Podcast: Jonathan Lynn on "Clue" and "My Cousin Vinny"

This week on the blog, a special podcast interview with director Jonathan Lynn on the making of “Clue” and “My Cousin Vinny.”

Kathleen Behun on "21 Days"

What was your filmmaking background before making "21 Days"?

KATHLEEN: I had written and directed three dramatic short films prior to 21 Days which had garnered a fair amount of acclaim on the festival circuit. I also had written several feature spec scripts that had won a number of screenwriting awards; one of which was optioned by Academy Award-winning producer, Irwin Winkler

But before I was a filmmaker, I had been an actress.  And I’ve always told people that Acting taught me how to direct; Directing taught me how to act; Writing made me better at both, but that reading, being a voracious reader, was the foundation of all of these disciplines. There’s something about reading- novels and short stories especially- which feeds the imagination and creativity in ways than any other art form.  In fact, when James Dean first burst onto the scene in the 1950’s, he once was interviewed and asked what he attributed his talent to as an actor, and he replied simply, “Reading.
Where did the idea come from and what was the process for writing the script and getting the script ready to shoot?

KATHLEEN: The idea for the film was first born out of frustration. I had another feature spec script, a supernatural thriller, which for five years had been financed on five different occasions with financing falling through each time for a myriad of reasons.

I realized the years were passing and I still hadn’t directed my first feature, so I decided to take matters into my own hands and write another script that was low budget enough I could self finance, yet commercial enough to attract studios and distributors. Even though I had made my name in the indie world as a filmmaker of dramatic short films, I was being encouraged by my agent at the time and various producers, to channel my energies into more genre-oriented material for my first feature. This was actually an easy transition for me as I had long been interested in the classic genre films such as, The Exorcist and The Omen, as well as Gore Verbinski’s version of The Ring.

21 Days was actually inspired by all of the paranormal investigator shows that had become popular on television, especially those where a group of investigators lock themselves inside a house for one night to capture on film the supernatural phenomena which occurs. I then thought, one night locked inside a haunted location would be scary, but something longer such as, 21 days, would be terrifying.

I also became intrigued by a few true stories I had read about where people had abandoned their home with all their belongings behind, even letting their home fall into foreclosure, because they were too terrified to live there any longer because of the paranormal events that were occurring. Can you imagine? A place that haunted where you’re willing to leave behind everything and lose your home to foreclosure because you can no longer bear to stay in the home?  These were some of the stories that served as inspiration for my film, as well as the notion that it’s not the house that’s haunted or evil, but rather the land it sits on.

I wrote the script in about a month and then took another two to three months to polish it, all the while searching for film locations. It took me a total of five months of traversing Southern California to find the right house for the film. Because to me, the house is the main character in the film, and until I found the right house, I was unwilling to begin filming.  And I was fortunate enough to find that perfect house.
What was your casting process, and did you change the script to match your final cast?

KATHLEEN: The entire casting process took us three months.  I hired Luis Robledo, who’s an actor, filmmaker and founder of Actor’s Gym, to be the casting director. He did an absolutely amazing job finding the perfect actors for the film. 

We received a staggering 6,000 submissions to fill only 20 roles in the film. And for a micro budgeted feature which paid little money, that’s pretty stunning. It just shows how many actors in Los Angeles want to work.

Once the film was cast, I didn’t change the script to fit the cast, but prior to shooting, I did instruct the actors to memorize their lines, yet be open and prepared to improvise.  

Since the film is found footage, the actors needed at times to make their lines their own in order for it to feel more “real” and off the cuff. I also firmly believe that a large part of the director’s job is selecting the right actors for the film; and once that’s been accomplished, you don’t have to “direct” them as much.

The actors were hired for the roles because they deeply understood their respective characters.
Can you talk about your distribution plan for recouping costs?

KATHLEEN: In order to recoup our costs for the film, which fortunately were minimal by independent film standards, we selected Galen Christy of High Octane Pictures to serve as our sales agent. To date, the U.S. and Canadian rights to the film have been acquired by Gravitas Ventures who will be releasing the film on VOD in April 2017, and later, on DVD.

Other territories that have sold are Norway, Sweden, Denmark, Norway, Belgium, Luxembourg and Taiwan. And we’re currently in negotiations to sell the film to a number of other distributors from other countries.
Did the movie change much in the editing, and if so, why did you make the changes?

KATHLEEN: For the most part, the final edited version of the film is very true to the script.  I had the good fortune of securing seasoned horror editor, John Quinn (The Grudge 3), to work on the final cut of the film. He really taught me an enormous amount of how by using fewer cuts, you heighten tension and suspense in a film. He did an amazing job of going through 24 hours of footage and paring it down to 89 minutes. His eye for how to cut a scene is just brilliant.

The one change he did make that was different than the script was by having the final scene of the film play over the credits and it works much better than how I initially wrote and envisioned it. I’ll definitely be using him to cut my next film.
And, finally, what did you learn from making this feature that you will take to other projects?
KATHLEEN: Trust your instincts.  Prior to shooting, and even on set, there are many people who want to offer their opinion on how best a scene should be shot/played, etc or even how the overall film should be.  

Yet at the end of the day, you need to make the decision and trust your own gut instinct for what’s best for your film. Most especially in the independent film world where the director/filmmaker has that sort of freedom to make those decisions and is not beholden to a studio.  

Why do you make films? What do you aim to do when you set out to make a film? To express the inexpressible... As a filmmaker, or any artist, the goal is to convey some deeper truth; a silent mystery, that ultimately cannot be articulated or even clearly defined, but yet, somehow, through the magical moving image of film, we can come close...

Dying to make a feature? Learn from the pros!

"We never put out an actual textbook for the Corman School of Filmmaking, but if we did, it would be Fast, Cheap and Under Control." 
Roger Corman, Producer

★★★★★

It’s like taking a Master Class in moviemaking…all in one book!

• Jonathan Demme: The value of cameos

• John Sayles: Writing to your resources

• Peter Bogdanovich: Long, continuous takes

• John Cassavetes: Re-Shoots

• Steven Soderbergh: Rehearsals

• George Romero: Casting

• Kevin Smith: Skipping film school

• Jon Favreau: Creating an emotional connection

• Richard Linklater: Poverty breeds creativity

• David Lynch: Kill your darlings

• Ron Howard: Pre-production planning

• John Carpenter: Going low-tech

• Robert Rodriguez: Sound thinking

And more!

Write Your Screenplay with the Help of Top Screenwriters!

It’s like taking a Master Class in screenwriting … all in one book!

Discover the pitfalls of writing to fit a budget from screenwriters who have successfully navigated these waters already. Learn from their mistakes and improve your script with their expert advice.

"I wish I'd read this book before I made Re-Animator."
Stuart Gordon, Director, Re-Animator, Castle Freak, From Beyond

John Gaspard has directed half a dozen low-budget features, as well as written for TV, movies, novels and the stage.

The book covers (among other topics):

• Academy-Award Winner Dan Futterman (“Capote”) on writing real stories

• Tom DiCillio (“Living In Oblivion”) on turning a short into a feature

• Kasi Lemmons (“Eve’s Bayou”) on writing for a different time period

• George Romero (“Martin”) on writing horror on a budget

• Rebecca Miller (“Personal Velocity”) on adapting short stories

• Stuart Gordon (“Re-Animator”) on adaptations

• Academy-Award Nominee Whit Stillman (“Metropolitan”) on cheap ways to make it look expensive

• Miranda July (“Me and You and Everyone We Know”) on making your writing spontaneous

• Alex Cox (“Repo Man”) on scaling the script to meet a budget

• Joan Micklin Silver (“Hester Street”) on writing history on a budget

• Bob Clark (“Children Shouldn’t Play with Dead Things”) on mixing humor and horror

• Amy Holden Jones (“Love Letters”) on writing romance on a budget

• Henry Jaglom (“Venice/Venice”) on mixing improvisation with scripting

• L.M. Kit Carson (“Paris, Texas”) on re-writing while shooting

• Academy-Award Winner Kenneth Lonergan (“You Can Count on Me”) on script editing

• Roger Nygard (“Suckers”) on mixing genres

This is the book for anyone who’s serious about writing a screenplay that can get produced! 

The Making of "Patti Rocks" (An Oral History)

In 1987, the film “Patti Rocks” was produced in Minnesota. In 2004, I chatted with three of the people who instrumental in getting it made: Director and co-writer David Burton Morris; producer, DP and editor Greg Cummins, and actor and co-writer John Jenkins.

Patti Rocks is a sequel of sorts to your earlier film, Loose Ends. How did that first film come about?

DAVID BURTON MORRIS (Director, Co-Writer): I saw Memories of Underdevelopment, a Cuban Film, at the Walker Art Center, and I rushed home to my wife, Victoria, and I said, 'You know, we can make a movie really cheap. I just saw this great movie, it was black and white. If we can scrape together $20,000, we can make a movie.' 

And so we did. She wrote it. And it shot for two weeks. Loose Ends was sort of a calling card. We went to 20-25 film festivals, didn't win anything really, but Roger Ebert discovered us and Vincent Canby and Andrew Sarris and we got all these great notices.

However, it was nearly twelve years before the sequel, right?

MORRIS: We finally got enough money, in the early 80s, to do a movie called Purple Haze, and that did very well. It won Sundance, and that was our first real movie. It was 35mm, color, we had an actual shooting schedule and a budget. And that did very well. And we looked like we were on our way.  

I then, subsequently, got fired from two studio pictures and was very unhappy—we're now talking mid-80s—and I was thinking about quitting, I was thinking about getting out of the business because I was really unhappy. And I thought back to the only time I had a really good time making a movie, which was on my first film, Loose Ends. And I thought, maybe I should think about writing something for those guys and making it back in Minnesota and sort of re-creating my enthusiasm for making movies.

Hence the title in the credits, '12 years later.' A lot of people don't get that, but when it screened at Sundance they showed them both, which was nice, so that people could watch the first one and then pick up with the same two guys 12 years later.

CUMMINS (Producer, DP, Editor): When Patti Rocks came about, David had moved to Los Angeles and was working out there, doing the Hollywood thing, and he met Gwen Field. Gwen was taking her daughter to the same day care that David was taking his daughter to, and they got to know each other, and David pitched the idea of Patti Rocks to her. 

How did the script come together? I know you started with improvisations …

MORRIS: We did a lot of just riffs on sex. We had another movie in mind. And I had all these long cassette tapes filled with (Chris) Mulkey and (John) Jenkins riffing on women, and I thought, this is interesting. Somehow I got the idea of putting them in the car, driving all night to see Patti to talk her into having an abortion. I did a first draft and I'd give it to them and we'd tinker with it and do some more improvs. Jenkins lived in Chicago, so we flew there a couple times and did some more improvs, and then I'd type that up.

JOHN JENKINS (Actor, Co-Writer): It started with some general conversations about what we might do, and then we started to improv a little bit. David then took that and began to craft a plotline for this. 

Then after we had that in place, we got back together again and we spent some more time improvising the script. And so the script really came out of those improvisations that Chris and Karen (Landry) and I did. 

Then David would edit that and cut and paste and re-arrange. He might add some other dialogue on top of that, but most of it came out of those improvs. 

Where did the title come from?

MORRIS: The way I got the title was interesting. I was at the Chicago Film Festival, on a panel. I was at dinner with a group of people from the festival and this woman was sitting next to me. I said, 'What do you do?' She said, 'I sing in a band.' I said, 'What's the name of the band?' She said, 'Patti Rocks.' 

And I said, 'Oh, that's a really good title.'

How did you get the film financed?

MORRIS: I'd known Sam Grogg, because he was head of the USA Film Festival in Dallas. And he'd started a film company called Film Dallas. So I gave him the script and said, 'What do you think?' He said, 'We'll make it.' 

It was the easiest thing I've ever done. I wrote it and within a month they'd given me $400,000 to make this movie.

He had very few notes. He just said, 'They have to get out of the car midway through the movie.' I said, 'What do you want them to do? See a flying saucer?' He said, 'I don't know, you'll think of something.'

Did the script change much besides that before you shot?

MORRIS: My wife, Victoria, helped a lot on the third act. She said, 'The Patti character has got to be a strong, liberated, likeable woman.' So I took those notes and did a re-write on it, and Karen Landry brought a lot of insight into the character.

I wrote it for the summer, because Mulkey's running around in his underwear. But we couldn't get it all together, and we got the money in November, and I said, 'We're going to make the movie. We've got the money, we're going.' 

And it actually turned into a more interesting film, just because of the look of the snow and Mulkey running around in his underwear in 23 degrees below zero.

I thought, two guys in a car? How expensive can that be? But, because of the cold, it was brutal. I mean, it was just really brutal—cameras freezing and all of us crammed in, in snow parkas, in the back seat, shooting at night in the middle of the winter. It was insane.

CUMMINS: In theory, David was right, it was a very simple idea: two guys in a car. But add in the car, add in winter, add in nights …

One of the great things in the movie is how you capture just how cold a Minnesota winter can be. You can really feel it while watching the movie.

JENKINS: The weather was unbelievable, especially when we were shooting the sequence where they get out of the car. It must have been thirty below when we were shooting that scene.

CUMMINS: We shot Loose Ends in the summer, in July, and it was one of those horribly hot summers. Basically, it was heat and sweat and working really hard and rigging lights in Midway Chevy’s repair department when it was 100 degrees out.  

And then we turned to Patti Rocks and it's just the opposite. We were shooting in December, and it was the coldest December on record. We were on the camera car with 60 degree below zero wind chills.

JENKINS: We were in this trailer and we would come out; we could only shoot this stuff for four or five minutes at a time before the fear of frostbite or hypothermia would come up. Chris was in great shape and even at that it was brutal. When it came to looking cold, no sensory work was required.

CUMMINS: The camera got so cold most of the time that it was squeaking. When it dropped below 20 below, the camera ran fine but there was this high-pitched squeak every few seconds. We couldn't figure out what it was for the life of us. It would go away when we'd take the camera into the trailer, and then we'd go back to the car and it would do it again. It was just the cold.

MORRIS: The lesson from Patti Rocks was, when you get the money, make the movie, regardless of what season it is.

The film is a three-hander, but we spend so much time in the car that it also feels like a character in the story.

CUMMINS: While scouting locations, there was a car for sale. So, we stopped right there and bought the car—it was for sale on the side of the road. Without thinking about anything. How would this car rig, what does it sound like? It was the perfect car for the character, but not the perfect car to shoot in.

It was a two-door. We loaded the camera in the car, we had David and myself and the sound man all rammed in the backseat, depending on where we would rig the camera for the shot. It was long before video assist, so we had to be in the car, seeing what was going on, in order to see the performance.

Did you ever consider just using process shots, instead of shooting while driving?

CUMMINS: I didn't want to do process, I felt it would cheapen the film to do process all the time. But I don't think any of us really realized how difficult all the shots were going to be.

Before we shot the film, we knew that the car was a character in the film. The car was as important, in some ways, as Billy and Eddie. And so we planned out a myriad of placements for the camera—we could put the camera here on the front of the hood, to the right of the hood, to the left of the hood, and so on. 

And then what I did was work through that process from the beginning of the film through the end. None of the camera placements really repeat. They move and they evolve. And so the car changes with each story they tell, and it becomes more intimate. And it becomes really intimate before they arrive at Patti's apartment. 

We worked very hard to keep that part of the cinematography alive. It was very hard to do, and very confusing. We shot a lot of stuff that didn't get into the film, stories that didn't quite work as well as other stuff. Keeping track of camera placement became very complex, especially with a small crew. We had one person on continuity, who basically couldn't be in the car. How do they do their job? It's a big challenge, so continuity fell to David and myself, really.

Shooting in a car, a black car, with black upholstery, in the middle of nowhere, in the middle of the night, with minimal equipment, in the cold, was brutal. Absolutely brutal.

So not only were you shooting in the cold, in a car not designed for shooting, but you were also shooting at night …

CUMMINS: It was a road film, but when we started out, we didn't know it was going to be a nighttime road film. Which made it even more difficult.

We wanted to play it almost real time—they left in the afternoon, they got together, they had a couple of beers and they took off and night fell. In the winter, night falls around here at about 4:30 in the afternoon. And so they drove all night to get to her apartment, and they get there sometime in the middle of the night and leave the next day at dawn—it's all in one day.

Life would have been easier if they'd started with breakfast, then driven down and gotten there about four in the afternoon—that would have been wonderful.

From an acting technique point of view, how did you recreate what you had done in the improvisations while shooting?

JENKINS: It's an interesting problem, to use improv to create a script, and then to go back and play it. It's a funny thing. When you're improvising the thing, you're so involved in the problem and the words just flow out. 

But when you go back to do it again, you've forgotten a lot of that structure or the dynamic that allowed those words to flow. So you're left with a script and you know it's yours, but it's hollowed out. You've forgotten the context a little bit. 

It's almost easier to take somebody else's words and to slip on your imagination and work with that, then to go back and do your own stuff. I found that to be a little difficult.

I had to do all the actorly stuff and fill it out, sensory work and subtext to try to get back to that improv state that had been so easy. It was just odd. You would think that it would just be a piece of cake, the easiest thing to do, and I found it perplexingly difficult.

The film became somewhat controversial, due to its language. Were you aware that might be an issue while you were shooting?

CUMMINS: Oh, absolutely. We set out to do that. 

The thinking was, these are two guys and this is the way guys talk. If you put two kind of raunchy guys together, this is how they talk. There's nothing unreal about this. And essentially that's what we wanted to do: present two guys who are completely uninhibited and unobserved, talking in the way that we felt some people do. Sam Grogg felt the language was its strong point, that's what the film was about. 

MORRIS: I thought it was risky, in terms of the subject matter. I didn't know until after it was done how people would react to the language in the picture. The ratings board first gave us an X for language, and that had never happened before. I guess I was just so used to it. Not that I talk that way, but certainly I hear that. I was kind of surprised by the reaction.

JENKINS: I didn't think it would be controversial. It wasn't violent, there wasn't any hard porn. It's odd about it now, but we got in trouble for the language. You listen to HBO, and you listen to something like Deadwood, and it seems odd to me. But that was a vastly different time, in terms of what kind of language you could use in a film.

MORRIS: When I first started putting this together, I thought people are either going to love or hate this. I had no idea it was going to divide audiences. And it did. People loved the movie or hated the movie. More people loved it, thank god, than hated it.

JENKINS: That was just the way we talked, but in an exaggerated way. It seemed appropriate to these two guys and the way they would talk. It felt true to us.

MORRIS: At the very few personal appearances I made before the movie, I'd say, 'Some of you people might get uncomfortable during the first two acts of this movie. Just wait, okay?'

CUMMINS: When we screened the answer print for the first time, in California, all of a sudden Sam Grogg, who was with FilmDallas, brought five or six people into the screening room. He wanted them to see it, but we hadn't even seen the film yet. But we really couldn't turn him down, so we watched the film, and afterwards Sam says to them, 'See what you can do for a half a buck?' They were his next round of directors, and he was pressuring them to keep their budgets low.

MORRIS: We had a lot of screenings in Los Angeles before it opened up, and it was sort of a word-of-mouth hit, as far as people going to these screenings. Sean Penn, Madonna were there. I just hate watching my films with audiences. It makes me uncomfortable. So I never went to these screenings.

In addition to the language, the film also includes a sex scene. How was that handled?

JENKINS: It was difficult to do. I'm doing a love scene with my best friend's wife—my real best friend's wife. It was potentially explosive. I thought we handled that part of it well. We got to the point where both Karen and I felt comfortable to do the scene. I thought we were able to finesse it all right.

CUMMINS: There was a level of trust in the sex scene. This is Chris's wife, who's making love with John Jenkins. This is a difficult scene. It's difficult to have your wife in a nude scene, it's difficult to be in the same film with your wife in a nude scene, it's difficult to have your wife making love to your friend as a character, but he's a real-life friend. 

We created a lot of really difficult situations that we were able to get through because of that trust that we had with each other.

What did you learn while making Patti Rocks that you still use today?

JENKINS: Work with people that you know and trust. I know that's hard to do. A lot of this work is going to be like blind dates with strangers to put these things together. I was fortunate to be able to work with people I loved and trusted. If possible, for your first steps out, to do it in a way that you were protected in that way would be great. Look for that.

CUMMINS: One of the best decisions I made as producer was insisting upon getting the best people, friends who were really capable, and to stand up for them.

Film is a collaborative art, there's no question. Everybody says that. You can't really do it by yourself, you really need other people, other expertise, other views, other opinions. You need people in the process. And the closer you are to those people, the less explaining you have to do, the more intuitive working relationship you can have, the faster you're going to be able to work, the better off you're going to be.

The most important thing that I say to everybody is that you have to listen. You have to listen to other people, because they're telling you something. 

Everybody really has something to give, and it seems like too often we're not listening to those voices. 

If you can sit and hear people, and be quiet, I think you'll learn a lot. You take in a lot just by being there, rather than trying to dominate everything.

Dying to make a feature? Learn from the pros!

"We never put out an actual textbook for the Corman School of Filmmaking, but if we did, it would be Fast, Cheap and Under Control." 
Roger Corman, Producer

★★★★★

It’s like taking a Master Class in moviemaking…all in one book!

• Jonathan Demme: The value of cameos

• John Sayles: Writing to your resources

• Peter Bogdanovich: Long, continuous takes

• John Cassavetes: Re-Shoots

• Steven Soderbergh: Rehearsals

• George Romero: Casting

• Kevin Smith: Skipping film school

• Jon Favreau: Creating an emotional connection

• Richard Linklater: Poverty breeds creativity

• David Lynch: Kill your darlings

• Ron Howard: Pre-production planning

• John Carpenter: Going low-tech

• Robert Rodriguez: Sound thinking

And more!

Write Your Screenplay with the Help of Top Screenwriters!

It’s like taking a Master Class in screenwriting … all in one book!

Discover the pitfalls of writing to fit a budget from screenwriters who have successfully navigated these waters already. Learn from their mistakes and improve your script with their expert advice.

"I wish I'd read this book before I made Re-Animator."
Stuart Gordon, Director, Re-Animator, Castle Freak, From Beyond

John Gaspard has directed half a dozen low-budget features, as well as written for TV, movies, novels and the stage.

The book covers (among other topics):

• Academy-Award Winner Dan Futterman (“Capote”) on writing real stories

• Tom DiCillio (“Living In Oblivion”) on turning a short into a feature

• Kasi Lemmons (“Eve’s Bayou”) on writing for a different time period

• George Romero (“Martin”) on writing horror on a budget

• Rebecca Miller (“Personal Velocity”) on adapting short stories

• Stuart Gordon (“Re-Animator”) on adaptations

• Academy-Award Nominee Whit Stillman (“Metropolitan”) on cheap ways to make it look expensive

• Miranda July (“Me and You and Everyone We Know”) on making your writing spontaneous

• Alex Cox (“Repo Man”) on scaling the script to meet a budget

• Joan Micklin Silver (“Hester Street”) on writing history on a budget

• Bob Clark (“Children Shouldn’t Play with Dead Things”) on mixing humor and horror

• Amy Holden Jones (“Love Letters”) on writing romance on a budget

• Henry Jaglom (“Venice/Venice”) on mixing improvisation with scripting

• L.M. Kit Carson (“Paris, Texas”) on re-writing while shooting

• Academy-Award Winner Kenneth Lonergan (“You Can Count on Me”) on script editing

• Roger Nygard (“Suckers”) on mixing genres

This is the book for anyone who’s serious about writing a screenplay that can get produced! 

JT O'Neal on "Au Pair, Kansas" (aka, “The Soccer Nanny”)

What was your filmmaking background before setting out to make "Au Pair, Kansas"?

JT: I graduated with a degree in history of art from Kansas University, though did my junior year "abroad" at USC film school, but returned to Kansas to complete pre-med. Then I got an MD from Kansas, an MPH (masters of public health) from Harvard, then eventually an MFA (masters of fine arts) in screenwriting from UCLA in 2004.  Au Pair, Kansas was the last script I wrote while in grad school at UCLA (which, by the way, is an absolutely amazing place to learn about screenwriting.  

NYU's okay for directing, USC's okay for producing, but UCLA ROCKS for screenwriting.)  I made 5 short films while living in LA (one cost less than $10, and played at about 25 festivals around the world.)  Luckily I made the major mistakes on the shorts, so I didn't really screw anything up on the feature.

Where did the idea come from and what was your writing process?

JT: One of my scripts was a finalist in the screenplay competition at Cinequest Film Festival in San Jose, CA, and I attended the festival in 2004.  The opening night feature, United, was about this funny Norwegian soccer player dreaming of turning pro. The star, Havard Lilleheie, was in attendance, and I met him at the opening night party, and invited him to lunch the next day.  He was such a great screen presence, I knew I had to do a project for him.  

So before the luncheon meeting, I tried to figure out how I could come up with an idea for Havard to star in a movie.  How could I get a Norwegian soccer player to the US?  Why not make him a male au pair, that teaches the kids soccer. Why a male au pair?  Maybe the father died and the family needed a father figure.  And that's what I pitched to him. He said something like "yah, sure you will write me a movie" and just smiled.  

I returned to UCLA the next week, pitched this idea about a Norwegian soccer playing coming to a small town in Kansas to be a male au pair and help a recently widowed woman raise her two sons. The class (and teacher) just looked at me like what planet were you from. Ten weeks later I had the first draft.  

Then I moved back home to Kansas to make regionally based movies, spent a week in Oslo rewriting with Havard, then rewrote again, then the script placed as a semi-finalist at the Austin Film Festival screenplay competition, and that got buzz enough to get some investors interested, and I shot the movie.  

Can you talk about how you raised your budget and your financial plan for recouping your costs? 

JT: I raised $200K from private investors.  You never know who will invest in your movie.  I was in this antique shop (knick knacks, not really antiques) in Lindsborg, Kansas, a great little Swedish town in central Kansas, and this elderly man overhead me talking about location scouting for a potential movie.  I sent him a copy of the script.  He loved it.  Said he'd invest a small amount.  

Two years later he contacts me and says he really wants to see this movie made, and writes a check for $100K.  Within two weeks I found the rest of the money, and two months later we were shooting the movie in Lindsborg (and my Angel investor, Ron, had a supporting part in the movie.)  I have no idea if I'll get money back on the movie.  

At this point, I have an international distribution deal (TV and dvd), but the distributor has to sell about $125K before the company sees anything back.  Probably won't see anything from international sales.  I'm currently working on some domestic deals.  Theatrical way too expensive.  

I had great interest for theatrical distribution in Germany (the acquisitions person for the top art cinema chain there loved AU PAIR, KANSAS, but deliverables, including dubbing and 35mm and high def prints, etc, would have been $100K.  Not going to happen, and it didn't.)  Who knew making the movie was the easiest part of the whole process.  

