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Posts Tagged ‘Johnny Depp’

One of the great things about the arc of Tom Petty’s career is he got to have an entire musical experience that’s almost impossible to do these days. He learned to play guitar as a teenager and worked hard on his craft, had a regional following in Florida, and after a decade of performing landed a record contract in Los Angeles.

He had 15 Gold Albums, and according to Billboard “scored a record 28 top 10 hits on the Mainstream Rock Songs airplay chart, more than any other act in the chart’s 36-year history.” He played concerts where he filled large stadiums, won Grammy Awards, traveled the world, got to perform with his musical heroes (Bob Dylan, Roy Orbison, George Harrison, Johnny Cash), and made music videos in the 80s and 90s when MTV was a force and there was a lot of money to make trippy videos.

While he won back to back MTV Awards for best male videos in 1994 (Mary Jane’s Last Dance) and 1995 (You Don’t Know How It Feels), two of my favorites are Into the Great Wide Open (featuring Johnny Depp and Faye Dunaway), and Walls which has a cameo of Edward Burns as a cab driver. (That song is featured on the She’s the One movie which Burns wrote, directed, and starred in.)

And for good measure check out this version of While My Guitar Gently Weeps. 

Scott W. Smith

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“America was born as a rebel country, and Americans have always had a soft spot for the outlaw.”
Professor Maurice Yacowar
Married to the Mob by Mark Sauer

One of my favorite discovers since starting this blog in 2008 is being able to find the connective tissues between ideas, scenes, ideas, characters and sometimes entire stories found in movies and TV shows. Often writers are open about their influences and yet other times plead ignorance for similarities.

Many critics said The Sopranos was indebted to Goodfellas—I can’t remember who called it “the companion guide to Goodfellas.” But there is a key element to The Sopranos that I think was taken from Donnie Brasco. Much was made about how fresh and original it was for Tony Soprano—a mobster—to go therapy.

But Johnny Depp’s character in Donnie Brasco is an undercover agent who has infiltrated the mafia. And when what started out as a six month FBI assignment starts turning into years it causes friction at home with his wife. Like a military man or a truck driver his lifestyle is somewhat unorthodox, yet there is something about the job that he loves. In the scene below his wife (Maggie played by Anne Heche) says tells her husband that he’s becoming like the mobsters he’s investigating.

Eventually Depp’s character’s wife says she wants a divorce. He tells her, “There hasn’t been a divorce in my family since back to Julius Caesar. Divorce someone else.” They settle on going to marriage counseling.

The Sopranos first aired in 1999 , Donnie Brasco was released in 1997. Here’s the beginning of the first counseling scene from a Donnie Brasco script dated 1992.

INT. DAY. OFFICE

SHELLY BERGER, late 40s, flannel shirt, earth shoes -- PSYCHOTHERAPIST -- 
sits with Donnie and Maggie.

                                     MAGGIE
                         ...He comes home at all hours of the 
                         night, without announcing when or 
                         why, or where he's been for three 
                         weeks. Or three months. Then he 
                         expects everything to be just the 
                         way he wants it. He vacuums the entire 
                         house. Do you know another man who 
                         vacuums? It's abnormal. Of course, 
                         he expects the girls to drop their 
                         lives when he shows up...

                                     DONNIE
                         I'm their father, Maggie. I ring 
                         that doorbell I expect them home.

                                     MAGGIE
                         They think it's a Jehovah's witness.
                              (to Berger)
                         You'd think he'd tell me where he 
                         goes or what he's doing --

                                     DONNIE
                         That's for your own protection.

                                     MAGGIE
                         Ha!
                              (to Berger)
                         I know he's cheating on me --

While Donnie Brasco screenwriter Paul Attanasio used the book Donnie Brasco: My Undercover Life as his foundation, he said the counseling concept came from his imagination. This doesn’t take any thing away from what the great David Chase created with The Sopranos, it just helps us understand how the creative process works.

And since Donnie Brasco was not a made man in the Mafia, but FBI agent Joe Pistone that means the Tony Soprano—unless there is a film/TV show I’m unfamiliar with—was technically the first Mafia man depicted in a counseling setting. File it under, “the same thing only different.”

In my post Where Do Ideas Come From? I quoted James Young Webb, “ An idea is nothing more nor less than a new combination of old elements.” Martin Scorsese, Quentin Tarantino, and Orson Welles all acknowledged they built on what came before them.

