The Dialogue Series
Interviews with Top Hollywood Screenwriters
by Jaden
Who better to learn about the craft of screenwriting than from those who are succeeding at it?
Host Mike De Luca (an entertainment executive who has reigned over at New Line Cinema, Dreamworks, and Columbia Pictures) asks all the right questions, reading your curious mind, as if you were the one sitting there.
During the interviews with screenwriters, topics covered are: story ideas, story structure, studio politics, pitching, breaking into the business, and lots of personal screenwriters’ Hollywood tales working with actors, directors, and studio execs.
Your favorite screenwriters that are offered on DVD are:
My favorite interviews are the ones with Jim Uhls (writer of Fight Club) and Callie Khouri (writer of Thelma & Louise).
Made just for the education of you screenwriters, I recommend supporting and checking out The Dialogue Series, a DVD series that shines the light on writers, writers who are the beating heart of cinema.
Patrick Fogarty: Video Wiz for The Careerers
Rapidly churning out entertaining videos for The Careerers and other groundbreaking new musicians is director and cinematographer Patrick Fogarty.
INTERVIEW with PATRICK FOGARTY
Did you study film and video?
Yes and I still do.
Where?
I learned how to edit on a vhs to vhs linear editing bay at a public access station in Excelsior, Minnesota in 1995.
I’ve been studying to a fault ever since. I attended classes at Columbia College in Chicago.
Where did you grow up?
Age 0-3 Naknek Alaska
3-11 Concord, NH
11-18 Minneapolis MN
What were your life influences that lead you down this path?
The need to show and tell.
Which filmmakers influence you?
Werner Herzog
Sam Peckinpah
Alejandro Jodorowsky
How do you crank out such amazing work so fast?
I get very little sleep and I’ve got a lot of post production experience.
Your videos are mind-blowing; what inspires you?
Watching someone’s face as they react to what they are seeing and trying to see if I can predict their expressions.
What is your next project?
I’m going on tour with the band Saything and filming a tour documentary.
Where would you ultimately like to take your career?
I’d like to make one or two movies per year and make videos in between.
Which is your favorite video that you made?
I think my personal favorite would be “Streets” by Careerers.
Thank you, Patrick. I love your work and look forward to watching so much more of it.
TONIGHT in Los Angeles you can catch Careerers from Oakland, California with Private Dancer from St. Paul, Minnesota at Redwood (316 W 2nd St, 90012) and tomorrow night October 8th at Synchronicity (4306 Melrose Ave., 90029).
Interview with Screenwriter Marc Fienberg
Writer / Director / Producer of Play the Game
by Jaden
Due to the nature of Hollywood and how hard it is to break in, one
thing I encourage aspiring screenwriters to do is to become filmmaking
entrepreneurs, make movies themselves and find their own audiences.
I am very excited for you to share your story with us as you are a
perfect example of this: writer / director / producer of your new
movie coming out called Play the Game.
Thanks! I couldn’t agree with you more. The best way to break in and
to learn the business at the same time is to produce your own movie.
Sure, it comes with a lot more work, a lot more stress, a lot more
heartache, and a lot more sacrifice, but I think it’s probably worth it
in the end.
Please tell me a little about Play the Game and what was the
inspiration.
Play The Game is about a young ladies’ man who teaches all his dating
tricks to his lonely widowed grandfather. It was inspired by my own
grandfather who started dating again when he was 89 years old, and came
to me for advice. He and I were two bachelors out on the town, one in
his 20′s and one in his 80′s! We were lucky enough to attract Andy
Griffith and Doris Roberts to our cast, as well as Paul Campbell, Liz
Sheridan, and Marla Sokoloff.
Senior citizens are a large market too often neglected, so I am really
glad you made this movie about such a lively topic as dating in the
older years. Did you do any research about your target audience and
apply it to your story?