It took me three times as long to get the deliverables together for distribution than to actually shoot the movie (which we did in 18 days.) 

What camera did you use and what did you love and hate about it?

JT: I used a Red One (it was hot shit back in Dec 2008.)  I loved it.  Amazing camera (even with the older chip.)  I can't imagine how good the new smaller Reds are.  

Why did the movie's title change and what was the thinking behind that?

JT: For international distribution I decided to change the title of the movie from Au Pair, Kansas to The Soccer Nanny.  It's just too hard to translate a French term into other languages, and very few people understood what it meant.  Even in the US, lots of people (well, from the midwest at least) didn't know what an au pair was.  

The Soccer Nanny just sounds fun (and it's actually a family movie.)  If the main character had been playing football or basketball (American football that is), the movie would not have been picked up for international distribution.  It's much better marketing internationally, to have soccer in the title, than either Kansas or au pair.  

What was the smartest thing you did during production? The dumbest?

JT: The smartest thing I learned was to get the best actors you can.  I was initially going to use all local talent in Kansas. Then a friend from London (great indie screenwriter and director Sean McConville), said it's too good of script, get it to a casting director in Hollywood, there are all sorts of great actresses over 40 who would love the part.  

So I did, and got the script to a casting director he used on his move The Deadline (one of Brittany Murphy's last movies--she was a mess on set, but that's another story), and the casting director (Cathy Henderson Martin, who is fantastic, by the way) liked the script and got it to Traci Lords' manager, who loved the script, and got it to Traci, who loved the script, and she signed on.  

Then with Traci attached, all sorts of other actors (including the amazing Spencer Daniels, who played the young Benjamin Button) signed on.  I cannot believe what experienced actors bring to their parts.  I can still watch the movie and be surprised. Traci is one of the most professional actresses I've ever seen (I didn't realize how truly amazing she was until editing, when my editor and I discovered that she matched perfectly on all continuity issues, sipping tea, turning head, standing up, looking, etc.  This is a true professional.  

I've spent a lot of time on regular Hollywood movies--my best friend, Peter James, is an A league Hollywood cinematographer, and I take my vacations and sit in his DP's chair on movies. The only actress I've seen that hit marks better than Traci was Kathy Bates. I cannot express how professional and wonderful Traci was on set and in the movie.)  

The dumbest thing I did was hire an immigration lawyer from NYC who said she knew how to get work visas through for actors. Nine months after I started, and one day before shooting was to start, I finally got the US to issue a work permit so Havard could come from Norway to star in the movie.  We had to delay his fist scene by a day, since he arrived later than planned.  

A few days before we were to start filming, I didn't know if I'd get my lead actor.  It was a nightmare.  I should have just used someone experienced in LA (but I was living in NY at the time.)  It cost me more than twice as much for the work permit and fees than Havard got paid to act in the movie! 

And, finally, what did you learn from making the film that you have taken to other projects?

JT: I learned that I loved making a movie (writing and directing) and hated producing.  They are totally different things.  I'll never make another movie without an experienced producer to help.  The best thing you can do as a director is find a great producer.  It's over four year since shooting, and I'm still (today, in fact) working with the accountant to do taxes for 2012 so I can get statements to the investors.  NIGHTMARE.  

On the other hand, I probably shouldn't complain, as at least I got the movie made, and it has some type of distribution deal, and people have actually liked the movie.  Oh, I forgot about that, I LOVE the movie (of course, I'm biased), and I had the pleasure of making the movie I wanted to make, how I wanted to make it.  

Lastly, I paid for all cost overages (I call it UBO, United Bank of O'Neal), and I'll probably never see any of that money back (I could have bought two new Lexus cars, or five houses in Detroit).  But I got it done.  

I may never make another movie, but the proudest I've ever been was hearing that's a wrap called out and the cast and crew cheering.  

The main lesson I want to take to other projects: Don't use your own money to make your movie!  

Dying to make a feature? Learn from the pros!

"We never put out an actual textbook for the Corman School of Filmmaking, but if we did, it would be Fast, Cheap and Under Control." 
Roger Corman, Producer

★★★★★

It’s like taking a Master Class in moviemaking…all in one book!

• Jonathan Demme: The value of cameos

• John Sayles: Writing to your resources

• Peter Bogdanovich: Long, continuous takes

• John Cassavetes: Re-Shoots

• Steven Soderbergh: Rehearsals

• George Romero: Casting

• Kevin Smith: Skipping film school

• Jon Favreau: Creating an emotional connection

• Richard Linklater: Poverty breeds creativity

• David Lynch: Kill your darlings

• Ron Howard: Pre-production planning

• John Carpenter: Going low-tech

• Robert Rodriguez: Sound thinking

And more!

Write Your Screenplay with the Help of Top Screenwriters!

It’s like taking a Master Class in screenwriting … all in one book!

Discover the pitfalls of writing to fit a budget from screenwriters who have successfully navigated these waters already. Learn from their mistakes and improve your script with their expert advice.

"I wish I'd read this book before I made Re-Animator."
Stuart Gordon, Director, Re-Animator, Castle Freak, From Beyond

John Gaspard has directed half a dozen low-budget features, as well as written for TV, movies, novels and the stage.

The book covers (among other topics):

• Academy-Award Winner Dan Futterman (“Capote”) on writing real stories

• Tom DiCillio (“Living In Oblivion”) on turning a short into a feature

• Kasi Lemmons (“Eve’s Bayou”) on writing for a different time period

• George Romero (“Martin”) on writing horror on a budget

• Rebecca Miller (“Personal Velocity”) on adapting short stories

• Stuart Gordon (“Re-Animator”) on adaptations

• Academy-Award Nominee Whit Stillman (“Metropolitan”) on cheap ways to make it look expensive

• Miranda July (“Me and You and Everyone We Know”) on making your writing spontaneous

• Alex Cox (“Repo Man”) on scaling the script to meet a budget

• Joan Micklin Silver (“Hester Street”) on writing history on a budget

• Bob Clark (“Children Shouldn’t Play with Dead Things”) on mixing humor and horror

• Amy Holden Jones (“Love Letters”) on writing romance on a budget

• Henry Jaglom (“Venice/Venice”) on mixing improvisation with scripting

• L.M. Kit Carson (“Paris, Texas”) on re-writing while shooting

• Academy-Award Winner Kenneth Lonergan (“You Can Count on Me”) on script editing

• Roger Nygard (“Suckers”) on mixing genres

This is the book for anyone who’s serious about writing a screenplay that can get produced! 

Dan Futterman on “Capote”

Although it ended up becoming an Oscar-winning film, Capote started out the way many independent films do: Someone gets an idea, writes a script, and then gathers his/her friends together to make a movie. 

First-time screenwriter Dan Futterman started that traditional process with a couple of distinct advantages: He chose a compelling subject matter (Truman Capote’s relationship with murderer Perry Smith while writing his classic In Cold Blood) and the friends he gathered to make the movie included his talented long-time pals director Bennett Miller and actor Philip Seymour Hoffman.

Where did the idea to write Capote come from?

DAN: I got interested in Truman Capote in sort of an oblique way, and it was almost incidental that it ended up being specifically about Truman Capote.

There was a book that my Mom, who's a shrink, gave me called The Journalist and The Murderer, by Janet Malcolm. It's about a case in California where a doctor named Jeffrey MacDonald was eventually convicted of killing his wife and children. Joe McGinniss was writing a book about him and eventually, when the book came out -- it was called Fatal Vision -- Jeffrey MacDonald sued Joe McGinniss for fraud and breach of contract.

Malcolm’s book is sort of a meditation on how could this happen? How could a convicted triple murderer sue the writer who's writing about his life? How could he convince himself that the writer was going to write something good about him? It dealt with the fact that the journalist is posing as a friend to get the subject to talk, and that the subject has hopes that he's going to be portrayed in a good light, and that the journalist is always playing off of that desire. The relationship is premised on a basic lie that's it's a natural relationship. It's not. It's a transactional relationship.

That seemed interesting to me, and had there not been a TV movie made about that incident, I might have written about that.

Some years later I picked it up again and read it -- it's a pretty short book and I recommend it -- and just on the heals of reading that I read Gerald Clarke's biography of Capote, called Capote, and there are two or three chapters that deal with the period in his life where he was writing In Cold Blood and his relationship with Perry Smith.

I wanted to write about that kind of relationship and deal with those kinds of questions. The fact that it was Truman Capote was an extremely lucky accident, because he's fascinating in so many ways and he's so verbal and also was a man who was struggling with some real demons, I think. That made the work I was doing that much more interesting and deeper.

Up until that point, you’d made your living as an actor. Where did the impulse to tackle a screenplay come from?

DAN: I'd written, as you do, bad poetry in high school and college. And I had written a short story or two. I'd always admired playwrights and screenwriters; it seemed to me like a real trick to get a story told primarily through dialogue. 

I thought about writing this as a play, initially, and then for some reason a screenplay felt more liberating. The play, I think, would have felt a little bit closed down and would really center too much on the discussions in the jail cell.

I always thought I wanted to write a screenplay, but I never wanted to do it just theoretically. I wanted to do it with a specific idea in mind that would really become something of an obsession, which is what this became. I almost felt like I would have been terribly disappointed with myself had I not done it. And feeling like I had to write this, or had to try to write this, was not a feeling I'd had before.

You had the distinct advantage, as a beginning writer, of being married to a working writer. How did she help you in this process?

DAN: Although it doesn't seem like there's a lot of plot in the movie -- it's about a guy writing a book about an event that already happened -- but it is quite plotty when you get down to it. And she was clear and strict with me, saying "If there are any scenes where people are just talking about something that you think is going to be interesting, cut it, because if it's not moving the plot forward it doesn't belong in the script." That was important to learn. And it was something that I had never considered.

I did an outline, somewhere between twenty and twenty-five pages with a paragraph for each scene, with dialogue suggestions. The script came out probably 80% tied to that outline.

Did you change the script after showing it to people?

DAN: Not right at the beginning. It kind of was what it was. It was long, almost 130 pages, a lot of dialogue, but you got a very strong sense of what the movie might be from it. 

We let it sit for a while. I know Bennett did a lot of thinking about it, as did Phil. And when we finally were getting to the point where it looked like we were actually going to get some financing for this, we got to work. 

Did you take any classes or read any books on screenwriting before you sat down and wrote the outline?

DAN: No, I didn't take any classes. I read the Robert McKee book (Story: Substance, Structure, Style and The Principles of Screenwriting) that I guess everybody reads, and I found that pretty helpful ---his clarity about story. I think that was an important lesson for me to learn over and over again, that story is primary. Clever dialogue is not what it's about. It's got to ride on the story, and then you can hang stuff off of that.

Then it was just a matter of trial and error. And the lucky fact of having a subject who has been quoted as having said a lot of funny things, of which I put as many as possible into the screenplay.

What were the upside and the downside of writing about a real person?

DAN: I always hated that moment in school when the teacher, I think inevitably a somewhat lazy teacher, would give the assignment, "Write a story about whatever you want," and I would just panic. My mind would just be a complete blank. But if I got a very specific assignment to write "Why does this character have to confront this thing in this story in Chapter Three," then I was off and running.

Rules are good for me. In that way, I think writing about a real person, knowing basically what the rules are -- you can take a little bit of license, but try to stick to the facts as much as humanly possible -- that felt liberating to me. It has a way of focusing my imagination, I guess, instead of feeling like anything goes and then I'm screwed.

I recently have had correspondence with Wallace Shawn, who is William Shawn's son. He and his brother are not terribly happy about the way William Shawn is portrayed in the film.

I knew that Capote had three different editors involved in the book. One was William Shawn of The New Yorker, one was Bennett Cerf at Random House, and then when Cerf retired, a guy named Joe Fox took over. That just seemed too confusing to present in a movie. We needed one editor and I choose that to be William Shawn, and he would do everything that all the other guys did as well. That upset Wallace and I feel badly about it.  If I were able to go back, I would try to solve it. 

What you encounter is that, even if the people have died, there is a moral debt owed to them in terms of trying to adhere as strictly as possible to the truth.  It's something I tried to be very conscious of, but in this particular case, I think I came up short.

Did you ever consider just fictionalizing the character's name, since he was already a composite of three people?

DAN: It didn't occur to me at the time that any of the things I had him doing could possibly be upsetting to anybody, but that was my own take and I see now why his sons are upset.  Looking back now, I would try to find a way to fix it.

Did you do any readings or workshop the script?

DAN: We did a table reading in New York with Phil and some actor friends of ours, just a few weeks before rehearsals started. The reading highlighted the problems that we had been kind of skating over, scenes where we thought, "Oh, I'll fix it later."  It focused our minds on actually fixing the problems.

Did you have much rehearsal?

DAN: We had a decent amount of rehearsal and I loved it. It was a terrific experience. 

Bennett and I had an important talk about how, mechanically, we were going to run rehearsals. The decision was that he, because he was directing the movie, he needed to develop rapport, relationship, trust with the actors without me around.

We were all up in Winnipeg and in the morning I would go sit with whomever was going to rehearse that day with Bennett and they would read through the scenes. We'd talk about any questions, and then I'd take off and go up to this little room I had and do re-writing from the day before that needed to be done, tweaks, whatever. Then I'd come back at the end of the day and we'd read it again. I think it worked enormously well. I think the actors came to really trust Bennett and it was just a better use of my time instead of just sitting and poking my nose into rehearsals, which would only have been disruptive.

Did any significant changes take place in editing?

DAN: There was a lot of streamlining of the movie. 

The first version that I saw was probably 20 minutes longer than the finished version. I'd never been through the process of seeing a movie that was so fat in that way. Bennett was feeling quite good about it and I think he could see where the target was. At that point I couldn't and it felt fat, it felt not terribly funny, sluggish, and I got kind of terrified at that point. 

It was just through months of carving it and carving it and carving it that it got to the place where it didn’t have anything extra in it -- and it only got to that place after a laborious process. Bennett and Chris Tellefsen, the editor, knew where they were headed, but it was a little bit difficult for me to see, so to my mind that transformation was enormous, although I don't think it was a tremendous surprise to them.

I saw, finally, a version that I felt really happy with. There was no sound work done on it, there were a couple of little things that needed to be fixed, and I thought, "I'm going to stop watching it now and I'm going to wait to see it all the way through with everything set, color-corrected and all the sound work done." I did that at the Telluride Film Festival, where it was properly projected and there was an audience, and that was a pretty thrilling moment.

What's the best advice you're ever received about writing?

DAN: I think it's got to be what I learned from my wife, that it's all about plot. It has got to move. You have to move through the scenes from one to the other. It's got to feel inexorable that this scene follows upon that scene. 

There's no point to moving around capriciously. You're only going to get lost and you're going to lose the audience. As many screenplays as I may write, I don't think I'll change my point of view about that.

What was the experience like to be nominated for an Academy Award?

DAN: I hope this doesn't come out the wrong way, but because the season is so long -- we'd been to Telluride, Toronto and the New York Film Festivals, and then we opened -- and the movie had gotten a great deal of good response, even before it opened, so we knew we had something that people were responding to. 

And then sometime in January they announce what's going to be nominated, and by that point you've been through so many different awards announcements -- the critics’ awards that have been handed out or nominees have been announced, Independent Spirit awards nominees were announced by then -- there starts to be a little list that people are saying, "These are the contenders." 

Unfortunately, it kind of ruins the experience, because I think that you start to develop expectations, because people are saying, "Oh, look, it's a real possibility," while all along you've been thinking, "Oh, come on, don't be ridiculous." It can't help but eat at you and so you think, "Well, that would be great, wouldn't it?" The fear of being disappointed almost replaces what should be simply shock and elation. And that's unfortunate.

However, having said that, the biggest reaction I had was looking at the list of people I'd been nominated with. I'd never understood before when people said that something like that could be humbling, but, at that point, I got it. And it was largely because Tony Kushner's name was on it, someone whose play I had been in -- Angels In America -- and someone whom I've admired for as long as I've been aware of his writing. To be included in a list with him was simply incredible.

So I had all those emotions at the same time.

It's a heady time, it’s fun. There was no expectation on my part that I would win, because Brokeback Mountain was such a big event. Larry McMurty and Diana Ossana wrote a great script and I think people felt that he was due and the script was great. So it was kind of a fun way to go into the Oscar season, which was that I had no expectations of winning but I was just going to enjoy it.

Any advice to someone starting a low-budget script?

DAN: I know that the premise of this book is about writing stuff that will fit into a certain budget, but I don't know that I would give that advice off the bat. I mean, look, obviously if you're writing scenes where spaceships get blown up, you know where you are. If you're even slightly aware that big things cost money, then you're not going to write things like that.

But to be thinking in that way, I feel, can also get you thinking like, "Well, how will critics respond to this? How will producers respond to this? How will ...?" And you cannot have that in your head while you're writing. You simply have to be thinking, "Do I like this? Do I believe it? Is it interesting to me? When I go back and read it, if I can be as objective as possible, is it exciting to me to read?"

If you're honest with yourself and have some sort of decent barometer for how things are playing, then you can't help but have the right reaction to it. That's the most important thing, to write something that is successful on the page. That sort of second-guessing, I think, is going to be defeatist. 

You already have enough voices in your head – and the superego perched on your shoulder, saying, "That's terrible, that's not good enough" -- so the fewer voices you can add to that chorus, the better.

Dying to make a feature? Learn from the pros!

"We never put out an actual textbook for the Corman School of Filmmaking, but if we did, it would be Fast, Cheap and Under Control." 
Roger Corman, Producer

★★★★★

It’s like taking a Master Class in moviemaking…all in one book!

• Jonathan Demme: The value of cameos

• John Sayles: Writing to your resources

• Peter Bogdanovich: Long, continuous takes

• John Cassavetes: Re-Shoots

• Steven Soderbergh: Rehearsals

• George Romero: Casting

• Kevin Smith: Skipping film school

• Jon Favreau: Creating an emotional connection

• Richard Linklater: Poverty breeds creativity

• David Lynch: Kill your darlings

• Ron Howard: Pre-production planning

• John Carpenter: Going low-tech

• Robert Rodriguez: Sound thinking

And more!

Write Your Screenplay with the Help of Top Screenwriters!

It’s like taking a Master Class in screenwriting … all in one book!

Discover the pitfalls of writing to fit a budget from screenwriters who have successfully navigated these waters already. Learn from their mistakes and improve your script with their expert advice.

"I wish I'd read this book before I made Re-Animator."
Stuart Gordon, Director, Re-Animator, Castle Freak, From Beyond

John Gaspard has directed half a dozen low-budget features, as well as written for TV, movies, novels and the stage.

The book covers (among other topics):

• Academy-Award Winner Dan Futterman (“Capote”) on writing real stories

• Tom DiCillio (“Living In Oblivion”) on turning a short into a feature

• Kasi Lemmons (“Eve’s Bayou”) on writing for a different time period

• George Romero (“Martin”) on writing horror on a budget

• Rebecca Miller (“Personal Velocity”) on adapting short stories

• Stuart Gordon (“Re-Animator”) on adaptations

• Academy-Award Nominee Whit Stillman (“Metropolitan”) on cheap ways to make it look expensive

• Miranda July (“Me and You and Everyone We Know”) on making your writing spontaneous

• Alex Cox (“Repo Man”) on scaling the script to meet a budget

• Joan Micklin Silver (“Hester Street”) on writing history on a budget

• Bob Clark (“Children Shouldn’t Play with Dead Things”) on mixing humor and horror

• Amy Holden Jones (“Love Letters”) on writing romance on a budget

• Henry Jaglom (“Venice/Venice”) on mixing improvisation with scripting

• L.M. Kit Carson (“Paris, Texas”) on re-writing while shooting

• Academy-Award Winner Kenneth Lonergan (“You Can Count on Me”) on script editing

• Roger Nygard (“Suckers”) on mixing genres

This is the book for anyone who’s serious about writing a screenplay that can get produced! 

Joshua Sanchez on “Four”

What was your filmmaking background before setting out to make "Four"?

JOSHUA: I went to film school at Columbia University in my early 20's. I've done a handful of short narrative and experimental films in and out of film school since then. Before this I was just a fan of movies and I made music videos and skate videos with my friends in Texas. I studied Radio-TV-Film as an Undergrad at UT-Austin, but didn't really specialize in making films. I just had a passion for it and started doing it.

What was your process for adapting the play and what challenges did you face?

JOSHUA: The main challenge was to try to preserve the essence of the play without the movie seeming too much like a filmed play. I wasn't interested in literally adapting the material, but rather to use the character dynamics and situation as a jumping off point to tell the story. I also wanted to preserve as much of the perspective and the wonderful language of Christopher Shinn and not lose his unique perspective on this story, that was coming from a place of youth and purity.

My process tends to be a bit scattered. I write in short but intense fits and starts, then put it down for awhile to get some perspective on it and test what I've written. It took me about a year, off and on, to adapt the play into what eventually became the shooting script, although the final film is somewhat different even from what we intended to shoot.

Essentially the Joe/Abigayle story is a bit more flushed out and the second half of the movie reveals more about what is going on in the inner lives of the characters than the play does, which I think is necessary for the story to work as a movie.

Can you talk about how you raised your budget and your financial plan for recouping your costs? 

JOSHUA: The producer Christine Giorgio and I raised the money together through private investors and through a few grants and a couple of small Kickstarter campaigns. Our plan is to release the movie in a small theatrical run next year and through digital and DVD then to go into some foreign markets. It didn't cost that much to make the film so I think we have a good chance of at least making our money back, but obviously it's such a challenging time for small American independent films.  

You also have to think about these things in terms of building a career. This is my first feature film and I think its gotten a solid response enough for me to be able to make my next film. It's good for everyone involved because they have something solid to show to keep working and building on what we've done here.

What camera did you use and what did you love and hate about it?

JOSHUA: We shot with the Arri Alexa. Mostly I loved it. I think it was the right camera for what we needed and I think the end result was far and away more compelling that I originally thought it was going to be. We shot with these vintage lenses called Super Baltars which were used a lot in the 70s. The two combine to make everything look very wet and milky, which I liked because we shot mostly everything at night so it creates a really neat effect.

You can also shoot on this 'log c' mode that gives you so much latitude in the coloring process. It looks sort of shitty while you're shooting it, almost like a film negative would look, but you can do so much with it in the end. 

I guess the downside of that camera is that we didn't shoot the full uncompressed format because you need this really expensive drive to do that with the Alexa. But the post was a breeze because you don't have to do all that lame processing that you have to do with the Red camera to work in Final Cut.

I'm not the most techy director, so for me it was mostly a really great experience.

Did the movie change much in the editing process, and if so, how?

JOSHUA: The essence of the play is definitely still there, but we did rearrange and cut some scenes that were really different from how I envisioned them in the script. If you watch the film, the scene where Abigayle sees her father in the car is kind of a hybrid of like four scenes put together and that's how it worked best in the film. Some scenes were totally cut out of the movie as well.

I really loved working with David Gutnik, the editor of FOUR. He's the first editor I've ever worked with that thinks like a writer. Both of us are really story oriented, so we weren't too precious about what to leave in and didn't feel so committed to the original text. It was more like 'if it works, it works'. 

What was the smartest thing you did during production? The dumbest?

JOSHUA: Probably the smartest and the dumbest thing I did were both the same...trusting and not trusting the actors. My main process in making film is always in the casting process first and foremost. If I can choose the right people to inhabit the role, then a lot of my work becomes just steering the ship so to speak.

For the most part, I did that with FOUR and it worked and that was the best thing I could have done to make the film good. But there were a few times when I was unable to provide the actors with the space enough to explore how to best do what they needed to do. 

The dumbest thing you can do as a director is always to give in to the pressure cooker situation of a film set and then pass that bad energy on to the actors. I regrettably did that a few times, but thankfully not too much for it to affect the over all work of the actors in the end.  

And, finally, what did you learn from making the film that you have taken to other projects?

JOSHUA: I think with every film I've made I've been able to take big lessons and pass them on to the next project. With this film I think that trusting my instincts will be the thing I take with me in the long run. Every time that I was pressured into something I didn't fully believe in, it turned out to be a mistake. Thankfully there was not anything major on that front, but still there were a few things I would have made different choices about. 

You should always trust your gut with creative decisions. After all, it's the director's job to protect the vision of the film and even if it makes people uncomfortable, the end result is always the thing that matters the most.

Dying to make a feature? Learn from the pros!

"We never put out an actual textbook for the Corman School of Filmmaking, but if we did, it would be Fast, Cheap and Under Control." 
Roger Corman, Producer

★★★★★

It’s like taking a Master Class in moviemaking…all in one book!

• Jonathan Demme: The value of cameos

• John Sayles: Writing to your resources

• Peter Bogdanovich: Long, continuous takes

• John Cassavetes: Re-Shoots

• Steven Soderbergh: Rehearsals

• George Romero: Casting

• Kevin Smith: Skipping film school

• Jon Favreau: Creating an emotional connection

• Richard Linklater: Poverty breeds creativity

• David Lynch: Kill your darlings

• Ron Howard: Pre-production planning

• John Carpenter: Going low-tech

• Robert Rodriguez: Sound thinking

And more!

Write Your Screenplay with the Help of Top Screenwriters!

It’s like taking a Master Class in screenwriting … all in one book!

Discover the pitfalls of writing to fit a budget from screenwriters who have successfully navigated these waters already. Learn from their mistakes and improve your script with their expert advice.

"I wish I'd read this book before I made Re-Animator."
Stuart Gordon, Director, Re-Animator, Castle Freak, From Beyond

John Gaspard has directed half a dozen low-budget features, as well as written for TV, movies, novels and the stage.

The book covers (among other topics):

• Academy-Award Winner Dan Futterman (“Capote”) on writing real stories

• Tom DiCillio (“Living In Oblivion”) on turning a short into a feature

• Kasi Lemmons (“Eve’s Bayou”) on writing for a different time period

• George Romero (“Martin”) on writing horror on a budget

• Rebecca Miller (“Personal Velocity”) on adapting short stories

• Stuart Gordon (“Re-Animator”) on adaptations

• Academy-Award Nominee Whit Stillman (“Metropolitan”) on cheap ways to make it look expensive

• Miranda July (“Me and You and Everyone We Know”) on making your writing spontaneous

• Alex Cox (“Repo Man”) on scaling the script to meet a budget

• Joan Micklin Silver (“Hester Street”) on writing history on a budget

• Bob Clark (“Children Shouldn’t Play with Dead Things”) on mixing humor and horror

• Amy Holden Jones (“Love Letters”) on writing romance on a budget

• Henry Jaglom (“Venice/Venice”) on mixing improvisation with scripting

• L.M. Kit Carson (“Paris, Texas”) on re-writing while shooting

• Academy-Award Winner Kenneth Lonergan (“You Can Count on Me”) on script editing

• Roger Nygard (“Suckers”) on mixing genres

This is the book for anyone who’s serious about writing a screenplay that can get produced! 

