Posted in filmmaking, tagged Frank Darabont, Stephen King, The Shawshank Redemption, The Walking Dead, The Woman in the Room on March 30, 2017| 2 Comments »
“The Woman in the Room remains on my short list of favorite film adaptions.”
Stephen King
If you’re a filmmaker just starting out, don’t compare yourself to Frank Darabont’s The Shawshank Redemption—or his most recent work in creating The Walking Dead—look at what King was doing in his early twenties when he made the short film The Woman in the Room (based on a Stephen King short story).
Posted in Miscellaneous, tagged Frank Darabont, Stephen King, The Shawshank Redemption on March 29, 2017|
’77 was the year young filmmakers—college students, for the most part—started writing me about the stories I’d published (first in Night Shift, later in Skeleton Crew), wanting to make short films out of them. Over the objections of my accountant, who saw all sorts of legal problems, I established a policy which still holds today. I will grant any student filmmaker the right to make a movie out of any short story I have written (not the novels, that would be ridiculous), so long as the film rights are still mine to assign. I ask them to sign a paper approval, and that they send me a videotape of the finished work. For this one-time right I ask a dollar.”
Author Stephen King
Rita Hayworth and the Darabont Redemption
Introduction to The Shooting Script
Frank Darabont did the dollar deal with King when he was 20-years-old and made a short film out of The Woman in the Room. A few years later Darabont wrote King wanting the acquire the rights to King’s novella Rita Hayworth and Shawshank Redemption.
I’m actually not sure if this was a dollar deal or not, but King gave him the rights because he liked what Darabont did with The Woman in the Room, but he also thought the odds of actually getting a old school prison break movie made was a longshot.
And the rest is Hollywood history.
I encourage you to read both Darabont’s shooting script for The Shawshank Redemption and King’s version found in the collection Mean Seasons. One could teach a whole college semester class just on the Shawshank movie, screenplay, and novella. (And perhaps a second class on another story from Mean Seasons —The Body—which Rob Reiner turned into the movie Stand By Me.)
P.S. To inquire about King’s $1 rights and other questions, visit the Q&A section on his website.
Posted in screenwriting, Writing Quotes, tagged Misery, On Writing, Stephen King on March 11, 2016| 2 Comments »
“I want to put a group of characters (perhaps a pair; perhaps even just one) in some sort of predicament and then watch them try to work themselves free. My job isn’t to to help them work their way free, or manipulate them to safety, but to watch what happens and then write it down. The situation comes first. The characters—always flat and unfettered, to begin with—come next. Once these things are fixed in my mind, I begin to narrate. I often have an idea what the outcome may be, but I have never demanded of a set of characters that they do things my way. On the contrary, I want then to do things their way. In some instances, the outcome is what I visualized. In most cases, however, it’s something I never expected.”
Stephen King
On Writing, pages 164-165
P.S. A good example of this is King thought the writer in his novel Misery (played by James Caan in the movie version) would be killed by the crazy pig lady. But the writer had a will to live.
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Posted in screenwriting, tagged American Flyers, Breaking Away, David Letterman, filmmaking, John Wayne, Oscar award, paleontologist, screenwriting, Stephen King, Steve Tesich on December 5, 2014|
“I formed my notions of America in Yugoslavia by watching films. And most of the films were westerns so therefore when I landed [in the USA] I honestly expected—maybe if not John Wayne, a close friend of his to be there on a horse.”
Screenwriter Steve Tesich (The World According to Garp, American Flyers)
I don’t know how many screenwriters David Letterman has had on his show over the years but on that short list is Oscar winning screenwriter Steve Tesich (1942-1996).
Tesich was born in Yugoslavia but immigrated to the United States when he was 14. His family settled in East Chicago, Indiana (the Hoosier state) back in its heavy industrial days when soot filled the skies daily.
He did his undergraduate work at Indiana University, and according to Wikipedia he was actually an alternate rider for the Phi Kappa Psi fraternity team that rode in the Little 500 bike race that is featured in the movie Breaking Away, which was based on his screenplay.
