Feeds:
Posts
Comments

Posts Tagged ‘William Goldman’

Here are the first lines of dialogue in the screenplay and movie Butch Cassidy & the Sundance Kid:

BUTCH: What was the matter with that old bank this town used to have? It was beautiful?

GUARD: People kept robbing it.

BUTCH: That’s a small price to pay for beauty.

One of the great true [Butch] Cassidy stories was when he was young and in jail in Wyoming, I think it was, and he came up for parole and the Governor met with him and said, ‘I’ll parole you if you promise to go straight.’ And Butch thoght a moment and then said this: ‘I can’t do that.’ In the stunned silence he went on: ‘But I’ll make a deal with you—if you let me out, I promise to never work in Wyoming again.’

And the Governor took the deal, and Butch never robbed in Wyoming again.

Even today, that’s probably the best character intorduction I ever came across. When I was researching material, reading whatever I could find all those years, I knew this was how we would meet Butch. And that kind of building block is essential when you’re stumbling through material, trying to get a grip on the best way for you to tell this particular story. The entire Superposse chase, almost half an hour of screen time, was only writable for me because I knew the Sundance Kid couldn’t swim, something I’d read was true of a lot of western figures of that period. I don’t know how it is for others, but building up confidence is the single hardest battle I face every day of life.”
William Goldman, screenwriter of Butch Cassidy & the Sundance Kid
Four Screenplays with Essays 

page 3

Scott W. Smith

Read Full Post »

“Let me tell you the super story that Cliff Robertson told me a dozen years ago, and I think I’m giving the credit properly. It was a story he had been told by Rosalind Russell. I think he met her during the filming of Picnic. She said, ‘Do you know what makes a good movie?’ And he answered something like, ‘I don’t know—good script, good actors, good cameraman, and good directors, etc., etc.’ ‘No,’ she said, ‘ A couple of moments that people remember, that they can take with them, is what makes a good movie.’”
William Goldman (Butch Cassidy & the Sundance Kid, The Princess Bride)
The Craft of the Screenwriter
Interview with John Brady
page 149

Note: I originally posted this quote in 2009 under the title Screenwriting Quote of the Day #118.

Scott W. Smith

Read Full Post »

I was eighteen and an aunt gave me a copy of Mixed Company, a book of his (Irwin Shaw) collected stories. I’d never read a word by him, never heard his name. But I remember the lead story in the book was The Girls in Their Summer Dresses. About a guy who looked at women.

Followed by The Eighty Yard Run… Well, The Eighty Yard Run is about a football player. Shit, I remember thinking, you can do that? You can write about stuff I care about?…At eighteen, I began writing stories. Not a whole lot of acclaim. I took a creative writing class at Oberlin.  Everyone took it because it was a gut course. I wanted a career. Everyone got A’s and B’s, I got the only C…. I have, somewhere, hundreds of rejection slips…My confidence is not building through these years. I hope you get that.”
Two-time Oscar Winning screenwriter William Goldman (Butch Cassidy & the Sundance Kid, All the President’s Men)
The First Time I Got Paid for It, Writers’ Tales from the Hollywood Trenches edited by Peter Lefcourt and Laura J. Shapiro

 

Read Full Post »

“If there’s one thing I learned in prison it’s that money is not the prime commodity in our lives…time is.”
Gordon Gekko
2009 script Money Never Sleeps written by Alan Loeb

On this repost Saturday I’m going back to a 2008 post I wrote after a tornado hit Iowa. When a tragedy hits somewhere in the world or someone famous dies I think of this post. This week actor James Gandolfini (The Sopranos) died at age 51. My thought and prayers go out to the Gandolfini family. If there is a face to the positive change that hit television in the late 90s it is of Tony Soprano played by Gandolfini.

But Dang, 51 isn’t that old. Though that’s how old screenwriter/blogger Blake Snyder (Save the Cat) was when he died. Shane Black who I’ve been quoting all week is still very much alive at age 51. I happen to be 51. So that number did jump out at me when I heard the news.

Death is no respecter of age—or of persons. So this is just a reminder to have a life beyond your work and creative endeavors.

“Screenwriting is a huge part of my life. It’s my profession, it is my vocation. It has been so for nearly two decades now and hopefully for another decade still. It’s not the most important thing in my life by far. By far! You know, my wife, my kids, it’s not the be all, end all.”
Screenwriter Craig Mazin (Identity Thief)
Scriptnotes Ep. 87

Here’s the post that originally ran on May 31, 2008:

“When you drink from the well, remember the well-digger.”
Chinese proverb

Parkersburg, Iowa
©2008 Scott W. Smith

Last Sunday one of my partners at River Run Productions had 15 seconds to make it into his basement with his wife and dog before an EF 5 rated tornado ripped through his Parkersburg, Iowa home.