Bob Clark on “Children Shouldn’t Play With Dead Things

Few directors had a more successful, or eclectic, career than the late Bob Clark. And not many directors can claim as many classic motion pictures on their resumes: A classic holiday movie (A Christmas Story), a classic coming-of-age movie (Porky’s), a classic horror film (Black Christmas), and a classic Sherlock Holmes film combined with a classic Jack the Ripper film (Murder By Decree).

Children Shouldn’t Play With Dead Things may not be a classic contender, but it’s a clever little horror film that uses its resources wisely. A troupe of actors, led by their insane director (Alan Ormsby) arrive on a secluded island to re-enact a ritual that brings the dead back to life. Before you can say “Boo,” the dead begin to crawl out of their graves and carnage ensues.

What point were you at in your career before you started Children Shouldn’t Play With Dead Things?

BOB: I went to college at the University of Miami and I was in Theater. I had also worked in the Miami film industry in the late sixties. 

I was doing a play in Miami, A View from the Bridge, and this man named Bobby MacDonald came to me and said, "You're my director." I had actually worked on a couple of his schlock films, films that were done for $40,000 - 50,000.

I said, "Bob, what are you talking about? I don't know anything about films. I've been in some as an actor, but I don't know anything else." He said, "Don't worry about that, we have a great situation over in the Everglades, near Fort Myers."

So I got involved in writing and directing a movie called She Man, which was done by a guy named Charlie Broun. Charlie had a combination of a hydroponic tomato farm, a clothing factory and a movie studio, all in one. I went into the Everglades and wrote this thing called She Man. 

I knew nothing about movies, but they said, "Don't worry, we've got everybody. We've got a great cameraman," who turned out to be a World War II Nazi cameraman who had never shot a movie and knew nothing about it. The editor was a guy named Hack, from the Fort Myers local. But I did have a guy named Harry Anderson, who was a legitimate production manager who had done a few Hitchcock films. 

So I did She Man and it was dreadful beyond belief. At the same time we decided we would shoot The Emperor's New Clothes, back-to-back, so we shot that in Miami in a famous castle there, and actually got John Carradine to be in it and he was terrific.

So I did these two movies -- I don't think they exist anymore -- and I was determined after that that I would not work again until I understood what it was to make a movie. So, for the next four years I was a production manager and an AD, and I did every job, virtually, except cameraman. 

Then, in 1971, Gary and Ken Goch and I decided we'd get some money and we'd make a film. In those days, to start your career, you either made a horror film or you did porno, and I didn’t want to do porno, so we chose a horror film and we decided to do it in Miami. And that became Children Shouldn't Play With Dead Things.

It was populated with my college buddies and chums and people we knew and we did if for $40,000. It was an homage to Night of the Living Dead, but more of a comic version, putting it on a bit. Actually, it wasn't really that much like Night of the Living Dead; we were just capitalizing on its success.

Where did the title come from?

BOB: I was just walking by a payphone in New York and stepped in to call somebody in town and it just hit me. Children Shouldn't Play With Dead Things. I have no idea why it came into my head. 

Instead of calling the friend in New York, I called Bob Kilgore immediately and said, "Bob write this down: Children Shouldn't Play With Dead Things." And he said, "Oh my god, what a great title. That's hysterical. We couldn't do better." And that's how Children was born -- by a little bolt out of the blue.

How did you make up the story?

BOB: It just came out of my consciousness somewhere. I took things that were familiar to me, like the theater group. 

I was well trained by that time to take advantage of every discipline that we could to maximize the kind of film we could make. I wrote it for the two main locations, the cemetery and the house, plus the location on the island that overlooks the city. We had three locations total. I was very careful about that, because we only had ten days – actually, ten nights.

The remote cabin was actually in Coral Gables, a friend's house. It was in the middle of the city, in a neighborhood, but we pulled it off pretty well.

What were some of the things you learned during those previous four years that helped on this production?

BOB: Control your locations, control the number of characters. We actually had quite a few characters, but that wasn't very costly for us. The movie is fairly ambitious in terms of its action.

But the key was continuity, not having to make any moves to other locations. But there's nothing complex about that: Just make sure you have one major location.

Did the fact that Alan Ormsby knew how to do make-up help in the decision to do a zombie movie?

BOB: To some extent, yes. Alan was extremely gifted and I knew he could pull it off, and in a way that was superior to our very low budget. So that was a factor. The make-ups were pretty darned good.

I completed the script and we had read-throughs; I'm sure I made some adjustments at that point.

How do you know when a script is done and ready?

BOB: You use your training and your gut instinct. You go back over it to be sure that the plot points are clear without being labored and that there's clarity and also excitement. 

That's basically what a screenplay is: a duel between clarity and pacing. No matter how complex it is, you need to understand what's going on, and then you need to have pace. And that can vary. Some films that aren't rapidly paced are still very engrossing. But those two factors, clarity and pacing, are the two critical factors.

I came from a classical background; I was a Shakespearean trained actor. I was a movie fan growing up, but not a movie fanatic. I liked movies but I wasn't obsessed with them. I didn't plan on going into theater. To be a novelist was my plan from the time I was nine years old. But the minute I got involved in films I knew that was where I would go.

Did your background as an actor help you in writing dialog and creating characters?

BOB: I think so. I'd done a number of classical plays and doing Arthur Miller doesn’t hurt anything at all. I'd done Tennessee Williams and Shakespeare, so you certainly gain something from that experience.

As a director, you’ve never shied away from doing different genres. In fact, that sort of your style – that you work well in any style.

BOB: I determined very early that I would be an eclectic director. If you want to be a darling of the critics, you're probably better off having a cohesive singularity to your vision, and some of our greatest directors do work that way, but I didn’t want to do that. 

I wanted to try all the forms and set out to do that. It's in my nature to be adventurous, I think, so I've been able to do, fortunately, virtually every genre. It was a conscious decision, made from the beginning.

I started out in horror films, and it took me three films to get away from horror, because I didn't have any intention of staying in it.

I intended to be eclectic, and I intended that the style be determined by the needs of the work. The other thing I wanted to do was to have a visual style that was fresh and an approach that gave the audience a deep involvement in the film, like they were part of the adventure. I'm very concerned about the look and the texture of my films. 

Even in my films that aren't necessarily designed to show off the beauty of the place, I'm still very conscious of my backgrounds and my textures; not so much that they overwhelm the audience, but that they feel part of the texture.

Are you surprised that Children Shouldn’t Play With Dead Things is still popular today?

BOB: Yes. I did a film called Now and Forever a few years back and we were on the festival circuit. I was at the Atlantic City Film Festival, and we won the festival and I won best director. I got up to give a speech and it wasn't a young, hip-appearing audience. The audience was young to middle age. 

I said to them, "I know I am identified with Hollywood films, but my first film was a little film shot in ten days, called Children Shouldn't Play With Dead Things." And this crowd broke out into huge applause, all the young people, the middle-aged ones, they all knew the movie. That flabbergasted me. After speaking to them afterwards, indeed the film is, among filmmakers, pretty well-known.

Is there anything you learned on that movie that you still use today?

BOB: Sure. I learned that you want to change your backgrounds. I like to move my characters and move my camera; not obtrusively, but to identify the world that we're in and to identify the dynamics and the immediacy of the shot.

That's probably the one common element in my work is the tendency to move the camera a great deal. I mean, I'll do the classical over-the-shoulder close-up stuff when it's appropriate, when you're interested in seeing into the eyes of the people. But even then, we move the camera gently during close-ups.

What’s your best advice about writing?

BOB: Be truthful. Verisimilitude. You've got to find your reality, no matter how broad what you're doing is. If you're doing the Marx Brothers, it's wild, it's bizarre, but somewhere in there has to be some truth, no matter how outrageous or absurd or fantastical.  

Dying to make a feature? Learn from the pros!

"We never put out an actual textbook for the Corman School of Filmmaking, but if we did, it would be Fast, Cheap and Under Control." 
Roger Corman, Producer

★★★★★

It’s like taking a Master Class in moviemaking…all in one book!

• Jonathan Demme: The value of cameos

• John Sayles: Writing to your resources

• Peter Bogdanovich: Long, continuous takes

• John Cassavetes: Re-Shoots

• Steven Soderbergh: Rehearsals

• George Romero: Casting

• Kevin Smith: Skipping film school

• Jon Favreau: Creating an emotional connection

• Richard Linklater: Poverty breeds creativity

• David Lynch: Kill your darlings

• Ron Howard: Pre-production planning

• John Carpenter: Going low-tech

• Robert Rodriguez: Sound thinking

And more!

Write Your Screenplay with the Help of Top Screenwriters!

It’s like taking a Master Class in screenwriting … all in one book!

Discover the pitfalls of writing to fit a budget from screenwriters who have successfully navigated these waters already. Learn from their mistakes and improve your script with their expert advice.

"I wish I'd read this book before I made Re-Animator."
Stuart Gordon, Director, Re-Animator, Castle Freak, From Beyond

John Gaspard has directed half a dozen low-budget features, as well as written for TV, movies, novels and the stage.

The book covers (among other topics):

• Academy-Award Winner Dan Futterman (“Capote”) on writing real stories

• Tom DiCillio (“Living In Oblivion”) on turning a short into a feature

• Kasi Lemmons (“Eve’s Bayou”) on writing for a different time period

• George Romero (“Martin”) on writing horror on a budget

• Rebecca Miller (“Personal Velocity”) on adapting short stories

• Stuart Gordon (“Re-Animator”) on adaptations

• Academy-Award Nominee Whit Stillman (“Metropolitan”) on cheap ways to make it look expensive

• Miranda July (“Me and You and Everyone We Know”) on making your writing spontaneous

• Alex Cox (“Repo Man”) on scaling the script to meet a budget

• Joan Micklin Silver (“Hester Street”) on writing history on a budget

• Bob Clark (“Children Shouldn’t Play with Dead Things”) on mixing humor and horror

• Amy Holden Jones (“Love Letters”) on writing romance on a budget

• Henry Jaglom (“Venice/Venice”) on mixing improvisation with scripting

• L.M. Kit Carson (“Paris, Texas”) on re-writing while shooting

• Academy-Award Winner Kenneth Lonergan (“You Can Count on Me”) on script editing

• Roger Nygard (“Suckers”) on mixing genres

This is the book for anyone who’s serious about writing a screenplay that can get produced! 

Drew Cullingham on “Black Smoke Rising”

What was your filmmaking background before setting out to make "Black Smoke Rising"?

DREW: Black Smoke Rising is my third feature as writer/director/producer. The previous one was Monk3ys, an odd melange of Big Brother, SAW, some nasty whisky and the perennially funny situation of a grown man yet to have lost his virginity! It's a micro-budget containment thriller that riffs on the world of reality television, found footage movies and the sorry state of the film industry.  

It's also an experimental and weird entity that actually scooped the Raindance Festival award for best microbudget film.   

Before that was Umbrage: The First Vampire featuring Doug 'Pinhead' Bradley as an antiques dealer, stuck in the arse end of nowhere, who has to contend with demonic and vampiric grudges as well as the melodrama of his heavily pregnant wife and petulant step-daughter.  

Before that I cut my teeth on shorts, music promos, corporate crap and even some food television.

Before that I didn't know whether to be a writer, a photographer or a musician, and kind of thought that filmmaking was a good compromise!

What was the genesis of the project and what was the writing process like? 

DREW: This film really shouldn't be.  It just shouldn't. I lost my brother in 2010, so it was born from that loss. That grief.   

Monk3ys actually was a fresher wound, and has a lot of anger in it that came from that chapter of my life. Black Smoke Rising was written a little later, and was a cathartic experience to write, and to film.    

There's not a lot of biography in the film, but there is a lot of me.  I shouldn't admit that, but I can't help but be honest about it. As is often the case with me, the writing was not a tortuous process. The story here is fairly vanilla in terms of a hero's journey. The protagonist resists the call, then answers it, has help from a mentor or two along the way, and learns a lesson in the end. I wanted it to be a familiar structure and a positive message. It's a highly emotional journey and there are some particularly emotive scenes that had me pounding the keyboard through a haze of misty grief. I'm just thrilled that James Fisher did such a wonderful job of re-interpreting my personal rants!

Can you talk about how you raised your budget and your financial plan for recouping your costs? 

DREW: There's not a lot to talk about here.  

The film was shot on a shoestring by the small group of loyal and wonderful friends and brothers that I have in this crazy filmmaking trip. I'm so grateful to all of them, and thrilled that somehow I've elicited this kind of fraternity in such giving people.  

What few things we needed, in terms of subsistence, accommodation, insurance and so on - I paid for out of a small inheritance. As I said - in an ideal world this film would not exist - but it does because of the people around me and especially because of all that my brother gave to me - not just financially, but personally too.  

I could say that I just want people to see the film and to feel it.   If it makes a little money then great. In reality we are looking very seriously at how dead the DVD market is to films of this stature and looking to explore alternative means of distribution. The digital age is consuming us, not the other way around, so we need to be making our offerings as palatable as possible.

Why did you decide to shoot in black and white and what's the upside and downside of that choice?

DREW: Both myself and Glen Warrillow, the DOP on the film, are avid lovers of monochrome. There is just such simple beauty in seeing the full colour world in terms of tone rather than colour. I think it is a lost art, and that a lot of people just decolourise things and think that's enough. It's not. It's so liberating to get to the point where you 'see' in light and dark.   

Aside from that, there are a couple of reasons for the film being in black and white. First up I like the sense of 'vintage' that it brings.  I think it sits with the road trip, with the blues music, with a few noir sensibilities that I love.  

Also, the film is a study of grief.  It is a world without colour. Grief is such a powerful and horrible beast of an emotion that it can utterly consume you and affect every facet of the world and how you see what is around you. There is nothing else. It IS monochrome. 

Honestly, I don't see upsides or downsides to the choice. It is what it is. There are moments when I thought we'd inadvertently found some wonderful combinations of colour that nobody would ever see, accidents of production design, but that's hardly a downside. It really just affects the way you work. It affects the way you light scenes, especially when you start veering towards noir. We even created a gobo at one point, which is something rare these days, and a real staple of noir.

What camera did you use and what did you love and hate about it? 

DREW: We shot on the Panasonic LUMIX GH2. Everyone else seems to be shooting on Canon 5Ds these days, and I've done that too. Obviously here, we're talking about shooting microbudget stuff on DSLRs - which is so damn feasible now!  

I did a fair bit of research and testing and just didn't find the Canon to be what I wanted. The dynamic range of the GH2 suited me better, as did the clarity of the nice lenses that you can get for it. It renders blacks and highlights beautifully. Granted, it suffers a little more in the midrange when you blow it up, and perhaps the full frame and better sensor of the Canon can cope better here - but we were shooting black and white, with highs and lows. I had very little midrange to worry about, so I much preferred the definition that the GH2 gave me. 

I normally wouldn't propose shooting too much on DSLRs.  I think they just aren't suited for a lot of things. If you want a pull focus you need a hell of a rig, and by the time you add in a monitor, follow focus and all that you may as well use a full on camera. What I love about the GH2 for this kind of film, where I was more concerned with a beautiful photographic frame for the action to move within (as opposed to a constantly moving camera) is that (1) it takes such beautiful photographs, and (2) it is so compact and easy to get in places you just couldn't get a bigger camera, which affords you angles and opportunities you'd never otherwise get. 

Hate about it? Nothing. I knew its limitations. I wish the battery lasted better, and I wish now that they had a 3.5mm jack input for a shotgun mic, rather than an odd 2.5mm one.  But hey - you can't have everything, right?

Did the movie change much in the editing process, and if so, how?

DREW: Movies always change in the edit, and this one was no exception. There were bits that I knew would be MADE in the edit, bits that had no need for continuity of action but would be effectively a montage of soliloquy!    

Did it change profoundly? Not really. The first cut was mercifully way too long,  a relief since the script was actually on the short side. I'd shot way more than I needed, and was able to cut almost 20 minutes of stuff, some of that being bits of scenes and some being entire scenes.  I also moved a chunk from what was becoming an over long act one into the beginning of a slender act two and reshuffled a couple of things. Being a largely episodic piece this was relatively easy.   

The most important thing in any edit is good pacing, and having the ruthlessness to excise favoured segments in pursuit of that pace. Black Smoke Rising is a long way from an action thriller, but in some ways that makes the pacing even harder. It is a slow build of momentum that can only really be created in the edit, no matter what the script says!

What was the smartest thing you did during production? The dumbest?

DREW: Smart? I can't lay claim to anything of the sort! Haha.  

Ok... I think on any film set, especially micro-budget ones, there are moments where you just have to improvise. The shit will hit the fan at some point and the measure of the man is how swiftly and successfully you manage to integrate that shit into the seamless fabric of the story you are weaving. There's a scene in the film where the protagonist is contemplating an urn full of his brother's ashes, and wondering what size tupperware pot to decant him into for his trip, since the urn isn't really roadworthy. In the script he just chooses one, and next thing we see is him walking to the car with a pot full of ash.   

IN THE SCRIPT - when he returns from his trip without the ashes, the urn is on the kitchen counter where he left it.  IN THE FILM, he breaks the urn accidentally earlier on, and when he returns there is no urn (and instead one of my favourite shots where the entire frame is out of focus until he puts his hand where the urn should have been and his hand is suddenly sharp).   

This is because our esteemed DOP decided to smash the urn in an act of wanton clumsiness and I was faced with this horrible moment where I had to either (1) panic and lose the plot (2) freak out and try and get a matching prop (3) integrate the DOP's idiocy into a new story element and embrace the dark humour of it! I chose (3)!  OK - it wasn't that smart.  I tried to say I hadn't done much smart to begin with!

The dumbest? Without a doubt the dumbest thing I personally did was travel to the lake district in early October with just one pair of cheap crappy trainers. They got so wet after half a day of traipsing around the lakes that I was already getting tetchy. When, on a simple shot of a drive by somewhere in the Yorkshire Dales, I decided to inadvertently step knee deep into a camouflaged wet dyke (and I mean that literally!) that signalled the end for those shoes, and those socks. I proceeded to direct the rest of that day barefoot in the moors and dales of a flooded Yorkshire until a suitable shoe-equipped supermarket reared into view hours later.  Stupid!!

And, finally, what did you learn from making the film that you have taken to other projects?

DREW: Crikey. It's so hard to pinpoint this kind of thing. Everything is a learning curve. I've learned to consider what footwear is appropriate!   

As a director, every time you interact with an actor you learn a bit more about directing. You learn things that you can never really apply, but at the same time you are stockpiling experiences and ways NOT to deal with situations or people.  You learn constantly when it's best to trust your instincts.   You learn to trust other people.   That's a big one - part of the building of the team, of the family.  Learning the abilities, and limitations, of the people around you is very useful.  For me especially, as a weird kind of perfectionist (I think it's more that I'm a control freak than a perfectionist to be honest!), it is good to know that other people have your back and won't let you down when it matters.  

Mostly every time I get on set I re-learn everything, and I am reminded of why I do this. There is nothing quite like making movies...  

I used to think that filmmaking could never rival the thrill of being on stage and playing music to an audience. But it can.  I'd never show it, but I get palpitations when I know something special is happening on set, and it only adds to the thrill that there's a camera bearing witness to it rather than an audience.  Oddly enough it's a thrill that I can only imagine getting from filmmaking (as opposed to on stage).  

Dying to make a feature? Learn from the pros!

"We never put out an actual textbook for the Corman School of Filmmaking, but if we did, it would be Fast, Cheap and Under Control." 
Roger Corman, Producer

★★★★★

It’s like taking a Master Class in moviemaking…all in one book!

• Jonathan Demme: The value of cameos

• John Sayles: Writing to your resources

• Peter Bogdanovich: Long, continuous takes

• John Cassavetes: Re-Shoots

• Steven Soderbergh: Rehearsals

• George Romero: Casting

• Kevin Smith: Skipping film school

• Jon Favreau: Creating an emotional connection

• Richard Linklater: Poverty breeds creativity

• David Lynch: Kill your darlings

• Ron Howard: Pre-production planning

• John Carpenter: Going low-tech

• Robert Rodriguez: Sound thinking

And more!

Write Your Screenplay with the Help of Top Screenwriters!

It’s like taking a Master Class in screenwriting … all in one book!

Discover the pitfalls of writing to fit a budget from screenwriters who have successfully navigated these waters already. Learn from their mistakes and improve your script with their expert advice.

"I wish I'd read this book before I made Re-Animator."
Stuart Gordon, Director, Re-Animator, Castle Freak, From Beyond

John Gaspard has directed half a dozen low-budget features, as well as written for TV, movies, novels and the stage.

The book covers (among other topics):

• Academy-Award Winner Dan Futterman (“Capote”) on writing real stories

• Tom DiCillio (“Living In Oblivion”) on turning a short into a feature

• Kasi Lemmons (“Eve’s Bayou”) on writing for a different time period

• George Romero (“Martin”) on writing horror on a budget

• Rebecca Miller (“Personal Velocity”) on adapting short stories

• Stuart Gordon (“Re-Animator”) on adaptations

• Academy-Award Nominee Whit Stillman (“Metropolitan”) on cheap ways to make it look expensive

• Miranda July (“Me and You and Everyone We Know”) on making your writing spontaneous

• Alex Cox (“Repo Man”) on scaling the script to meet a budget

• Joan Micklin Silver (“Hester Street”) on writing history on a budget

• Bob Clark (“Children Shouldn’t Play with Dead Things”) on mixing humor and horror

• Amy Holden Jones (“Love Letters”) on writing romance on a budget

• Henry Jaglom (“Venice/Venice”) on mixing improvisation with scripting

• L.M. Kit Carson (“Paris, Texas”) on re-writing while shooting

• Academy-Award Winner Kenneth Lonergan (“You Can Count on Me”) on script editing

• Roger Nygard (“Suckers”) on mixing genres

This is the book for anyone who’s serious about writing a screenplay that can get produced! 

Director Alex Cox on “Repo Man”

Repo Man defies description, by design. It's a punk rock comedy, a retro-sci-fi flick, a buddy film, a social satire, and one of the best films to come out of the 1980s … or any other decade, actually.

Writer/director Alex Cox skillfully transcends genres as his aimless hero, Otto (Emilio Estevez) morphs from feckless punker to career repo man to intergalactic traveler, continually demonstrating the mantra of the trade: The life of a repo man is always intense.

What point were you at in your career before this project?

ALEX COX: I had written two scripts for money, one for United Artists and one for the director Adrian Lyne, and made a short film (40 minutes) at UCLA.

Where did the idea for Repo Man come from?

ALEX COX: Various sources. People I'd met in LA, a repo man with whom I rode around, punks from that scene.

Do you begin with story, character or theme?

ALEX COX: Urr... it depends on the project. If it's a bio-pic, it's the character.

In the case of Repo Man, probably theme: the imminence of nuclear war, the superficiality and stupidity of almost everything else. 

The theme for the film seems to hinge on "the lattice of coincidence." How important is having a theme before you start to write? 

ALEX COX: It depends on the project. Repo Man's theme probably changed when the ending was re-written near the end of the shoot and the destruction of LA replaced with the transcendental flying car.

How much research did you do and how did that help you write the script?

ALEX COX: Just riding around with a repo man, going to punk gigs, and a monthly subscription to The Bulletin of the Atomic Scientists.

Did you outline the whole story before you started writing the script?

ALEX COX: No, I just started writing scenes and dialogue.

What's your writing process?

ALEX COX: Write until it's finished. Then re-write it. There were 14 drafts of Repo Man. The first one probably took a month or so. Some later ones just a few days.

Was it always planned to be a low-budget film?

ALEX COX: Yes, and much lower budget. Around $120K at one stage, of which $50K – our salaries – would have been deferred. 

I understand that there was talk at one time of doing Repo Man as a student film. Were you a student at the time, and how would you have pulled that off?

ALEX COX: (Producers Peter) McCarthy, (Jonathan) Wacks and I had all been UCLA students. We formed a company with the best of the UCLA critical studies profs, Bob Rosen ­– Edge City Productions – for the purpose of making features. The idea was that I would re-enroll to access the facilities, which I did. 

How did you connect with Executive Producer Michael Nesmith, and what attracted him to the film?

ALEX COX: We met him via another producer, Harry Gittes. Michael Nesmith liked motor-themed movies, comic books (the first four pages of the script were a comic) and had had some experience with repo men in his post-Monkees days.

Do you write with specific actors in mind?

ALEX COX: I thought about the guys in the band Fear for the four repo men. I didn't know them personally, but had formed an impression by seeing them on stage.

What's the value of going after "name" actors (like Emilio Estevez) for a low-budget movie and do you think it's worth the trouble?

ALEX COX: It gives confidence to the financiers. Without the financiers, no film. So in that sense it's certainly worth the trouble.

At a certain point, do you feel that as a writer you give up a character and the actor takes him over?

ALEX COX: Oh, yes. Because the writer has to think of twenty or thirty characters, and the director of many more things besides. The actor only needs to think about his/her part (we hope).

How did you come up with the idea to use all "generic" food?

ALEX COX: We couldn't get any product placement! Apart from Ralph's Supermarket, who gave us the generic stuff, and the Car Freshener Company.

Music plays such a large role in the film. Did you determine any of the music at the scripting stage?

ALEX COX: Only TV Party, which Otto sings on camera.

How do you know when a script is done?

ALEX COX: When they give you the money to shoot it.

Did you do readings before you shot? If so, did the script change due to the readings?

ALEX COX: I wrote a couple of audition pieces for the characters of Miller and Lite. The actors liked them, and both ended up being incorporated into the script. There was also one script reading prior to the shoot. 

Do you show drafts to people during the process?

ALEX COX: Of course – that's what they're for.  

How do you process and use feedback?

ALEX COX: Keep changing the script until it attracts the actors & the money. If it doesn't, after a certain amount of time, give up.

Do you ever put the script away for a while after finishing a draft?  

ALEX COX: Put it away if you don't like it or can't figure out a way to raise money for it. Once put away, rarely is it retrieved.

Did the story change during shooting or editing at all?

ALEX COX: Yes, especially with the ending, and with Dennis Dolan, our wise editor, and his input.

What's the value of being open to change during production?

ALEX COX: It depends on the project. If the script is perfect, it might be a big mistake.

What did you learn from working on that script that you still use today?

ALEX COX: Nothing that I learned writing or directing Repo Man was of any particular value. It is always the same struggle, always the same problems, always the same tedious and irritating search for money.

What's the best advice about writing that you've ever received?

ALEX COX: Set yourself a deadline and keep to it. Get to the end before you go back and start tweaking the beginning.

Any words of advice to a writer working on a low-budget script?

