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Posts Tagged ‘Leonardo DiCaprio’

“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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I did finish watching the HBO mini-series Chernobyl and plan to write a post about it tomorrow. In the meantime, yesterday I saw the trailer for Once Upon a Time in . . . Hollywood and it triggered a few things.

A few days ago a friend of mine was in outside his midcentury home in an Orlando suburb when a location scout started asking him some question. Turns out he was looking for homes for the TV program The Right Stuff. (The Tom Wolfe book of the same name was made into a remarkable movie back in 1983.)

I wasn’t even aware that they were doing a TV show on The Right Stuff—much less one right here in Central Florida. A quick Google search showed that Leonardo DiCaprio (recently starring in Once Upon a Time . . .  in Hollywood) is executive producing. And Emmy-winning director David Nutter is scheduled to direct the pilot.

I went to film school with Nutter at the University of Miami and our paths almost crossed again back in the early 90s when he was editing Superboy at Century III at Universal Studios Orlando and I was in the next bay editing a project. On a break I went over to say hello but he was already gone.

And he was soon gone from Florida and off to incredible success in Hollywood. His long list of directing credits include Band of Brothers, The X-Files, The West Wing, The Pacific, and The Sopranos, and Game of Thrones.

To show what an interconnected world production can be, the location scout for the new The Right Stuff studied film with Ralph Clemente at Valencia College, who Nutter studied with at Miami. (See the post The Perfect Ending).

And while I was editing projects at Century III (the top post house in Orlando back in the day) I worked with Mike Elias (in the pre-AVID/non-linear days) using a video editing technique that used rows of VHS machines to assemble an edit. (I forget what machine was called, but it would be great for production students to see in action to appreciate non-linear editing). Elias was a good friend of Nutters (and also worked on Superboy) and for the last few years has been an editor on Family Guy.  If I recall correctly, Mike’s father is the writer Michael Elias who co-wrote The Jerk starring Steve Martin and The Frisco Kid starring Gene Wilder and Harrison Ford.

The thing that brought David Nutter and Mike Elias to Orlando in the late 80s and early 90s was this thing called Hollywood East—a marking ploy to position Florida as a major player in film and TV production. Disney and Universal Studio opened working film studios at that time. Panavision opened and office and for a decade it appeared to be working.  Parenthood (1989), Edward Scissorhands (1990),  Passenger 57 (1992), Marvin’s Room brought some of the biggest names in Hollywood to Florida including Ron Howard, Steve Martin, Johnny Depp, Wesley Snipes, Meryl Streep and DiCaprio.

And then Hollywood East was gone. Not gone-gone…it just relocated from Florida to its currently home in Georgia. But now at least DiCaprio is coming back to shoot at least part of The Right Stuff in Central Florida.

Another  fun connection I just learned yesterday is I edited a video two months ago on sustainability (and learned about things like hyrdroponics) and the person I did that video for was hired to work full time as the Sustainability Lead on The Right Stuff. The goal of the DiCaprio’s production company and Nat Geo is to “become the most sustainable TV production ever.”

I’m not sure this will jumpstart a new wave of film and TV production in Florida but it’s a nice addition to Florida’s production history that goes way back to the early days of cinema. If you’re every in Jacksonville, Florida check out touring Norman Studios which began making silent films in 1916 and produced movies with exclusively African American cast in the 1920s.

P.S. I first arrived in L.A. in the early 1980s and felt like I got a glimpse of the old a fading Hollywood that Tarantino appears to capture in Once Upon a Time in . . . Hollywood, which is set in 1969.

Scott W. Smith 

 

 

 

 

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This one is for the quitters out there…or at least the ones thinking about quitting their screenwriting journey. The following quote is from a writer who last year had a script of his land on the 2011 Black List (The Imitation Game) before it sold for a reported 7-figure deal, and then he was attached to write the script for Devil in the White City set to star Leonardo DiCaprio.

