds of Scotland in a tiny, wee country hospital. And the local minister comes to make his rounds. And in one of the beds sits Lennon, you know, with his hair way down his back. And the man, bless his heart, duly goes up and introduces himself and says who he is. And he actually, I believe, from those who were part of this man’s congregation, had a wonderful opportunity to talk with him beyond the level of superficial things. And a couple of days later Lennon was stitched up and packed off and he left. And within a week or ten days the local minister was seen driving around the town in this lovely new car. And apparently what had happened was that Lennon, when he was discharged from the hospital, had gone to the local garage and had written a check and asked the garage owner to call the minister and offer to him any car of his choice at Lennon’s expense. And that was an indication again of this heart.”
Alistair Begg
Dick Staub 2004 Interview, Alistair Begg on Spirituality of The Beatles

By the way, Alistair Begg happens to be a minister in the Chagrin Falls, Ohio but also had a role as a Scottish golfer in the feature film Bobby Jones: Stroke of a Genius which starred Jim Caviezel. (Chagrin Falls also happens to be the area where screenwriter Joe Eszterhas now lives.)

Scott W. Smith

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Now that it’s almost been three years since I started the Screenwriting from Iowa blog and have written over 700 posts, I thought October 10, 2010 (10/10/10) was a fitting day to pick a mix of ten of my favorite, most viewed, and  most helpful posts that you may have missed depending when you started reading this blog or how often you check your RSS feed.

One word of warning is the first year of posts were generally longer than they are today. It was not uncommon that they weighed in between 1,000 & 2,000 words. I’ve added a quote to give you a feel of each post and hope you can take the time to read one or two links. Thanks to everyone for frequenting this blog. Watching the numbers increase really does help keep me plugging away daily. (Hope to get it in book ready shape by the end of the year.)

1) Where Do Ideas Come From? (A+B=C)
“The way to have a great idea is to have lots of ideas.”
Linus Pauling

2) Can Screenwriting Be Taught?
“I wrote screenplays as a way to get into production. I wrote six or seven before I sold one.”
Lawrence Kasden
screenwriter, Raiders of the Lost Ark

3) Everything I Learned in Film School (tip #1)
“If real estate’s mantra is location, location, location, then for screenwriters it’s conflict, conflict, conflict.”

4) Starting Your Screenplay (tip #6)
“Who is your hero, what does he want, and what stands in his way?”
Paddy Chayefsky, Three-time Oscar-winning screenwriter

5) Screenwriting & Structure (tip #5)
“Structure is the most important element in the screenplay. It is the force that holds everything together.”
Syd Field

6) Screenwriting & the Little Fat Girl in Ohio

“One day some little fat girl in Ohio is going to be the new Mozart.”
Francis Ford Coppola

7) Rod Serling’s Ohio Epiphany
“I don’t think that calling something commercial makes it stink.”
Rod Serling

8) The Serious Side of “Gilligan’s Island”
“(Gilligan’s Island) is about, people learning to live together.”

9) Re-Writing Screenwriter John August
If you write a script anywhere and send it to an agent in Chicago or Detroit or Cleveland or wherever…and if that agent sends it to an agent in Hollywood who loves it…you can sell your script.”
Screenwriter Joe Eszterhas

10) How Much Do Screenwriters Make?
“Most screenwriters are unemployed, chronically unemployed.”
Screenwriter Tom Lazarus (Stigmata)

10a—bonus) Juno Has Another Baby (Emmy)
Don’t ever agonize about the hordes of other writers who are ostensibly your competition.  No one else is capable of doing what you do.”
Oscar-winning screenwriter Diablo Cody (Juno)

Scott W. Smith

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“I think the moment you try to make something for kids, you are making something really cruddy that even kids don’t want to watch most of the time.”
Lee Unkrich, Toy Story 3 director

Chagrin Falls, Ohio has actually popped up a few times on my posts. Mostly because that’s the area where screenwriter Joe Eszterhas moved to in part because he believed it was a better place than Malibu to raise his family.

I’ve been to Chagrin Falls a couple of times and the Cleveland suburb appears to be an idyllic place to grow up. Newsweek has named Chagrin Falls High School several times as one of the top 100 high schools in the country. And grow up in Chagrin Falls and graduate from Chagrin Falls High School is exactly what Toy Story 3 director Lee Unkrich did.

Long before Unkrich co-directed the Pixar films Finding NemoMonsters, Inc. and Toy Story 2, he joined the Cleveland Play House as an 11-year-old and spent four years working on children’s shows.Unkrich told Clint O’Connor of The Plain Dealer of his four years of performing children’s plays and musicals in Cleveland,  “I loved it. We got to put on our shows on the big sets and on the big stages.”

An interesting (and Toy Story-connected) side note is since Lee Unkrich was born in 1967 and began doing theater in Cleveland when he was 11, that means he started in 1978. In 1978-79 there was a young actor in Cleveland cutting his chops performing Shakespeare (and moving sets) with the Great Lakes Theater Festival, where artistic director Vincent Dowling had lured the student away from California.