ALEX COX: Don't waste your money on screenwriting software. If you can't set two tabs and remember to capitalize character names, find an easier job -- actor, or producer.

With Otto you created an essentially passive main character – which screenwriting books and seminars tell us not to do. How did you make it work?

ALEX COX: Pay no attention to screenwriting books or seminars. They are as useless as screenwriting software and almost as damaging as 'professional script doctors.' 

Write what's on your mind. Otto had to be a blank page or he couldn't have made the transition from rebel to reactionary so effortlessly.

What's your darkest memory from Repo Man?

ALEX COX: It was a pretty happy experience. Miserable relations with my girlfriend, probably. Like everyone from UCLA, she too had aspirations to be a director.

What's your favorite memory of working on Repo Man?

ALEX COX: Sy Richardson! The best actor I have ever worked with and one of the finest people, too.

What movies have inspired you?

ALEX COX: Citizen Kane, Wages Of Fear, The Mattei Affair, Yojimbo, Deuxieme Souffle, Killer Of Sheep, Madadayo, The Wild Bunch, For A Few Dollars More, King Kong (original version).

Repo Man mixes a lot of genres and broke a lot of ground for filmmakers who came later. What's the value of mixing genres the way you did?

ALEX COX: It's more fun. But it tends to annoy critics, who pretend to enjoy it sometimes, but are deeply conservative in their wizened little hearts.

Dying to make a feature? Learn from the pros!

"We never put out an actual textbook for the Corman School of Filmmaking, but if we did, it would be Fast, Cheap and Under Control." 
Roger Corman, Producer

★★★★★

It’s like taking a Master Class in moviemaking…all in one book!

• Jonathan Demme: The value of cameos

• John Sayles: Writing to your resources

• Peter Bogdanovich: Long, continuous takes

• John Cassavetes: Re-Shoots

• Steven Soderbergh: Rehearsals

• George Romero: Casting

• Kevin Smith: Skipping film school

• Jon Favreau: Creating an emotional connection

• Richard Linklater: Poverty breeds creativity

• David Lynch: Kill your darlings

• Ron Howard: Pre-production planning

• John Carpenter: Going low-tech

• Robert Rodriguez: Sound thinking

And more!

Write Your Screenplay with the Help of Top Screenwriters!

It’s like taking a Master Class in screenwriting … all in one book!

Discover the pitfalls of writing to fit a budget from screenwriters who have successfully navigated these waters already. Learn from their mistakes and improve your script with their expert advice.

"I wish I'd read this book before I made Re-Animator."
Stuart Gordon, Director, Re-Animator, Castle Freak, From Beyond

John Gaspard has directed half a dozen low-budget features, as well as written for TV, movies, novels and the stage.

The book covers (among other topics):

• Academy-Award Winner Dan Futterman (“Capote”) on writing real stories

• Tom DiCillio (“Living In Oblivion”) on turning a short into a feature

• Kasi Lemmons (“Eve’s Bayou”) on writing for a different time period

• George Romero (“Martin”) on writing horror on a budget

• Rebecca Miller (“Personal Velocity”) on adapting short stories

• Stuart Gordon (“Re-Animator”) on adaptations

• Academy-Award Nominee Whit Stillman (“Metropolitan”) on cheap ways to make it look expensive

• Miranda July (“Me and You and Everyone We Know”) on making your writing spontaneous

• Alex Cox (“Repo Man”) on scaling the script to meet a budget

• Joan Micklin Silver (“Hester Street”) on writing history on a budget

• Bob Clark (“Children Shouldn’t Play with Dead Things”) on mixing humor and horror

• Amy Holden Jones (“Love Letters”) on writing romance on a budget

• Henry Jaglom (“Venice/Venice”) on mixing improvisation with scripting

• L.M. Kit Carson (“Paris, Texas”) on re-writing while shooting

• Academy-Award Winner Kenneth Lonergan (“You Can Count on Me”) on script editing

• Roger Nygard (“Suckers”) on mixing genres

This is the book for anyone who’s serious about writing a screenplay that can get produced! 

John McNaughton on writing & directing "Henry: Portrait of a Serial Killer"

The phrase “not for the squeamish” may well have been invented for John McNaughton’s Henry: Portrait of a Serial Killer. Although you’ll find it in the “horror” film section of the video store, it’s far more than a simple horror film. The film is a starkly realistic, almost documentary-style fictionalized look at a few days in the life of confessed serial killer Henry Lee Lucas.

McNaughton, who went on to direct in a number of different genres including the comic-drama Mad Dog and Glory starring Robert De Niro, Bill Murray, and Uma Thurman, drew on his roots producing documentaries to construct the film. But as he admits, it was co-writer Richard Fire’s keen understanding and use of the basics of dramatic construction that helped to make Henry: Portrait of a Serial Killer the milestone that it has become.

What was going on in your life and career before Henry: Portrait of a Serial Killer came along?

I had a long-standing dream of wanting to make a feature film, but I'd had to put that on hold because, being that I lived in Chicago and was not connected in any way to the mainstream industry, I really didn't know how I was ever going to achieve that dream.

I was working on these small documentary projects that were being distributed by a company in the South suburbs of Chicago, called MPI. I had worked in the commercial field in Chicago, but the first time I was ever on a feature film set I was the director.

Where did the idea for the story come from?

I had done this series of documentaries for MPI, called Dealers in Death, which were about American gangsters, primarily from the Prohibition era. We had scoured the archives for a lot of public domain photographs and footage, got Broderick Crawford to narrate it for us and made a little money on that project. 

I was going to produce and direct another documentary piece, based on professional wrestling, because I'd found someone who had a collection of wrestling footage from the 1950s and 1960s with Bobo Brazil and Killer Kowalski and Dick the Bruiser and Andre the Giant, from the period of wrestling before the WWF or the WWE.

MPI was owned by two brothers, Waleed and Malik Ali. I went out to meet Waleed to talk about doing these wrestling documentaries. When I got to their offices Waleed informed me that he had contacted the person who had the footage for sale. The person with the footage had quoted a price and when the Ali brothers approached him, saying, "Okay, we'll negotiate on that price," the guy realized that the brothers had money so he increased his price. The Ali brothers were not to be dealt with in that manner, so Waleed informed me, "Listen, we're not going to do business with this guy. He's a crook."

Early on in the video business -- and the brothers got in at the beginning -- the major studios weren't interested in video rights, because there just wasn't enough money involved. So they were selling off the rights to their films. A couple of companies, like Vestron and Pyramid, became wealthy for a short period of time, until the studios saw the potential in the video market and started creating their own video divisions. And then those companies went out of business.

But in the early days of video you could buy the video rights quite cheaply for low-budget horror films and since a lot of "B" horror titles hadn't been seen widely, they were very successful on video.  A "B" schlock horror film that people may not have been interested in going to the theater to see, they were more than happy to rent because they're a lot of fun.

So what was happening at this time was that those titles were becoming so popular that the rights acquisitions were becoming more and more expensive. And so Waleed had determined that it would make sense for them to fund a horror film and thereby own all rights in perpetuity, rather than just buying the video rights for a limited period of time. So he proposed to me that we should join forces and make a horror film.

I went in thinking I was going to be doing these documentaries and instead, it was the day that my dream came true, completely unexpectedly. I was kind of in shock. 

Down the hall was the office of an old friend of mine who I had grown up with, Gus Kavooras. Gus was always a collector of the strange and the arcane and the weird. I stopped in to see him and I was kind of in shock. I said, "Gus, Waleed just offered me $100,000 to make a horror movie. I have no idea what my subject will be." And he said, "Here, look at this." 

He took a videocassette off the shelf and popped it in the machine. It was a segment from the news magazine show, 20/20, and the segment was on Henry Lee Lucas and Ottis Elwood Toole, who were serial killers. The term "serial killer" was coined in 1983 by the FBI. In 1986 I had never heard the term before and this was something new to me, the idea that there were these random murderers going around. 

Most murders are committed by people previously acquainted to the victim. Husband kill wives, wives kill husbands, husbands kill wives' lovers, wives kill husbands' lovers. Most murderers are committed by people who are known by the victim. But this was a new trend in murder where there were these individuals who were just randomly murdering strangers. It was, indeed, very horrifying. There were some interviews with Henry and a lot of photographs. He was really a creepy character. And so that became the germ for the story.

Was the budget an issue while you developed the story?

The budget was written in stone. That was the mandate from Waleed, "Make me a horror film for $100,000." So the budget was always a consideration. 

How did you and co-writer Richard Fire work together?

I put together a set of 3x5 index cards delineating a scene structure, but I was not an experienced dramatist, screenwriter or otherwise. But I had the money, I had the mandate to make the picture, and we had our subject: the true story of Henry Lee Lucas. 

I had a friend, Steve Jones, and he was working as a director of animated commercials in Chicago, primarily doing Captain Crunch commercials. He was very well connected into the production community in Chicago and I was not. So I arranged with Steve to be the producer and I said to him, "I need a co-writer." 

There was a theater company in Chicago called The Organic Theater Company. The Organic was a really wild bunch of characters who had quite a bit of success in Chicago and were a really interesting theater company. One of the company members was Richard Fire, another was Tom Towles, who would play Otis. Other members of the company were Dennis Franz, Dennis Farina and Joe Mantegna. They had worked with David Mamet, they had produced Sexual Perversity in Chicago. 

They did a play called Warp that was kind of an outer space fantasy and Steve Jones had done a bunch of video projection for them and knew the group. Steve recommended Richard Fire. Richard and I met and talked about the project and I hired Richard.

What was your working process with Richard?

I would go every day to Richard's apartment and we would sit and he would type. We would knock ideas back and forth and then when we came to what we thought was something worthwhile, he would type it out.

What's so interesting about the script is that -- if you take out the violence -- it's a very traditional, well-structured story. We meet Henry, he meets his friend's sister and a romance starts and then there's a fight and then he and the sister leave together. It's almost like a classic 1950's Paddy Chayefsky television play.

I brought the exploitation elements to it and Richard brought traditional dramatic skills to it. We made a very good team, because had it been left to me it probably would have been tilted more toward pure exploitation. Whereas Richard humanized it. Paddy Chayefsky is a good example. On the DVD, Richard talks about the Aristotelian unity of time, place and action from classic dramatic writing. I think his presence certainly elevated the script.

Did you set out to make such a controversial movie?

I intended to make something very shocking. I remember, in my youth, pictures that sort of crossed the line. Back in those days there would be these incredibly lurid radio advertisements that if you listened to rock music on the radio a lot -- like most kids in my generation did -- they had these incredibly lurid campaigns for pictures like Last House on the Left and Night of the Living Dead and Texas Chainsaw Massacre. Those pictures were sort of watersheds, alongside pictures like The Wild Bunch. The Wild Bunch was incredibly shocking; up until then in a Western, if somebody got shot they fell down. There was no squib work, there was no spouting blood.

So our thought was, "Okay, we've got $100,000 and a chance to do a film and it's going to have to be a horror film, so let's make a horror film that is going to horrify." Richard Fire and I set ourselves a goal, and it was if we're charged with making a horror film, then a) Let's redefine the genre, and b) Let’s totally horrify the audience.

Like many things, the words "horror film" are like "liberal and conservative." The original meanings of the words have gotten lost. One would think that conservatives would be interested in conserving the environment, because the word comes from conservation. When you think of "horror film" now, it's a set of conventions and we meant to defy those conventions. The genre often includes monsters, creatures from outer space, ghosts, the supernatural or something beyond reality. But we didn't have a budget for any of that, so we set ourselves the goal of, "How can we most completely horrify an audience without using the traditional conventions?"

Was there any downside to ignoring the traditional conventions of the genre?

 Well, when we did the home invasion scene, it was a pretty creepy feeling after finishing that scene. A lot of the stuff -- fake blood and all that stuff -- there's a certain fun factor to doing it on the set. It's kind of silly, it's fake blood and rubber heads and all that kind of thing. But when we did that scene of the slaughter of the family it left a really strange atmosphere in the room. We did two takes. It was pretty horrific stuff and we didn't know how an audience was going to react to this.

Was the use of videotape in the home invasion scene an aesthetic choice or an economic choice?

Absolutely an aesthetic choice. The video image had an immediacy that the film image did not have, so when we had them tape that home invasion we very specifically chose to use video because it does have that immediacy and that reality. It lacks that distancing and softening that film gives. Also, having grown up watching the Vietnam war on television, even though those were 16mm film cameras, there was a quality to that hand-held footage that made it more real and more shocking.

Also I had read the book Red Dragon. In Henry Lee Lucas' case, they did not photograph or videotape their crimes. But in Red Dragon, Francis Dolarhyde worked in a film processing facility and he would go out and kill these people, photograph them, then come back and process the film. That book was a couple years old and by that time you could buy a decent home video camera, you didn't need to go through a lab. 

The use and intensity of violence, from the static images that open the movie to the crimes we ultimately see Henry and Otis commit, seems very planned and measured. Was that the case?

With violence and action, you have to keep topping yourself. If you go backwards, the audience is going to be disengaged. So the violence was doled out and increased as the story went along. 

How did you come up with the idea of opening the film on a series of tableaux of Henry’s recent crimes?

Richard and I were sitting in his apartment and we had various materials -- this was before the Internet -- and we were quite limited as to what we could come up with compared to today. But we did have that 20/20 documentary and it did have images. One of the famous images was of a young woman who was allegedly murdered by Henry. She was a Jane Doe who was never identified. She was left in a culvert somewhere and she was nude but for a pair of orange socks. And she was always referred to as Orange Socks because there was no other way to identify her. 

We were thinking, "What's our opening?" And we happened to be watching the 20/20 show and there was that photograph of Orange Socks, and Richard just went, "That's our opening." 

That was indeed our opening, although we didn't have orange socks, we used pink socks. Once we established that, we decided to do a series of them.

The audience can only take so much. You'll notice that one of the bloodless ways we had them kill people was to snap their necks, which is how he kills the woman and the young boy in the home invasion. There's no overt gore.

We were borrowing from the exploitation genre but to me the movie is a character study about people who did extremely horrific things. And there's the horror. Again, not from monsters from outer space.

In the case of stabbing Otis, he's such a heinous character that he deserves it. When we stabbed him in the eye with that rat-tail comb, you can't believe how much laughter there was on the set with that silly looking head and the blood. It was kind of fun.

Each individual can create in their imagination something more horrific than the graphic expression you may be able to come up with, especially on that kind of budget. A great way to put across scenes of great mayhem is to lead the audience up, step by step, so they can see what's about to happen. It's very clear that somebody's about to get killed. If you lead the audience, shot by shot and step by step up to the deed and make it very clear what's about to happen and then give them a couple frames and then cut away to some other thing, but continue it with the graphic sound, I think it can be much more horrific. Each individual will be left to complete the horror in their own mind, from their own library of personal horror. 

Again I have to credit Richard Fire for insisting that we make a serious drama rather than just a piece of pure exploitation. 

The visuals are very clever, like the use of the guitar case to signal that Henry has killed the hitchhiker. Or Otis' sister's suitcase, which is used for comic effect when we first see it and then has a far grimmer use at the end of the film.

We had a fair amount of time to work on that script, which you don't often get. In Hollywood they say, "Okay, the money's here, you've got this actor, let's go!" I just shot a segment for Masters of Horrorand normally they give you a seven-day prep, but since one of my days was Canadian Thanksgiving, I got a six-day prep. It's hard to iron out the details in that amount of time. 

Once you lay out your story and your script, then you start to see these connections that can be made to really strengthen that through-line, so everything connects in some way or another. If you have time, you can work on those details. If you don't, you just shoot the script and hope for the best.

Did you write with any specific actors in mind?

No. We had the Chicago theater community to draw from, which is pretty rich. A lot of young actors come to Chicago to learn their chops because there's a lot of Equity theater where you can actually make a living working in theater. Unlike Los Angeles, where most of it is non-Equity so you don't really get paid.

Chicago's a cheaper place to live, so a young actor can make their way with perhaps a bartending job or waitress job, and when they're working in theater they actually make enough money to pay their rent in the Bohemian neighborhoods of Chicago.

What was the refinement process on the script before you shot it?

The refinement process was mostly with the actors. There weren't that many people in my circle who had wide knowledge of production. Most of the experience in actual film production in Chicago was in commercials. Occasionally a movie came to town, but that was not the bread and butter of Chicago, it was commercial production. At the time Chicago was the number two market, after New York, for commercial production.

Our actors came out of theater, so the script refinement was done with the actors in rehearsal. Tom Towles came from the Organic Theater, where Richard Fire was a member and they'd known each other forever. And Tracy Arnold also came from the Organic, although Tracy was more of a new arrival, she had only been with the company for a year or two. Michael Rooker was just a lucky find.

How did you use the rehearsal process?

I've worked this way almost ever since, when I'm fortunate enough to get rehearsals. If I can get two weeks or at least ten days with them, I'll work with the actors myself for the first half of the rehearsal period. And then once we get the shape of the thing I've almost always brought the writer in, because the actors will want to make changes, like, "My character wouldn't use this word," "My character wouldn't say it this way," "I can't get my mouth around this phrase, it doesn't feel right to me."  

Once the actors take on those characters, they know them in deeper way often than the creators do. But if you just open the door and say, "Sure, go ahead, change it," you're going to have a disaster on your hands because then everything will start to change. But if you bring the writer in and if the actor tells the writer the line they'd like to change and their reasoning, then if you allow the writer to tailor the line, you still have the writer's voice but you also have the actor's notes. I think when you work that way you get roles that are like custom-tailored clothing. They're tailored to the particular actor and their personality and their needs and their interpretation.

On the first day of rehearsal, Richard told the actors, "Okay, I want you to go home and write a character bio, all the backstory, all the family history." Since Tracy and Tom were both part of the Organic Theater this was common to them, but to Michael it was sort of an affront. So Michael actually went home and, truth be told, while he was sitting on the toilet he dictated his backstory into a little portable tape recorder.

They each came back to rehearsals with these backstories and a certain amount of that information then got worked into the script for each character. It was a lesson to me that I carry because it was invaluable.

How have you used this technique since then?

Well, when you're working with Bob DeNiro, Bill Murray and Uma Thurman you don't necessarily send them home to write character bios. But you work with them in readings and discussions for four or five days. Then once you've really gotten the shape and everybody's in the same movie, then you bring the writer in and you use the writer to explain to them why things are the way they are. If they want dialogue changes, then you let the writer do it for them so that a voice is maintained rather than just throwing the doors open and letting everybody re-write your dialogue. You'll regret it if you do that.

Did you make any choices in the writing that you knew would save you money in shooting?

Well, a major one was setting it in Chicago. So far as anyone really knew, Henry Lee Lucas had never been near the city of Chicago. But there was no way we were going to go out on the road with a crew and house them and feed them.

What's the best advice you've ever received about screenwriting?

Probably, strangely enough, it was in Syd Fields' book. I had read other books on screenwriting and filmmaking that tended to take a more academic, ivory tower appraoch to the artistic principles involved. Syd Fields' book was just the nuts and bolts. 

"Know your ending" was one thing I got out of that book. I live back and forth between Chicago and Los Angeles and I love road trips. When I come out to do a project I'll drive out  and when the project is over I've drive home. It's a three-day drive and I think a lot and clear my head. It's like a chapter in my life is beginning and a chapter is ending. But I always know my destination. I know where I'm going, so I can plan my route. It's the same thing with a script. You need to know where the story's going. 

One of the principles that he laid out in his second book was the midpoint. The dramatic arc goes up and it comes down. It starts at the beginning, goes up to a peak, comes down to the ending. And the midpoint is the peak.

But most movies get in trouble in the middle. Establishing a midpoint for me was like knowing that I was going to drive from Los Angeles to Chicago, but I'm going to stop in Omaha. That was really an incredibly helpful idea, because after you leave the first act you're driving to the midpoint. You're going up. Now when I'm working on a script, once I've read it, I'll go to the last page and take the page number – let's say it's 120 pages – and I'll go look at what happened on page 60. I want to see if there's a key event that sort of divides the story in half.

In good screenplays, it may not be exactly on page 60. It may be between 58 and 63. But almost always in a good story you'll go back and find a key event that takes place that divides the story in half.

Dying to make a feature? Learn from the pros!

"We never put out an actual textbook for the Corman School of Filmmaking, but if we did, it would be Fast, Cheap and Under Control." 
Roger Corman, Producer

★★★★★

It’s like taking a Master Class in moviemaking…all in one book!

• Jonathan Demme: The value of cameos

• John Sayles: Writing to your resources

• Peter Bogdanovich: Long, continuous takes

• John Cassavetes: Re-Shoots

• Steven Soderbergh: Rehearsals

• George Romero: Casting

• Kevin Smith: Skipping film school

• Jon Favreau: Creating an emotional connection

• Richard Linklater: Poverty breeds creativity

• David Lynch: Kill your darlings

• Ron Howard: Pre-production planning

• John Carpenter: Going low-tech

• Robert Rodriguez: Sound thinking

And more!

Write Your Screenplay with the Help of Top Screenwriters!

It’s like taking a Master Class in screenwriting … all in one book!

Discover the pitfalls of writing to fit a budget from screenwriters who have successfully navigated these waters already. Learn from their mistakes and improve your script with their expert advice.

"I wish I'd read this book before I made Re-Animator."
Stuart Gordon, Director, Re-Animator, Castle Freak, From Beyond

John Gaspard has directed half a dozen low-budget features, as well as written for TV, movies, novels and the stage.

The book covers (among other topics):

• Academy-Award Winner Dan Futterman (“Capote”) on writing real stories

• Tom DiCillio (“Living In Oblivion”) on turning a short into a feature

• Kasi Lemmons (“Eve’s Bayou”) on writing for a different time period

• George Romero (“Martin”) on writing horror on a budget

• Rebecca Miller (“Personal Velocity”) on adapting short stories

• Stuart Gordon (“Re-Animator”) on adaptations

• Academy-Award Nominee Whit Stillman (“Metropolitan”) on cheap ways to make it look expensive

• Miranda July (“Me and You and Everyone We Know”) on making your writing spontaneous

• Alex Cox (“Repo Man”) on scaling the script to meet a budget

• Joan Micklin Silver (“Hester Street”) on writing history on a budget

• Bob Clark (“Children Shouldn’t Play with Dead Things”) on mixing humor and horror

• Amy Holden Jones (“Love Letters”) on writing romance on a budget

• Henry Jaglom (“Venice/Venice”) on mixing improvisation with scripting

• L.M. Kit Carson (“Paris, Texas”) on re-writing while shooting

• Academy-Award Winner Kenneth Lonergan (“You Can Count on Me”) on script editing

• Roger Nygard (“Suckers”) on mixing genres

This is the book for anyone who’s serious about writing a screenplay that can get produced! 

Dean Peterson on "What Children Do"

What was your filmmaking background before making "What Children Do"?

DEAN: I went to film school at Columbia College in Chicago and barely graduated. After school I spent months spinning my wheels and bagging groceries at Whole Foods before realizing that a big check wasn't going to fall from the sky to shoot a movie and fueled by absolute desperation, decided to lift myself up by my bootstraps and make a feature film by any means necessary. Which ended up meaning moving back in with my Mom in Minnesota, working part time at a liquor store, and doing a Kickstarter to raise the very meager budget for my first feature Incredibly Small.

We shot the film in 14 days, premiered it at Raindance in London and went on to play it at a bunch of festivals and put it online where it got some attention and a Vimeo Staff Pick. In the intervening years I made a bunch of shorts, moved to New York, and shot my second feature film What Children Do in April of last year.

Where did the idea come from and what was the process for writing the script and getting the script ready to shoot?

DEAN: The idea was loosely inspired by the death of my grandfather in 2014. His funeral was the first time my entire family had been back in the same place in many years, and I was fascinated by seeing how all of the conflicts, rumors, and tensions that had laid dormant for so long were reignited the instant we were all back together.

I also wanted to explore the relationship between sisters which I had never seen done in a really satisfactory way in movies before. I have two sisters, and even though the characters in my film aren't based on them, I find that basic dynamic utterly fascinating. 

I wish that I could say that I had an elegant and thoughtful process for writing, but I would be lying. I was working awful 9 to 5 time jobs while I wrote the script so my process was to force myself to come home from work and write for 1-2 hours as often as I could muster.

The first few drafts were utterly appalling, but with each successive draft it got better and better (I hope???) as I tried to hone in on the voices of the sisters as well as work out the kinks with the plot. My sense of humor is really random and often non-sensical, so many passes on the script were just trying to solve problems like "which scene can I work this Applebee's joke into?"

What was your casting process and did you change the script to match your final cast?

DEAN: The two sisters were difficult to cast because they're such dynamic roles. I needed to find actors that were able to pull of really big jokes but were also capable of incredible emotional honesty, often within the same scene.

I saw Nicole Rodenburg in Annie Baker's play "The Flick" and was floored by her performance. I looked her up online the next day, and I'm still not sure why, but chose to DM her on Twitter. Within a minute of our first meeting, she mentioned that she had a frozen Cornish game hen in her purse AND applied drops of oregano oil on my tongue after finding out I had a cold, and I decided to cast her on the spot.  

I had originally seen Grace Rex in her short film This Is She and was taken by her look and the way she commanded your attention on screen, without even saying anything. I also found a bunch of comedic short films she had done online and after meeting with her knew immediately that her voice and instinct as an actor were exactly what I wanted. She was so talented, and her filmography is so intimidatingly impressive, I never thought in a million years she'd want to do the movie, but I was able to somehow trick her into signing on.

I'm always completely open to script suggestions from actors, and we made a few changes here and there to personalize the characters, but I would say the script remained about 95% the same. A lot of the details about the characters like their wardrobe or choices they make inside of scenes were from the actors though. I cherish these kinds of contributions and try to continually encourage people I work with to bring these ideas to the table. =

What type of camera did you use and what did you love (and hate) about it?

DEAN: We shot on the Canon C300. I love the image quality and versatility of it. You can have a really small rig and easily sneak into places and steal shots which we did a lot of. It's also really good in low light so you can shoot out in the real world with a small crew and move from scene to scene quickly, which is fantastic because I hate standing around on set.

Did the movie change much in the editing, and if so, why did you make the changes?

DEAN: The movie changed a lot in really subtle ways. I cut lines that would change the tone of the scene, extend pauses to increase tension within a moment, and I actually end up cutting 8 minutes off the very end of the movie which totally re-contextualized how the story ends.

My editing process is wholly instinctual and I'm never able to intellectualize why I do anything. Something just does or does not feel right and luckily I edit my own films because I doubt I would be able to intelligibly convey any information to an editor.

Can you talk about your distribution plan for recouping costs?

DEAN: With my past two features and all my shorts I purposely worked using really small budgets which offers me the freedom to be adventurous in distribution as well as not being excessively beholden to financiers. I gave my first film away online for free and am interested in pursuing similarly unusual modes of distribution with this film. That said, we haven't even started playing festivals yet so it will be hard to say what it's life will end up looking like.