I saw seniors dating in action every day that I went to visit my
grandfather at his retirement community. It was so touching and
endearing to see my grandfather go through the same emotions as a school
kid, with the same worries as: Should I ask her out? What if she
doesn’t like me? What if she DOES like me? It was so nice to see
him go through all that; I had to tell the story. And after seeing
my grandfather and his friends in action at the retirement community,
and hearing all the stories they told about dating and what it was like,
I didn’t need to do any formal research. In fact, I probably have
enough stories for three sequels!
What is your favorite script that involves seniors?
A film called Boynton Beach Club, produced by a woman named Florence
Seidelman and directed by her daughter Susan Seidelman. It touches on
many of the same issues as Play The Game, celebrating boomers and
seniors not giving up on life, and continuing their search for love,
companionship and sex. Boynton Beach Club was bold enough to show Sally
Kellerman topless. In Play The Game, we only show Andy Griffith and
Mrs. Seinfeld (Liz Sheridan) in bed together.
How did you get from idea conception to writing and then producing
Play the Game, time wise and financially?
That’s a story that spans over 12 years! The first version of the
script was written in 1997 while I was traveling around the world. The
script won some awards, got me an agent and a manager, and earned some
attention from the studios. But ultimately they decided it was more of
an indie film, and since I have an MBA and some experience raising
money, I set out to produce it myself. It took me 5 years to raise the
money, but when I did, I realized that since I raised the money, I was
the producer, and the producer got to choose the director. And I truly
didn’t think anybody could direct this movie as well as I could, so I
made myself the director. In terms of my personal finances, I worked
day jobs throughout most of that process. The smartest thing I did was
to find a job in Los Angeles that was on East Coast hours, so I could
work 6am-2pm for a paycheck, and then 2pm-8pm working on the movie.
What is your academic background?
Strangely enough, I studied business in college, and then got my MBA
from Northwestern University.
When and why did you take an interest in filmmaking and writing?
I was quite good as a businessman, and built some successful businesses
over the years that got sold, but it never brought me the type of job
satisfaction or fulfillment that I was looking for. I have always loved
writing, but it wasn’t until a few years after I spent tens of thousands
of dollars earning that MBA that I decided that maybe I could actually
make writing my career. Finally, about five years ago, my wife and I
quit our jobs, and with our new 6 month old daughter in tow, moved to
Los Angeles with no friends, family, or any means of supporting
ourselves. Our friends and family thought we were crazy, although I
think the words they used were more along the lines of “stupid,”
“irresponsible,” and “idiotic.” Now that the movie is opening across
the nation though, they’re singing a different tune of course, and
praising our gutsiness. In retrospect though, let’s face it, they were
right. It was pretty stupid and irresponsible, especially with kids to
take care of. But thankfully, it all worked out in the end.
An interesting debate that often comes up is how important is film
school versus hands-on experience filmmaking; where do you stand on this?
Well, I can’t really compare the two, simply because I never went to
film school. There’s a part of me that wishes I had, so I would’ve been
much more prepared for that first day on set. However, I can tell you
that personally, there has never been any match for getting out there
and just doing it myself. And I definitely feel like I learned at least
a couple semesters worth of film school while on the set.
Interestingly, I found that the hardest part about filmmaking was the
producing part of the equation, for which my business school education
probably prepared me more than film school ever could have.
In taking on such a huge endeavor as making a movie, surely you had
some moments wherein you thought to yourself: Gosh, I feel like an
idiot, I wish I knew this before. Please talk about something you
learned the hard way during the making of Play the Game that could be
helpful to others.
I learned that many of those cliches they teach you are correct. First
and foremost: “Always trust your gut.” And the corollary: “If something
sounds too good to be true, it usually is.” I hired a few people that
made some big promises of being able to deliver miracles for my film,
and who convinced me that I would certainly fail without their help.
Inevitably, the bigger the promises made, the less helpful those people
were. And I soon realized that, despite the fact that I had much less
experience than those big promisers, my passion and concern for my own
project was enough to get me through the day. Without exception, when
I’ve trusted my gut, I’ve always been happy with the results. And when
I haven’t trusted my gut, I’ve always regretted it.