That student was Tom Hanks who would go on to win two Best Actor  Academy Awards as well as be in a few other films, including providing the voice for Woody in the Toy Story movies. That’s right, before he starred in the TV show Bosom Buddies in 1980, Hanks was performing Hamlet night after night in Cleveland, Ohio.

“[I have] an artistic bent, almost a philosophy, which I learned for the first time onstage in Cleveland.”
Tom Hanks

Unkrich graduated from high school in 1985 and headed to USC to attend film school where he graduated in 1990. He won some awards for his short films, edited some TV programs, and eventually joined Pixar in 1994.

In an article in The Columbus Dispatch Unkrich was interviewed by Nick Chordas:

Chordas: Does it feel as if you’ve come a long way from Chagrin Falls?

Unkrich: It does. I headed off from Chagrin Falls with dreams of making movies, although I don’t think I really understood what that meant then. But, yes, I do have to pinch myself that I’m here doing this now.

My mom still lives in Chagrin Falls, and she’ll be at the premiere on Hollywood Boulevard. I’m sure it will be a thrill for both of us.

You can follow Unkrich on Twitter @leeunkrich .

P.S. Pixar’s Bob Peterson (who directed Up) is from Wooster, Ohio. And next door in Michigan, they can claim the voice of Buzz Lightyear provided by Tim Allen.  Allen went to high school in Birmingham, Michigan, earned a degree in TV from Western Michigan University, and started his stand up comedy routine in Detroit.

Some of the “Screenwriting from Iowa” related posts on Ohio:

Screenwriting & the Little Fat Girl in Ohio
Screenwriting Quote #129 (Bob Peterson)
Rod Serling’s Ohio Epiphany
First Screenplay=9 Oscar Nominations
Youngstown’s Hollywood Connection
Screenwriting Quote #116 (Chris Colunbus)
William Goldman Stands Alone
Screenwriting Quote #72 (Michael Eisner)
Screenwriting from Sunset Blvd.

And though I haven’t written about him yet, writer/director Jim Jarmusch is from the Akron, Ohio area. For what it’s worth, Jarmusch’sfascinating film Stranger Than Paradise was released in 1984—the same year that basketball’s “King James,” LeBron James, was born in Akron.

Scott W. Smith

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Orson Welles was only 25-years-old when he made his first film Citizen Kane. It is considered one of the greatest films ever made. He won his sole Oscar on that film. He was 43 when he directed his last significant film Touch of Evil. Welles died in 1985 at age 70. Though he worked as an actor, voice-over talent, director, and even had his own TV show in his later years,  he was most well known to the general public for his Paul Masson commercials; “We will sell no wine before its time.”

When Clint Eastwood was 25-years-old he was digging swimming pools in Los Angeles.  While in his thirties he started to build a name for himself as an actor, but it was not until he was in his forties when he turned his hand to directing. And that was a 12 minute film called The Beguiled: The Storyteller. He followed that with the feature Play Misty for Me and has gone on to direct more that 30 films. He’s won four Academy Awards (Unforgiven, Million Dollar Baby) the last one at age 74. He was 78 when he directed and starred in Gran Torino, which to date (according to Box Office Mojo) is the highest grossing film that he’s ever starred in or directed.

“Some people glow really early, in their twenties and thirties, then in their fifties they are not doing as much. but I feel that growing up and maturing, constantly maturing—aging is the impolite way of saying it-—I like to think there is an expansion going on philosophically.”
Clint Eastwood
Devil’s Guide to Hollywood
Joe Eszterhas
Page 361

Scott W. Smith

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“Writing a good movie brings a writer about as much fame as steering a bicycle.”
Ben Hecht

“The job of turning good writers into movie hacks is the producer’s chief task.”
Ben Hecht

Screenwriter Ben Hecht was born in 1894 just as moving pictures were being invented. Before he died in 1964 he worked on 70+ films and wrote many plays and books. He was the first screenwriter to ever win an Academy Award for Best Writing, Original Story. He’s considered  one of the greatest screenwriters in the history of motion pictures.

Hecht was born in New York City and spent time on the lower east side before moving to Racine, Wisconsin. where his mother worked in downtown Racine. For those keeping score, Racine is not far from Kenosha, WI where Orson Welles was born.

After graduating from high school in Racine and briefly attending college at the University of Wisconsin at Madison (for all of three days), Hecht went to Chicago where he eventually began working for newspapers (Chicago Journal and The Chicago Daily News). His first novel (Erik Dorn) was published in 1921. His Chicago-basedplay The Front Page was written in 1928 and was made into films several times. His time in Chicago covering murders and gangster would serve him well in Hollywood as those stories translated well to the big screen.

Jumping into the world of movies just as they were using sound, his script for Underworld was released in 1929 and earned him an Oscar award. He sometimes wrote a script in a matter of days and said that he never took longer than eight weeks. Scarface (1932) was written in nine days. He is quoted as saying of his screenwriting career that he was paid, “tremendous sums of money for work that required no more effort than a game of pinochle.”

