Posts Tagged ‘Paul Schrader’

I’m certainly not an expert on movies that feature architecture but the topic does interest me and I did find an interesting article called Ten films that every architect must watch. Half of the films on the list I have not only not seen but have never heard of before. Films from Poland, UK, Italy, Japan, France, Germany. I see a new world opening up.

1. The Fountainhead
2. Metropolis
3. Blade Runner
4. Mon Oncle
5. Playtime
6. My Architect
7. Tango
8. Castle in the Sky
9. Belly of an Architect
10. Star Wars series

Architects and architecture are often fitting metaphors for screenwriters and filmmakers because it exposes the world we build or want to build.

As far back as the Bible there is this question asked: “For which of you, desiring to build a tower, does not first sit down and count the cost, whether he has enough to complete it?”

Harrison Ford longed to build his uptopia in The Mosquito Coast (screenplay by Paul Schrader from Paul Theroux’s book). Adam Sandler is an architect in the movie Click and faces a life that he has built. Henry Ford’s character in 12 Angry Men was an architect. Over 100 years ago Ibsen wrote the tragic play The Master Builder. And most recently Inception written and directed by Christopher Nolan that features some mindbending architecture and stars Leonardo DiCaprio as features Ellen Page as architect/grad student who creates subconscious dreamscapes. (For what it’s worth, I have read that females architects are only in the 10-13% range of all architects in North America.)

I’m sure there are many other noteworthy films that feature architects and architecture and fell free to comment on some of your favorites.

Scott W. Smith

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“The fact is, when I wrote Juno—and I think this is part of its charm and appeal—I didn’t know how to write a movie.”
Diablo Cody

Today marks the two and a half-year anniversary of starting this blog— Screenwriting from Iowa. A blog that got its start after seeing the movie Juno and reading the articles about screenwriter and University of Iowa grad Diablo Cody who jump started her career by blogging. Two and a half years ago blogging was still pretty much a mystery to the masses. Just put your stuff out there and see what happens was Cody’s encouragement to anyone who would listen.

She walked away with an Oscar in 2008 and later that year I won a Regional Emmy in Advanced Media for Screenwriting from Iowa. (Juno Has Another Baby.) It was all the sweeter that I received the Emmy in Minneapolis where Cody happened to write Juno.

My goal with this blog from the start has been to encourage and inspire writers and filmmakers around the country to hone their craft as they pursue writing for Hollywood, ultra low-budget filmmaking, or something in between. Along the way I’ve also shown writers in Los Angeles who write stories that take place far from the shadow of the Hollywood sign. (Usually, because they came from outside L.A. originally, or they are adapting a novelist who set a story in their neck of the woods.)

Cody was not the first writer outside L.A. to breakthrough, nor will she be the last. But I believe she is the poster child for screenwriters originally from outside L.A. who desire to write something so original that it leap frog’s the zillions of other more experienced screenwriters. Really, how many screenwriters does the public know by name?

That doesn’t mean that she is loved and adored by everyone. I’m sure she even understands some of the Cody backlash, because how many people walk away with an Oscar on a first script that they were just flirting around writing?

“I think I went into (writing Juno) as an experiment; I didn’t really have a whole lot invested in it. It was more something I just wanted to try. I had no idea throughout the whole process that this would ever wind up being a produced screenplay or that this would ever end up being cast with these amazing actors. There was absolutely no pressure on me because I was just sitting in Minnesota writing for my own edification. So I think that was freeing in a lot of ways.”
Diablo Cody
Filmmaker magazine Fall 2007

That has to make all of those screenwriting gurus cringe. And tick off a few writers who have been at it five, 10, 20 years. And if that doesn’t, this will:

“I guess ignorance is bliss is the best way of putting it. [laughs] The only thing I did was I went to Barnes & Noble and bought the shooting scripts for a couple of movies that I liked so I could see how they looked on the page and that gave me a little structural guidance. but that was all I did. ”
Diablo Cody
Filmmaker magazine Fall 2007

But what about all those screenwriting classes and workshops you’re supposed to take and all those books on screenwriting you’re supposed to read, on top of the years of writing screenplays? Nah, remember Cody was just flirting with screenwriting. Juno was her first attempt and she cranked it out in six weeks at a Starbucks inside a Target store in the Minneapolis suburb of Crystal. Was it a flawless, script? Perfectly tuned like the screenwriting gurus tell you it has to be? Not according to Cody.