[Writing partner Ben Epstein and I] were living in New York and had just written a spec script that didn’t sell…our fifth or sixth. I felt so dejected and thought that there is no way I’m going to be a professional writer. I said, you know what, sometimes it works and sometimes it doesn’t. I called my manager and told him I was going to do something else with my life. I can’t keep handling this. I can’t keep going through this rejection.”
Graham Moore (@MrGrahamMoore)
Spec Sale Spotlight article by Zack Gutin
Script magazine

A few things to add to the mix. Moore graduated from Columbia University (religious history) and working with friend (and NYU film student) Ben Epstein he began writing screenplays. They wrote five or six and one was good enough to land them a manager (Tom Drumm at The Safran Company) and almost resulted in a sale.

Moore moved to LA where Drumm lined up some re-writing assignments and he started writing scripts on his own. In 2010 his novel The Sherlockian became a NY Times best seller, and his mom also just happened to spend over two years in the White House as Chief of Staff to First Lady Michelle Obama, which provided Moore the opportunity to meet Hollywood insiders on trips to the White House.

Moore is originally from Chicago which is where Devil in the White City is set. A story surrounding a doctor who is believed to have killed as many as 200 people during the 1893 World’s Fair in Chicago.

“My high school was 50 yards away from where the Chicago World’s Fair was held, and I played soccer on a field near where Holmes murdered about 200 people. It was a truly horrible crime, but it’s a very Chicago story. Though I moved to LA, I think of myself as fundamentally Mid-Western, and in a weird way, this is a dark and twisted tribute to my hometown.”
Graham Moore
Collider article by Dave Trumbore 

Yet, another screenwriter from Chicago. (William Goldman, David Mamet, Diablo Cody, John Logan, etc. etc.)

So don’t forget to read “the rest of the story” when you hear about a first time writer making a 7-figure first script sale. But more importantly the lesson here is — if you want to be a writer, keep writing through the rejection.

February 2015 update: Graham Moore won an Oscar for his The Imitation Game screenplay.

Related Post: Screenwriting da Chicago Way

Scott W. Smith

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I am strong (strong)
I am invincible (invincible)
I am women

I Am Women
Written by Helen Reddy & Ray Burton

“I couldn’t find any songs that said what I thought being a woman was about. I thought about all these strong women in my family who had gotten through the Depression and world wars and drunken, abusive husbands. But there was nothing in music that reflected that.”
Helen Reddy

The movie Whip It owes a lot to the 1970s. Not only were Whip It screenwriter Shauna Cross, director Drew Barrymore and supporting actress Juliette Lewis born in the 70s— the movie’s theme of girl power rises from the Gloria Steinem version of feminism that came to fruition in the early 70s. (The National Women’s Political Caucus and Ms. Magazine were both founded in 1971 with Steinem’s guidance. A year before Helen Reddy sang I Am Woman in which would become a catchy powerful feminist anthem.)

And while there are probably a zillion different views of feminism today (and plenty of strong women who don’t care for that label) most would look at the role women have in culture today and agree with the popular 70s Virginia Slims ad champaign, “You’ve come a long way baby.”  (Of course, not everyone would agree on the interpretation of that phrase. Some would say a long way good and others a long way bad.) In the 1970s there was a shift in the roles that women would play in business, education, politics, military and sports. I was raised in the 60s-70s by a single mother and two of the best athletes on my street were girls, so I can’t say I felt the shift and only knew the traditional world by watching old reruns of Leave it to Beaver.

(Growing up in Central Florida I have burned into my memory the blarring 70s radio ads for drag racing events, “Big Daddy Don Garlits, and Shirley ‘Cha-Cha’ Muldowney this Friday, Saturday and Sunday at the Gainesville International Speedway. BE THERE ! BE THERE! BE THERE!” I never did get there but I remember being amazed that there was a female drag racer. Muldowney was the first women to receive a NHRA licence and won NHRA top fuel championships in 1977, 1980 and 1982. Her story was made into the excellent 1983 film Heart Like a Wheel starring Bonnie Bedelia.)