P.S. Of course, Attanasio including a romance into Donnie Brasco accomplished many things including adding pressure (i.e. conflict) in Donnie Brasco/Joe Pistone’s. (On top of his pressure of some in the FBI questioning the operation, pressure from the mob itself, life or death circumstances if his cover is blow, and conflict with himself over his relationship with mobster Lefty Ruggiero, who will be killed or go to prison because of the undercover operations.

The Mike Newell directed film was not a box office hit when it first came out, but it has aged very well.

But about that husband/wife element of Donnie Brasco, Oscar and Emmy-winning director Sydney Pollack once stated something to the effect that each of his film always had a romance element. Certainly true of Out of Africa, The Electric Horseman, The Way We Were, and Tootsie.

P.P.S. I was enjoying The Dialogue series that was put on You Tube, but it went dark yesterday. Anyone know why. It now says those videos are private. If anyone knows why please shoot me an email at info@scottwsmith.com.

Related Post:
(Note: While I’ve used the term cloning before, I now prefer the concept of sampling to describe what goes on in connecting movies.)
Movie Cloning (“Raiders”) Some of the DNA of Raiders of the Lost Ark.
Movie Cloning (Pirates) Some of the DNA of Pirates of Caribbean.
Movie Cloning (Part1) 

Scott W. Smith



					

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“When I started writing Donnie Brasco—first of all, it was right at the beginning of my career so I was just really grateful to have a job. It was the first thing I did with Barry Levinson, and really that experience with Barry—you know Quiz Show came out of that, Homicide came out of that—it was fundamental to my development as a writer because all I’d been hearing up to that point was a lot of that kind of Syd Field, Robert McKee kind of [story structure]. And Barry basically, if you wrote a funny scene—that’s what he was looking for. It was really like the Howard Hawks’ apothegm that a good movie is five or six scenes and something in-between. If you have the five or six scenes the structure would announce itself. That was eye-opening for me. And when found that I could do that, that was the experience of [writing] Donnie Brasco.

It was really zeroing in on this character Lefty (Al Pacino). And what was great with that too is there is a lot of tape because they were eavesdropped on by the feds all the time. You could understand Lefty through how he sounded. And there was just all of this tape. And it was that relationship. The basic spine of it was clear to me early on which was at the end he [Donnie Brasco/Johnny Depp] either had to betray himself or betray his friend. That’s all you really need to find the structure.”
Screenwriter Paul Attanasio on writing Donnie Brasco
The Dialogue interview with Mike DeLuca (part 1)

Donnie Brasco originated from the book Donnie Brasco: My Undercover Life in the Mafia by Joseph D. Pistone with Richard Woodley.

“What [Levinson] got from the book was that mob life was really about guys in coffee shops scheming and bullsh*#ing, so that spoke to Diner, and Tin Men (other Barry Levinson films). Perception about people that he has mined for a while, and it wasn’t The Godfather and the beautiful Gordon Willis lighting, and the dignity of those guys. It was low life. And what I found in there is the relationship that gave it some heart and emotion.”
Paul Attanasio

P.S. Several years ago I interviewed former capo in the Columbo family Michael Franzese in Santa Monica for a TV program I was producing. I asked him what his favorite mafia film was and he said that he preferred the term “the family” and singled out Donnie Brasco. Fortune magazine once listed Franzese as number 18 of the “Fifty Most Wealthy and Powerful Mafia Bosses.”

Related post:
Filmmaking Quote #39 (Howard Hawks)
40 Days of Emotions

Scott W. Smith

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“I think 10 bucks to escape to a different world is worth the 10 bucks.
Stuart Beattie

“No survivors? Then where do the stories come from, I wonder?”
Jack Sparrow (Johnny Depp)

Though I was a lover of the Walt Disney World ride Pirates of the Caribbean since my childhood, when I originally heard they were making a movie based on the ride my first thought was, “Well, that’s not going to be any good.”  Pirates of the Caribbean, Curse of the Black Pearl (2003) ended up being nominated for five Oscars, earned over $650 million worldwide, and made the IMDB Top 250 listed tied with The Graduate, The Hustler, A Fistful of Dollars, Rope and Jurassic Park.