What was the smartest thing you did during production? The dumbest?

DEAN: The smartest thing that we did was to have everybody stay in the house that we shot in. The cast and crew were always 15 seconds from set, so nobody was ever late to call time, it also freed you up in the event you finished early and wanted to shoot something that wasn't on the schedule because everyone was just in the next room. It also created a really fun, communal, family-like atmosphere on the shoot. Every day after we wrapped, we would eat dinner together, have some drinks, and listen to music. 

The dumbest thing I did was try to cast a micro-budget feature during pilot season. You're literally at the bottom of every agent's priority list. 

And, finally, what did you learn from making this feature that you will take to other projects?

DEAN: Shoot your goddamn movie. Don't wait around for years and years trying to raise a budget that may never come in. Set a date, tell lots of people what you're doing so you'll be thoroughly humiliated if you back out, and then press forward every single day, ignoring anyone who is doing anything other than enabling you to get your movie made.

I learned that if you can shoot movies for very little money nobody can stop you.

Dying to make a feature? Learn from the pros!

"We never put out an actual textbook for the Corman School of Filmmaking, but if we did, it would be Fast, Cheap and Under Control." 
Roger Corman, Producer

★★★★★

It’s like taking a Master Class in moviemaking…all in one book!

• Jonathan Demme: The value of cameos

• John Sayles: Writing to your resources

• Peter Bogdanovich: Long, continuous takes

• John Cassavetes: Re-Shoots

• Steven Soderbergh: Rehearsals

• George Romero: Casting

• Kevin Smith: Skipping film school

• Jon Favreau: Creating an emotional connection

• Richard Linklater: Poverty breeds creativity

• David Lynch: Kill your darlings

• Ron Howard: Pre-production planning

• John Carpenter: Going low-tech

• Robert Rodriguez: Sound thinking

And more!

Write Your Screenplay with the Help of Top Screenwriters!

It’s like taking a Master Class in screenwriting … all in one book!

Discover the pitfalls of writing to fit a budget from screenwriters who have successfully navigated these waters already. Learn from their mistakes and improve your script with their expert advice.

"I wish I'd read this book before I made Re-Animator."
Stuart Gordon, Director, Re-Animator, Castle Freak, From Beyond

John Gaspard has directed half a dozen low-budget features, as well as written for TV, movies, novels and the stage.

The book covers (among other topics):

• Academy-Award Winner Dan Futterman (“Capote”) on writing real stories

• Tom DiCillio (“Living In Oblivion”) on turning a short into a feature

• Kasi Lemmons (“Eve’s Bayou”) on writing for a different time period

• George Romero (“Martin”) on writing horror on a budget

• Rebecca Miller (“Personal Velocity”) on adapting short stories

• Stuart Gordon (“Re-Animator”) on adaptations

• Academy-Award Nominee Whit Stillman (“Metropolitan”) on cheap ways to make it look expensive

• Miranda July (“Me and You and Everyone We Know”) on making your writing spontaneous

• Alex Cox (“Repo Man”) on scaling the script to meet a budget

• Joan Micklin Silver (“Hester Street”) on writing history on a budget

• Bob Clark (“Children Shouldn’t Play with Dead Things”) on mixing humor and horror

• Amy Holden Jones (“Love Letters”) on writing romance on a budget

• Henry Jaglom (“Venice/Venice”) on mixing improvisation with scripting

• L.M. Kit Carson (“Paris, Texas”) on re-writing while shooting

• Academy-Award Winner Kenneth Lonergan (“You Can Count on Me”) on script editing

• Roger Nygard (“Suckers”) on mixing genres

This is the book for anyone who’s serious about writing a screenplay that can get produced! 

Henry Jaglom on “Someone To Love"

What was the inspiration for “Someone To Love”?

HENRY: I was alone, and I didn't understand why I was alone. And I looked around at my friends and I realized that I was part of a whole generation of people that were alone and that it wasn't just a generation but that it was a function of something that was happening at that period in the 80s and the 90s. People who always assumed that they would be married and have families found themselves somehow in the middle of their lives on their own. 

So, I thought I would try to make a movie about it, but what I would do is go through my phone book and actually pick out people I knew who were alone and put them together in some central location. 

And then I was talking to Orson about it at lunch one day. He and I had lunch once or twice a week for the last eight or nine years of his life. He was very interested in it. 

And during that time, I was editing my film Always, about the end of my first marriage (which was the reason I was alone at the time of Someone to Love). Orson came one day and sat behind me in my editing room and watched the entire film of Always and smoked his big, Monte Cristo cigar. 

At the end of it he did an extraordinary thing. He was silent for a while, and I thought, 'Oh, Christ, he hates my movie.' And then he said something very quietly, so I couldn't hear him, which was not like him. So I said 'What? What?' And he said, 'I'm jealous.' 

For a crazy moment I thought he meant he was jealous because the film was so wonderful; he didn't mean that at all. 

But I tried to reassure him, I said, 'My God, you're Orson Welles, you've made a dozen of the greatest films of all time.' He said, 'No, no, Henry, I'm not jealous about that. It's a very good film, I like the film very much. I actually love the film. But I'm not jealous because of the film. I'm jealous because you, as a filmmaker, in Always reveal yourself completely, nakedly, without any masks on. You don't make yourself attractive, you show yourself warts and all. As a matter of fact, you're going to get criticized for some of the whining and the baby talk and all of that. You really allow us to see you without a mask on.' 

And Orson said, 'All my life I've hidden behind a mask. I've never been on screen without a mask. I'd like just once before I die to do that.' 

So I said, 'Well, Orson, you just heard about my film Someone to Love. I think we've got a solution here.' He said, 'What do you mean?' I said, 'It's all about my generation of people and all of us trying to figure out why we're alone in life. If I had somebody from your generation -- you -- sitting in the back of the theater as a sort of Greek chorus and telling us just as you have at lunch over these years, talking to me about life and death and love and loss and men and women and movies and theater. If you'll do that, we'll do it without masks. You'll get to appear without a mask.' 

And Orson said, 'Great.'

Then he showed up three months later, when we started shooting, with a big make-up box in his lap and was made-up like a Greek. He had a funny, weird accent and he had a big nose on. I said, 'What are you doing? Remember, the whole point of this was no masks.' He said, 'Oh, you don't like the Greek? Come back in a half hour.'

I came back and he'd put on some Arabic make-up and had an Arab accent. I said, 'Orson, you're missing the whole point. The whole point was, no masks, remember like in Always, we want to see you.' He said, 'Oh, nobody wants to see me just with this little nose.' 

I don't know how to explain it. He was goading me into tricking him (though of course you couldn't trick Orson, so it was his manipulation) into tricking him into doing the film the way he really wanted to but couldn't admit it finally. He allowed me to say, 'No Orson, no make-up, no accents, I don't want you to memorize speeches, I want you to really be you and just help me solve my dilemma but also help me solve the movie, because I don't know how to end this movie, there's no way to end it.' 

So he said, 'Oh, I'll give you an ending!'

I had a plan, a super structure, but I left it up to the individuals as to what they would say, and I certainly left it up to Orson as to what he would say and depending on that was what I would say. 

I knew what I wanted to talk about in terms of loneliness and relationships, but I was actually seeking the movie as I was in the movie. I decided I would just do it that way and then when I got back to my editing room, I would look at what I got and what everybody gave me and find a way to put it together into a narrative.

How much of your plan did you reveal to your cast?

HENRY: No one knew anything. I just told them I wanted them to be in a movie, and I wanted to be able to deal freely with the facts about their own single situation in their romantic life at this moment. I confirmed with some of them that they were in fact still single, that they weren't involved, that I didn't miss anything, and that's all I asked them to do.

And only one person ended up leaving. Kathryn Harrod left, she didn't realize it would be that personal. The truth was, she was uncomfortable, and I thought more people would be uncomfortable, but actually everybody likes to talk about themselves.

How much did you find that movie in the editing?

HENRY: One hundred percent. Actually, fifty percent in the shooting and fifty percent in the editing. But nothing in preparation. It's the kind of movie where you absolutely cannot prepare, because you don't know what people are going to say. 

Several of my movies have a mixture of a storyline -- which is a narrative, which is created by me -- and an interview structure, which is spontaneous and real and comes from the people. So, I can prepare one half of that, but I can't possibly prepare the interviews without interfering with the reality of it.

Like in Eating or in my movie coming up next, Going Shopping, or Venice/Venice, anyone one of those movies which have an interview threaded throughout. 

But in the case of Someone to Love, because the entire thing was about somebody making a film, there could be no preparation. It would be absolutely wrong for me, from my point of view, to have anybody know anything in advance of what anybody was going to say, including Orson. All I told Orson was to go over in his mind all the things he'd talked to me about over the last couple of years when we'd talked about relationships and men and women. And then he just came up with all this stuff.

It really captures Orson the way if you had had lunch with him. Everybody had this image of him as this intimidating ogre. If he had a chance to, he might put on a little bit of scary persona, but in fact he was a sweet, sweet man, and I think that's what shows in the film.

The narrative is created in the editing rather than written beforehand, and that's true of many of my movies. Orson said to me once, 'Everybody else makes movies, but first they decide what the narrative is, and out of the narrative they try to find their theme. The difference with you, Henry, is that you choose your theme first, and then you try to discover, out of your theme, the narrative.' And that's very true of my process.

I didn't set out to work this way. It's the way I like finding stories.

During the making of Someone to Love, Orson looked at me suddenly and said, 'I know what's going on. You remind me of this old Eskimo I say in a documentary about Eskimos. There was this old Eskimo, who was sitting and carving this gigantic walrus tusk. And the filmmaker goes up to the Eskimo and says, "What are you making?" And the Eskimo looks at the filmmaker, totally bewildered, and says, "I don't know; I'm just carving and trying to find out what's inside."' 

And Orson said, 'That's the way you make movies, Henry, you carve away at yourself, at me, at your friends, at the whole culture, trying to find out what's inside of all of us.' And that was as good a description of my process as I've ever heard.

I understand that you don’t like rehearsals.

HENRY: I hate rehearsal. 

What’s the benefit of not rehearsing before you shoot?

HENRY: The magic of reality. The honest surprise of what happens the first time when somebody thinks of something or you see them thinking and discovering it and saying it. And then they have to re-create it and try to pretend to be thinking and discovering it. 

You can't do this on stage, where you have to repeat everything at 7:45 at night the exact same way, but on film you just have to get it once. 

And the most truthful moments, it seems to me, are the moments that just happen and even surprise the person themselves as they're saying something, because they don't know they're going to be saying it. If you rehearse, no matter how good you are, you know you're going to be saying it. And unless you've got a Brando or a Meryl Streep or the handful of actors who are better each time, you've got human behavior which is better and truest the first time. 

God, I would die if I rehearsed and someone in rehearsal gave me a great moment, because a great moment is what you look for in film. It's all about the moment.

I was complaining about not having more time, not having more money to do something I wanted to do, and Orson said this line that I now have over my editing machine. He said, 'The enemy of art is the absence of limitations.' 

That was just about the most important thing that has ever been said to me, because if you don't have limitations you start throwing technology or money at a problem. But if you have a limitation, you have to find a creative solution, and therefore you create art. 

For me the most valuable lesson from Orson, and it happened during that movie, was make whatever happens work. It's good to have limitations, because you have to find an artistic or creative way to surmount them. And it's more fun.

Did I tell you why I started improvising in movies?

To make my first movie, A Safe Place, I had to write a script to get the money from Columbia Pictures. I had written a play called A Safe Place, so I adapted it into a very funny screenplay. It was a more hip version of a Neil Simon thing. The studio loved it, everybody loved it.

My two friends, Jack Nicolson and Tuesday Weld, two of my very closest friends, I knew them extremely well and I'd written this wonderful scene and it was really good and I'd done it on the stage and it worked beautifully. 

So I had them do the scene, and they're tremendous actors, but there was something missing and I didn't know what. So I said, 'Okay, let's do it again.' And I did about five takes, and I said, 'This is really strange. This isn't as interesting to me as Tuesday actually is or as Jack actually is in life.' 

So I said to them, 'Look, just forget what I wrote. You know what has to be accomplished in this scene. Just get through that, but don't worry about my words.' And it was magical. And I didn’t look at the script for the entire rest of that movie, to the horror of Columbia pictures, because I can't it into a poetic and abstract film from what was a very simple narrative. 

The bigger lesson that I got was that actors are to be encouraged to delve into their own lives and into their own expression and their own language and their own memory, because they will come up with fresh and extraordinary things that you could never in a million years create. 

And all you have to do is get that to happen once on film and have that moment and then figure out how to put it together with the next moment. For me, that was it. I never looked at my script again. I drove the crew crazy, but I made the movie I wanted to make.

How do you edit?

HENRY: I edit on film, on a KEM, on a flatbed. 

You’re a good candidate for non-linear editing. 

HENRY: Everybody tells me that. But what I like to do is splice myself, go back and forth over a piece of film, find things, find things that I otherwise would have missed. I don't know, maybe I've become a reactionary in this area; it seems hard to believe. 

I was the first person to have a KEM. It was because of Orson, once again, telling me on A Safe Place, after I shot the movie. Everybody was still cutting on movieolas. And he said ' There's this great thing, a flatbed KEM,' and all the editors didn't want to get it because they realized that they could be dispensable then, because you could learn how to do it yourself. 

Which is in fact what happened, and halfway through A Safe Place I let the editor go and I ended up editing it myself. And I've edited all my movies since. So maybe it's just the familiarity of that to me, and if I had the other I would need a technician, that I don't want to work with.

I guess, it's old dogs and new tricks.

You have very strong critics. Some people just seem to hate your movies.

HENRY: My movies violate a lot of the conventional rules of filmmaking, which people really resent. They really resent that, I don't know why, I didn't expect that, but I found that out starting with my first films. They see film as a narrative medium, and they don't see it as an art. They're willing to accept in music or in painting, even to some extent in theater--a sort of surrealist thing, where lights are used and sets are used, but they're not naturalistic. 

But on film, they want to know where they are. It's become such an entertainment rather than art medium, that when you defy that and make people explore certain things emotionally or violate some of the rules. 

I found, on A Safe Place, because I violated all of those rules on my first movie, because I didn't know people were going to resist it, the anger started right there. 

I remember Time magazine saying 'this movie looks like he threw the pieces of the film up in the air and it landed totally at random in a mix master.'  

But I think that those people who don't like that really hate it. They feel violated. Then they translate that as I am either amateurish or self-indulgent or all those kind of words, because I don't think they like to be taken out of their narrative convenience, out of the safety of the narrative.

We deal so much with people revealing themselves, people really expose themselves in my movies, these wonderful, brave actors. I had about 53 of them in Going Shopping, I had 38 of them in Eating. These aren’t just actors who are good actors; they're revealing and opening up very personal and frequently painful parts of themselves and exposing it. 

And a lot of people don't want to see that. It's understandable. I'm always surprised by how many do (want to see it). I'm never surprised by the negative reactions; I'm always surprised and delighted by the degree of openness with which so many people are willing to receive and accept the films. 

And those people who do like them, they really do become a part of their lives. I get these incredible letters, thousands of letters from all over the place, with very touching things about terribly sad and painful moments in these people's lives when the films were really helpful. They feel less alone, they feel less isolated, which is really the goal for me of making films like this.

Dying to make a feature? Learn from the pros!

"We never put out an actual textbook for the Corman School of Filmmaking, but if we did, it would be Fast, Cheap and Under Control." 
Roger Corman, Producer

★★★★★

It’s like taking a Master Class in moviemaking…all in one book!

• Jonathan Demme: The value of cameos

• John Sayles: Writing to your resources

• Peter Bogdanovich: Long, continuous takes

• John Cassavetes: Re-Shoots

• Steven Soderbergh: Rehearsals

• George Romero: Casting

• Kevin Smith: Skipping film school

• Jon Favreau: Creating an emotional connection

• Richard Linklater: Poverty breeds creativity

• David Lynch: Kill your darlings

• Ron Howard: Pre-production planning

• John Carpenter: Going low-tech

• Robert Rodriguez: Sound thinking

And more!

Write Your Screenplay with the Help of Top Screenwriters!

It’s like taking a Master Class in screenwriting … all in one book!

Discover the pitfalls of writing to fit a budget from screenwriters who have successfully navigated these waters already. Learn from their mistakes and improve your script with their expert advice.

"I wish I'd read this book before I made Re-Animator."
Stuart Gordon, Director, Re-Animator, Castle Freak, From Beyond

John Gaspard has directed half a dozen low-budget features, as well as written for TV, movies, novels and the stage.

The book covers (among other topics):

• Academy-Award Winner Dan Futterman (“Capote”) on writing real stories

• Tom DiCillio (“Living In Oblivion”) on turning a short into a feature

• Kasi Lemmons (“Eve’s Bayou”) on writing for a different time period

• George Romero (“Martin”) on writing horror on a budget

• Rebecca Miller (“Personal Velocity”) on adapting short stories

• Stuart Gordon (“Re-Animator”) on adaptations

• Academy-Award Nominee Whit Stillman (“Metropolitan”) on cheap ways to make it look expensive

• Miranda July (“Me and You and Everyone We Know”) on making your writing spontaneous

• Alex Cox (“Repo Man”) on scaling the script to meet a budget

• Joan Micklin Silver (“Hester Street”) on writing history on a budget

• Bob Clark (“Children Shouldn’t Play with Dead Things”) on mixing humor and horror

• Amy Holden Jones (“Love Letters”) on writing romance on a budget

• Henry Jaglom (“Venice/Venice”) on mixing improvisation with scripting

• L.M. Kit Carson (“Paris, Texas”) on re-writing while shooting

• Academy-Award Winner Kenneth Lonergan (“You Can Count on Me”) on script editing

• Roger Nygard (“Suckers”) on mixing genres

This is the book for anyone who’s serious about writing a screenplay that can get produced! 

Cat Hostick on "The Meaning of Life"

What was your filmmaking background before making "The Meaning of Life"?

Cat: I grew up in the arts. I was a painter from a young age, and studied art in Amsterdam, Berlin and Spain throughout high school. At this time, I was also acting and pursued that once I moved to Toronto, Canada. I was always interested in storytelling – directing, acting, writing and so I began dabbling behind the camera.

In University, I got lucky with a part time job at Walt Disney Studios Motion Pictures Canada as a publicity assistant, working on all of the Marvel movies. Shortly after this, I began working more and more behind the camera, joined the Director’s Guild of Canada and started directing professionally as a full-time job a year or two later.

Where did the idea come from and what was the process for getting the script ready to shoot?

Cat: The movie originated from two things -- One is the title of the movie. What is the meaning of life? I feel like we all question it and there are only metaphysical answers in my opinion. I wanted to explore why some people get a short life, why some get a long life, and what do we make of the time we have here. 

The second inspiration is music and art as a therapy to heal. Music therapy is an integrative therapy used with medical treatment that has great results, backed by science. In the movie, Finn is a musician who gets a temporary job as a therapeutic clown at a hospital playing music for sick kids, and primarily for a 9-year-old leukemia patient named Sophia.

Also drawing from personal experiences, I struggle with an autoimmune disease, and I haven’t had any luck with medical treatments, but arts therapy has actually helped the most.

As you know, the process is long and complex, but first and foremost, we needed a hospital to shoot in or this movie wasn’t going to happen. We ended up getting very lucky with our associate producer that made this happen. We got to use a shutdown hospital for a very reasonable price. I can’t tell you how lucky this was. You can’t get a hospital set for less than $3000 per day. 

What was your casting process and did you change the script to match your final cast?

Cat: I wanted a musician to play this role, since the lead character was one. I was aware of the risk, in that I may get a good musician, but a bad actor and it’s a lead character that has to carry the entire movie.  My partner in life and in biz, Russ De Jong (Director of Photography/ Executive Producer) had worked with tons of artist, everyone from Shawn Mendez to the Weeknd. We started thinking of who would fit the role best. We landed on Sony-signed, Juno nominated pop singer Tyler Shaw. 

Tyler was about to go on tour with Selena Gomez and was very busy, but we got lucky and had him for 10 short days of filming a feature film. We actually did not even get to audition Tyler. I did a skype read with him while in New York. I was freaking out, but deep down believed he was capable. 

For the rest of the casting, we needed a strong cast around Tyler since he was not primarily an actor. We had one of the best child actors around – Sadie Munroe who plays 9-year-old leukemia patient Sophia Hill, and we also had Sergio Di Zio (Flashpoint) who plays her father. These two actors are just brilliant. Our company North Film Co. casted half of the characters, while a well-respected Canadian Casting Agency called Parasyn Casting did the other half which includes Sergio and Sadie.

Sadie wasn’t the original look I was going for. She is an adorable red-haired girl with freckles, but I pictured someone else. However, Sadie’s audition was so emotional and compelling that I cast a different mom to make Sadie work.

What type of camera(s) did you use and what did you love (and hate) about it?

Cat: We used the Red Dragon 6k with ultra prime lenses.  I love the cinematography. My partner/DP Russ De Jong is brilliant, and I have no complaints. Lots of people love Alexa, we love Red.

Did the movie change much in the editing, and if so, why did you make the changes?

Cat: Funny story, it was originally a short film that was 20 minutes. In the editing room, due to my directing, we had a lot of drawn-out moments and it ended up being a 40 minute film! I brought up the idea of a feature and Russ turned it down, but then changed his mind. We decided to go back to filming to finish it as a feature, but due to Tyler’s schedule among other actors, we had to finish on a certain date, and I basically had to write the feature portion over a weekend. The entire movie was shot in 10 days on 10-hour days. 

Can you talk about your distribution plan for recouping costs?

Cat: We have had quite a few offers in Los Angeles and here in Canada. We have not signed anything, as we are deciding the best deal for us. This was a low budget movie, and more than making money back, we just want a picture deal for another movie if we sign any agreements.  However, I will say I’ve learned that this movie has a big audience, and it is easier to sell than a thriller per say. 

What was the smartest thing you did during production? The dumbest?

Cat: The smartest decision was to make the decision to finish it as a feature film. As well, make a movie with a positive message – these movies have a big audience.

And, finally, what did you learn from making this feature that you will take to other projects?

Cat: I learnt that anything is possible; you just need to discover how to use your resources properly. 

Another major lesson I learnt as a first-time feature director is that there were moments that were pivotal in the movie that I could have made stronger. We shot this move in 10 days, on 10-hour days, and most people after watching this movie are shocked at that fact in terms of the quality overall… Because we move at such a fast pace, and I wasn’t allowed to do any reshoots, it was a challenge for me. 

But when you have limited time and a limited budget, you don’t have these luxuries, and they are good habits to have. You need to do as much prep work as possible, and in the moment, know exactly what you need to cover to get your story and don’t waste time on shots or takes that you don’t really need.  

This just comes with experience. 

Dying to make a feature? Learn from the pros!

"We never put out an actual textbook for the Corman School of Filmmaking, but if we did, it would be Fast, Cheap and Under Control." 
Roger Corman, Producer

★★★★★

It’s like taking a Master Class in moviemaking…all in one book!

• Jonathan Demme: The value of cameos

• John Sayles: Writing to your resources

• Peter Bogdanovich: Long, continuous takes

• John Cassavetes: Re-Shoots

• Steven Soderbergh: Rehearsals

• George Romero: Casting

• Kevin Smith: Skipping film school

• Jon Favreau: Creating an emotional connection

• Richard Linklater: Poverty breeds creativity

• David Lynch: Kill your darlings

• Ron Howard: Pre-production planning

• John Carpenter: Going low-tech

• Robert Rodriguez: Sound thinking

And more!

Write Your Screenplay with the Help of Top Screenwriters!

It’s like taking a Master Class in screenwriting … all in one book!

Discover the pitfalls of writing to fit a budget from screenwriters who have successfully navigated these waters already. Learn from their mistakes and improve your script with their expert advice.

"I wish I'd read this book before I made Re-Animator."
Stuart Gordon, Director, Re-Animator, Castle Freak, From Beyond

John Gaspard has directed half a dozen low-budget features, as well as written for TV, movies, novels and the stage.

The book covers (among other topics):

• Academy-Award Winner Dan Futterman (“Capote”) on writing real stories

• Tom DiCillio (“Living In Oblivion”) on turning a short into a feature

• Kasi Lemmons (“Eve’s Bayou”) on writing for a different time period

• George Romero (“Martin”) on writing horror on a budget

• Rebecca Miller (“Personal Velocity”) on adapting short stories

• Stuart Gordon (“Re-Animator”) on adaptations

• Academy-Award Nominee Whit Stillman (“Metropolitan”) on cheap ways to make it look expensive

• Miranda July (“Me and You and Everyone We Know”) on making your writing spontaneous

• Alex Cox (“Repo Man”) on scaling the script to meet a budget

• Joan Micklin Silver (“Hester Street”) on writing history on a budget

• Bob Clark (“Children Shouldn’t Play with Dead Things”) on mixing humor and horror

• Amy Holden Jones (“Love Letters”) on writing romance on a budget

• Henry Jaglom (“Venice/Venice”) on mixing improvisation with scripting

• L.M. Kit Carson (“Paris, Texas”) on re-writing while shooting

• Academy-Award Winner Kenneth Lonergan (“You Can Count on Me”) on script editing

• Roger Nygard (“Suckers”) on mixing genres

This is the book for anyone who’s serious about writing a screenplay that can get produced! 

Stephen Belber on writing "Tape"

Three people in one room. 

That’s always been considered the perfect construct for a low-budget movie. However, to keep that interesting is a lot harder than it looks. 

Stephen Belber and Richard Linklater pull it off in Tape, primarily because they trusted the source material they were working with. Belber wrote from his gut when creating his characters and the ever-changing dynamic during their meeting in a slightly-seedy motel room keeps the story constantly evolving and involving.

(Be aware that this interview contains spoilers about key plot points.)

Where were you in your career before you wrote the stage version of Tape?

I was not very far along. I had just quit my day-job to work on The Laramie Project. It was the year that we were researching the murder of Matthew Shepard. I was going out to Laramie every couple of months and then coming home. So I was just starting to get paid. I had been writing plays for a long time, I'd come out of the Playwright Fellowship program at Julliard, but I was sort of adrift and not sure. 

And then Tape came along. It was not one of the big plays I was planning on writing or was working on. It was something where two old friends of mine came along and they wanted to showcase themselves as actors in the New York theater world, and they said, “Can you write us something that can really show what we can do?" 

So I really wrote it for them. Then one of the actors was dating this girl, so I added her because it got boring with two guys after awhile. So it wasn't like, "I'm going to write this big play." I was just doing it because I liked these guys and I liked their work and it was fun.