Of course, as women sought more independence, freedom and accomplishments outside the home this would impact how children were raised and as a result our entire culture effected.  Kramer Vs. Kramer (1979) was one of the first films to deal with this changing world. And The Fight Club (1999) dealt with the lingering effects. But honestly, things haven’t exactly been a picnic ever since that incident with the fruit in the garden of Eden. We live in a broken, fallen world and everyday the news confirms this. We go to movies for the hope of a little sliver of restoration.

Which brings us back to Whip It. The movie’s poster with a great shot of star Ellen Page says, “Find your tribe.” It’s about finding your place in this world even if you live in a little town like Bodeen, Texas. I became aware of the story when Cedar Falls, Iowa had a shot at becoming both Bodeen and Austin when I received a call from Mandate Pictures to do some location scouting in the Cedar Falls, Waterloo and Cedar Rapids area here in Iowa.

Iowa’s film incentives were the main reason they considered shooting a story set in Texas. (It would have been a nice payback since the Johnny Depp/Leonardo DiCaprio/Juliette Lewis film What’s Eating Gilbert Grape was set in Iowa but shot in Texas.) When I got the call last spring, Ellen Page was already in Iowa making another Mandate Picture called Peacock which was shooting in the Des Moines area.

I ended up doing two days of scouting and thought we had a good shot. One of the biggest problems though was they were really looking for a 50s style ranch home made of brick. We had a good deal of 50s ranch homes in the area but brick for whatever reason was not commonly used. They also wanted the yards to be a little worn down. Maybe it’s because the soil is good in Iowa or the neat German heritage, but there aren’t many lawns in disrepair in this part of the county.

I took hundreds of pictures for the various locations they needed including the Oink Joint where Page’s character worked. My best find was the town of Vinton, Iowa (between Cedar Falls & Cedar Rapids) that I thought made a fitting small Texas town like the ones I’ve driven through before. But at the end of the day they shot most of the film in Michigan. (Apparently, they don’t take care of their lawns as well as Iowans.) I was bummed when I found out they weren’t shooting in Iowa because it would have meant a lot to the community and I would have loved having a small part in bringing the first Hollywood film here since they shot Country in Black Hawk County back in the mid-80s.

But I’m glad the film got made and will write specifically about it tomorrow. The script was written by Cross based on her youth book Derby Girl. Since I write a blog that’s focused on writing or writers that come from outside of L.A. I enjoyed reading an interview where Cross stated, “It’s easier to be more original writing about Texas than New York or L.A.” But it should be noted that while Cross went to film school at the University of Texas at Austin, she did get her breakthough while living in L.A. and bumping into film people.

Whip It (Part 2)

Scott W. Smith



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Last Friday the writer of the novel The Basketball Diaries, Jim Carroll, died in New York. His novel was made into a film starring Leonardo DiCaprio  as a youth who is a basketball player with a heroin addiction . It’s a story of crime that Carroll lived first hand. But along the way he also developed a desire to write.

“I made up my mind right then that I was going to be a poet. No matter how difficult it was to live or anything, that’s what I was going to do. And that sort of opened me up in a whole different way, Because I was always kind of withdrawn and looking at things from a distance. I told Leonardo [DiCaprio, who plays Carroll in the movie] to lay back at certain times. When the action’s really happening, of course, stealing a car or something, you’re involved in it completely. But sometimes you just withdraw yourself. Because they called me Daisy, since I was always in dazes. In fact, my parents took me to doctors because they thought I had some form of epilepsy. But it was determined that I just had a vivid imagination. I’d just go off. Even before I was into writing, I’d be waiting for a three-on-three game to end and they would have to shake me. But when I was into writing, I was not only thinking about strange things; I was formulating them on the page as well.”
                                         Jim Carroll 
                                         1995 Interview with Jon Stewart

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