Empire Magazine’s list of The 100 Greatest Movie Characters named pirate Jack Sparrow (Johnny Depp) as #8—just behind The Dude (Jeff Bridges in The Big Lebowski) and Indiana Jones (Harrison Ford). To date, the Pirates franchise of four films has a box office gross of  just over $3.7 billion. And as the word billion resonates in your head, you may be surprised to learn that the seeds of that franchise came from college students in Corvallis, Oregon. 

“Basically I was at Oregon State and I was hanging out with a friend and we were like, ‘Let’s write a movie.’ He’d never written a screenplay, but he liked that I was writing. I was like, ‘let’s do that–what’s a movie that hasn’t been done in a while?’ And we were thinking and thinking and suddenly we both said, ‘pirates.’ That hadn’t been done since Errol Flynn. And I end up writing this thing called Quest of the Caribbean, because I couldn’t use the actual Pirates of the Caribbean. But it had all the scenes from the [Disney] rides. The tongue in cheek Raiders of the Lost Ark version of pirates. And we sent that around town—got a lot of meetings, a lot of people interested, but it never ended up getting bought. And then years later I sold Collateral—this was in the period before it got made—and I submitted it again to Disney and  said, ‘Come on, you gotta do this.” And they said, “no, no, no—we’re actually working on our own now.” And so they had hired an in-house writer and he was doing a draft, but they wanted me to work on 20,000 Leagues Under the Sea. So I was working on that and they were like, ‘We not happy with this draft [of Pirates] would you like a go of it?’ And I was like, ‘Well, I’ve been asking for 10 fucking years, yes please!’ So I went in—pitched and got the job. I did two drafts basically. The draft that got it going and got a draft to [Jerry] Bruckheimer and Johnny [Depp], and then [screenwriters] Ted Elliott and Terry Rossio came on.”
Screenwriter Stuart Beattie (Story credit on Pirates of the Caribbean, Curse of the Black Pearl, and character credit on the other Pirate films)
The Dialogue Interview: Learning from the Masters interview with Mike De Luca

Screenwriting from Oregon

Related post: Movie Cloning (Pirates) Ted Elliott talks about the movie The Prisoner of Zenda  (1937) as an inspiration.

Scott W. Smith

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“We didn’t intend to have sequels. The first [movie] is a story in and of itself, a sort of capital ‘r’ romance in The Prisoner of Zenda* sense that ends in an idealized love between Elizabeth and Will.”
Screenwriter Ted Elliot, co-writer on the first Pirates of Caribbean movie

Having grown up in Orlando and spending a chunk of my youth on the Disney World ride Pirates of the Caribbean I was not thrilled when I first heard that there was going to be a movie based on the ride. Just the whole concept seemed a step down from movies that became rides. Casting Johnny Depp at that time made it a little more interesting to think about the possibilities.

Depp’s three films before Pirates of the Caribbean: The Curse of the Black Pearl (2003) were From Hell, Blow, and Chocolat. (Mix that around and it’s a pretty decent title: “Chocolat & Blow from Hell.”) Depp was also the actor who was in the off-beat roles Ed Wood and Edward Scissorhands. He just wasn’t the kind of actor who you thought would pop up in a Jerry Bruckheimer movie.

A few Pirate film sequels & a gazillon box-office dollars later it was a fine move by several people. (Of course, I love the story kicking around that Disney executives didn’t care for Depp’s pirate interpretation when they saw the first dailies.)

“I think it was Michael Eisner, the head of Disney at the time, who was quoted as saying, ‘he’s ruining the movie.'”
Johnny Depp
BBC

Now, Depp as Captain Jack Sparrow has become one of the most memorable characters in modern blockbuster cinema.

The first Pirates of the Caribbean first script (which created the franchise that still has legs) was written by Terry Rossio and Ted Elliott, from a story that Stuart Beatie and Jay Wolpert. What DNA did they tap into for creating Johnny Depp’s iconic character?