And because I’m always interested in story origins, this is the beginning of the creative process that lead Tesich to his first produced film—an eight year journey from script to screen—and his only Oscar Award:
“I ran into a guy [in Bloomington] who was doing his Italian fantasy. I was riding a bike— I hear an Italian opera being sung behind me and I turn around and there’s this guy climbing a hill singing. He starts talking Italian to me, and being Yugoslavian and knowing how tough it is on foreigners I really have pity on the guy. For a week I try to tell him what America is like, what it’s like to be in Indiana and all this and I find out he’s from Indianapolis [Indiana]. He grew up there and this whole fantasy was just kind of a daydream.”
Yes, inspiration and story ideas can be found in unusual places all over the world. Like Stephen King says, you have to be like a paleontologist looking for bone fragments in the ground.
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The King of Cool’s Roots Steve McQueen was from Indiana. James Dean, too. (John Wayne, now he was from Iowa.)
Posted in screenwriting, tagged college, high school, How Stephen King Teachers Writing, Jessica Lehey, screenwriting, Stephen King, teaching writing, the Atlantic, writing on September 17, 2014| 1 Comment »
Back on the first day of summer I wrote a post called Screenwriting Summer School and while most schools are in their Fall session now, it’s technically still summer. Heck, tomorrow it’ll be in the 90s here in Orlando so it’ll feel like summer long after the first day of Fall next Tuesday. So we’re still in summer school mode. Today’s class features Professor Stephen King.
While King has given talks before at various colleges and universities, I’m not sure if he’s technically ever taught a class at the college level. But Professor King just sounds right. Before his writing career took off, King did teach high school English in Maine. Here are a couple of quotes pulled from an interview he did with Jessica Lehey in The Atlantic article, How Stephen King Teaches Writing.
“It went best for me when I could communicate my own enthusiasm. I can remember teaching Dracula to [high school] sophomores and practically screaming, ‘Look at all the different voices in this book! Stoker’s a ventriloquist! I love that!’ I don’t have much use for teachers who ‘perform,’ like they’re onstage, but kids respond to enthusiasm. You can’t command a kid to have fun, but you can make the classroom a place that feels safe, where interesting things happen. I wanted every 50-minute class to feel like half an hour.”
Stephen King
“Always ask the student writer, ‘What do you want to say?’ Every sentence that answers that question is part of the essay or story. Every sentence that does not needs to go. I don’t think it’s the words per se, it’s the sentences. I used to give them a choice, sometimes: either write 400 words on ‘My Mother is Horrible’ or ‘My Mother is Wonderful.’ Make every sentence about your choice. That means leaving your dad and your snotty little brother out of it.”
Stephen King
P.S. Wouldn’t it be nice if every 2 hour movie felt like it was 90 minutes?
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Posted in screenwriting, tagged Frank Darabont, Hart to Hart, Hollywood, I Dream of Jeannie, Sidney Sheldon, Stephen King on February 18, 2013|
“When did you last see a movie that engaged your mind a week or a month later?…When crap drives out class, our taste grow coarser and the life of the imagination grows smaller.”
Stephen King
What’s Next For Pop Culture?
Recently I looked at what movies were playing at a four-plex theater by my house and couldn’t help but notice (thanks to the app I was using) something they all had in common—very low Rotten Tomatoes scores (28%, 24%, 16%, 12%). Doesn’t really matter what films they were, they were just typical Hollywood movies. Go back a few years, or look forward in a few years and there’s a good chance you see a repeated pattern. The big question is why haven’t Hollywood movies evolved?
Here’s a barrage of soundbite reviews of those movies at the four-plex:
“The comedy equivalent of mud-wrestling without the mud.”
“Uninspired trudge.”
“Unfunny, predictable, and vulgar.”
“Filled with the sentimental schmaltz.”
“Hallmark romance that ranges from the dull to the ridiculous.”
“Forget dialogue, character development, or logic.”
So why did those films get made? Why did they get made in the past? And why will they get made in the future?
The easy to answer—money.
Movie 24% and movie 16% both spent at least one week #1 at the box office and movie 12% was written by one of the most financially successful writers in history. (My wife did go to movie 12% but left before the movie was over when it got “too cheesy.” But Hollywood got the ticket sale.)