“When we sent that screenplay out it was riddled with typos and formatting errors because I had no idea what I was doing. [laughs] My manager was so stunned that I had turned out something vaguely coherent that he just said, ‘Let’s just throw it out there and see if anybody likes it.’ We didn’t really obsess; I think it was just a case of expectations being so low that there was not a lot of polishing and spit-shinning going on.”
Diablo Cody
Filmmaker magazine Fall 2007

It would be easy to just say Cody got lucky. That would be a mistake. How did she get a manager in the first place? Because her manager-to-be (Mason Novick) came across her blog and saw talent and originality. Perhaps a freshness that’s not easy to find in L.A. when everyone is going to the same screenwriting workshops, reading the same screenwriting books, going to the same screenwriting expos, and hanging out at the same L.A. restaurants or sitting on the same L.A. freeway.

Thanks in part to the plethora of new books and seminars on screenwriting, a new phenomenon is taking over Hollywood: Major scripts are skillfully, seductively shaped, yet they are soulless. They tend to be shiny but superficial.”
Richard Walter
UCLA Screenwriting Professor

Part of what sets Cody apart is, to use Colin Covert’s phrase, she is “scary-smart.” She had 12 years of Catholic school, was raised in the Chicago suburb of Lemont, and has a Bachelor’s degree in Media Studies from the University of Iowa. While not in the famed Iowa Writers’ Workshop graduate program, that was part of what attracted her to Iowa. While she had never written a screenplay before Juno, she thought of herself as a writer and had been writing on a regular basis (poems, short stories, etc.) for 15 years before she turned her hand to screenwriting. (Beatles, Cody, King & 10,000 Hours)

And I love the fact that not three miles from where Cody wrote Juno is a Minneapolis bar called Grumpy’s where screenwriter Nick Schenk wrote much of Gran Torino that in 2009 would become Clint Eastwood’s highest grossing film that he’s ever starred in. (Screenwriting Postcard from Minneapolis.) If Cody and Schenk don’t inspire you nothing will.

“Aspiring screenwriters always ask what’s the best way to break into the Hollywood? I say move to Minnesota.”
Writer Ken Levine (Frasier, MASH, Cheers)
How to sell a screenplay by drinking in a bar

Thanks again to Ms. Cody for the nudge to jump into the blogging world. And thanks to everyone for stopping by to read what I post, because without readers it would be hard to have written the 600+ posts I’ve written so far.

P.S. In yesterday’s post I mentioned that I’d explain why Clark Gable would be attracted to Diablo Cody and here’s my reasoning. A Time magazine article said, “Gable liked his women to be both sacred and profane.” It doesn’t take much reading about Cody to realize she is both scared and profane. While the profane aspects get more press, Cody’s sacred side is more fascinating to me. And it certainly doesn’t hurt her originality.

Read her 2005 post Finding My Religion to see a theological side to Cody that probably can only be matched in Hollywood by the Calvinist-raised Paul Schrader (Taxi Driver). One thing Cody says she’s never flirted with is atheism. Here’s a sample of her pre-Juno writing;

“I’ve had my share of core-rattling Touched By an Angel moments–brief instances in which God seemed to be standing right beside me, tousling my overprocessed hair like a kind scoutmaster–but most of the spiritual epiphanies I’ve had in my life were far earthier, borne of personal reflection, diverging beliefs, and the admission that I can’t ever fully grasp the sacred.”

Related Post: The Juno-Iowa Connection
Juno Vs. Walt
The Oscars Minnesota Style
The Fox, the Farm, & the Fempire
Life Beyond L.A. (The first blog on January 22, 2008)

Update June 23, 2010: Here is what Diablo Cody (@diablocody) wrote on Twitter: “@scottwsmith_com Thank you for writing that kind and lovely piece. I truly appreciate it.” Yeah, that’s a good way to start your day.

Scott W. Smith

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Calvin College Bridge

I took the above photo at Calvin College after my screenwriting talks this week. It’s part of Calvin’s Crossing, a pedestrian bridge designed by architect Frank Gorman that spans a little over a football field in length connecting the main parts of campus with the DeVos Communications Center over one of the busiest roads in Grand Rapids.

While the bridge has a practical purpose for Calvin students, it’s a fitting metaphor for all writers, filmmakers, and video producers. Too often creative folks distance themselves from the other disciplines of life. (You could call it a superiority complex.) In fact, there is a growing trend for young filmmakers to just go to film schools that only teach film and digital video production. (Technical skills are always easier to develop than writing. Which is why there are many beautifully photographed movies with shallow stories.)

