Posts Tagged ‘John Grisham’

“If you can’t pitch an idea — if you’ve got an idea for a story, whether it’s a book, a TV show or a movie, if you can’t pitch it in like 30 seconds and hook somebody and make them believe in it, you’re probably in trouble…Many, many years ago, I had just finished A Time to Kill, and [my wife] Renee was in the kitchen cooking. And I said, hey, I’ve got an idea for you. Listen to me. Give me your attention. I said, okay, here’s the deal. A young associate finishes law school. He goes to work or a law firm set in Memphis, of all places, not one of your big, powerful Washington or New York firms. And he joins a firm that’s secretly owned by the Mafia. And once you join the firm, you can never leave. That was my spiel, just like that. I made that pitch. And Renee just stopped and she said, wait a minute. Do that again. And I did it again. And she said, that’s a big book. And that was The Firm. So that’s the way I get the ideas going.”
John Grisham
Interview on The Diane Rehm Show

The Firm became a best-selling book and then a film starring Tom Cruise based on a script by David Rabe, Robert Towne & David Rayfiel.

This is what Grisham told Rehm about having your novel turned into a movie by others:

“When you deal with Hollywood, you have to be realistic. It’s going to be something different. It is very difficult to adapt a 400 or 500-page novel into a screenplay that’s 120 pages and a two-hour film. And it can be done, it’s done all the time, but it’s not always that easy. Something is always going to be left out, something’s going to be changed, and you have to know that up front. It’s going to be something different. I don’t get too close to it. I keep my distance. I don’t go to the set and hang out. I go and meet everybody one time and then go home and wait for the movie to come out.”

Related post:
Where Do Ideas Come From? (A+B=C)
John Grisham’s Writing Routine
John Grisham’s Outlining Process
Bad Ideas & Writing Poorly
Is It a Movie?

Scott W. Smith

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“I don’t think writers are sacred, but words are. They deserve respect. If you get the right ones in the right order, you might nudge the world a little or make a poem that children will speak for you when you are dead.” 
Oscar-winning screenwriter Tom Stoppard (Shakespeare in Love)

The old Hollywood adage is “If you want to send a message, use Western Union.” The thought there is people don’t want “message films”—they simply want to be entertained. Yet as I’ve explored over the years, one of the things that sets many fine movies apart is they’re about something. Call that something theme, call it a message, or give it some other name, but it’s the thing that resonates with people long after they’ve been entertained.

Movies as diverse as On the Waterfront, Toy Story 3, An Officer and a Gentleman, Erin Brockovich, The Verdict, The Maxtrix, Spiderman, The Shawshank Redemption, The Wizard of Oz, Driving Miss Daisy and It’s a Wonderful Life are all movies about something.

Many of John Grisham’s books and movies deal with some sort of injustice. And in the following lightly edited and abridged exchange from The Moment with Brian Koppelman podcast Grisham talks about that delicate balance between having something to say and writing something that’s entertaining.

John Grisham: I’m still grateful for what’s happened to me. I don’t take it for granted. I keep my feet on the ground. And I just try to help people and treat them fairly. And write the best fiction I can write year after year. My dreams have all been fulfilled, which is kind of sad. There’s nothing left to dream for—but I never dreamed I’d be here. And so I’ve very content where I am and very grateful.

Brian Koppelman: So what’s the reason you write now?

John Grisham: Some books and some issues really tick me off and I want to go after people. I want to expose something. I want to shed some light on an issue that maybe we hadn’t thought about. For example, the more I read about student debt in this county the more ticked off I get. At what the government has done, what the lenders have done, what some of these schools have done to entice students to come to school there with false claims of big jobs. So these kids finish college and have a mountain of debt—can’t get a job—anyway, it’s not fraudulent, but it’s not really right either. And that’s an issue that the more I read the more I want to explore it. And I can see a novel coming with that background, with that issue.

Brian Koppelman: That’s great.

John Grisham: Stuff like that can keep me awake at night. 

Brian: When you see injustices you want to write an entertaining book, but you want to get in there and expose it in some way and make us think about it.

John Grisham: Yeah.

Brian Koppelman: What do you think is the responsibility of your position?