“We wrote a very specific character and Johnny played that character but his performance was one neither of us could have imagined. We wanted to create this trickster. If you go all the way back to [Robert Louis Stevenson’s novel] Treasure Island, we kind of borrowed the moral ambiguity of that story. The whole thing comes down to [young boy] Jim Hawkins making the call as to whether [pirate] Long John Silver is a good man or a bad man—that’s the emotional crux of that story. Silver does kill people—he betrays everybody—and this moral ambiguity is inherent in the pirate/swashbuckler genre. To that regard, the trickster archetype seemed appropriate. That’s what we wanted to do with Jack Sparrow. Whether Johnny identified that consciously, he definitely found a perfect performance.”
Ted Elliot
Interview with Scott Holleran

I’ve also read on the DVD commentary that Elliot and/or Rossio say there was originally a little Bugs Bunny and Groucho Marx influence in the concept stages of Jack Sparrow. Of course, Depp himself said his inspiration behind Captain Jack Sparrow was Keith Richards of the Rolling Stones.

* The Prisoner of Zenda is an adventure novel written by Anthony Hope and published in 1894.  It has been made into a film several times: 1913, 1915, 1922, 1937, 1952, & 1979 as well as a couple TV movies, a play, and an operetta. The 1937 movie, produced by David O. Selznick, has been called by Halliwell’s Film Guide as, “One of the most entertaining films to come out of Hollywood.” The bulk of the script appears to have been written by John L. Balderston (with five others writers said to play a part).  So before they spent a lot of money, they new they had the bones of a story that worked. Toss in a very popular theme park ride, a the classic novel Treasure Island —that’s movie cloning.

Scott W. Smith

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“Growing up in Ohio was just planning to get out.”
Jim Jarmusch

Have you ever put together a top ten list of films that you’ve walked away from feeling stunned? I haven’t but one film that I think would be on that list is Jim Jarmusch’s Stranger than Paradise. The 1984 film is credited with giving a fresh take on independent filmmaking. The low-budget, black and white film is still the only movie I’ve ever watched where each scene is done in single master shots.

Stranger than Paradise won Camera d’Or for best first feature at the Cannes Film Festival. Empire magazine’s The 50 Greatest Independent Films listed the film #14, just ahead of Memento.

I haven’t seen the film is a long time. Actually, because it has a special place in my memory I’m a little hesitant to watch it again for fear it won’t measure up to the fondness I have it. But I’m sure I’ll check out The Criterion Collection version in the near future.

Most filmmakers struggle to one degree or another with a balance between artistic freedom and commercial success.   A look at Jarmusch’s career shows how one filmmaker has walked that balance. Even if you haven’t seen his films (Broken Flowers, Ghost Dog: The Way of the Samurai, Dead Man, Down by Law) know that any writer/director who can attract the acting talents of Forest Whitaker, Bill Murray, Roberto Benigni, and Johnny Depp, on top of a 25-year career is doing something right.

Born in Cuyahoga Falls, Ohio (just north of Akron)  in 1953 Jarmusch went to New York and received his undergraduate degree from Columbia University and worked on an MFA in film at NYU where Spike Lee was a fellow student. He also gained valuable experience working as an assistant for directors Wim Wenders and Nicholas Ray.

“Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is nonexistent. And don’t bother concealing your thievery—celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said: ‘It’s not where you take things from—it’s where you take them to.'”
Jim Jarmusch’s Golden Rules
MovieMaker 2004

The Akron-Cleveland has changed a lot since Jarmusch was a kid (and even when he shot part of Stranger in Paradise there in the 80s) and I’d like to think that the next Jim Jarmuschs from the area, like current NBA MVP LeBron James, stay in their hometown and do their thing for the world to see.

Scott W. Smith

 

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Pearl Harbor is a two-hour movie squeezed into three hours, about how on Dec. 7, 1941, the Japanese staged a surprise attack on an American love triangle.”
Roger Ebert
Chicago Sun-Times

“I’ve always said that you should have different critics like in the music press – you don’t have an expert on opera reviewing Kid Rock.”
Jerry Bruckheimer
Producer, Pearl Harbor (domestic gross $198 million)


What is it about Jerry Bruckheimer that has allowed him to tap into films and TV programs that people want to see? Here’s just a partial list of some of the films that he has produced:

Beverly Hills Cop
Top Gun
Flashdance
Crimson Tide
Bad Boys
Black Hawk Down
National Treasure
Pirates of the Caribbean
(All of them)

And just this past weekend Bruckheimer’s Prince of Persia: The Sands of Time opened with $37.8 milion. (And his soon to be released The Sorcerer’s Apprentice will probably make a dollar or two this summer.)