He was called The Shakespeare of Hollywood but had this to say of his own career: “Out of the seventy movies I’ve written some ten of them were not entirely waste product. These were Underworld, The Scoundrel, Wuthering Heights, Viva Villa, Scarface, Specter of the Rose, Actors and Sin, Roman Holiday, Spellbound, Nothing Sacred.
Ben Hecht

Some of the other movies he worked on (credited and uncredited) include:

Gunga Din
Notorious (Oscar Nominated)
Gone with the Wind
The Shop Around the Corner
His Girl Friday
Stagecoach
Angels Over Broadway (Oscar Nominated)
Viva Villa (Oscar nominated)

He won his second Academy Award for The Scoundrel (shared with Charles MacArthur). Because he sometimes used a pseudonym (partly because he was blacklisted in Europe) we’ll probably never know exactly how many novels, plays and movies Hecht actually wrote. But it’s safe to say that he cranked out his share of pages. Combine the tough-talking gangster persona Hecht carried with the rapid exchange found in His Girl Friday (based on Hecht/MacArthur play The Front Page) and it’s hard to think that Hecht didn’t pave the way for writers Joe Eszterhas and Quentin Tarantino.  (Eszterhas in his book Hollywood Animal called Hecht “the most successful screenwriter in Hollywood history.”

Later in life Hecht had his own TV talk show in New York City (you can find a weak interview he did with Jack Kerouac on You Tube) and was critical of the culture that American movies had helped produce:

“The movies are one of the bad habits that corrupted our century….Of their many sins, I offer as the worst their effect on the intellectual side of the nation. It is chiefly from that viewpoint I write of them — as an eruption of trash that has lamed the American mind and retarded Americans from becoming a cultured people.”
Ben Hecht

What would he say of TV and the Internet today?

Scott W. Smith

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“Every cell of your body has to be aligned so that you’re making the best possible image.”
Photographer and Oscar-winning filmmaker Louie Psihoyos

His name is Louie Psihoyos. He won an Oscar Sunday. And he’s originally from Iowa.

That’s the short version.

If Louie Psihoyos doesn’t sound like a traditional Midwestern German Lutheran name to you, you’d be correct.  A little over fifty years before he accepted his best documentary Oscar for The Cove, he was born to Greek immigrants and raised in Dubuque, Iowa.

And it was in Dubuque were he first got turned on to art, eventually focusing on photography. In perhaps an odd connection you’ll probably only find on a blog called Screenwriting from Iowa, Psihoyos had an interesting experience with an Oscar-nominated screenwriter in of all places Dubuque, Iowa.

In the 1970s, the movie F.I.S.T. was filmed in Dubuque starring Sylvester Stallone.  F.I.S.T. was Stallone’s first film after the Oscar-winning best picture Rocky. Rocky, of course, put Stallone on the map as he was nominated for an Oscar as best actor and for best original screenplay. (F.I.S.T. also just happens to be the first script that Joe Eszterhas ever had produced.)

Psihoyos was a teenager at the time F.I.S.T. was being filmmed but was already an accomplished photographer having won some contests and somehow was able to met and photograph Stallone. (Update: Photographer Brian Smith actually said Psihoyos appeared in the film so I looked into it and found on Psihoyos’ website the Stallone photograph and this account by Psihoyos: “As a photographic intern for the local newspaper, I was sent to stake out Stallone at the local hotel where the crew was staying. He came in from the airport dressed in costume and I took the photograph in a hotel elevator. Stallone loved the photograph and invited me to stay on the set… He put me in the movie F.I.S.T. as his wedding photographer. I have one speaking line, ‘smile now!'”)

Psihoyos went on to graduate from the highly esteemed journalism school at the University of Missouri and won the National Geographic annual College Photographer of the Year contest. That helped him launch into a long career as a photographer for National Geographic.

A couple years ago he decided to turn his talent and resources into his vision of what became the documentary The Cove.

So once again while Psihoyos appears to be another filmmaker who won an Oscar with his first film—there is a 30+ year accomplished creative career behind him. Here’s some advice from him;

“What I like to tell newcomers is that there’re about 30,000 working photographers in Manhattan. Those are people who, by their IRS statements, are making a living and are profitable, and a lot of them are pretty damn good. You have to give of yourself 200 percent in everything you do; then the right people find you like a beacon.”
Louie Psihoyos
2006 Interview with Ted Fry
—–

Psihoyo’s acceptance speech was cut off during the Oscars broadcast so here is what he intended to say;

“We made this film to give the oceans a voice.

We told the story of The Cove because we witnessed a crime. Not just a crime against nature, but a crime against humanity.

We made this movie because through plundering, pollution and acidification from burning fossil fuels, ALL ocean life is in peril from the great whales to plankton which incidentally is responsible for half the oxygen in this theater.

Thank you, Black OPS Team for risking your lives in Japan — and thank You Academy for shining the brightest lights in the world on THE COVE……

Japan, please see this movie for yourselves!  Domo Arigato!”

Psihoyos is based in Boulder these days. I don’t know if he has reasons to come to Iowa anymore, but I’d thought it interesting that he got his start here. Much in the spirit of screenwriter Diablo Cody who graduated from college in Iowa where she developed her skills on her way to writing the Oscar-winning script for Juno. (Which I should mention to any new readers is who inspired me to start blogging two years ago.)

Scott W. Smith

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