John Grisham: I don’t feel responsibility just because of who I am and how big my megaphone is. Sure I have an audience. But you got to be careful with your audience because they don’t all share my politics. You can’t be intrusive with your politics in popular fiction when you’re trying to entertain people. So I really have to watch that. And I do watch it. I don’t feel a responsibility next year that might change something. My responsibility is to write a book that will entertain.  

Brian Koppelman: Even if the thing that fires you up to do it though is something that bothers you. You’ll try to wrap it in a package that’s digestible.

John Grisham: Sure. Oh yeah. Look forward to it. That’s what I want to do every time out.

P.S. For John Grisham and others interested in the student loan debate; Read the interview I did with friend and filmmaker Calvin Johannsen on his doc Broke, Busted & Disgusted.

Related Posts:
Sidney Lumet on Theme “The picture had better have some meaning to me.”
Put the Megaphone Down! “You’ve got to find a way of saying it without saying it.”
Duke Ellington
Diane Frolov & The Twilight Zone  “I think of a theme and then chose a story line or a plot to go with it….” Rod Serling
Michael Arndt on Theme “I read a lot of comedy screenplays and the disappointing thing—the reason most of them don’t work is because they’re not about anything.”
Writing from Theme

Scott W. Smith




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“I’m doing the outline [of my story] upfront so I always know where I’m going. I work on the outline for weeks, months, sometimes even years if I can’t get it right. But when I start the book on January the first to finish by July the first I’ve got a clear outline—I know exactly where the story’s going— I know how it’s going to end. I love John Irving books, and John Irving says he writes the last sentence before he writes the first. I’m not that smart, but I know what the last scene is before I write the first scene….It’s important to outline because if you don’t know where you’re going you can waste huge amounts of time.”
John Grisham (The Firm, The Client, The Pelican Brief)
Interview with Brian Koppelman

P.S. Grisham does say in that interview that he does have some “freedom and flexibility” to change his outline, but the reason “he can’t take a left turn for no reason” is he’s on a deadline to publish a book once a year. He didn’t outline his first book (A Time to Kill) and it took him three years to write and came it at 1,000 words (his editor cut that book by a third). And because his outlines sometimes take an extended time to complete, he can have multiple stories in play to make sure he gets one book done a year.

Related posts:
Screenwriting Quote #93 (John Grisham)
John Irving, Iowa & Writing
Postcard #48 (Oxford)
Analytical vs. Intuitive Writing
Stuart Beattie’s 5-Page Outline
Story Plotting the Harry Potter Way (It’s worth noting until J.K. Rowling came along, I believe John Grisham was the most financially successful living writer. Maybe ever. But when you look at the combined success of Grisham and Rowling and realize they both outline their stories you have to at least take notice. On the flip side, Stephen King doesn’t outline and Quentin Tarantino says “Basically, my writing’s like a journey.” )

Scott W. Smith

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When I was walking in Memphis
I was walking with my feet ten feet off of Beale
Marc Cohn/Walking in Memphis

BealeStreetLate Monday night I stopped in Memphis to eat dinner on Beale Street expecting it to be a very light crowd—but the action was in full swing. Turns out the Memphis Grizzlies had just finished their NBA game and people were pouring onto Beale Street. Though the music has changed some you can imagine a teenage Elvis Presley walking down the same street being inspired by the music and dress of the performers there back in the late ’40s and early ’50s. Would there be an Elvis without Beale Street?


But not without Memphis, and not without the Blues music that flowed to the city from the Mississippi Delta.

If you’re ever just driving through Memphis it’s worth a stop to take in Beale Street. Just last month Beale Street was named “Best Iconic Street” in America in a USA TODAY Poll.

And since this is a blog on movies I thought I’d find a list of movies shot in Memphis. Here a list I found by Teresa R. Simpson.

1) Castaway
2) Hustle and Flow
3) The Client
4) Walk the Line
5) 21 Grams
6) The Firm
7) Great Balls of Fire
8) Forty Shades of Blue
9) The People Vs. Larry Flint
10) The Rainmaker

Since John Grisham has three films on that listed from his books—and he used to live and work in Memphis—I thought I pick my favorite of that bunch to showcase. Check out The Firm if you haven’t seen it.

P.S. BTW—I had a shrimp po-boy which is something you should try if you’re not from the South, have never had one, and visit there sometime. Also, hope you enjoy my subtle visual wink in the Beale Street photo that took a little work to time right to give it the Marc Cohn tie-in. Keeps life interesting.