At Calvin the communication center is where the video and radio studios, the video and film theater, and the video editing suites are all located. But Calvin is a liberal arts school so students head over the bridge to fill their minds with art, literature, languages, philosophy, politics, history, mathematics, religion and science with an emphasis on knowledge and truth rather than livelihood.

The knock on a liberal arts education has always been in line with it doesn’t prepare you for any job except to maybe teach. But if you look at the info where liberal arts grads end up you might conclude that liberal arts majors are prepared for just about every job. Margaret W. Crane wrote in the article For the Love of Learning, “a liberal arts background prepares you to think, analyze, and contribute meaningfully to the world around you.” 

While speaking at Calvin this week one of the things I mentioned was when I was a student at the University of Miami a professor told us film school students that you don’t go to school to learn to make films, you go to school to learn what make films about.

Screenwriter/director Paul Schrader (Taxi Driver) did go to UCLA for his Master’s work in film studies, but he did his undergraduate work with an emphasis in pre-seminary at Calvin College. While later rejecting the doctrine, he has credited Calvin College with teaching him to think.

When Suzanne O’Malley, who’s written for the TV show Law & Order, taught a seminar a couple years ago at Yale College called “Writing Hour Long Television Drama” where the class came together to write a 47-minute television program. Something a little different at the liberal arts college.

“We’re drawing from The New York Times, from Shakespeare, from Sun Tzu, from [John Lewis] Gaddis, one of the professors here, looking at all different kinds of serious work and blending that into our plot and story line,” she said in a Yale Daily News article by Andrew Bartholomew.

And just to connect all the dots. Yale is actually made up of 12 residential colleges and the one O’Malley taught at was Calhoun College, which is actually where actress Jodie Foster graduated from with a B.A. (with honors) in literature — after she was nominated for best supporting actress in Taxi Driver. She went on to win two Oscars after graduating from Yale. (Maybe a liberal arts degree should be a requirement for all child actors.)

So at least for Schrader and Foster their undergraduate liberal arts backgrounds haven’t hurt their now pushing 40 year careers in Hollywood.

Even if you’re out of school (or never went to school) read and study widely because it will add richness to your writing and your life.

Text and photo copyright 2009 Scott W. Smith

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“You talkin’ to me? You talkin’ to me? You talkin’ to me?”
                                         Travis Bickle (Robert De Niro)
                                         Taxi Driver
                                         Written by Paul Schrader 


No Bobby, I’m not talkin’ to you. But I did spend a couple days talking to students (and a few visitors) at Calvin College in Grand Rapids, Michigan the last couple days and the above photo was one of the movie posters hanging outside the video theater where I spoke.  Calvin’s most famous film alumni is Taxi Driver screenwriter Paul Schrader.

I would like to thank Prof. Bill Romanowski for the invite and and all the support staff, other professors, and students for the opportunity to speak, as well as the sponsorship by the Gainey Institute and Communication Arts & Sciences department. It sure is more fun to talk about this stuff than write about it.

I not only got to meet a lot of eager students, but had lunch yesterday with a New York actor who’s recently been on Law and Order and had a director from L.A. sit in on one of my seminars. (He was in town raising funds for a film that would take advantage of Michigan’s 40%-42% tax incentives.)

Those tax incentives are bringing a film called The Genesis Code not only to Michigan, but they will be shooting part of the film at the Calvin College campus. But Michigan is learning quickly about Hollywood’s ways as people have gotten excited about films starring people like Samuel L. Jackson, Joe Mantegna and Robert Duvall scheduled to shoot in Michigan only to see them postponed for one reason or another.

It was an interesting time to be in Michigan because not only is Detroit hurting because of the decline in auto sales, but the whole economy of the state is effected because many of the smaller cities are made up of manufacturing plants that produce parts for the  automobiles that people aren’t buying.

So people are both excited and skeptical about the possibilities of a film industry bringing jobs. Enrollment at schools and colleges that teach film and video is up. I saw people shooting footage around the Calvin campus including this young fellow that I snapped a picture of as he was in action. This kind of thing is happening all over the country. 


While at Calvin College I learned that they have a few other grads who are working in the film industry, but the most impressive to me is Jeannie Claudia Oppewall. She’s is a four time Oscar nominated production designer/art director who’s worked on two of my favorite films, Seabiscuit and Tender Mercies.

And for what it’s worth, she’s worked in Iowa twice on The Bridges of Madison County and the yet to be release Ellen Page film Peacock. And just to come full circle she was once married to Paul Schrader.