Was there a person on your crew or in the cast or in your support group of family and friends who brightened your every day? What was it about their personality that made him or her a valuable addition to the filmmaking process?
By far, the most valuable person during this whole process was my
Executive Producer, who also happens to be my wife. She was the one
person who knew the project as well as I did, and the one person who
cared about it as much as I did. Having her on board was like having a
second director to help me out, because I trusted her judgment
implicitly, and I empowered her to make the decisions that I didn’t have
time to make. While I was off scouting locations, she was casting
actors for the film. While I was paying attention to the actor’s
performances and the camera movements, she was paying attention to the
nuances of the dialogue and emotion. While I was dealing with one
crisis on set, she was off solving a different problem. And by the way,
she did all of that while 9 months pregnant with our third daughter.
Luckily, she didn’t give birth until 6 days after filming ended.
Wow! Congratulations.
You are doing something unique with a grass roots publicity campaign;
please tell us how this came into being, what sorts of things has your
team done, and what successes have you found as a result of this
technique.
Whereas most studio films have marketing budgets measured in the
millions of dollars, ours is measured in thousands of dollars. But we
realized early on at film festivals that Play The Game had spectacular
word of mouth. Most people that see the film love it, so we decided to
embrace that and bring the film to the people to do our advertising
for us. We’ve taken a page from President Obama’s marketing campaign
playbook, and we’ve mobilized a huge volunteer force through our website
and Facebook page. We’ve done dozens of advance screenings all over the
nation, because when people see Play The Game, they tell their friends
about it. We’ve mobilized a set of Grassroots Grandmas, who are baby
boomers and seniors who loved the movie, and, since they’re retired,
they don’t mind spending several hours of their day telling their
friends about the film. I saw with my own eyes that word travels faster
among seniors at the country club or beauty salon than it does across
Facebook or Twitter. And the best thing we did was release the film
early in Florida, where over 60,000 people saw the film during the
winter, many of whom have now returned to their homes up north for the
summer and are telling all their friends to see the movie on August
28th. Right now, as a result of all of our grassroots efforts, Play The
Game is one of the top five independently distributed films of 2009, and
on August 28th, we’ll probably rise to number one or two. And it’s all
because people tell their friends about it. In fact, since I can’t ever
stop marketing the film, I’d encourage everybody reading this now to
email 50 friends with a link to this interview or to
http://www.playthegamemovie.com/ just to help us get the word out!
One thing people outside the business have a hard time understanding is the difference between being an independent filmmaker as opposed to a studio filmmaker; can you talk about this and your place in it all?
Well, I’ve never been a studio filmmaker, so I can’t really address what
that’s like. But I imagine it to be a surreal fantasy world where
people in suits give you large sums of money to rent cool camera
equipment and hire lots of big actors and a huge crew and serve them all
lobster thermidor for lunch every day. I suspect though that, in
reality, it’s much like being an independent filmmaker, except that you
have a much better chance of seeing your film on the big screen. I also
suspect that as the budgets get bigger, the headaches get bigger too.
That said, I hope to be able to come back after my next film and
describe the differences first hand after seeing the studio side of
things…
Thank you, Marc, for your time and for sharing your personal adventure making Play the Game.
Thanks Jaden. Much appreciated!
Interview with Screenwriter David Johnson
by Lance from DailyActor
David Johnson, screenwriter of the film Orphan (starring Peter Sarsgaard and Vera Farmiga), sat down to talk with me at the Comic-Con in San Diego, California.
David Johnson began his career as a production assistant on Frank Darabont’s The Shawshank Redemption, which was filmed on location in Johnson’s hometown of Mansfield, Ohio, at the historic Mansfield Reformatory, where Johnson’s great-grandfather had been a prison guard. Johnson spent the next five years as Darabont’s assistant, using the opportunity to hone his craft as a screenwriter.