Which means he’s been able to work with some of the biggest names in Hollywood; Tom Cruise, Will Smith, Eddie Murphy, Bruce Willis, Ben Affleck, Sean Connery, and Johnny Depp. And for good measure he produces for TV as well. (CSI, CSI Miami, Cold Case, The Amazing Race)

Producer Jerry Bruckheimer’s box office secret is really no secret at all, he simply says, “I just make movies I want to see.” Simple, right?

CSI creator Anthony Zuiker says Bruckeimer is “ferociously commercial.” He makes the kinds of films that a large group of people want to see on any given Friday and Saturday night. Of course, it’s his ferociously commercial spirit that brings more than a few critics to his work. But he is called Mr. Blockbuster not Mr. Small Contemplative Art House Producer.

“If I made films for the critics, or for someone else, I’d probably be living in some small Hollywood studio apartment.”
Jerry Bruckheimer

And here are two more quotes that some would scoff at if Bruckheimer himself would have said them.

“No artist—notably no film or television writer—need apologize for entertaining an assembled mass of people.”
Richard Walter (UCLA screenwriting professor)
Screenwriting, page 12

“I like (audiences) to enjoy the film. It’s an arcade amusement; it’s not penicillin. It’s an arcade amuesment—take people’s minds off their troubles and give’em a little bit of fun. And sell some popcorn.”
David Mamet
Conversations with Screenwriters
Interview with Susan Bullington Katz, page 200

And while Bruckheimer’s films have allowed him to own nice digs (slightly nicer than a studio apartment) in Los Angeles and Ojai, California, as well as a horse ranch in Kentucky, he grew up in humble circumstances with Jewish-German immigrant parents in Detroit, Michigan. At a young age Bruckheimer developed a love for photography and movies.

“I’m a big fan of David Lean. Bridge on the River Kwai, Lawrence of Arabia, and Doctor Zhivago are movies that were seminal films for me when I was growing up. I admire the filmmaking and the storytelling ability of Lean and [screenwriter] Robert Bolt, so that’s what I look toward for inspiration.”
Jerry Bruckheimer
Barnes & Noble Interview

Many people also overlook that Bruckheimer has also produced the more down-to-earth and inspirational films Glory Road, Remember the Titans, and Dangerous Minds.

He went to college at the University of Arizona where he didn’t major in film but psychology. He returned to Detroit where he began making automotive commercials. He did that well enough to take his talents to New York while still in his early and mid-twenties, but left the lucrative world of commercial work to try to make his mark in Hollywood.

And for the last 30 years that’s what Bruckheimer has done. To the tune of four billion plus box office dollars. (Yes, $4 billion.) An average $110 million per picture on over 40 films. A couple of weeks ago Bruckheimer got his star on the Hollywood Walk of Fame and Tom Cruise was on hand to add his sentiments:

“We’re here to celebrate the greatest producer in modern history. He certainly stands very tall in the pantheon of producers in Hollywood. He’s not only a hard-working, dedicated filmmaker but he’s a loyal friend to everyone within our industry and to all the fans around the world.”

And even though Bruckheimer is as connected to Hollywood as you can get, he’s still connected to the world outside of Hollywood.

Bruckheimer’s wife Linda (who is a novelist and producer) has bought and restored several buildings in her hometown of Bloomfield, Kentucky where she and her husband own a house. Last year Jerry & Linda gave the commencement address to Centre College in Danville, Kentucky. Jerry told the class, “God has given everybody a gift, and your task is to find yours, develop it, and dream beyond your ability. Look to your past and preserve what’s most valuable for your future…just as the next generation will look to you for guidance.”

Tomorrow I’ll look at two screenwriters also from Detroit that Bruckheimer has recently worked with.

PS. Interesting Kentucky connection—Johnny Depp (who Bruckheimer has made a film or two with) is from Owensboro, Kentucky. Tom Cruise, who moved a lot as a youth, lived (and was a paperboy) in Louisville, Kentucky for a short time, not far from Bloomfield. (Toss in that George Clooney was born and raised in Lexington, Kentucky and it’s fun to think that at one time in the late sixties or early seventies Depp, Cruise, and Clooney all lived— at the same time— in the state of Kentucky.)

Related post: Screenwriting from Michigan

Scott W. Smith

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