Related Posts:
The Elvis of Screenwriting?
Screenwriting Quote #93 ( John Grisham)
Postcard #51 (Cotton Fields)
Postcard #47 (Tupelo)

Scott W. Smith

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“Read, read, read. Read everything—trash, classics, good and bad—Read!”
William FaulknerOxford

Nobel Prize and Pulitzer Prize winning writer William Faulkner moved to Oxford, Mississippi when he was three and after a long life in literature, and a short career as a screenwriter in Hollywood, Faulkner died at age 64 and is buried in Oxford.

I had been to Oxford before, but never on a college football Saturday, so I’d never seen The Grove in all its glory. The Grove has been called “the Holy Grail of tailgating sites” on the campus of the University of Mississippi. One saying at Ole Miss is, “We may not win every game, but we never lose a party.” They, in fact, didn’t win the game against Texas A & M which was decided by a field goal as time ran out. But before the game I got to witness what sets The Grove apart from other pregame atmospheres. The China ware, the chandeliers, and some of the students wearing jackets and ties.

As people made their way into the stadium I headed over to The Square in Oxford where they have a statue of Faulkner. I stopped in Square Books where I took the above photo that is a parade photos of writers and their work. It seemed to me to a fitting postcard that represents Oxford at its best.

A darker chapter of Oxford can be found in the lyrics of the Bob Dylan song, Oxford Town surrounding the events that happened in 1962 when James Meredith, a black man,  enrolled at the University of Mississippi. But Oxford today is more than Faulkner and race relationships and is home to many artist and writers.  Author John Grisham went to law school at the University of Mississippi and he lived in Oxford for a decade before moving to Virginia. So if you’ve ever enjoyed one of Grisham’s books or movies from his books, you can thank Ole Miss and Oxford for shaping his legal and literary mind.

Over the years several movies have been made in Oxford including several based on Faulkner’s novels.

One more recent connection to Oxford and Hollywood was the movie The Blind Side (2009) for which Sandra Bullock won an Oscar.  That movie centers around the true story of Michael Oher and his transformation from a young homeless teenager to an NFL football player.  He attended Ole Miss. In the movie they handle his steep educational learning curve in a kind of Rocky running up the steps montage. But in the book of the same name by Michael Lewis (which was the basis of the movie) you get a deeper grasp of what it took for Oher to raise his .09 GPA in high school to be eligible for college.  His story is an amazing one, but I think his graduating with a degree in criminal justice in 2009 was an even greater feat than playing football in the NFL.

Scott W. Smith

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Screenwriter/director John Lee Hancock earned an English degree at Baylor University and a law degree from Baylor Law School, both in Waco, Texas. His first credited film was in 1991 with a film called Hard Time Romance. In 1993 he wrote the script for A Perfect World which starred Kevin Costner and was directed by Clint Eastwood. He considers Eastwood his mentor and went on to write the script for the Midnight in the Garden of Good and Evil which Eastwood also directed. Among other films Hancock worked on include The Rookie which he directed and My Dog Skip which he was a producer.

But almost 20 years after his first film credit he had his biggest success critically and at the box office with the 2009 film The Blind Side which he both wrote and directed. The movie which he wrote and directed is up for best picture and Sandra Bullock is highly favored to win her first Oscar as best actress for her role as the feisty Leigh Anne Tuohy.

The film which takes place in Memphis is what I would qualify as a regional film. Based on the book The Blind Side; Evolution of a Game, by Michael Lewis based on the true story of Michael Oher, who made the journey from an under educated homeless youth to playing football in the NFL with the help and guidance from a family in Memphis. If the story wasn’t based on a true story I think I might have walked out of the theater because the story is so unbelievable. Truth is stranger than fiction. And after seeing interviews of the real Tuohy family, I think the real story is even better than the movie as they really talk about how hard the work really was bringing Oher to the point where he could just graduate from high school and be prepared to attend college at Ole Miss.