In 1999, Johnson wrote an adaptation of the classic Doc Savage pulp novels, and later worked with Marvel Comics legend Stan Lee, adapting an original idea of Lee’s into a two-hour teleplay. Johnson then wrote a four-hour miniseries sequel to John Carpenter’s The Thing, which brought him to the attention of Leonardo DiCaprio’s producing shingle, Appian Way, for whom he wrote Orphan.
Johnson developed an early interest in storytelling and began writing plays in the second grade. He later became interested in film and, at age 19, wrote his first screenplay. He attended The Ohio State University in Columbus, Ohio, and graduated with a Bachelor of Fine Arts Degree in Photography and Cinema.
He currently has several projects in development, most recently re-teaming with Appian Way to pen an epic horror/fantasy inspired by a classic fairy tale. Johnson’s next project will be an adaptation of the Australian ghost story thriller Lake Mungo.
Interview excerpts:
David Johnson: It’s kind of a dream cast and they’re so good that first time I saw the movie, I would just get caught up in their performances and afterwards have to remind myself that I had written it because they had brought it to life so well.
David Johnson: I don’t usually have a specific actor in mind when I’m writing a character.
Daily Actor: It’s been said that you end up with the cast you’re supposed to have. Do you think that’s true?
David Johnson: In this case it certainly turned out to be, yeah. Peter and Vera really brought the characters to life in a way that if they hadn’t, none of this would have worked. The movie is going into such larger-than-life place but it starts out very grounded and very real, and I think it has a lot to do with them. They bring authenticity to their characters so that when things start to get larger-than-life as the movie goes on, you buy it because it was rooted in reality.
Click here for full article, audio interview, and movie trailer.
Interview with Screenwriter Boaz Yakin
Writer/Director/Producer of Death in Love
by Jaden
Death in Love is an R-rated film drama coming out this Friday from Writer/Director/Producer Boaz Yakin.
I’m not sure what to expect, but if producers say it has a tole “too dark” for the masses, I believe it.
Boaz and I had the pleasure of meeting each other back in 2003 when I moved next door to one of his horror film buddies, Scotty Spiegel, Director of From Dusk Till Dawn 2: Texas Blood Money (1999), on which Boaz was a story writer.
The horror film trio, Boaz, Scotty, and Eli Roth, often explored the shadowy crevices of life, film, and future projects such as Hostel and 2001 Maniacs.
Boaz Yakin is by no means exclusively horror, he is writer of action thriller The Rookie directed by Clint Eastwood; he is writer of crime drama Fresh starring Samuel L. Jackson; he is producer of comedy romance Uptown Girls starring Brittany Murphy; and he is a writer on romance drama Dirty Dancing: Havana Nights starring Diego Luna.
Making movies is like dating; filmmakers delve wholeheartedly and blindly into a life that is not necessarily with his or her soulmate, but good lessons are learned and, in the making, a void is temporarily filled while waiting for the right one to come along.
Boaz’s film Death in Love sounds like it is not just a flyby gal, but rather his true love.
(Click here to read the plot summary.)
INTERVIEW WITH BOAZ YAKIN
Boaz, what was the inspiration for Death in Love? True story or totally fiction?
The inspiration for DIL was the last 43 years of my life. I can best describe it as psychologically and emotionally personal as anything I have ever written, but the events in the story are pretty much all fabricated. Almost.
Please talk about the writing process for this script, inlcuding how long it took and how many edits and rewrites until you arrived at the shooting script.
Once I decided to write this, after researching one particular aspect of the story, I just sat down and wrote in the most intuitive fashion I have ever written. Just asked myself every morning, “How do I make myself uncomfortable today?” and put down what came to mind and heart.
It took me about a month to write, I showed it to a few friends, got some of their thoughts, added a few important scenes, and that was the shooting script.
What sort of frustrating story problems did you encounter along your way writing Death in Love?
I didn’t, really. Like I said, it was very intuitive, this being a completely independent project I wasn’t worrying about things “working” in the ususal way, just that it felt right to me, and once it did I went with it.
How much research was involved?