In less than a minute his house was gone and both cars totaled. But he, his wife and dog were safe. The storm killed seven people, destroyed over 200 homes, and damaged another 400.

Iowa is no stranger to tornadoes, but this one was the most powerful to hit the state in over 30 years. It’s one more reminder that things can change in a New York minute—or even an Iowa minute.

Friday I went to Parkersburg to shoot footage of the destruction and interviews for an insurance company.  I have been through a hurricane in Florida and a major earthquake in California and I have never personally seen the devastation that I saw as the result of that tornado.

From where I took the above photo, every direction I looked basically looked the same. It’s amazing that more people weren’t killed. Human beings tend to have short memories so this is one more thing to help remind us how fragile life is.

I’ve written a lot about writing on this blog but not much about keeping life in perspective with a creative career. The fact is most of us have difficulty balancing our lives.

I’ve collected some of my favorite quotes over the years that are a little random, but I hope there’s something in here that you can hang your hat on—or at least cause you to smile or reflect on your life and dreams. But mainly I want you to understand that whatever creative dreams you have there’s more to life than chasing that rainbow.

“My biggest disappointment so far is that having a career has not made me happy.”
Shane Black
(Quote after being paid $1.75 million for writing The Last Boy Scout and $4M for The Long Kiss Goodnight)

“It’s an accepted fact that all writers are crazy, even the normal ones are weird.”
William Goldman
Adventures in the Screen Trade                                                                  

 “I don’t dress until 5 p.m. I have a bathrobe that can stand…Yes, I am divorced. One writes because one literally couldn’t get another job or has no choice.”
Akiva Goldsman (A Beautiful Mind)

“I got into screenwriting for the best of all reasons: I got into it for self-therapy.”
Paul Schrader (Taxi Driver)

“For the first couple of years that I wrote screenplays, I was so nervous about what I was doing that I threw up before I began writing each morning. There’s nothing wrong with that. It’s much better than reading what you’ve written at the end of the day and throwing up.”
Joe Eszterhas (Basic Instinct)

“I’m not very good at writing. If I succeed, it’s by fluke.”
Shane Black (Lethal Weapon)

“If you get rejected, you have to persist. Don’t give up. It was the best advice I ever got.”
Anna Hamilton Phelan (Mask)

“The myth about me is that I sold my first screenplay and it’s true. But I had also worked very hard as a fiction writer for ten years and that’s how I learned the craft of telling stories.”
Akiva Goldman (A Beautiful Mind)
He also has a masters in fiction from NYU

“I spent 18 years doing stand up comedy. Ten years learning, four years refining, and four years of wild success.” (It’s worth noting that Martin was on top when he walked away from stand up comedy and never performed as a comedian again.)
Steve Martin
Born Standing Up

“Starting in 2002, I knew for a fact that I had to get out of this business. It was too hard. It wasn’t that I wasn’t good enough, it was that it was too hard. What kept me in it was laziness and fear. It would be nice to say it was passion and I’m a struggling artist who didn’t give up on his craft. All of that sounds good, but the truth is it was laziness and fear.” 
Alan Loeb (Things We Lost in the Fire)

“Like the career of any athlete, an artist’s life will have its injuries. These go with the game. The trick is to survive them, to learn how to let yourself heal.”
 Julia Cameron
The Artist’s Way

Dee: “Jane, do you ever feel like you’re just this far from being completely hysterical 24 hours a day?”
Jane: “Half the people I know feel that way. The lucky ones feel that way. The rest of the people are hysterical 24 hours a day.”
Exchange from Lawrence Kasden’s Grand Canyon

“We’re constantly buying crap we don’t need and devoting ourselves to endeavors which, perhaps on reflection, with a little bit of distance, would reveal themselves to be contrary to our own best interest.”
David Mamet      

Everything in this town (L.A.) plays into the easy buttons that get pushed and take people off their path; greed, power, glamour, sex, fame.”
Ed Solomon (Men in Black)

“Writing isn’t about making money, getting famous, getting dates, getting laid, or making friends. In the end, it’s about enriching the lives of those who read your work, and enriching your own life, as well.
Stephen King

So life in general is hard, and being a writer or in the creative arts is a double helping of difficulty.

Several years ago Stephen King was hit by a van when he was on a walk. One leg was broken in nine places and his knee was reduced to “so many marbles in a sock,” his spine was chipped in eight places, four ribs were broken, and a laceration to his scalp required 30 stitches. It was as if his characters Annie Wilkes (Misery) and Cujo had ganged up on him.

But he had learned a thing or two about adversity after an earlier bout with drugs and alcohol that he eventually won. One of thing things he learned was to not to get a massive desk and put it in the center of the room like he did early in his career. That is, writing shouldn’t be the most important thing in your life.