We produced it ourselves way off-off-Broadway for a very low-budget. Eventually, a Broadway producer came down to see it, because it got a nice buzz, and he wanted to option it because he was looking for something to do with Ethan Hawk. 

He was going to do Albee's Zoo Story, and he was looking to couple it, because Zoo Story had first been coupled with a Becket one-act back when Albee first wrote it. So he was looking for a young, new writer to pair up with an older writer, which happened to Albee.

So we did a reading of it with Ethan and some other actors, and then it fell through because Edward Albee didn't want that to be the play to accompany his play. He ended up writing his own. But Ethan remembered it and when InDigEnt came to him, Ethan said, "How about this? It would be fun, quick and easy to shoot."

So he brought it to Rick Linklater. And Uma Thurman had been at that first reading that Ethan had done, so she was familiar with the play. It was all very lucky.

How did you generate the idea when your two friends said "write something for us"? You weren't thinking screenplay at that point, right?

I had written maybe one screenplay, for fun, at that point. So this was really something to get gritty -- it was the antithesis of what you'd think of as a movie. It was one room, a screwed-up, fucked-up relationship. 

I was thinking of something we could do low-budget, production-wise. We got together one afternoon, we tossed around a couple ideas. It could be in a motel room, they could be brothers, what is it? And then they went away and I worked on it for a couple weeks. And they came over for a reading, just in my living room. It was very subterranean and organic that way, which was nice. 

It was a good lesson for me as a writer, because I tend to think epically and think I'm going to write the Great American Play and I over-plan it and I don't let spontaneity in the process. And this was good to remind me to write from the hip a little more and write closer to home. These are the types of guys I'd grown up with and I know these types of situations. These are 28 year-old guys and this was something I was familiar with at the time.

Once you determined the location, how did you generate the story? It sounds like it came pretty quickly, if the two actors came back in two weeks for a reading.

I don't know why. It was right around the time that Bill Clinton was debating whether or not to apologize for slavery and I was fascinated with the idea of apology: When is it gratuitous and self-serving versus when is it genuine and important? And that was a question that was valid at the time for Clinton. So I think that was on my mind, those types of questions. 

And I wanted to write about people who were very close, so I based it on myself and another guy, the repartee that you have with your close friends. But I wanted to get to something darker beneath that and what happens when those types of competitive friendships get cross-referenced with intense issues, such as date rape.

Did you outline the story?

I don't know that I did. I certainly don't have lots of notes like I have for most of my plays. I must have realized, semi-early on in thinking about it, that there was going to be a dark secret and that the one guy was taping the other. I had no idea how it was going to end, and as I said, the girl was added on.

The play used to end when Robert Sean Leonard's character leaves the first time. And the play ended with her looking at him, like "You're an idiot." But I knew there was more there and after a public reading I went back in and said, "Well, what if he comes back and makes that effort to apologize?" But when writing it, I didn't think very far ahead in terms of what happens when a friend confronts another friend. 

What was your day-to-day writing process?

I guess I'm pretty intense when I come across an idea and I don't sort of do an hour a day. My wife is French and I remember trying to describe this idea: A comedy about date rape was how I was forming it at the time. And she sort of laughed me off and said I should come up with a different idea. But I was able to keep writing. I remember starting over at one point, fairly early on and scrapping what I had when I came up with the idea that she might show up. 

I was writing by hand at that time. I like to get really into it when I'm writing and get a first draft done as soon as possible, then go back in and work on it.

And you're able to do that even if you don't know exactly where you're going?

Yeah. I had, at the time, a philosophy that when you're dealing with those types of tight friendships, where you don't know yourself where the conversation is going, that it would be truer and more genuine to write within that vein and to have a general goalpost that you were headed for, but to let the turns happen. 

If you're writing quickly enough in your mind and keeping up with your pen, let those twists and turns come at you, almost as quickly as they're coming at the characters. At least for this type of play, where it's sort of down and dirty.

Were you hearing anyone when you wrote?

Yeah, I guess I was. I always hesitate to say this, because I'm not a date rapist, but it was myself and a very close friend of mine. 

I always felt in high school that I was a step behind him. He was more popular with the girls and everything, yet at this point in life he was not sure what he wanted to do and I was really going after what I wanted. And I love the dynamic of how those friendships can shift and change over the years. 

I actually wrote a whole second act to this play that takes place ten years after the event in the motel room. Things have changed, and actually Vince is married. They live a sort of antiquated, domestic life. And John has gone on to make really, quote-unquote, important documentaries. 

He comes back again, there's another pretense for a reunion of sorts, where things that were obviously left unsettled that night in the motel room pop back up. I never ended up doing it, because it felt excessive and a little redundant. 

But I do like the idea of thirty years of friendship and the turns that it takes, because the decisions that we make at 18 reverberate and cause different decisions at 28 and those reverberate and they make up our persona at age 38.

I thought it was interesting, character-wise, that Vince is so likeable, yet isn't really that nice of a guy; John is attempting to do the right thing, yet is really not all that likeable. How do you strike that balance in creating characters?

It's so easy to make them so unlikable that the whole's thing's dismissed and people are bored. And making unlikable people likeable in context is hard; I tried it in another piece and it doesn't always work. 

I think because I was basing it on a guy that I love -- the Vince character -- I felt that he was the most unconstrued character, in a good way. He was very organic and he came out of someone with whom I do have a complicated relationship, so it just felt easy that way, to depict him with all his flaws.

But I also just got lucky in that I happened to set it up so that we were rooting for this guy. He can snort all the coke that he wants and be as much of a jerk as he wants, but we're invariably rooting for him because he is a) trying to do the right thing and, b) his second motive is that he's doing this because he's in love and he's desperately in love, from the position of an underdog. And those are just traits that if you endow a character with them, you can get a lot of mileage of them.

But you weren't consciously considering that while you wrote it, were you?

No, I don't think I was. I would like to say I was, but I just happened to hit upon that dynamic. I don't think I even knew how much his real motive was that he was in love with her. I sort of realized that while I was writing it. I had this notion that he was trying to compel his friend to do the right thing and apologize. 

But because those two motives -- the desire to have Amy love him and the desire to make his friend do the right thing -- were so imbued in the same character, it made him someone we could all relate to, because we all have mixed desires. 

I think so often when you go to playwriting school they teach you about single intention, and certainly as an actor you can't play two intentions at once, and from moment to moment that's probably true. But I love trying to create characters who have these both genuinely deeply rooted intentions. It's great. Plus, he's a fun character to play.

Ethan Hawk, when he did the reading of the play, he played John. He was more of the good guy and that was more of his reputation up to then, playing that sort of higher than thou characters. I think he realized that he could stretch himself and show another side of himself, so when the movie came around, he very much wanted to play Vince, which I totally understand.

It's not just playwriting school that teaches that; screenwriting schools do the same thing, telling you to create characters who have one goal that they're going after. But in Tape, their goals shift constantly.

Yeah, exactly, and the responses of their opposite guy affect their next motives as well. 

And it's true, in screenwriting it's even more of a problem. They want heroes, and if not, they want anti-heroes, but less often do they want highly-flawed characters who are not self-aware and who are not clear in going after their intention. 

Were there other things you learned from having a reading of the play?

I went in there thinking I had a much clearer idea of what was going on. I really did want to talk about this notion of apology and the worthiness of apology. And when I came across the idea of not just bringing Amy into the room, but keeping her around and having John come back and her not allowing him to have that apology on the grounds that he wanted to have it on, I think I started to realize that the play is actually potentially more interesting than my psuedo-politically-correct take on it. It’s also about power and it's about gender wars in terms of power. But also the Rashômon element came in, in a way I had not preconceived. 

I thought I was just into this relationship between these two guys, having them sock it out, have a battle, and suddenly it became about who owned the past, who owns memories, and who owns apologies. 

If we're basing our personas on events that have formed us in the past and someone comes in and takes the rug out from underneath that memory, the way you've solidified that memory in your mind, you have to reevaluate not just the memory but everything henceforth. It plays a real mind game. 

I don't think I was really thinking about those things until I brought John back into the room on the second go-round and realized that it's not just about right and wrong, it's about who gets to do what when, on who's grounds. And also that memories are pliable. They're not set in stone.

When you were adapting it into a film script, was there ever any talk of "opening it up"?

There was briefly talk about it. That would be the first instinct for any filmmaker. 

That's the great thing about Linklater. We talked a little bit about opening it up, but his inclination was definitely not to, that it was going to be more interesting to keep it enclosed. The problem was how do you not repeat the theatrically that comes when you try to film a play, because so often it doesn't work. 

Because the DV cameras allowed you to go into a motel room or a soundstage that really felt like a motel room, he was going to be able to capture a cinematic way of telling the story. So, only very briefly did we talk about doing some exterior stuff, which made me delighted, because I was worried that they were going to ask me to write stuff that didn't fit this play. 

You did lose some of the timing that you get in the theatrical version, because you have two cameras that you're trying to edit together. The theater piece runs an hour ten, and this ran an hour twenty-five. They added fifteen minutes because there wasn't the overlap that you get in live theater. 

The trade-off for me, which was exquisite, was the sense of intimacy and a whole other layer of my writing, which is the silences between the words. We got to look into these guys' eyes and chart their reactions. 

So the reactions were not as quick as in the theater -- boom, boom, boom -- but we got to see them process the other person's line and then come up with a response, all within the veil of 'hey, buddy-buddy,' the quick cut down repartee that guys have. But we were able to even see within that and it became, for me, more interesting that way. 

You can get that in theater, but film, and especially a DV camera, can get in there in a way that an audience member, who's free to choose where to look in the theater, could never get that close. So, for me, it was a great lesson.

And to watch it with a crowd in a movie theater was a great learning experience. We're taught as screenwriters that audiences don't care about dialogue, that it's all about the visuals. But I felt that it was a nice synthesis of both, of them yearning for dialogue that they don't usually get in film. They were ready to listen to these people talk and with it they were getting the unspoken subtext very intently and clearly. 

In terms of losing text, there wasn't much. There's one long speech that Uma Thurman has that is not as long in the film, where she finally goes after John. That was the only thing that Rick Linklater cut, and we talked about it. It wasn't just him saying, 'I'm cutting this.' He explained what he thought and it made sense. It just felt very overly-written. It's about twice as long in the play and it's much more intense. But it's probably not realistic that she could come up with that in the moment.

In the film you can see, if you watch closely, it's cut off. They filmed the whole speech and so she didn't really land it in the way she might have, but she does a great job. I just think she did a great job in the movie, capturing the essence of that character.

What I love about the movie is that it raises more questions than it answers. Most movies aren't willing to do that.

Well, that's the golden rule, to tie it up and provide those answers. And even in playwriting, I think, it's a very fine line. Audiences will feel ripped off if you're intentionally ambiguous for the sake of it. If ambiguity serves a purpose, at the risk of sounding pretentious, it's to turn it around and challenge them to ask themselves, “What would I do in that situation? What have I done in past situations? And what have I done about those things?” That does seem to serve a purpose, and if nothing else the movie does poke it back at you. It's so pointed at a particular generation were the words "date rape" just became a phrase.

My wife translated it into French and there is no expression for date rape there in that country yet. And it's relatively new to America. So I think the people who respond to this movie are people who have grown up with those words.

So, in terms of adaptation, it sounds like you basically handed Linklater the script to the play and said "Have at it."

Yeah, he was great that way. It was the opposite of what you expect the Hollywood machine to do to your work. 

Basically, the put it in screenplay form. Robert Sean Leonard's character was originally Jewish; he makes a crack about being Jewish, but we didn't think we could pass off him as that. We also changed his name. There were also one or two cultural references which we thought would potentially date the film, so we cut a couple lines. One about David Hasselhoff.

Ethan improvised a dance bit that was from his high school days that he wanted to get in there. He put the word “fag” in at one point, which I was hesitant to do because I don't like it, but it was fine because guys like that say that word in that context.

Were you involved in the rehearsal process?

Yeah, again, I was really lucky. I was out of town, working on The Laramie Project. When I came back into town, they had rehearsed for about two days. They spent two weeks in a friend's apartment, just going through it. I came toward the end of the first week and it was amazing. It was like a theatrical experience. Ethan has a great theatrical background and Rick studied theater in college. 

They started with real, genuine table work, which is what you do the first two days of any play, sitting around and talking about intention and motive and all that stuff around a dining room table. I couldn't believe that they were doing it exactly the way I would want it to be done. It was lovely.

And when they started shooting, I showed up whenever I wanted to, it was great. They built the set on a soundstage and the set had a retractable roof, so when they wanted to get certain shots they could light it. But for the most part inside the room was a sound guy and Rick, holding one camera, and the DP holding a camera, and the actors and me. It was really nice.

So you didn't have to make any changes to fit the budget?

No. The film was shot so cheap. They rented a car, so that when you opened the motel room door you could see a parked car, that was the big luxury. And that wasn't even in the script.

Rick's company completely knows how to produce at that level when they need to, and InDigEnt was scrappy and just starting out. They hadn't yet had the success that they would have. So everyone was pitching in and calling in favors. It was sort of corny but nice.

When you finished the stage version, how did you know when the script was done?

We did this first reading where it ended abruptly and I felt it was too abrupt. I knew there was more. I was so interested in the female character and I was writing out of my element so much, so I remember calling up a lot of female friends and asking what they would do in that situation. I was really clueless about the feelings that the character would be going through.

I knew it wasn't finished after that first reading, but I didn't know if I should write a whole other act or add another twenty minutes. I remember it was my first case of real theatrical soul-searching, because I knew I had something that I really liked for once. There was a nice feeling in the room and the dialogue was rolling and the characters were knowable. 

So I went off for a while and I worked on that, and we did another reading, again in my living room. And that one felt like there was a nice resolution. I guess I just knew that it was finished.

Again, I don't trust myself, because subsequently we did it in a larger venue in New York. I wrote monologues and a prologue, as well as an epilogue that took place ten years later, with all the characters speaking to us from the future. We actually produced that in New York and most of the people who knew both productions said you don't need it and it ruins this nice little thing you have. I was, as a playwright, thinking I should be writing epic, three-act plays that deal with the world and time passing, but it did feel like this moment had come to a close where the play ends now.

In terms of going back and re-writing, I actually felt like I hit that one pretty smoothly. Once I got a take on the female character, that she was not necessarily going to play their games, that she was going to not cede the power to them, regardless of what happened. I don't think it's changed much since then. 

Little tiny things have changed, because the initial actress really was very helpful in charting it when we were first doing it. But in terms of structure, I never went back and excessively re-wrote it or changed it structurally. Of course, there wasn't that much structure to change.

Do you ever put a script in a drawer for a while?

Oh, absolutely. I have about twenty-five things in a drawer right now. 

I think if I had put Tape in a drawer at that point I would never have gone back, because it's not the heftiest play. But I know that it hit a chord with people, because it was compact. I always complain when I see plays that are successful that they aren't as deep and profound as they should be, but that's not what audiences necessarily want or connect to. It has a tightness that is very satisfying and a compactness -- at an hour twenty, it definitely had that.

Did you learn anything from this process that you've taken to other projects?

Yes. I think letting a degree of spontaneity into my writing, which was something that I had excised at Julliard. Learning to let spontaneity back in and knowing that that makes for better writing.

I learned that there is a market and an audience out there for dialogue-heavy films and character-driven films and that this fast give-and-take actually can work. Everyone says it's so theatrical that it doesn't work, but if you put it out there, an audience will follow it. It's not particularly complex. It's not Tom Stoppard. But we're used to it and we can be conditioned, as filmgoers, to follow and like it. Dialogue that's fun and appropriate to the contemporary world is something that audiences will respond to.

And I learned that drama doesn't come from just visuals. Drama comes from classic dramatic structure and shifts in emotions. 

I'm writing more and more studio stuff now and I literally do cling to that idea – and I'm sure that I'll get killed for it – but I cling to the idea that you can infuse that into even these big things that I'm trying to work on. 

Do you have any advice to writers working on a low-budget script?

They'll tell you not to worry about budget when you're writing, but I think if you really are intent on doing that, you can do both at the same time. You can find low-budget ways to tell the stories you want to tell.

In theater, the best things are the plays with no set. So you have to remind yourself that “I want to tell this story. I want to tell it the way I want to tell it,” but to know that if it's a period piece that takes place over forty years in five thousand locations, it's a problem. You can probably tell the same story in a different way. 

What’s the best advice on writing you've ever received?

Write strong. There's so much prettiness and cleverness that we all strive for, but you should write for the heart more, which is different than saying write about what you know. Write to the gut.

With Tape, I guess I am most proud of the fact that it feels guttural, it feels like it's coming from a very true place. I'm sure people think there are too many plot twists and stuff, but basically these are people who are talking from their gut. And especially when it gets heated, they're talking on instinct and they're talking in the moment and there's nothing “writerly” about it at its best moments. 

And it's something that's so easy to forget, the better writer you become – because you do want to show that you're a good writer – is how to click back into that, write from the gut, write strong. At least in moments, to know that you can find that, access that, no matter what the situation, we can, as human beings, relate to it. Because that's why we all go to movies and theater: to see human beings. 

So if we just write to the human moments, those moments of human drama, that will pay off, because people connect to it.

Dying to make a feature? Learn from the pros!

"We never put out an actual textbook for the Corman School of Filmmaking, but if we did, it would be Fast, Cheap and Under Control." 
Roger Corman, Producer

★★★★★

It’s like taking a Master Class in moviemaking…all in one book!

• Jonathan Demme: The value of cameos

• John Sayles: Writing to your resources

• Peter Bogdanovich: Long, continuous takes

• John Cassavetes: Re-Shoots

• Steven Soderbergh: Rehearsals

• George Romero: Casting

• Kevin Smith: Skipping film school

• Jon Favreau: Creating an emotional connection

• Richard Linklater: Poverty breeds creativity

• David Lynch: Kill your darlings

• Ron Howard: Pre-production planning

• John Carpenter: Going low-tech

• Robert Rodriguez: Sound thinking

And more!

Write Your Screenplay with the Help of Top Screenwriters!

It’s like taking a Master Class in screenwriting … all in one book!

Discover the pitfalls of writing to fit a budget from screenwriters who have successfully navigated these waters already. Learn from their mistakes and improve your script with their expert advice.

"I wish I'd read this book before I made Re-Animator."
Stuart Gordon, Director, Re-Animator, Castle Freak, From Beyond

John Gaspard has directed half a dozen low-budget features, as well as written for TV, movies, novels and the stage.

The book covers (among other topics):

• Academy-Award Winner Dan Futterman (“Capote”) on writing real stories

• Tom DiCillio (“Living In Oblivion”) on turning a short into a feature

• Kasi Lemmons (“Eve’s Bayou”) on writing for a different time period

• George Romero (“Martin”) on writing horror on a budget

• Rebecca Miller (“Personal Velocity”) on adapting short stories

• Stuart Gordon (“Re-Animator”) on adaptations

• Academy-Award Nominee Whit Stillman (“Metropolitan”) on cheap ways to make it look expensive

• Miranda July (“Me and You and Everyone We Know”) on making your writing spontaneous

• Alex Cox (“Repo Man”) on scaling the script to meet a budget

• Joan Micklin Silver (“Hester Street”) on writing history on a budget

• Bob Clark (“Children Shouldn’t Play with Dead Things”) on mixing humor and horror

• Amy Holden Jones (“Love Letters”) on writing romance on a budget

• Henry Jaglom (“Venice/Venice”) on mixing improvisation with scripting

• L.M. Kit Carson (“Paris, Texas”) on re-writing while shooting

• Academy-Award Winner Kenneth Lonergan (“You Can Count on Me”) on script editing

• Roger Nygard (“Suckers”) on mixing genres

This is the book for anyone who’s serious about writing a screenplay that can get produced! 

Actress/Writer Susan Coyne on “Slings & Arrows"

How did Slings & Arrows come about?

SUSAN COYNE: Well, I hadn't really set out to be a writer. But, I hit my late thirties, and I had two children and I couldn't travel across the country in the same way. And, famously, the parts thin out a bit as you get older. So I sort of hit my mid-life crisis and thought, "I'm just going to sit down and start writing," without really knowing where it was going to lead me. And then I got hooked up with somebody who said, "You know, I have a friend who works at Stratford and loves hearing your stories. Would you like to come up with a proposal for a TV series about Stratford?"

So I said, "Sure. I can do that." And then I came up with the premise for the series, basically, although at that time it was a half-hour comedy. We shopped it around and we got wonderful producers, Rhombus Media, involved and they put me together with Mark McKinney of Kids in the Hall, which was really kind of brilliant. 

That was an interesting choice.

SUSAN COYNE: He was not the first person you'd think of pairing us with, but it was really great because Mark is so smart and really thinks outside the box constantly. He's worked a little bit in theater and so he knew something of this world as well. He said right away, "This isn't a half-hour, this is an hour, because there's too much good material here."

I think that was one of the most important things that happened, because we thought, “We're doing Shakespeare, we don't want this to be just punch lines and then cut to a commercial. We want to be brave about this and tackle what it's like to do these big plays.”

I'd never seen something like this done very well. I'd often seen actors made fun of, and it's easy. It's easy to satirize actors. I think we do it to a degree in the show. It's also easy to sentimentalize. But between those two extremes I've never seen anybody try to really show what it's like, and that in some ways it certainly matters to the people who do it and it might even mean something to those of us who watch. It might have some value, it might have some weight to it, it might not be a silly thing to do with your life. And that these people might have some passion that has some dignity to it.

Even as I say that I'm always cautious not to give it more weight than it's worth, but I think that when theater works well, everybody recognizes that there's something very powerful about it, transforming and ineffable and not silly at all. It's rare, but when you see it, there's nothing like it. You feel a little bit wrung out afterwards and your heart's beating faster and you feel chemically altered in some way. 

It's that we wanted to get at: What is that thing that happens and how do people achieve that? We wanted to show people the kinds of conversations that go on in rehearsals as well as how terrifying it is and the ridiculous things we do to get ourselves where we have to be. All of that.

I always think that when there's a great deal of passion, then there's got to be some kind of dramatic or comic story. Or both. 

How did Bob Martin get involved?

SUSAN COYNE: Bob was invited to join Mark and I after we had been wrestling with the series for a couple of years (in the midst of doing other projects- in my case, co-founding a theatre company and writing my first book).  Neither Mark nor I had written a TV series before, but Bob had.  His experience was the key to making us into a fully functioning writing team. 

When you started the project, did you think it would only be for one season?

SUSAN COYNE: Exactly. Mark and I worked for a couple of years, because we were both doing other things. And it took a long time to figure out how this was going to go. We had six episodes in mind, we knew the play was Hamlet, we came up with the idea of the ghost and that our character was going to be a sort of Hamlet figure who was haunted almost in the same way that I was haunted by my theater school teachers. The ones who said those wonderful things and those terrible things, and you're always trying to prove something to them even if they're dead.

It turns out that three is a good number for a writing team, because we could always gang up on the other person and persuade them. The three-legged writing team is quite stable, actually. If you can't quite see something, one of the other two can explain it to you. And also Bob had real experience writing television in a way that Mark and I didn't. And he also has an amazing comic sensibility and a really delightful wit. 

So when that came together the work started to go faster and we decided that six episodes would be really satisfying to tackle Hamlet. And that really was the plan until we finished it and watched it. The network said, would you like to go another year? And we looked at each other and I said, "Well, I think we should do a trilogy. If we're going to another one we should do three and we should do youth, middle-age and old age." That made sense to us and felt like it would be a satisfying arc.

We had the idea that, each season, we wanted to watch our characters through the filter of the play -- not in the way that you could draw straight lines between the stories and the play, but in a sort of general way being influenced by Shakespearean themes.

One of my favorite scenes in the series -- and one that really lays Shakespeare out and explains what's he's doing -- is the scene in the first season when the director, Geoffrey, explains to the actress playing Ophelia exactly what her "nonsense rhymes" actually mean. Did you find that there were scenes you created based on things you'd actually experienced?

SUSAN COYNE: There were. But some of them are so disguised that they take on a difference resonance. For example, Geoffrey reminds me of a director I worked with early on who directed me in The Glass Menagerie. He was a refugee from the Second World War, a Holocaust survivor. His family perished, and he escaped to Winnipeg. He talked to me about how theater had saved his life, and it meant so much to me, the way he talked about it. It was a life force for him.

I guess there's an element where I've worked with really great directors for whom theater has saved their life. And that passion for its humanity -- for the idea of theater being a place where we can be very human with each other -- is something that I've retained, and I always aspire to in the theater. The idea that it's about people communicating; there's no tricks, there's no cinema, it's just us. We're all in the same room breathing together, and if it all works out, we'll all end up having the same heart-rate at the end of the show. 

Were you saddled with handling the female point of view on the show and the female characters or was that shared?

SUSAN COYNE: Oh it was definitely shared. Martha Burns, who plays Ellen, is one of my closest friends. We've known each other a long time, we grew up in Winnipeg together, so I loved coming up with storylines for her, like Ellen getting audited. But we all wrote the Ellen character and we all wrote the Anna character.

I loved aspects of Anna, but the boys, actually, I think loved Anna even more. They loved putting her in these terrible situations. The scene where she had to have sex, Mark wanted it to be really explicit and hardcore, and I finally said, "Look, guys, it's me playing the part. So let's just re-think this, shall we?"

And that's when Bob said, "Well, we could do it in the dark." I said "That sounds very good."

Do you have any special or favorite moments from the series?

SUSAN COYNE: I loved everything to do with Bill Hutt in the third season. I was in a production of Lear with him, at Stratford in the young company, and he is a hero of mine. He's gone now, and his Lear was never filmed. So to get the little bit that we get of him, doing the great speeches, that I feel proudest of, actually. 

That is the most important thing to me about the series: that we got him. We always wanted him; we wanted him in the second season and he wasn't available. But we got him in the third season. And then within 18 months he had died. So it was amazing. He was such a wonderful guy and he threw himself into it. I loved that.

Other than that, there was a tiny moment, backstage in the second season, between Geoffrey and Ellen, where they're watching Romeo and Juliet. And Ellen says, "I hate this play." I must say, watching Romeo and Juliet as a middle-aged person, you watch it and you think, "I hate this play." I mean, I love it of course, but you're in such a different headspace from the first time you played it, you can't help thinking, "What, are you nuts?"

What did you take away from the Slings & Arrows experience?

SUSAN COYNE: I learned a lot from working with two other people whose sensibilities were similar to mine, but who also pushed me ways into places I otherwise never would have gone. Although we fought a lot at the beginning, we got into a place where it was much easier to say, "Here's a sketch of the scene, but you should write it because you have that voice down better." It became very respectful -- and although there were still fights, they were good fights; not pulling in different directions, but creative fights -- where you just knew that the other person, it was just their thing and they could write it better. And you knew that when it came time to take over another scene, they would say, "You should have a go at that."