I researched one aspect of the story, which involved the main character’s profession. Though quite a personal piece, I didn’t want to do a film about a filmmaker, or a writer— so I needed to find something that reflected how I feel about working in the film business. I came upon the concept of a kind of con that was practiced quite frequently in the mid 90′s (when this film takes place) involving a modeling agency scam. This felt like the right metaphor for me… using one’s skills or talents in a very cynical fashion, and in a way that objectifies other people, women in particular— which is another theme of the film.
I did some reading and interviews on the way those scams worked (and work) and off I went.
Many of the SfH readers surely will think you are a lucky guy and would love to walk in your shoes right now.
You know, I have to say— anyone who wants to think me a lucky guy, should save that for someone who can actually get his films financed. This film was made with my life savings, every penny of it.
I was lucky, truthfully, in that when I ran out of money half way through shooting, and was going to have to take out a loan on my apartment in NYC to finish it, a check for a horror film I had been an executive producer on several years earlier came in— literally the next day— and saved my ass. So I was able to finish the movie and continue paying rent. The checks for that horror movie are still paying my bills.
In past discussions, we talked about the Hollywood curse of having a looming feeling of never being good enough; how is the curse treating you these days?
It’s not that I don’t feel good enough. It’s that I feel what I as a specific individual have to offer is not particularly valued here. And the things that I am valued for are skills that I do possess, but are not in the least bit specific.
Active artists and writers are often on to their next project before the current one hits the public, is that the case with you; do you have another story you are eager to write?
I’ve written a number of things since then. A book and about three scripts. The book is sitting on my shelf and the scripts are as of yet unproduced.
What existing film most influenced your film Death in Love?
Not sure. Scenes from a Marriage? The Piano Teacher? Irreversible? Persona?
Do you like the guy who directed your script? *wink* Did he do a good job?
I am not an unbiased party, here…. but I definitely tried to interpret the script in as interesting a way as I could. You gain things, you lose things. It’s the nature of the work, it seems.
Before funding the film yourself, did you initially try all the regular Hollywood avenues for resources? For how long?
For a film with a low budget such as this the expression “Hollywood” avenues doesn’t quite apply. There are, or were, a group of the usual suspects one goes to when trying to finance a small budget film, producers, financiers, etc. And I did meet with and show the script to nearly all of them.
Having read some of your work, I know you are a quality writer. Were you given any reasons why they did not want to fund Death in Love?
Yeah, they didn’t think it was commercial enough. Thought it was too “dark”, too bleak and depressing. It’s also quite sexual and full of anger, so not many people wanted to deal with it. No one, actually.
How are you finding theatrical venues and distribution for your film?
A year after the film premiered at The Sundance Film Festival the president of a distribution company called Screen Media met with the lead actor of the film, who told him he ought to revisit the picture, which he did, and decided to come on board and provide the film with its limited distribution, which I am extremely happy about. It’s very difficult to get a small film onto even a few screens nowadays— particularly odd, difficult ones such as Death in Love.
You have been both a big production studio writer / director and an independent writer / director, right? Please talk about the differences.
Well, you know— when most people say “Independent” film what they really mean is “low budget” film. A movie, even a very small one, is extremely expensive to make, and needs a lot of support; financiers for a million dollar movie care about their million dollars as much, or more, as the financiers of a hundred million dollar movie, so in both cases the filmmaker’s neck is being breathed down with equal fervor. Perhaps slightly less so on an smaller budget film.
The only way to be truly independent is to finance the film yourself— but that’s hardly practical, more than once or twice in a lifetime.
Thank you for taking the time to interview with me and Screenwriting for Hollywood.
Congratulations! I am excited to see your film this Friday and hear more details at your Q&A.
Thanks Jaden — look forward to it.
Death in Love opens July 17, 2009 in NY & LA
Stars Josh Lucas, Lukas Haas, Adam Brody, and Jacqueline Bisset
Laemmle Music Hall
9036 Wilshire Blvd.
Beverly Hills, 90211
310-274-6869
Subscribe
-
-
Content RSS