“I didn’t see it as a sports movie at all, any more than you’d call ‘Jerry Maguire’ a sports film. It was two equally involving stories, one about Michael and the Tuohys, the other about the left tackle position, but they both turned around the same question — how did the stars align so brightly around this one kid from the projects?”
John Lee Hancock
The Blind Side, written by Patrick Goldstein, LA Times

Note: The Blind Side had a $29 million budget and to date has made $250 million domestic. Julie Roberts reportedly turned down the role for which Sandra Bullock received her Oscar nomination. Hancock is at least the third law school grad turned screenwriter that I’ve written about; Sheldon Turner (who is nominated for an Oscar for his part in writing Up in the Air) and John Grisham (though primarily a novelist whose books have been made into many fine movies, but he did write the screenplay for the 2004 Mickey). And from the odd connection category, Grisham graduated from Ole Miss law school, part of the University of Mississippi in Oxford where Michael Oher (the real Blind Side guy) played football.

Scott W. Smith

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“A man’s got to know his limitations.”
                                  Clint Eastwood (as Harry Callahan in Magnum Force)


John Grisham didn’t get to see his dream come true. His childhood dream was to play professional baseball and he made it all the way to playing junior college ball before he realized his limitations. So at 20 years old he shifted his focus to school and becoming a lawyer.

Once he graduated from law school at Old Miss he saw his new dream come true and then he got an itch to write. While he didn’t have instant success with his writings, according to CNN, he sold 60 million books in the 90s alone.  His books translated to film well and attracted a talented group of actors over the years including Tom Cruise, Julia Roberts, Susan Saradon, Matthew McConaughey, Sandra Bullock, Matt Damon, John Cusack, Gene Hackman and Dustin Hoffman.

From a box office standpoint Grisham had a dream year in 1993 when two films made from his books (A Time to Kill & The Firm) both made over $100 million. Not bad for an old jock from Mississippi.

“The writing has come fairly late in life. I never dreamed of being a writer when I was a kid, even a student, even in college. In fact. I’d been practicing law for about three or four years in the early ’80s, when I decided to make a stab at writing a story that I’d been thinking about. And the story eventually became A Time to Kill.

It took three years to write, and I was very disciplined about doing it. It was very much a hobby. By the time I finished it, I had developed a routine of writing every day. When I finished it, I went to the next book, which was The Firm. Once that was written, everything started changing. I wouldn’t use the word ‘accident,’ but it certainly wasn’t planned. I never dream it….

A Time to Kill and The Firm, those books were written over a five-year period, back-to-back, from about 1984 to about 1989. The bulk was written at five o’clock in the morning, from five ’til seven in the morning. I’d get up and go to the office that early. And again, it wasn’t any fun, but it was a habit. It got to be part of the daily routine. And I remember several times being in court at nine o’clock in the morning, really tired, because writing takes a lot out of you. It’s draining.”
                                                           John Grisham 
                                                           Academy of Achievement website


Scott W. Smith


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Maybe I should have said “How to increase your odds of winning an Academy Award.” But who wants to read an article on that? Regardless, I think I have the secret to winning an Academy Award. (Not that I would know first hand—though I did win an Addy Award last week for a commercial I shot and produced.) This is not even really a secret, it’s more basic number crunching.

Simply pick a best-selling book. Or perhaps just a book you like. In fact, of the 81 Oscars, Slumdog Millionaire became the 44th film based on a book to win best picture. That’s more than 50%. Interesting, huh?

According to Tim Dirks over at filmsite only one film based on a TV show (Marty)  and only one film based on an article (On the Waterfront) have ever won best picture. Original screenplays make up 22 of the Academy Award best pictures which, of course, is a 50% drop from those based on a book.

So how do you go about optioning a book? You get the rights to a book you like or you find one in the public domain. If you want to use a Charles Dickens book, knock yourself out—it’s free. If you want the rights to a John Grisham novel —stand in line. But in between those in public domain and best-selling authors there are an estimated 300,000+ books published every year worldwide.

Certainly, the majority of the millions of books published over the last few years have not been optioned for film. So there are opportunities out there if you’d like to pursue them. Talk to a lawyer or search the web for more information on how to draw up a bidding contract and then approach the author. All they can say is no, and they may be flattered enough that you believe enough in their book to invest time in a screenplay that you get the rights fairly cheap, with more coming if the screenplay is sold.

Stephen King used to have a $1 option deal that worked something like that. You’re creative, so be creative in finding a way to option a book you like. And persistence pays off in this regard as well. Follow the journey that Frank Darabont took to get the rights to The Shawshank Redemption which he first read in novella form in 1982 (That’s 22-years before the movie’s release).