I think that's hard to replicate, when you have developed a working relationship like that with people.

As for the acting, that was more intimidating. Film is socially so different from theater. You don't have an audience; the only person who's actually watching your performance is the director, because everyone else is watching other things, like how your scarf is tied. So I found that a bit intimidating. 

But there was a very collegial feeling, and we had so many theater actors coming onto the set, and so it felt much more about the work than it usually does. That was very freeing for me, because I've always felt that I'm very uptight on the set and never felt very free. And so to be with this wonderful team, on a series that you created yourself, playing this lovely character was wonderful. I adored playing Anna.

Dying to make a feature? Learn from the pros!

"We never put out an actual textbook for the Corman School of Filmmaking, but if we did, it would be Fast, Cheap and Under Control." 
Roger Corman, Producer

★★★★★

It’s like taking a Master Class in moviemaking…all in one book!

• Jonathan Demme: The value of cameos

• John Sayles: Writing to your resources

• Peter Bogdanovich: Long, continuous takes

• John Cassavetes: Re-Shoots

• Steven Soderbergh: Rehearsals

• George Romero: Casting

• Kevin Smith: Skipping film school

• Jon Favreau: Creating an emotional connection

• Richard Linklater: Poverty breeds creativity

• David Lynch: Kill your darlings

• Ron Howard: Pre-production planning

• John Carpenter: Going low-tech

• Robert Rodriguez: Sound thinking

Write Your Screenplay with the Help of Top Screenwriters!

It’s like taking a Master Class in screenwriting … all in one book!

Discover the pitfalls of writing to fit a budget from screenwriters who have successfully navigated these waters already. Learn from their mistakes and improve your script with their expert advice.

"I wish I'd read this book before I made Re-Animator."
Stuart Gordon, Director, Re-Animator, Castle Freak, From Beyond

John Gaspard has directed half a dozen low-budget features, as well as written for TV, movies, novels and the stage.

The book covers (among other topics):

• Academy-Award Winner Dan Futterman (“Capote”) on writing real stories

• Tom DiCillio (“Living In Oblivion”) on turning a short into a feature

• Kasi Lemmons (“Eve’s Bayou”) on writing for a different time period

• George Romero (“Martin”) on writing horror on a budget

• Rebecca Miller (“Personal Velocity”) on adapting short stories

• Stuart Gordon (“Re-Animator”) on adaptations

• Academy-Award Nominee Whit Stillman (“Metropolitan”) on cheap ways to make it look expensive

• Miranda July (“Me and You and Everyone We Know”) on making your writing spontaneous

• Alex Cox (“Repo Man”) on scaling the script to meet a budget

• Joan Micklin Silver (“Hester Street”) on writing history on a budget

• Bob Clark (“Children Shouldn’t Play with Dead Things”) on mixing humor and horror

• Amy Holden Jones (“Love Letters”) on writing romance on a budget

• Henry Jaglom (“Venice/Venice”) on mixing improvisation with scripting

• L.M. Kit Carson (“Paris, Texas”) on re-writing while shooting

• Academy-Award Winner Kenneth Lonergan (“You Can Count on Me”) on script editing

• Roger Nygard (“Suckers”) on mixing genres

This is the book for anyone who’s serious about writing a screenplay that can get produced! 

Andrew Kightlinger on "Dust of War"

What was your filmmaking background before making "Dust of War"?

ANDREW: THE SHORT ANSWER: I was born and raised in Madagascar, which is where I got the filmmaking bug. I studied International Politics and French in undergrad and got my Masters in Film at Boston University.  

Before Dust of War, I’d directed one major short film called You Don’t Know Bertha Constantine, which was a creative blunder but the best crash-course in Producing 101 that no film school could ever teach you.

Since Dust of War, I’ve directed four short films, including Paper People, which has screened at over 25 festival, including the Palm Springs ShortFest. I’ve also directed a WWII webisode and an experimental short about film projectors.  My latest project is a short called “Destroyer” starring Alan Ruck (Ferris Bueller’s Day Off, Spin City). Next up are a few feature possibilities, including a WWI project and a horror film.

THE LONG ANSWER: I always say that my film education started when I was 5 years old. I lived deep in the rainforest of Madagascar in a research village called Ranomafana. My parents were microbiologists studying rare diseases and I was just along for the ride (complete with worm-infested feces).

My entertainment was limited mostly to my imagination for the first few years of my life. Then we got a VHS player when I was about 5.  And the first movie we ever popped in was E.T. The Extra-Terrestrial. Despite being only 5 years old, I intellectually understood that this wondrous movie didn’t just appear out of thin air.  I knew somebody had made it because it came on a black rectangle that you inserted into a black box. SOMEBODY had to have put it on there.  So that was my first understanding of film and it has fed my fascination ever since.

One of the most interesting aspects about growing up in Madagascar and being disconnected from popular art in America was how information tended to shrug its way to the tropical island. 

There was this armoire in a rustic building in the capitol city that harbored a collection of pirated VHS tapes. We called it the “Red Island Video Club” (because Madagascar is famous for its red earth) and to borrow movies from this armoire, you had to drive 3 days by rough dirt road.  And to open this armoire was to dive headfirst into Heaven. I would indulge in the works of Joe Dante (Gremlins, The ‘Burbs), Richard Donner, and many Chevy Chase films.  But the rotation of movie was never frequent, so I’d burn through these moves over and over again until the tracking got bad and they were unwatchable. I even watched Robert Altman’s Popeye over 100 times simply because it was there. I wonder if it holds up?

Another odd thing I did that probably was a harbinger of things to come was that I’d lock myself in my room and literally act out movies for hours -- movies I’d seen. And movies I hadn’t seen, including about 7 sequels to Jaws and The Mask.

So, flash-forward to 1998, my parents finally move back to the U.S. (to South Dakota of all places…but my father grew up in SD, so there’s that connection). I’m lost in translation at first.  My 11-year-old mind struggled to adjust to the American school system. But after wading through a few years of awkwardness, I came into my own high school and became heavily involved in the arts and overall ‘entertainment’ of the Pierre, South Dakota community.      

The acquisition of my first camera is an age-old story. My parents got it for me.  I don’t think they realized that they were ushering their son into a career with very low-income opportunities, but they liked that I was passionate about something and that it helped me make friends. So, I started making remakes of SNL skits with my buddies. And then started making our own original skits.  And then we decided it was time to make a full feature.    

So, the FIRST full-length feature I ever made was a documentary about my high school Cross Country team. It was brilliantly titled ‘The Pierre Cross Country Documentary’ and it ran an unforgivable 86 minutes.  We played to a packed house at our high school auditorium and demand for a sequel was at a fever pitch.  So the next year, we did XCDOCII: D.I.L.D. (aka Do It Long Distance); though we thought we were HILARIOUS because DILD reminded us of ‘dildo’.  Young and reckless idiots we were.  Subsequently, the school ended up banning the sequel due to some homoerotic references and language.  In 2004, talking about ‘gay’ issues was still taboo, especially in a high school setting. 

Anyway, I attended a Lutheran college in South Dakota where I got a degree in International Govt and French.  But I continued my filmmaking hobby by making silly shorts that eventually evolved into making very pretentious short films about topics I didn’t know.  Thankfully, I went through the ‘suicide and homeless people are deep’ stage BEFORE film school.    I was also heavily involved in directing, acting, and improv.   The directing classes were in theater and I’d do the craziest stuff. Pour paint on people’s bodies and essentially go for shock value.  Haven’t grown out of that stage, but I know when to curb it.  

It was also in college that I learned how to respect the craft of acting and understand how vulnerable acting can be. I put actors through the ringer in college, but only for things that I would do.  I’ll swim with the jellyfish. Thus I hope an actor will be willing to do the same. It earns their trust and fosters a working relationship based on mutual respect and shared vulnerability. In fact, I’ll usually audibly fart or make weird sounds in front of actors just to remind them that I’m the biggest idiot in the room and they are the pros…that way they’re aren’t worried about being judged.  Because I will be -- because I just farted.  It’s odd.  But it works.  

Of course, going to film school wasn’t an easy decision. As my senior year of college approached, I faced three options: Get a master’s in Francophone politics, join the Peace Corps, or go to film school. I struggled to decide as my parents encouraged me to choose a path less risky than film, though the decision WAS mine.   

And then everything changed. My mother passed away from a SUDDEN heart attack at the age of 59. I had just turned 21. And the LAST conversation I had with her was about my GRE test scores and my future. Naturally, this event rocked the very fabric of my world. And one day, about a month after her death, my dad buried my face in his trembling hands and he implored me to follow my dream. We even set aside the life insurance money to pay for film school. And so the search began.  

Boston University ended up being the ONLY film school I applied to. Perhaps I was still easing into the idea of a film career, trepid about doing right to my mom’s memory. But I got accepted. They took me in.  And when that happened, I threw my entire being into my film career. I was going to make my mother and father proud. And to this day, my respect for my father and for my mother’s memory drives me.

In film school, we started off shooting on celluloid, beginning with The Bolex.The first shot that got my Film 1 professors' attention was a raw fish hooked onto razor wire. And then I directed a short B&W film that received the first 100% in the history of first year films at BU (at least for this prof).  This accolade was accompanied by my professor's stern warning to stay humble.

To finish my time at BU, I had to direct a short thesis film.  It was called “You Don’t Know Bertha Constantine” and featured a grieving woman tugging her husband’s body through the Badlands as part of a burial ritual.  My choice was to raise way too much money and make a short film in Badlands of South Dakota. This proved to be both a blessing and a curse.  The short was too long and too plodding, with not enough coverage and a script that got lost by being meddled with too much.   BUT the experience of raising $70,000 (yes, I could shoot a feature with that moolah now) and putting it in the wrong places showed me the value of putting the story over everything else. My very expensive thesis film was a crash course in how NOT to produce a film and it was very humbling to my ambitions.   

So, the experience of my thesis film crushed me creatively and yet fueled my passion to direct “Dust of War”. Every mistake we made on my thesis, we did the complete opposite on “Dust”.  

Where did the idea come from and what was the writing process like with your co-writer?

ANDREW: Our goal was to make a micro-budget feature and make it look like $1 million.  And for some reason, an epic apocalyptic tale was the answer.   The idea came from our producer’s love for Star Wars. I took his idea and tapped into my love of Mad Max and Flash Gordon and wrote a grounded sci-fi yarn that featured very classic archetypes and borrowed more from Nicholas Roeg than it did George Lucas.   But the producer seemed cool with my interpretation of the idea. A more ‘elemental’ sci-fi yarn meant a lower budget and that’s where we found our common ‘creative’ ground.

I wrote the first draft in 1 week. And spent 3 months after that tweaking.  I could have spent a whole year ironing out the script, but we had investors to answer to and perhaps our own ambitions nagging us along.  The only struggle was to keep the script at 80 pages, which I did not want to do, but had no choice in the matter.  The producer said, “You only have enough days to shoot 80 pages. So write ONLY 80.”  Yes Captain!

Can you talk about how you raised your budget and your financial plan for recouping your costs?

ANDREW: We raised the funds locally, almost 75% coming from our hometown in South Dakota where we had fostered positive relationships with people of influence over the last 10 years. Hint: be active and upstanding in high school and it might pay off down the road.      

We put together an investment plan and basically made the pitch to dentists, doctors, and businessmen. Like that teapot once said, a tale as old as time…       

Our overall goal was to deliver a solid final product, make our investors some moolah, and then make bigger film after that.   When they say film is 90% business, they’re not joking.

On a side note, force majeur is a delicious beast. One of the more interesting episodes of the fundraising process was the onslaught of a 500-year flood.  About 3 months before principal was slated to start, a MASSIVE flood hit South Dakota. The Missouri River rose 10 feet and the town shut down for 2 weeks as people sandbagged houses on the banks of the river.       

And of course, most of our committed investors lived BY the river and their homes were underwater, so we lost a bunch of pledges. And what could we do?  Complain?  “Hey, I know your life is waterlogged right now, but we’re making a movie dammit!”      

So we had a moment of pause (literally 5 minutes) where we discussed pushing the shoot back. But then we decided to screw force majeur and do the film anyway. Some of our pre-prod suffered as a result and a lot of the rough edges in the film are a direct result of an act of God. Classic story.    

And the creative by-product of the flood was shooting at a time of year when the land is usually very dry and ‘apocalyptic’ looking. But the flood turned everything green and vibrant. Color correction was ‘fun’, to say the least.

What kind of camera did you use to shoot the movie -- and what did you love about it and hate about it?

ANDREW: We shot on the Red One in 4.5K. I love the look of Red because not only are you given ample latitude in post-production, but it looks like what I'd imagine digital would have looked like in the 70s.  But I hated its girth. It's a whopper of a camera and when we're shooting 95% handheld, you need to find a cam-op with a massive sweeping back. So the best thing to do is hire out of Austria (I’ll touch on this a bit more later on)

But what I've quickly learned is that the camera barely matters. It's the glass that counts. We shot DoW on Red Primes, but I just directed a short using 40-year old Nikon primes on a Red Epic and the look is stellar. So get good and versatile lenses, and KNOW what look you want before shooting.

What's the biggest secret to shooting an epic on a small budget?

ANDREW: Throw everyone and everything in front of the camera. And by that I mean, Location, location, location. The ONLY reason we embarked on this adventure was because we knew we could create a post-apocalyptic landscape in our backyard. So if you want to go big, make sure what you're shooting looks epic. 

You wore a lot of hats on this project -- director, writer, producer, editor. What's the upside and the downside of working that way?

ANDREW: I'm not sure there is an upside.  The more delegation I can do, the better. On this particular project, we simply didn't have the infrastructure to delegate as much as we wanted. I believe that having to direct and visually conceptualize the film took a toll on writing a tighter story. And having to raise funds took a toll on, well, everything.

If there is an upside, it's that you get to control the story that's being told, but everything might suffer in the long run. I have yet to direct a script that isn't mine, but I welcome the day when it arrives.

In the end, no matter how many positions you have, be a collaborators.  Film is about one artist.  It’s about ALL the artists.  No one person is capable of making a film great. Get that through your thick skull in film school.

What was the smartest thing you did during production? The dumbest?

ANDREW: The smartest thing was hiring a DP who was willing to break his back to make this film. He fought hard for the position (he filmed an entire car chase on a consumer camera as an audition) and delivered in spades.  Since DoW, we have developed into frequent collaborators and only grow stronger as a symbiotic creative unit.  I hope I'm telling stories with him for the next 50 years. (It also helps that he was born in Schwarzenegger's hometown.  Austrian thunder blood runs through his veins.  That's gotta count for something...) 

The dumbest thing was neglecting to invest in a casting director.  While we ultimately had a great actors working on the film, the process of finding them was a spirit killer.  I had to be my own casting director, and operated under the pseudonym of Chud Becker (yes, just like those cannibalistic humanoid underground dwellers).  Chud managed to nab Tony Todd.  Some agents furrowed their brows at the name Chud.  I just said it was of Azerbaijani origins.    Hiring a casting director may have opened the door for a wider array of talent.  But ultimately, we lucked out with a fun cast nonetheless and their dedication is on full display in the film.  I have no regrets other than the creative time casting took away from pre-production.

And, finally, what did you learn from making the film that you have taken to other projects?

ANDREW: Casting is key, continuity is relative, and sound reigns supreme.  

First off, when they say that half of good direction is good casting, they aren't kidding.  Good actors will relieve the stress of actual scene work and will instead be collaborators in protecting the story.   

As for continuity, I believe that if you shoot for the edit and block correctly, continuity will fall into place.  Continuity helps in the editing process and guides the audience along geographically, but if someone notices that a cup has rotated from one shot to the next, you aren't doing your job as a storyteller. Screw the damn cup!   After all, art is an unattainable quest for perfection.

Lastly, I cannot stress enough how important it is for directors to sit in a sound mixing/editing environment and immerse themselves in that process.   Sound is the glue.  It holds EVERYTHING together.  Knowing how sound works will save you on set.  Since ‘Dust of War’, I’ve been able to make so many impulsive decisions on set purely on the basis of sound.  Appreciating the art of foley and the complexities of the design will give any director a leg up. 

Dying to make a feature? Learn from the pros!

"We never put out an actual textbook for the Corman School of Filmmaking, but if we did, it would be Fast, Cheap and Under Control." 
Roger Corman, Producer

★★★★★

It’s like taking a Master Class in moviemaking…all in one book!

• Jonathan Demme: The value of cameos

• John Sayles: Writing to your resources

• Peter Bogdanovich: Long, continuous takes

• John Cassavetes: Re-Shoots

• Steven Soderbergh: Rehearsals

• George Romero: Casting

• Kevin Smith: Skipping film school

• Jon Favreau: Creating an emotional connection

• Richard Linklater: Poverty breeds creativity

• David Lynch: Kill your darlings

• Ron Howard: Pre-production planning

• John Carpenter: Going low-tech

• Robert Rodriguez: Sound thinking

And more!

Write Your Screenplay with the Help of Top Screenwriters!

It’s like taking a Master Class in screenwriting … all in one book!

Discover the pitfalls of writing to fit a budget from screenwriters who have successfully navigated these waters already. Learn from their mistakes and improve your script with their expert advice.

"I wish I'd read this book before I made Re-Animator."
Stuart Gordon, Director, Re-Animator, Castle Freak, From Beyond

John Gaspard has directed half a dozen low-budget features, as well as written for TV, movies, novels and the stage.

The book covers (among other topics):

• Academy-Award Winner Dan Futterman (“Capote”) on writing real stories

• Tom DiCillio (“Living In Oblivion”) on turning a short into a feature

• Kasi Lemmons (“Eve’s Bayou”) on writing for a different time period

• George Romero (“Martin”) on writing horror on a budget

• Rebecca Miller (“Personal Velocity”) on adapting short stories

• Stuart Gordon (“Re-Animator”) on adaptations

• Academy-Award Nominee Whit Stillman (“Metropolitan”) on cheap ways to make it look expensive

• Miranda July (“Me and You and Everyone We Know”) on making your writing spontaneous

• Alex Cox (“Repo Man”) on scaling the script to meet a budget

• Joan Micklin Silver (“Hester Street”) on writing history on a budget

• Bob Clark (“Children Shouldn’t Play with Dead Things”) on mixing humor and horror

• Amy Holden Jones (“Love Letters”) on writing romance on a budget

• Henry Jaglom (“Venice/Venice”) on mixing improvisation with scripting

• L.M. Kit Carson (“Paris, Texas”) on re-writing while shooting

• Academy-Award Winner Kenneth Lonergan (“You Can Count on Me”) on script editing

• Roger Nygard (“Suckers”) on mixing genres

This is the book for anyone who’s serious about writing a screenplay that can get produced! 

Jim McBride on “David Holzman’s Diary

Do you think David Holzman’s Diary was the first fake documentary?

JIM: There was a film by Stanton Kaye. It was just a year or two before mine. It was called Georg. It wasn't a very famous film. It was a guy, standing in front of the camera, and it was very political. I don't remember too much about it. He blew himself up at the end, in front of the camera.

What was your inspiration for David Holzman’s Diary?

JIM: It was a combination of things. Michael Powel's Peeping Tom had a big impression on me. I saw it when it was banned in the United States; maybe it was banned everywhere, I don't know. On my first visit to California, a guy I knew got a hold of a print of it and showed it at midnight at a movie theater that no longer exists here. I was just knocked out by it. The whole idea of self-examination. 

Then, in addition to that, I was very interested in Cinema Verite. Kit Carson and I were going to write something for the Museum of Modern Art about Cinema Verite, and we interviewed all these filmmakers--like the Maysles brothers, Ricky Leacock, Pennebaker, even Andy Warhol--who were making films that purportedly were for the first time entering into real life and finding out the truth. 

People were really passionate about this idea that you could find the truth with this new, light-weight equipment and faster film stocks and synch sound--all the stuff that was very new in the sixties. So at that time I was very passionately interested in all of that, and at the same time I felt there was something wrong here. 

Did you set out with the goal of fooling the audience?

JIM: That certainly wasn't the idea. One wanted to make a movie that would be believable. Yes, on one level you wanted people to believe that it was real and to affected by it, but on the other hand, I didn't set out with the intention of fooling people. But just as with any film you make, you want people to suspend their disbelief, you want people to believe it.

I know that this film is an important film to a lot of people, and always, constantly surprised when people come up to me and say, 'I saw your film when I was in college.'  My own experience with the film is that it's never had any kind of commercial release, it's never shown in theater. It really only has a life at film festivals and colleges. So I'm always surprised that more than seven people have seen it.

I know that at a lot of early showings people walked out, but I think that was more from being bored than being fooled.

I guess a lot of people did believe it, but I think the more common reaction is to be caught up in it as it's going along, and then maybe be surprised when you see the credits at the end, but then feel that, 'Oh, that makes sense. It was worth the trip that it took me on.'

What was the process for making the movie?

JIM: This was actually the second go-round. In 1966 I was working at a company that sold land in Florida. And it did it through films. I was serving an apprenticeship there, learning to shoot, learning to edit, stuff like that. I got this idea for what was later to become David Holzman's Diary, and they let me borrow their equipment on weekends. 

We shot a bunch of stuff, all most all of it improvised--and not very well, I should add--and then as we were shooting, I got fired. So I packed it all up into a box and put it in the trunk of my car, and I went around looking for a cutting room that someone would lend me so I could put these pieces together. And when I finally did locate a cutting room a couple of weeks later, I went to the car and opened it up and discovered that someone had stolen the film. 

In those days, 16mm was associated with porn, so my guess is that's why somebody took it. They must have been terribly disappointed. And I was terribly disappointed myself, but as time went by, I was kind of relieved, because it really sucked. 

But somehow the experience of doing it made me realize how I should have done it differently.

Then, about a year later, I hooked up with these two guys, quite separately: Kit Carson and Michael Wadleigh, who was a cinematographer. It was actually Michael who encouraged me to try it again. 

I had been working with him as a soundman; he was a Verite cameraman and we did a lot of work and went to some interesting places. He was a very talented cinematographer. He sort of organized it all in a way: We'd do a job during the week, and then we'd keep the equipment over the weekend and turn it in on Monday morning. But over the weekend we would shoot stuff for David Holzman's Diary. We used short ends from jobs we'd been working on, and we'd actually send the stuff through the lab with stuff from the companies we were working for. So really it didn't cost anything and we did it in a gradual way, accumulated footage.

For those parts of the film that took place in his apartment--we really did it all in one long weekend, I think--we spent several days beforehand with just a tape recorder in a room. I would give him a sense of what I wanted to have happen in a given scene, and then he would put it into his own words, and then we'd listen to the tape and I'd say 'I like this, I don't like that, change this.' 

Later on in life we became collaborators on various screenplays, but this was our first collaboration.

It's a lot simpler when it's just one person talking into a microphone than two or three actors trying to do something dramatic together. It was very much controlled improvisation, and by the time we actually went to shoot the scene--although it wasn't written down--we all knew exactly what was going to happen. Because we didn't have a lot of film to fuck around with, so we had to get it on the first or second take. So it was pretty carefully rehearsed.

What’s the story behind the woman in the Thunderbird?

JIM: That pretty much happened, just as you see it on the screen, except that Kit choked and it was Michael Wadleigh who was asking most of the questions.  

We never bothered to get a release from her, of course. I didn't have any equipment of my own, but I had a friend who had a movie projector, so we would often go over to his house to screen dailies, without sound. 

A few weeks later, this friend who owned the projector called me up and said, 'I had this amazing experience last night. I met the woman, who was in your movie. I was walking along Broadway at two o'clock in the morning, and she pulled up in that Thunderbird and she threw open the passenger side door and patted on the seat. I recognized her and I hopped in.' So he went home with her and slept with her. And he said to me, 'I don't know if I slept with a man or a woman.'

Now cut to a couple years later than that, and we actually have a legitimate company that's interested in distributing the film. But, of course, they want releases on everything. So some guy from the company went out and found her and got a release from her. It turned out she was a transsexual who lived in the neighborhood, and she was happy to be on film and happy to sign a release.

Because we had no commercial ambitions for the film, we never worried about releases. So we felt quite comfortable filming on the streets. And I think some of the best material in the film, such as people sitting on benches and other kind of neighborhood stuff, that if we were making a film that we imaged would be released in theaters, we could never have shot that stuff, because there would be no way to get everybody's permission.

What was the best decision you made on the film?

JIM: It's hard to think of everything being intentional. Stuff kind of evolves. I guess having the idea was the best thing I ever did. The actual enacting of it I have to share blame or the credit with my collaborators, Michael and Kit. It really was a group effort in many ways.

I've actually written a script for a sequel to David Holzman's Diary, that I've been trying to raise money for. One of the producers was telling me recently that she felt there wasn't enough of David in the story. I was trying to take Pepe's advice and keep him off the screen. And she said, 'No, no, he's so charming, you have to get more of him on the screen.'

Dying to make a feature? Learn from the pros!

"We never put out an actual textbook for the Corman School of Filmmaking, but if we did, it would be Fast, Cheap and Under Control." 
Roger Corman, Producer

★★★★★

It’s like taking a Master Class in moviemaking…all in one book!

• Jonathan Demme: The value of cameos

• John Sayles: Writing to your resources

• Peter Bogdanovich: Long, continuous takes

• John Cassavetes: Re-Shoots

• Steven Soderbergh: Rehearsals

• George Romero: Casting

• Kevin Smith: Skipping film school

• Jon Favreau: Creating an emotional connection

• Richard Linklater: Poverty breeds creativity

• David Lynch: Kill your darlings

• Ron Howard: Pre-production planning

• John Carpenter: Going low-tech

• Robert Rodriguez: Sound thinking

And more!

Write Your Screenplay with the Help of Top Screenwriters!

It’s like taking a Master Class in screenwriting … all in one book!

Discover the pitfalls of writing to fit a budget from screenwriters who have successfully navigated these waters already. Learn from their mistakes and improve your script with their expert advice.

"I wish I'd read this book before I made Re-Animator."
Stuart Gordon, Director, Re-Animator, Castle Freak, From Beyond

John Gaspard has directed half a dozen low-budget features, as well as written for TV, movies, novels and the stage.