Schrader’s divorce played a part of his state of mind before writing Taxi Driver, as did Jean-Paul Sartre, “Before I sat down to write Taxi Driver, I reread Sartre’s Nausea, because I saw the script as an attempt to take the European existential hero…and put him in an American context.” Schrader has also said that part of the inspiration for picking a taxi driver to represent loneliness was based on the  Harry Chapin song Taxi about a taxi driver who used to dream of being a pilot and one night gives a lift to his old girlfriend.

…And me, I’m flying in my taxi, 
Taking tips, and getting stoned, 
I go flying so high, when I’m stoned.

                                          Harry Chapin 

Before that song was a hit in 1972, Chapin had actually written and directed a documentary called Legendary Champions which was nominated for an Oscar in 1969.

And lastly, AFI lists “Are you talking to me?” as the 10th most popular movie quote of the last 100 years. So yes, it is possible to be born and raised in Grand Rapids, Michigan and to write a screenplay that leaves an imprint on film history. (Though it’s okay to start out with slightly lower aspirations.) 

Scott W. Smith

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“Movie storytelling is about redemption–the recovery of something lost or the attainment of something needed.”
                                                               Brian Godowa
                                                               screenwriter, To End All Wars 

“All main characters are wounded souls, and the stories we tell are merely an acting out of the healing process.”
   Richard Krevolin 
                                                               Screenwriting From the Soul 



Director Martin Scorsese was once told by a priest friend that his films were “too much Good Friday and not enough Easter Sunday.” In his films, characters like Travis Bickle (Taxi Driver) and Jake LaMotta (Raging Bull) are wounded souls with no hint of redemption. No hope of resurrection. (Though the real life Jake LaMotta has said that the film changed his life.)

But there are plenty of films that somewhat mirror the Christ story of death and resurrection, of transformation or redemption, or even the concept of laying ones life down for another. Though one could argue there are similar themes throughout history (and Joseph Campbell does) it’s hard to miss the Christ metaphor in a film like Gran Tornio when Clint Eastwood is positioned in a Christ-like pose at the end of the film.

And it’s impossible to miss the Christ-like imagery of Tim Robbins on the poster of The Shawshank Redemption, taken from the climatic moment in the film when he emerges free from prison (death) on his way to paradise (life). 

Audiences never tire of stories of  transformation because I think that is one of the chief reasons we go to films. Yes, we want to be entertained, we want to eat popcorn, and we want to escape. But deep down inside we want to have purpose and meaning in our lives and art acts as a conduit to give structure to what often seems like a meaningless life. It points to the mysterious. 

 “Stories are equipment for living.”
                                          Kenneth Burke 

 “Stories are the language of the heart.”
                                          John Eldredge 

So while yesterday on Easter Sunday I pointed to the many films that actually portrayed Christ figures such as in The Greatest Story Ever Told, today I’ll point to films that show a Christ-like metaphor in their central characters, or have themes of transformation, sacrifice and/ or resurrection. (And like yesterday this is just a partial list, but the ones that seem to have lasting appeal.)

The Lion King
On the Waterfront
Terminator 2: Judgment Day
Sling Blade
Cool Hand Luke
Schindler’s List
The Natural
Babette’s Feast
The Beauty & the Beast
An Officer and a Gentleman 
Tender Mercies 
Iron Man
The Matrix 

Roger Ebert has an interesting read called In search of redemption and talks about  the kind of films that made him want to be a film critic. He talks about films with “human generosity and goodness.” And he even closes with a nod to Juno.  

Now if you’d like to take a deeper look at spiritual side of films then Paul Schrader is your man and I recommend his book Transcendental Style in Film as he looks at the films of Ozu, Bresson and Dryer. Schrader is the screenwriter of Taxi Driver, The Mosquito Coast, and The Last Temptation of Christ. And he’s a graduate of Calvin College.

If you happen to be in the Grand Rapids, Michigan area tomorrow night (4/14/09) I will touch more on this in a talk I’m giving at Calvin College. Schrader is not Calvin’s only connection to Hollywood. Phil Oosrerhaus was an assistant to the Wachowski Brothers on The Matrix as well as an associate producer on the sequels. 

As I pointed out in Screenwriting from Michigan there is a lot going on there film-wise. There were 32 features shot there last year including Eastwood’s Gran Torino. I also look forward to giving a screenwriting talk there on Wednesday. 


copyright 2009 Scott W. Smith

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When John Brady interviewed Taxi Driver screenwriter Paul Schrader one of his questions was “What’s the toughest part when you’re writing?”