First he started doing various jobs on low-budget films and in 1983 made a short film called The Women in the Room based on a Stephen King short story. Least you think he was rich at that time, Darabont has said that he made about $7,000 the year he made that short and he spent most of it on the film. The Woman in the Room made the short list for the semi-final nomination for Academy Award consideration in 1983. 

That opened other doors and eventually lead to him securing the rights to what would become The Shawshank Redemption. 

“So I got  the rights and didn’t do anything with them for five years, for a number of reasons…I think on a certain level I was waiting for my abilities as a writer to catch up with my ambitions for the script. I don’t think I could have written it nearly as well when I first optioned it. But the day came when I felt like I was ready to try it. So I sat down and wrote it in eight weeks, and two weeks later we had a deal with Castle Rock.”
                                                                Frank Darabont
                                                                Conversations with Screenwriters
                                                                by Susan Bullington Katz 

Granted Darabont didn’t win an Oscar for all his efforts but he did get an nomination (the film had a total of seven nominations) and the film is one of the best loved films in cinematic history.

Related post: Screenwriters Work Ethic (tip #3)

Scott W. Smith



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The Writers Guild of America strike has finally ended and now the “We Support” signs can come down and go on ebay. But I do have a couple of questions. Who is the “we” in the above photo? And why does Gary Kelley have it on his door at work? Kelley is not a screenwriter though he did spend time in Los Angeles on the picket line during the writer’s strike.  His daughter is a screenwriter and a member of the WGA, so that’s probably the reason the sign’s there.

Kelley is an artist who can be found most days (and often nights) working in his upstairs studio in Cedar Falls, Iowa.  Yes, downtown Cedar Falls does resemble Bedford Falls in It’s a Wonderful Life. Yes, it was snowing when I took the photo below last week, and yes, the Christmas lights are still up in mid February. (Talk about a long December….)


If you don’t recognize the name Gary Kelley I’m sure you are familiar with his art work. As an illustrator his work has appeared in Rolling Stone, Time, New Yorker Magazine, Newsweek and many other publications and national advertising campaigns. He has won over 25 medals from the Society of Illustrators and last year was elected into their Hall of Fame. He’s kind of the William Goldman of illustrators. But he is most known for the murals he’s done of writers that can be found in every Barnes & Noble Booksellers across the country. Including two 70 foot murals at the most recently renovated Barnes & Nobel on 5th and 48th street in Manhattan.


When you walk into Kelley’s studio it’s like walking onto a movie set. It’s exactly what you’d expect a working artist’s studio to look like. During the day beautiful natural light spills into the loft like area and onto a large easel where he is often painting. What he’s usually not doing is sipping a glass of wine, waxing philosophically about art.

He can do that, but he’s got work to do most of the time. It was from Kelley that I learned the phrase “Art is work.” It originated from the book with that as the title by Milton Glaser, the designer of the ubiquitous “I (heart shape) NY” design.

It’s a book Kelley likes to recommend. “First off Glaser is a giant in my eyes,” Kelley told me in his studio, “He’s extremely articulate and he shares everything he knows in this book which is wonderful. It’s such an honest book. Art is Work that’s a pretty honest statement. The thing that makes it so great is that he’s not afraid to talk about inspiration and influence. Many artists are very secretive about that. They want you to think that ideas come from some kind of magical, middle-of-the-night revelation. Creativity is assembling influences. It’s not about having something totally original pop into you head all of a sudden.”

That explains why Martin Scorsese and Quentin Tarantino, who are basically film historians as well as filmmakers, are known for their original work. But even a director of Scorsese’s stature hits creative dry spots as he has talked about before he made Raging Bull. How does work fit into that predicament? (Or, say,  a financially drained screenwriter after a three-month strike? Or a mother of two trying to squeeze in a script writing at night?)

Thomas Moore writes in Dark Nights of the Soul, “Don’t work only when the mood is right. Let the dark night come and go, but keep doing your work. Igor Stravinsky said, ‘Even when I do not feel like work I sit down to it just the same. I cannot wait for inspiration.’ He liked to quote Tchaikovsky who said that composing was like making shoes. In that sense, it was a job.”

Screenwriting is a job. It’s work. Just show up and ply your trade.  Do that whether you get paid or not and even if you live in Memphis, Des Moines or Fairbank. These things take time.  Steve Martin in his book Born Standing Up, recounts how he did thousands of performances over a 10 year period getting his act down and then another four years fine tuning it before he found wild success for four years. It took a lot of work to discover how to be a wild and crazy guy.