Hollywood is in the money-making business. And it’s trying to make movies that people want to see, so they can make a profit. Business 101. It’s the same reason all those trite reality TV shows that people complain about are on the air.
This all reminds me of a writing class I had in L.A. back in the ’80s taught by a playwright/screenwriter who told us that Sidney Sheldon (1917-2007) was not a good writer—but that Sheldon was a rich and famous writer. He went on to make his case against Sheldon known for his many novels, Broadway plays, movies, and for creating the TV shows Hart to Hart and I Dream of Jeannie. The teacher concluded his talk saying that though he considered Sidney Sheldon a hack he wished he could write like Sidney Sheldon.
I’m not an expert on Sheldon, though I confess to enjoying both Hart to Hart and I Dream of Jeannie as a kid. (I don’t remember any storylines, but I remember Stefanie Powers and Barbera Eden well.) But I don’t think Sheldon was a hack. A hack to me doesn’t really care what he writes. I don’t remember the teacher’s name either, but that class was a memorable moment that’s stuck with me.
Looking at the work of other writers and filmmakers is often a mix of subjectivity, objectivity, education, temperament, envy and jealousy. I always think it’s best to judge any artist by their best work. And to be fair, Sheldon did win an Academy Award for writing The Bachelor and the Bobby-Sock (1947), won a Tony, received a nomination for an Emmy, was a New York Times best-selling author, and is listed as the seventh best-selling fiction author of all time—ahead of even J.K. Rowling and Dr. Seuss.
But it is surprising why Hollywood films as a whole aren’t better. All of the other crafts related to filmmaking have overall arguably evolved significantly. (Cinematography, editing, special effects, sound effects, acting, set design, etc.,etc.) The reason some say those crafts are better is technology has improved and they had a great tradition to build on. But the types of movies that get made don’t really seem to improve. Certainly screenwriters also have opportunities to build (not just try to duplicate) on a body of work that went before them.
Who do we blame? Screenwriters? Audiences? Studios?
“The logic behind the Hollywood development process for a motion picture goes something like this: no matter where you are making movies in the world , if you are producing a product for a mass audience, the various funnels through which your story (the entertainment you are creating) must pass will narrow in order to appeal to the most people waiting on the other side. Typically, mass audiences reduce characters to white hat/good guy and black hat/bad guy. Consequently they like the familiarity and comfort of a twice told tale…The trick for the Hollywood writer is to create a script that is intensely personal, yet still manages to resonate with a mass audience by virtue of its universal theme.”
Michael Lent
Breakfast with Sharks
Page 4
The good news if you want to—and have the desire, skill, and opportunity— to write those poorly reviewed films that pull in a big mass audiences—you can make a lot of money. (Like all that money spent at fast food restaurants and Thomas Kinkade paintings, maybe not the most nourishing things but someone’s making money.) These days writers who aim a little higher tend to find refuge in independent films or cable TV. Or you can turn to teaching where you can breakdown why the Sidney Sheldon of the day is a hack and where one professor at a well-known film school reportedly said, “I prepare students for unemployment.”
To really end this post on a positive note.;What about those handful of great Hollywood films made every year? Perhaps Frank Darabont explained it best when he said Hollywood is like a big shipwreck, and while most of the ship sinks to the bottom of the ocean, every once in a while a couple of pieces of wood made it to shore.
And 2012 was actually a pretty solid year, wasn’t it? Argo, Zero Dark Thirty, Silver Linings Playbook are just three well-done Oscar-nominated films that crowd the top of the Hollywood pyramid. In every level of production there is a pyramid. The best thing you can do wherever you are on the pyramid is to focus on what you do best and hope your work can find an audience. First with a small audience of investors (a studio, an investment group, kickstarter) and then with a larger audience that brings a return on investment (ROI).
But if you can do that with a little heart and soul, there’s a few of us that would appreciate it.
P.S. Sidney Sheldon was raised in Chicago during the depression and attended Northwestern so I’ll see if I can find some interviews so he can get some stage time to defend himself. But since he was raised during the depression I imagine he may just say, “I wasn’t trying to be Shakespeare or Hemingway— just looking for a way to feed my family and pay some bills.”
Screenwriting from Iowa