“Put your desk in the corner, and every time you sit down to write, remind yourself why it isn’t in the middle of the room.  Life isn’t a support system for art. It’s the other way around.”
Stephen King
On Writing 

Two years ago I produced a DVD based on the book Don’t Waste Your Life by John Piper. The concept was to shoot a Koyaanisqatsi-style video that that showed the arc of life from birth to death. I shot footage from New York City to Denver. I shot footage of a one day old baby in a hospital, people walking into an office building in Cleveland, snow failing in a cemetery and the like.  One of the shots for that video was in Parkersburg, Iowa.

It was a traditional Friday night high school football game at Aplington-Parkersburg High School. (What makes this school unique is though the town only has a population of 2,000 it currently has 4 active graduates playing in the NFL.)  That high school building is a total loss because of the tornado. Here’s a photo of the scoreboard sign that was blown down during the storm.

There will always be the storms of life. And as I’ve written before, movies can help us endure those storms and even inspire us. (“Throughout most of the Depression, Americans went assiduously, devotedly, almost compulsively, to the movies.”-Carlos Stevens) So work on your craft because we need great stories that give us a sense of direction, but don’t waste your life just writing screenplays.

Related Posts:

Don’t Waste Your Life (Part 2)

words & photos copyright ©2008  Scott W. Smith

Read Full Post »

“[Shane Black] isn’t Hollywood’s most prolific writer — he only has a handful of credits, including the first Lethal WeaponKiss Kiss Bang Bang, and The Last Boy Scout— but for a time, he was its most highly paid, and the $4 million he earned for the 1996 action film The Long Kiss Goodnight is still a Hollywood record for a spec script. How did Black do it? Simple: He made reading his screenplays way too much fun.”
Kyle Buchanan
Why Iron Man 3 Director Shane Black Was Once Hollywood’s Hottest Screenwriter

“I recommend if you haven’t read it go back and read Butch Cassidy and the Sundance Kid , the original screenplay by William Goldman who was sort of my mentor, my rabbi, along with James L. Brooks. There’s plenty to be found in these old writers especially Goldman. Walter Hill and William Goldman are two of my favorites and if you’re going to write screenplays, or if you already are and you want a boost or a shot in the arm—look at the structure, they way they’re written, the style of those two authors—Walter Hill and William Goldman— because between the two of them they account for the bulk of the stylistic stuff I do on the page as a writer.”
Writer/Director Shane Black speaking to students in Minneapolis in the above video

Here are a few examples pointed out in Kyle Buchanan’s Vulture article of Black’s writing style:

Joshua  and Riggs. Two soldiers. Their eyes lock. And you better hand on to your popcorn, boys and girls, because it’s about to get ugly.
Lethal Weapon

Dark. Depressing. Sprawl of furniture. Stack after stack of sports magazines. Drop all your belongings out of a plane. They will land like this.
The Last Boy Scout

The LEADER: a haggard-looking man sporting a soup stain on his tie, whoops, that’s the design, sorry.
The Long Kiss Goodnight

P.S. If you’ve never read William Goldman’s classic book Adventures in the Screen Trade make it your next read as it not only includes insights into screenwriting and the film industry, but his entire screenplay for Butch Cassidy and the Sundance Kid. It’ll give you a better jolt than a can of Red Bull—and cost about the same amount. (You can find a used copy on Amazon for under three bucks.)

Related post:

Screenwriting Quote #118 (William Goldman)
William Goldman Stands Alone
Screenwriting Quote #65
Shane Black & Willie Mays (A word of warning on trying to copy Black’s style)
Meet Your First Audience (Tip #36)
Descriptive Writing (Frank Darabont)
Descriptive Writing (Stephen King)
Descriptive Writing—Part 1 (tip #22)

Scott W. Smith

Read Full Post »

“I started out in newspapers, went on to narrative nonfiction magazine articles in the late 90’s, and then began trying my hand at screenwriting…In 2002, Kathryn Bigelow optioned a piece I did called ‘Jailbait.’ It became a short-lived TV show on Fox that she directed. That was really my introduction to television and film. Then I continued on the dual track I’m on now, trying to merge the two disciplines. This really started with The Hurt Locker, which was based on reporting, and continued with Zero Dark Thirty.”
Oscar-winning screenwriter Mark Boal (The Hurt Locker)
Interview with Rob Feld
The Hurt Locker: The Shooting Script 

Here’s a link to Boal’s article Jailbait which got the attention of Bigelow.