There is an old saying that writers don’t like writing but they like having written. And the only way to have written is to write. If you look at the lives of writers you will find all kinds of styles. But the one thing many successful ones have in common is a discipline (desire, obsession?) to write on a regular basis.

John Grisham is one of the most financially successful writers in history. But before he made a name for himself as a writer he was a lawyer in Oxford, Mississippi. Lawyers aren’t known for having a lot of free time so on top of his 60-80 hour days as a State Representative he would wake up at five 5 AM to fit in an hour of writing on his first novel.  After he did that for three years, he could not find anyone interested in publishing the book. So he continued to wake up early and write the next novel that eventually got published and went on to make him a very wealthy man.

Ron Bass & Stephen King are also known for their dedicated daily writing schedules.

Akiva Goldsman (A Beautiful Mind) was a struggling novelist for ten years before he found success with his first screenplay The Client based on Grisham’s novel.

I grew up with laid back musician Jimmy Buffett as one of my heroes, but it wasn’t until years later that I realized Buffett didn’t spend much time in Margaritaville because he is a workaholic who’s usually on the road or in the studio. That’s why he’s had a 30+ year career and why he made around $30 million back in 2006. Don’t let those flip-flops fool you – it takes a lot of work to be that carefree.

A few years ago I was producing a TV program in LA with director of photography Peter Biagi who shot on the first HBO Project Greenlight movie. On our last day of shooting a group of us had dinner with Stolen Summer writer/director Peter Jones. The HBO Greenlight show projected Jones as merely an insurance salesman from Chicago which was partially true. I asked him how many screenplays he had written before Stolen Summer and he said six. This wasn’t a guy who went from writing insurance claims to screenplays overnight. It was a process where he worked on his writing.

“For me, it was a matter of years of trying to develop my writing in the same way that some people spend years learning to play the violin.” Frank Darabont (The Shawshank Redemption)

“My average UCLA student who’s been successful wrote at least six complete, polished screenplays before finally selling one.” William Froug

“I wrote maybe 10 screenplays before I was able to sell one.” Nicolas Kazan, At Close Range

“We wrote six scripts before anything was produced.” Jack Epps, Jr., Top Gun

“Before I got adept at it, I had to write about ten scripts.” Brian Helgeland, L.A. Confidential

Those are encouraging quotes when you’ve written seven unproduced feature scripts, and help keep you sane when you see Diablo Cody knock her first script out of the park with her Oscar nominated Juno. (Congrats once again to Cody for winning the Writers Guild of America best original screenplay award.) For those of you who haven’t read The Juno-Iowa Connection on this site, Cody is a graduate of the University of Iowa.

But Cody is not a freak of nature.While her first screenplay won an Oscar, Cody mentions writing everyday sice she was 12. That’s fifteen years of writing before she wrote Juno.  Oliver Stone wrote 12 screenplays before he sold one. Are you getting the picture? Screenwriting is work. But let’s get more specific and look at work on a day-to-day basis.

Joe Eszterhas’ (Basic Instinct) advice in his screenwriting book The Devils Guide to Hollywood is; “Write six pages of script a day. Stick to this schedule no matter what. You’ll have a finished first draft in roughly twenty days. Then go back and edit what you’ve written. Spend no more than five days on this edit.”

Any way you look at it it comes down to work.

Gary Kelley’s work made it to the big screen this past November when I photographed and produced an HD production of his artwork for Holst’s The Planets performed by the Waterloo-Ceder Falls Symphony under the direction of conductor Jason Wienberger. Viewed on a 20 foot screen it received a triple standing ovation from the 1,300 in attendance. (Newspaper Review.) I took this photo at rehearsals.


I don’t think Kelley has any desire to make the feature film leap as Julian Schnabel’s (The Diving Bell and Butterfly) has done, but it was fitting for him to walk the picket line during the Writer’s strike because he did get his first paid gig though the movies–sort of…”In eighth grade I did a drawing of Gary Cooper for the local newspaper,” Kelley said.  “I got a free pass to the movies for a year.” So it makes sense that he would come full circle and illustrate his picket line experience with a piece of work that will appear on a future cover of the North American Review.

Welcome back to work.


© Copyright 2008 Scott W. Smith

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