Schrader: “Getting an idea. A metaphor. Having one or two lines that describe a film—that’s the hardest part. Once you get that, if you have any common sense, you can execute it.”

                                                       The Craft of the Screenwriter
                                                        Interviews with Six Celebrated Screenwriters
                                                        by John Brady
                                                        Page 282 


Check out the much longer post Where Do Ideas Come From? (A+B=C)


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“Why does New York have a monopoly on theater?”…I have no vested interest in New York, I don’t live there anymore. It’s all the same to me. But that is where the talent is collected, and if it doesn’t happen there, generally it doesn’t happen anywhere else. I wish it would happen in Ann Arbor, when you get a new theater.
Arthur Miller
February 28, 1967
The University of Michigan

Writing is core to everything we do. Yet good writing is becoming a lost art, and a lost value. I am looking forward to watching Michigan invest in what it takes to create the best writing program in the country.
Helen Zell

As I’ve said many times before Screenwriting from Iowa is not limited to screenwriting or Iowa — but it represents movies and people coming from a place beyond Los Angeles. Today we’re going to take a look at talent from another Midwest state as I turn the spotlight on Michigan.

It was no mistake that the great New York born writer Arthur Miller got his college education at the University of Michigan. Even in the 1930s UM was already know for its high literary output and in the 1920s playwright Avery Hopwood created an endowment for UM writers. Miller was an early recipient of the Avery Hopwood Award award in 1937. It was just the first step of recognition for the writer that would go on and write Death of Salesman and The Crucible as well as many other plays, screenplays, short stories and novels in a career that would span 70 years until his death in 2005.

He is considered one of the greatest American dramatists and supported the University of Michigan his entire life. Last year the Arthur Miller Theater opened on the UM campus keeping his wishes as being the only theater bearing his name. That was a tribute to the education he received in Ann Arbor.

But even before Miller became famous the University of Michigan had tradition in Hollywood. Dudley Nichols, a UM alumni  wrote the 1939 John Ford and John Wayne classic Stagecoach. The long train that followed include:
Valentine Davies (Miracle on 34th Street)
John Briley’s (Ghandi)
David Newman’s (SupermanBonnie & Clyde)
Kurt Luedtke (Absence of Malice, Out of Africa),
Richard Friedenberg (A River Runs Through It)
Adam Herz (American Pie)
Josh Greenfield, (Harry and Tonto)
Roger Lowenstein (TV’s L.A. Law)
Judith Guest (Ordinary People)
Lawrence Kasdan (Raiders of the Lost Ark, Grand Canyon, Body Heat)
Laura Kaisischke (
The Life Before Her Eyes)
Jim Burnstein
(D3: The Mighty Ducks)

Burnstein who also wrote Ruffian starring Sam Shepherd has taught at the University of Michigan and gave a presentation this year titled “Wolverines in Hollywood.”

I’m not sure where this Michigan writing legacy started but chances are famed Hollywood screenwriting teacher (and Detroit native) Robert McKee does know. He also attended the University of Michigan where he earned his undergraduate, masters and Ph.D. degrees.  Studying under Kenneth Thorpe Rowe where he learned a good deal about story structure that he promotes in his famed three-day screenwriting seminar and book Story.

Rowe wrote Write that Play and also hooked former student Arthur Miller up in New York that helped Miller start his career.

And though not a writer where would Hollywood be without the talent of former UM pre-med student James Earl Jones? A big voice (“Luke, I am your father”) who was born in a small town of Arkabutla, Mississippi, raised in a couple small towns in Michigan where he overcame a stuttering problem that caused him to be a functionally mute from grade school until high school.

In an interview with Michael J. Bandler Jones mentions Donald Crouch as the teacher that helped him overcome stuttering and find his voice. “I credit him with being the father of my voice. He said, ‘You have a man’s voice now, an impressive bass, but don’t let that impress you. If you start listening to your voice, no one else will.’ It was a good lesson in general. I [try] to be devoid of self-consciousness.”

According to Wikipedia his career in theater began at the Ramsdell Theatre in Manistee, Michigan where he was a stage carpenter before his role in Shakespeare’s Othello. Again to quote to old expression; “Do what you can, with what you have, where you are.” (And no, I won’t pass up the opportunity to mention that Jones brought his booming voice to Iowa in Field of Dreams.)