P.S. Back in 1995 Boal graduated from Oberlin College in Ohio where he majored in philosophy. In this 2010 talk at the school Boal told students, “You have to be willing to get your teeth kicked in continually before you achieve even a modicum of success. And once you achieve that you have to be willing to put up with a bunch of rejection before you can get anywhere.” (I don’t get too much criticism from this blog, but when it comes it’s usually in the form of, “you make this sound too hard to do.” I think Boal’s quote and Twilight screenwriter Melissa Rosenberg‘s similar quote—“Don’t give up. You’re going to get kicked in the teeth. A lot. Learn to take a hit, then pick yourself up off the floor. Resilience is the true key to success.”—pretty much sum it up.

BTW—Two-time Oscar-winning screenwriter William Goldman (Butch Cassidy & the Sundance Kid, All the Presidents Men) graduated from Oberlin College with an English degree.

Related post:
Screenwriting Quote #126 (Mark Boal) Boal proves you don’t have to go to film school, but you do have to learn from others. (And it’s a bonus if those others are Oscar-winner Paul Haggis and Oscar-winner Kathryn Bigelow. The key is to write something good enough to get you in the room with that kind of talent.)
Hitchcock Loved The Hurt Locker
Screenwriter’s Work Ethic (tip#2)
First screenplay=9 Oscar Nominations
Beatles, King, Cody & 10,000 Hours
The 99% Focus Rule (Tip #70)

Scott W. Smith

Read Full Post »

(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


“I don’t know if you saw the parting of the Red Sea with the chariots on the horses, I did stuff like that.”
Richard Farnswort
h


After I posted the above Goldman comment yesterday on the post titled Writing “Butch Cassidy & the Sundance Kid” it jogged my memory of another story about a career transition—both fictional and real life. The Grey Fox was released in 1982 about a decade after Butch Cassidy, but there are some similarities, mostly the concept of change in the Old West.

Richard Farnsworth plays a former stagecoach robber who is released from San Quintin after serving 33 years for his crimes. When he gets out in 1903 it’s a new world—the stagescoaches are out and movies are in. His character, Bill Miner, goes to see The Great Train Robbery and is inspired to take up his old ways yet with a new fresh angle.

It’s been many years since I’ve seen the film so I’ll rely on Rodger Ebert’s account to bring us all up to speed:

“(The Great Train Robbery.) That famous movie is only eleven minutes long, but long enough to make everything absolutely clear to Miner, who realizes he has a new calling in life, as a train robber. All of this could, of course, be an innocuous Disney movie, but it’s well-written and directed, and what gives it zest and joy is the performance by Richard Farnsworth, who plays Miner. Maybe you’ll recognize Farnsworth when you see him on the screen. Maybe not. His life has been one of those careers that makes you realize Hollywood is a company town, where you can make a living for years and never be a star. Farnsworth has been in more than three hundred movies.”
Roget Ebert
Chicago Sun-Times, The Grey Fox
January 1. 1982

Though Farnsworth had been in more than 300 films, they were mostly as a stuntman. He doubled for some of Hollywood’s most well-known actors; Roy Rogers, Gary Cooper, Kirk Douglas, Henry Ford, Montgomery Clift, and Steve McQueen. You think he might have picked up a thing or two about acting from those fellows because after 30 years as a stuntman he began acting.

And he did it well enough to receive a Supporting Actor Academy Award nomination in 1979 for his role in Comes a Horseman and another Oscar nomination for Lead Actor in David Lynch’s The Straight Story (that was filmed right here in Iowa). He was 79 at the time of the nomination making him the oldest actor to ever receive a best actor nomination.

You may also remember his roles in The Natural, The Two Jakes, and Misery. I had the good fortune to meet Richard Farnsworth at a movie theater in Burbank some time in the 80s. Nothing exciting, he was just standing in front of me waiting to buy popcorn or whatever.

“Are you Richard Farnsworth?”
“Yes, I am.”
“I appreciate your work.”
“Thank You.”

He smiled and we shook hands. This was in the days before IMDB so I didn’t know in that simple exchange I was shaking hands with a man who was a real life Forrest Gump in the film industry having been in some legendary Hollywood productions;   Gone with the Wind, Gunga Din, The Ten Commandments, The Outlaw Josey Wales, Roots, Bonanza, The Wild One,  Blazing Saddles, Spartacus and many others.

That means to one degree or another he worked with John Wayne, Clark Gable, Marlon Brando, Mel Brooks, Howard Hawks,  Jack Nicholson, Robert Redford, Clint Eastwood and Cecil B. DeMille.

I don’t know how long stuntman work on a regular basis in Hollywood, but it has to take its toll on your body.  Farnsworth’s last credit as a stuntman was 1975 when he would have been 55. He was almost 60 when his acting career took off. He changed with the times.

By the way, the screenwriter of The Grey Fox, John Hunter,  was no spring chicken himself and was 71 when the movie was released.

Oh yeah, Farnsworth did stunts in Butch Cassidy & the Sundance Kid, too.

Scott W. Smith


Read Full Post »

Older Posts »

%d bloggers like this: