April 19, 1992
As an aspiring screenwriter, I greatly enjoyed your articles on the movie "The Player" and on the pathetic state of the screenwriter in modern Hollywood ("Don't Kill Me, I'm Only the Screenwriter," April 5). While screenwriters can be viewed simply as the perennial losers in the never-ending power struggle with stars, directors and producers, the recent decline in their position has not occurred in a vacuum. The explosion of the foreign market for Hollywood films, as well as the TV-driven debasement of the American spirit, has meant that sex, violence and having the right names attached to a project have clearly become the most important elements of a successful film deal.
September 26, 2013 |
Peter Morgan wouldn't be the first screenwriter you'd think of to tell the story of the 1976 Formula One rivalry between the uptight clinician Niki Lauda and the seat-of-his pants swashbuckler James Hunt. Known for upscale real-life stories about presidents and royals ("Frost/Nixon," "The Queen"), the screenwriter would be far down the list among people putting pen to paper on two hyper-competitive auto jocks. But Morgan - who wrote the script for this weekend's wide Ron Howard release “Rush” starring Chris Hemsworth and Daniel Bruhl - found himself stirred by the idea when it first struck him on a Spanish beach.
December 20, 1998
Mimi Leder took issue with a statement by Peter Berg that differentiated writer-directors from "shooters," i.e. directors who do not write their scripts (Letters, Dec. 6). Her point is well taken that there have been many great directors who were not screenwriters. However, as a screenwriter who has also directed four features, I question, as do many other writers, why these collaborating directors feel the need to take the "A Film By" credit. You can't have it both ways. If you are a collaborator, how can you, with a straight face, claim total authorship of the film?
August 22, 1999
The widow of screenwriter Martin Goldsmith makes a case for her husband's script having been the primary determinant of "Detour" (1945) having become a film noir classic (Letters, Aug. 15). Were Goldsmith's detailed screenplay singularly responsible for the good outcome, wouldn't a remake from the same screenplay be expected to be just as much a classic? "Detour" was remade, yet the 1992 version scarcely enjoys the reputation of the original directed by Edgar Ulmer. The remake is faithful, even incorporating the 20 minutes of additional script that Ulmer excised to deliver his movie at the 69-minute length that suited his studio's desire to place the film on double-feature programs.
October 27, 1985 |
Is South Africa finally bankable? A year or two ago, says producer Gautam Das, money wasn't available for projects dealing with apartheid. Now Das is prodding a newly hired screenwriter to finish a rewrite on Das' "Biko" project about martyred black South African leader Steve Biko. "Today," said Das, "I don't think I'd have any trouble getting the rest of the money."
November 14, 2013 |
Pulpy dross of surpassing dumbness, "Charlie Countryman" takes the blender approach to mixing dark adventure, doofus comedy and pie-eyed romance, but forgets to put the lid on when pulsed. Scruffy emo-puppy Shia LaBeouf plays the title role, a young Chicagoan who hightails it to Bucharest after the death of his mother (Melissa Leo) and gets mixed up with Evan Rachel Wood's smoky-eyed, tough-girl cellist Gabi and her psychotic criminal husband Nigel (Mads Mikkelsen). The film starts with the thuddingly whimsical, showing us that Charlie can talk to the dead.