And just so we don’t leave out UM rival Michigan St. — that’s where Top Gun screenwriters Jack Epps Jr. and Jim Cash first teamed up. The academy-award nominated screenwriter of Finding Neverland and 48 hr director Walter Hill also graduated from Michigan State. Peter Gent was an athlete at MSU and went on to write the novel & screenplay for North Dallas Forty which impacted me greatly when I saw it as a high school football player. Spiderman director Sam Raimi also attended the school in East Lansing. And lastly writer/director David S. Goyer (Batman Begins) is also a Spartan.

Grand Rapids is where Paul Schrader was raised and attended Calvin College to become a minister before eventually writing Taxi Driver and having a long career in Hollywood.

Flint, Michigan native and current resident of Traverse City, Michigan is Academy-Award winning filmmaker Michael Moore who has made three of the top five grossing documentaries of all time. In 2005 he started the annual Traverse City Film Festival.

Michigan native Mike Binder was the writer/director of The Upside of Anger. In a talk he gave in Ann Arbor Binder told students, “If you’re looking for respect don’t become a screenwriter.”

And batting clean-up is a writer who has been called “the Dickens of Detroit” – Elmore Leonard. His novels and short stories often find their way to the big screen with big talent: Get Shorty (John Travolta), Jackie Brown (Robert De Niro) 3:10 to Yuma (Russell Crowe), Hombre (Paul Newman), and the upcoming Killshot starring Diane Lane. He graduated from University of Detroit Jesuit High School and the University of Detroit.

Back in 2001 Leonard had an essay published in The New York Times called Writers on Writing where he offered ten rules for writing. It’s well worth a read. Though geared toward writing novels most apply to screenwriting such as rule number 9: “Don’t go into great detail describing places and things.”

“Oh, I love Elmore Leonard. In fact, to me True Romance is basically like an Elmore Leonard movie… I actually owe a big debt to like kind of figuring out my style from Elmore Leonard because, you know, he was the first writer I’d ever read.
Quentin Tarantino (Pulp Fiction)
The Charlie Rose Show 1994

Leonard lives in Michigan these days, and though in his 80s has a website (www.elmoreleonard.com) complete with a blog and podcasts. From the man who inspired Tarantino, here’s Leonard’s advice on how to get an agent: “My advice is to learn how to write and the agent will find you.”

Of course, Michigan also has a long history of real life characters who were interesting enough to have movies made about their lives (Ty Cobb, Jimmy Hoffa, Eminem, and most recently the intermittent windshield wiper guy Robert Kearns).  Then there is the storytelling history through music from Michigan which is way too long to list but covers probably every form of American music; Jazz, blues, soul, gospel, rock, country, hip hop, rap, punk, techno.)

The rock and roll hall of fame has a little space taken up with artists from Michigan including Aretha Franklin, Bill Haley, Smokey Robinson, Stevie Wonder, Glenn Frey, and Bob Seger.

I’m sure it wouldn’t be hard to connect Michigan’s creative success to one man — Henry Ford. With his cars and factory line he brought prosperity to the area. Some of the people coming to Detroit were from the Mississippi Delta and they brought their music with them. That’s the short history of the Model T to Motown. But again you can’t ignore the part economics plays in its connection to the arts.

These days are lean times for those in Detroit. (Heck, these days they are even lean times for Toyota and Honda.) As the Michigan prophet Kid Rock sings; “Now nothing seems as strange as when leaves began to change, or how we thought those days would never end.” (All Summer Long)

One thing Michigan has recently done to rejuvenate the area economically is to pass one of the largest tax incentives for the film industry. Late this past spring I did some location scouting for Mandate Pictures for Whip It!, Drew Barrymore’s directorial debut. But Iowa lost out to Michigan and I’m sure the incentives played a part. The roller derby film staring Ellen Page and Juliette Lewis began shooting in Southeast Michigan in July.

The WNEM TV station reported this on their website: In April, Gov. Jennifer Granholm signed legislation aimed at giving Michigan a bigger role in the film industry. The key bill in the package gave film studios a refundable credit of up to 42 percent on production expenses in the state. The bills also cover commercials, TV shows, documentaries, video games and other film work.

Landing the Barrymore film is a nice start out of the gate for Michigan and there is talk of three film studios being built. It would seem like a good time to be writing Michigan-centered screenplays. If you don’t have any ideas you can start here: A popular mayor in Detroit has an affair…

P.S. If you are interesting in shooting in Michigan or in learning more about their incentives contact Janet Lockwood at the Film in Michigan office.

Copyright 2008 Scott W. Smith

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