The book covers (among other topics):

• Academy-Award Winner Dan Futterman (“Capote”) on writing real stories

• Tom DiCillio (“Living In Oblivion”) on turning a short into a feature

• Kasi Lemmons (“Eve’s Bayou”) on writing for a different time period

• George Romero (“Martin”) on writing horror on a budget

• Rebecca Miller (“Personal Velocity”) on adapting short stories

• Stuart Gordon (“Re-Animator”) on adaptations

• Academy-Award Nominee Whit Stillman (“Metropolitan”) on cheap ways to make it look expensive

• Miranda July (“Me and You and Everyone We Know”) on making your writing spontaneous

• Alex Cox (“Repo Man”) on scaling the script to meet a budget

• Joan Micklin Silver (“Hester Street”) on writing history on a budget

• Bob Clark (“Children Shouldn’t Play with Dead Things”) on mixing humor and horror

• Amy Holden Jones (“Love Letters”) on writing romance on a budget

• Henry Jaglom (“Venice/Venice”) on mixing improvisation with scripting

• L.M. Kit Carson (“Paris, Texas”) on re-writing while shooting

• Academy-Award Winner Kenneth Lonergan (“You Can Count on Me”) on script editing

• Roger Nygard (“Suckers”) on mixing genres

This is the book for anyone who’s serious about writing a screenplay that can get produced! 

Richard Glatzer on writing/directing “Grief”

There’s a well-worn adage that says you should “write what you know.” That’s what the late Richard Glatzer did when he decided to make his first feature film. He took his experiences as a writer/producer of the TV show Divorce Court, and combined it with the loss he had recently suffered after the death of his partner.

The subsequent film – filled with such indie stalwarts as Craig Chester, Illeana Douglas, Alexis Arquette, Paul Bartel and Mary Woronov – is really a quintessential independent film: Funny, sad, personal and in its own way, universal. 

What was going on in your career before you wrote Grief?

RICHARD: I had sold some scripts to Disney and had written afternoon specials for ABC -- one of which actually got produced -- but mostly I found that I was making some money as a writer and getting very frustrated at never seeing any of my words come to life.  I basically had given up on the idea of doing anything in Hollywood; I was doing a nightclub one night a week and just goofing off, after having produced Divorce Court for a couple years.

Producer Ruth Charney suggested that we work on a movie together. I said I had no interest in doing anything unless it was a movie that we could make on as little money as anyone could make a movie. Otherwise it wasn’t going to get done. I had enough experience trying to get things done through more conventional channels. So, I thought if I conceive of a movie that’s basically one location, and think of it as an independent, independent, independent film, then maybe we can actually do it.

She suggested that I do something inspired by my experiences working on Divorce Court. I thought about it and thought I didn’t want to do some Soap Dish-y thing; that I wanted it to have other stuff going on. A lot of the film is autobiographical, and I had been dealing with my lover dying at the time I was working on that show. And I thought that would make it more interesting then if it were just some sort of satire of Divorce Court.

So then the idea of it began to take shape. To me, that became more interesting, if you limited it to one location. To conceive of a film from the outset as ultra-low budget is the way to do it.  You don’t start with a bigger idea and then whittle it down.

Let’s back up. How did you get into producing Divorce Court?

RICHARD: I sold these two scripts to Disney, when there was a different group of people in charge there. And then one of them ended up as the producer-story editor for Divorce Court. I was still living in New York at the time and thinking about going to LA. I spoke to the guy who had been the head of the studio and he said I should talk to this woman who’s over at Divorce Court and see if she can get me some work there.  And I thought, “Oh my god -- Divorce Court.” 

But it ended up being more regular employment and more fun than anything else I ever worked on. I thought I’d be there for a week and it ended up being five years. I ended up producing the thing.

Once you had the idea, how long did it take to write Grief?

RICHARD: I wrote it quickly; it was the easiest script I’ve written. I usually don’t keep journals, but I happened to write down in a little notebook the day that Ruth suggested thinking about this. It was the end of October in ‘91, and I had a draft of the script by early January ‘92; and I hadn’t even started thinking about it at the end of October, ‘91. So it was pretty fast.

How did you go about funding the movie?

RICHARD: I had about $20,000 saved and we raised another $20,000 from people who were willing to put up $5,000 investments -- none of which was easy. 

I think the gay content helped a little bit, that people felt that it was some sort of community function or something. But it also, obviously, limited the film in terms of people thinking they were ever going to see a lot of money coming back. Ruth put up $5,000. It was mostly little bits and pieces, mostly from friends.

We raised $40,000, and at the same time we were doing that, I put together my cast just by going to Sundance and seeing Craig Chester in Swoon and meeting people at parties or wherever.  

That’s where I met Illeana Douglas. Just as I was leaving -- I hadn’t even spoken to her, really -- and I got my coat and was on the way out the door, it suddenly clicked that she was perfect for Leslie. I just went up to her and said, “Hey, you wouldn’t by any chance do some low-budget, independent fag film, would you?”

And she said, “I bet you’re the kind of guy who loves Edgar Ulmer movies.” And I was a big Edgar Ulmer fan, so within a day or two she said, “I’ll do your movie,” as soon as I got her the script.

So I assembled the cast and felt like I had this really great group of people. We’d all been hoping to get more money than $40,000, but there was nothing coming. 

Did you write the script with particular actors in mind? 

RICHARD: No. Alexis Arquette and Jackie Beat I knew from this club I was doing; they both performed there. I was thinking of them as I was writing the script; not from the outset, but as I was writing it, I started to realize that I was hearing Jackie Beat saying these lines. 

So by the time I finished the script I definitely had them in mind for those two roles. But it wasn’t like from the beginning I was going to write a role for Jackie Beat or write a role for Alexis.  

How long did you shoot?

RICHARD: We shot for ten days. It was ten days for the bulk of the shooting and then we did an extra half day in the courtroom.  That was our big production value, which of course we made look like shit by deteriorating it. We shot it on film and it looked really good and then we went and shot it off a monitor.

At the time we didn’t know how it was going to work. And I thought if I shoot it on film, I have the option to use it on film and if I shoot it on video, then I’m stuck with video. It was basically a half day; we were out of there at three, three thirty. 

Did the script change much during shooting?

RICHARD: It was an ongoing process; I was always scrutinizing it and always fiddling with it. Then working with the actors was really helpful. 

We did have a week of rehearsal and that was really great and crucial, especially for doing a movie that fast -- and one like this, which was so character and performance oriented. I felt that was the highest value of the film, the quality group of people I put together and I wanted to make sure that the parts really came alive.

Did you change the script after the week of rehearsal?

RICHARD: There was a lot of re-writing in rehearsal and throughout the whole process -- in the editing room as well. The finished movie is maybe 75% of what was in the original script, but there are little things tweaked here and there.  

This was especially true of emotional stuff; you’d see it and think, "Wait a minute, there’s not enough here, it’s not sounding right." So I would scribble things down on slips of paper and hand them to them. Later I had to get a continuity script together for TV stations and I was like, “Oh my God, where did I put that scene?”

It’s not really like I threw the script out, it’s not that. It’s basically about three-fourths of what was in the script. It’s trying to make all of it right. It was just constantly fiddling with it.  

And I felt really good about that, because I think everyone’s hesitation about a writer-director is that you’re going to think that every word is sacrosanct. I felt like I was very able to put the writing behind me and just listen to it and watch it and see if it was working or not.

My actors were a really smart group of people, so I could trust them, if they said “Wait a minute” about their character.  Most of the time they were right and that was really good, because it was a great sounding board. Actors are always like that, but I think some actors are better able to see what’s missing or know when something’s not sounding right than other actors are. I credit them with a lot of that.

Then also, in the editing room, I thought, “Oh, everything’s fine,” and then you’d put it together and realize, “Wait a minute, there’s a beat missing here,” or you’ve got to move this thing before that thing or it doesn’t pay off. Just all that kind of stuff.   

So you were re-writing even while you were editing?

RICHARD: I shot the bulk of the movie in ten and a half days, but six months down the line -- after I had a rough cut of the movie -- I realized that there were some important emotional beats that were missing. So we went back and shot an extra day’s worth of stuff. 

These were pretty crucial scenes. There are other scenes they replaced. All the stuff that was taking place near the stage -- because we couldn’t have access to our original location again.  

The big scene where Jackie Beat talks about being fat and the scene where Illeana asks Craig to marry her, that was done somewhere else and we just made it look like it was part of the sound stage in that same building. 

There were things that were replaced by those scenes, but those new scenes were really crucial.

The Love Judge scenes were very funny. Did you ever intend to include more of them?

RICHARD: I wish I’d had money to really do the whole shooting of The Love Judge, rather than just do scenes from the episodes -- to actually see the judge carrying on, to see the actors have the scripts re-written under their noses, and all that kind of stuff. I thought that could have really been fun. 

But it just seemed like then we’d have to rent real video cameras and real lights and all that stuff that we didn’t have a budget for. That was the closest we could get to it.  

Since you lost your original set for the re-shoots, how did you come up with the idea to set the scenes backstage at the show?

RICHARD: It was just a way for us to make up for not being able to re-shoot in the original location. I don’t know if I would have even tried that if we’d had access to the original location. So it turned out to be a blessing that we didn’t have access to it, because it let us fake it. And all that set was, was a stage at this place called Lace, which is a performance art theater/gallery downtown. There was nothing there, it was this black, empty space. So we made it work.

Do you think there were any advantages to not having a larger budget?

RICHARD: I set out to make a movie in one location for financial reasons. I think the whole idea of grieving and the fact that Mark’s dealing with the death of his boyfriend, to me is so much more interesting indirectly and seen only in the office. 

I think if we’d had money to go shoot Mark crying at home, or something -- just because we maybe had the money, and you’d think, “Oh, we have to cover that” -- to me the movie gained its identity and meaning from giving him that sense of privacy and from being limited to the office. That was a budgetary limitation that ended up working in the movie’s favor.

Of course, it probably would have been distributed wider and seen as a more mainstream movie if we’d had more locations -- a lot of running around and all that stuff.

Did you write the scenes from The Love Judge for an existing set?

RICHARD: No. My producer, Yoram Mandel, made phone calls to see what he could get cheap. The people liked him over the phone; he explained how there was no money in this film, and they said “We’ll let you have the set for $500,” which by LA standards for a day is great. The only thing they said was that we had to go with their schedule and I never knew from one day to the next when it would be available.  

So we only had two days notice to get up there. I had Tim Roth and a couple other people who were going to do cameos in those scenes and they couldn’t because of the last-minute scheduling.  But I was thrilled that Paul Bartel and Mary Woronov were willing to do it.

How long did it take to finish the movie?

RICHARD: It took forever to post it. We didn’t have enough money; the $40,000 was to shoot it, but we didn’t have anything left to do any of the post. We were trying to raise money and trying to find freebie stuff. There was this UCLA student who had this KEM deck at home and she was synching dailies for us. She let us in there to cut some stuff.  

It’s so frustrating when you’ve got this in the can and you want to work on it and you can’t. It took us about a year to edit the thing, getting a few bucks here, a few bucks there and begging favors everywhere.  There was a post house near me, an editing facility that would let us go in there for free. They were sympathetic and trying to help us out.

And really the only reason it ever got finished was because Mark Finch, who was the head of the Gay & Lesbian Film Festival in San Francisco, saw a rough cut of the film and loved it and said he would give us the closing night if we could finish. So then it was this panic to finish it.

I put up more money -- fool that I was -- in order to finish it. No one was coming up with any money. I made him a personal guarantee that I was going to get the film done and we had two or three months and there was no money and so I finally just put the money up.

Did that festival help?

RICHARD: It was a partial success story.  It was a huge hit there and it was like a dream come true to be there. It’s a 1,500 seat theater and that town’s just insane. These people go there and they have these wild opinions -- they either love it or they hate it -- and luckily with me they loved it. They just decided very early on that they loved this movie and they were screaming and carrying on throughout the whole movie.  

Then we got a great review in Variety and all of a sudden all these festivals wanted the film and there was this big Hollywood producer who had to meet with me and who loved the film. It just felt like, oh, now everything’s happening.  

Festival-wise, the film did really, really well. It played everywhere. St. Petersburg, New Zealand, Jerusalem, just every corner of the globe I could think of, it’s been.

Most of the time I went with it; a lot of these people can’t afford to fly you all around. But I went to Australia with it and I went to Berlin with it and I went to Italy and London a whole bunch of times. I could have gone to Hong Kong if I wanted to pay half my airfare, but I said no. I also could have gone to Jerusalem and I stupidly didn’t. It was right when it was with all these Italian festivals and I would have had a day here and a day there and it just seemed like, what’s the point?

I traveled with the film for about a year and a half, which was fun.

How was your Sundance experience?

RICHARD: Not very good. The film had been to Toronto and to Vancouver and to the Gay & Lesbian Festival in San Francisco and in Los Angeles. Most Sundance films are pretty new to the public, so by the time the film got there, it was sort of considered old news. I heard that in the first half audiences were pretty good, but by the time the second half happened, it was all these Hollywoody people. And they’d literally walk out during the opening credits.  

I’ve talked to a lot of people who have had similar experiences. And then we didn’t win any prizes and however stupid that is, you still want it. And you have to keep reminding yourself that Sundance prizes don’t really mean a hell of a lot. It’s usually the audience award that seems to indicate something about any commercial success. But nothing else seems to indicate anything.

I guess for my film, Sundance wasn’t that important. I’ve seen my film with audiences, like in Germany where the film was not subtitled, where they loved the film. Or in Toronto, where the film went over really, really well. 

And then I was there at Sundance and it felt like a total bomb. The audience, those Hollywood people, were completely inattentive and didn’t get it and didn’t give a shit and it just felt really bad. 

That’s not the festival’s fault, but that’s who’s going there these days. And they go there wanting the new Tarantino or something. My film is very quiet and you have to pay some attention and stick with it. And I definitely don’t think Sundance is the place for a film where you have to stick with it. Because they just don’t; they get up and they leave after five minutes. So that wasn’t fun.

What have been the positive effects of writing and shooting Grief?

RICHARD: Creatively, it’s the most gratifying thing I’ve ever done. No question. And financially, not. If I had it to over again, I would absolutely do it.  

It’s been an amazing thing to me, just really amazing to think how many thousands of people have seen this thing around the world and that it’s really moved some people and really gotten to some people and that I’ve gotten to meet so many people, filmmakers, through this. 

I really feel that there’s this great community of independent filmmakers, which is so unlike the Hollywood community and which has a real integrity to it. I’m just amazed how open filmmakers are. I’ve met so many people -- and I hope I’m this way, too -- who really are encouraging with other independent filmmakers. There’s no sense of competition, there’s only support. That’s been fantastic.

What were the downsides?

RICHARD: The financial, really.  Because of the financial thing, at times I’ll get down. I’ll see a film like Go Fish, which I really enjoyed, but which to me was like, that film, there was such a hoopla over it, such a huge amount of money given to them and such huge distribution for it. And I would think, “Is my movie not as good as Go Fish and why can’t my movie get that kind of release?”  

And I get resentful -- not toward Rose, who’s great, and not because of the film, because I really enjoyed the film -- but because of that sense that the marketing thing, that this is the first hip lesbian movie and so it’s going to get this big send-off and my movie’s just not.  

I’ve always fought with myself not to be resentful over -- especially over films I like -- but still there is such a freaky quality to what’s hot and what’s not. It doesn’t have anything to do with the reviews, because my film was really well reviewed. It doesn’t have anything to do with anything but how we can market this film and we can’t market that film or somebody at one of the distribution companies suddenly gets really worked up over something or whatever.

It’s hard to be satisfied. At one point I would have been satisfied just to finish the film, because I thought we’d never get the money to finish the film and I thought, “Oh, if I can only finish it -- it doesn’t matter if it’s distributed, if only I can finish it.”  

Then you get it finished and then you see it received well, and then you’re like, “Oh, well now I want more and I want more and I want more.” And then you think of all the films, independent films, that never get finished or never get out there or get to two festivals and then they disappear. I was so much luckier than that. 

Mostly, I’m really grateful for the whole thing and feel like -- absolutely -- if I had it to do over again, I would do it over again, because it was a really great experience.

One last question: Am I nuts, or is the actor who plays The Love Judge doing an impression of Lionel Barrymore?

RICHARD: Yes, the Love Judge is doing Lionel Barrymore. You’re the only person who’s ever figured that out. 

The actor, Mickey Cottrell (the clean freak in My Own Private Idaho) loves to do shtick. That morning, when we were at the location of the courtroom scene and he’s getting dressed, he said, “You know, I do a really mean Lionel Barrymore.” I said, “Let me hear it.” And he did his Lionel Barrymore. And I said, “That’s perfect, just do that.”  

It was perfect, it was just what I wanted -- a curmudgeonly character. But no one else has picked up on it. That’s so funny. 

Dying to make a feature? Learn from the pros!

"We never put out an actual textbook for the Corman School of Filmmaking, but if we did, it would be Fast, Cheap and Under Control." 
Roger Corman, Producer

★★★★★

It’s like taking a Master Class in moviemaking…all in one book!

• Jonathan Demme: The value of cameos

• John Sayles: Writing to your resources

• Peter Bogdanovich: Long, continuous takes

• John Cassavetes: Re-Shoots

• Steven Soderbergh: Rehearsals

• George Romero: Casting

• Kevin Smith: Skipping film school

• Jon Favreau: Creating an emotional connection

• Richard Linklater: Poverty breeds creativity

• David Lynch: Kill your darlings

• Ron Howard: Pre-production planning

• John Carpenter: Going low-tech

• Robert Rodriguez: Sound thinking

And more!

Write Your Screenplay with the Help of Top Screenwriters!

It’s like taking a Master Class in screenwriting … all in one book!

Discover the pitfalls of writing to fit a budget from screenwriters who have successfully navigated these waters already. Learn from their mistakes and improve your script with their expert advice.

"I wish I'd read this book before I made Re-Animator."
Stuart Gordon, Director, Re-Animator, Castle Freak, From Beyond

John Gaspard has directed half a dozen low-budget features, as well as written for TV, movies, novels and the stage.

The book covers (among other topics):

• Academy-Award Winner Dan Futterman (“Capote”) on writing real stories

• Tom DiCillio (“Living In Oblivion”) on turning a short into a feature

• Kasi Lemmons (“Eve’s Bayou”) on writing for a different time period

• George Romero (“Martin”) on writing horror on a budget

• Rebecca Miller (“Personal Velocity”) on adapting short stories

• Stuart Gordon (“Re-Animator”) on adaptations

• Academy-Award Nominee Whit Stillman (“Metropolitan”) on cheap ways to make it look expensive

• Miranda July (“Me and You and Everyone We Know”) on making your writing spontaneous

• Alex Cox (“Repo Man”) on scaling the script to meet a budget

• Joan Micklin Silver (“Hester Street”) on writing history on a budget

• Bob Clark (“Children Shouldn’t Play with Dead Things”) on mixing humor and horror

• Amy Holden Jones (“Love Letters”) on writing romance on a budget

• Henry Jaglom (“Venice/Venice”) on mixing improvisation with scripting

• L.M. Kit Carson (“Paris, Texas”) on re-writing while shooting

• Academy-Award Winner Kenneth Lonergan (“You Can Count on Me”) on script editing

• Roger Nygard (“Suckers”) on mixing genres

This is the book for anyone who’s serious about writing a screenplay that can get produced! 

Brent Kado on "A Short History of Drugs in the Valley"

What was your filmmaking background before making "A Short History of Drugs in the Valley"?

Brent: This is my fourth feature film. I have done many commercials, some music videos, web series and shorts. 

Where did the idea come from and what was the process for writing the script and getting the script ready to shoot?

Brent: The idea came from growing up in a small town and the stories that you hear or are told growing up. People love to idealize how peaceful and joyous small-town life is, but often it's as unpredictable a place as anywhere else.  

I wrote the film. It was a combination of two scripts I had. I decided to combine and refine the two stories, which is a total independent film thing to do. My wife and I collaborate on many of our projects, and we had decided to do another feature (this is now my fourth) after she had just completed a personal short film that I produced. So, we agreed to do this film that I had wanted to do.  

Combining the two screenplays and adding some more scenes was the bulk of my writing which I did over a three-month period. Knowing that I am shooting it with actors who I've worked with before and producing it ourselves, the screenplay is definitely not a completed project. Plenty of room to work in setting the scenes and tweaking dialogue. It wouldn't win any screenwriting contests, that's for sure.  

What was your casting process, and did you change the script to match your final cast?

Brent: Casting was all hand selected. We did not audition anyone. We'd worked with many of them in other projects before. The rest came out of my wife's improv classes or local community theater actors I'd seen perform.

We only made minor changes. The biggest change was that my wife, who is a successful commercial and theatrical actor, was also producing the film with me (we work in tandem on many projects) decided to reduce her role and we cut it down in the script considerably to make the story flow better and add extra shooting time for the remainder of the script. 

What type of camera did you use and what did you love (and hate) about it?

Brent: A Canon 6D and a few scenes with a Canon 5D Mark III. The cinematographers did all the shooting, so I just trusted their comfortability and vision. 

Did the movie change much in the editing, and if so, why did you make the changes?

Brent: The editor (Lee Bacak) gave me two cuts after his first pass. One was close to what I had in the script and the other was his ideal version. We went with his version because it was very concise, clear and only about 5 to 6 minutes shorter. Turned out to be a good choice. 

Can you talk about your distribution plan for recouping costs?

Brent: Our initial plan was pretty undetermined. I work in the YouTube ecosystem in various capacities, and I hoped that with the recognition of the musicians involved that getting it up on our YouTube would give us some nice views and maybe a bit of ad dollars. But getting released on Amazon changed all that of course. 

What impact did the length of the movie (around 50 minutes) have on getting a distributor interested? 

Brent: When the editor and I settled on the final cut, the Youtube route (and possibly using the film as a "pilot" for a sequel or series) seemed like the obvious direction we were going to go.  

I had another film in The Rhode Island International Film Festival and met an Amazon Video representative there and they said they'd look at it. Getting a micro-budget film of this length up on Amazon is just a testament to the changing world of independent film. 

What was the smartest thing you did during production? The dumbest?

Brent: Smartest- There are so many. Haha. I have to list two.

One, casting actors I trusted and giving them the space to do what they are best at. 

Two, scheduling in extra half-days of shooting as buffers even though it was hard to make that happen. We shot in two time blocks: six days, then a week off and then six more days. I needed the extra half day during the first time block. We did not need it in the second and it just became a time to experiment in the final scene of the day and give everyone a couple extra hours to relax and sleep.  

Dumbest- There are so many! Again, I'll have to list two.  

One, not confirming my shoot with a local State Park that I had gotten a permit for. The ranger on duty had no clue what was happening and shut us down. That is when we had to use one of those buffer half-days and shoot at a local farm instead.  

Two, not keeping up with all the dailies and confirming I got everything I wanted/needed. 

And, finally, what did you learn from making this feature that you will take to other projects?

Brent: Going with your instinct on length, structure and approach concerning the final product. With the changing landscape there are viable homes on quality platforms for all types of projects. 

Dying to make a feature? Learn from the pros!

"We never put out an actual textbook for the Corman School of Filmmaking, but if we did, it would be Fast, Cheap and Under Control." 
Roger Corman, Producer

★★★★★

It’s like taking a Master Class in moviemaking…all in one book!

• Jonathan Demme: The value of cameos

• John Sayles: Writing to your resources

• Peter Bogdanovich: Long, continuous takes

• John Cassavetes: Re-Shoots

• Steven Soderbergh: Rehearsals

• George Romero: Casting

• Kevin Smith: Skipping film school

• Jon Favreau: Creating an emotional connection

• Richard Linklater: Poverty breeds creativity

• David Lynch: Kill your darlings

• Ron Howard: Pre-production planning

• John Carpenter: Going low-tech

• Robert Rodriguez: Sound thinking

And more!

Write Your Screenplay with the Help of Top Screenwriters!

It’s like taking a Master Class in screenwriting … all in one book!

Discover the pitfalls of writing to fit a budget from screenwriters who have successfully navigated these waters already. Learn from their mistakes and improve your script with their expert advice.

"I wish I'd read this book before I made Re-Animator."
Stuart Gordon, Director, Re-Animator, Castle Freak, From Beyond

John Gaspard has directed half a dozen low-budget features, as well as written for TV, movies, novels and the stage.

The book covers (among other topics):

• Academy-Award Winner Dan Futterman (“Capote”) on writing real stories

• Tom DiCillio (“Living In Oblivion”) on turning a short into a feature

• Kasi Lemmons (“Eve’s Bayou”) on writing for a different time period

• George Romero (“Martin”) on writing horror on a budget

• Rebecca Miller (“Personal Velocity”) on adapting short stories

• Stuart Gordon (“Re-Animator”) on adaptations

• Academy-Award Nominee Whit Stillman (“Metropolitan”) on cheap ways to make it look expensive

• Miranda July (“Me and You and Everyone We Know”) on making your writing spontaneous

• Alex Cox (“Repo Man”) on scaling the script to meet a budget

• Joan Micklin Silver (“Hester Street”) on writing history on a budget

• Bob Clark (“Children Shouldn’t Play with Dead Things”) on mixing humor and horror

• Amy Holden Jones (“Love Letters”) on writing romance on a budget

• Henry Jaglom (“Venice/Venice”) on mixing improvisation with scripting

• L.M. Kit Carson (“Paris, Texas”) on re-writing while shooting

• Academy-Award Winner Kenneth Lonergan (“You Can Count on Me”) on script editing

• Roger Nygard (“Suckers”) on mixing genres

This is the book for anyone who’s serious about writing a screenplay that can get produced! 

Roger Corman on "Little Shop," Demme, Bogdanovich and Coppola

Tell me about the genesis of Little Shop of Horrors.

ROGER CORMAN: I would take advantage very often of what is called a scene dock in a studio. When a picture is finished, they break down the flats and store the flats. 

So, I would be aware of what was in the scene dock, so that I could pull out existing flats and re-arrange them to fit. In that way, I didn't have to spend money building the flats -- we would assemble the sets for what we wanted, generally from flats in the scene dock.

In the Edgar Allen Poe pictures, we built the first sets, then we broke those sets down, stored them, then used those and built new ones for each film; so each film got a little bit bigger as we used what we had before and then added to it.

So, in essence, you had the set for Little Shop and built the movie around it. I understand you paid the actors for five days on that film and spent three of those days rehearsing.

ROGER CORMAN: I'm a strong believer in rehearsals and in pre-production and preparation. I want to be able to come onto the set and shoot. Ideally, everything is worked out in advance; practically, it never quite works that way. You always are faced with new problems, or maybe you get a better idea. But at least you have your framework before you shoot.

If you don't have time for a full rehearsal, I like to have at least a reading with the actors, in which we read and maybe do some improvisations and do some loose rehearsals -- not on the set -- taking at least one day before shooting for that.

What’s one of the best ways to save time while shooting?

ROGER CORMAN: What I do, and what I tell my directors working with me, is that you waste a lot of time after you get a shot, where you're congratulating everybody, discussing the shot, and so forth. And that shot is already yesterday's news. You've got it. 

So what I do is I say, 'Cut, print, thank you.' Then maybe one sentence saying how good it was to the actors. And then, 'The next shot is over here.' And we're on to the next shot.

Why do you think Little Shop of Horrors is still so popular today?

ROGER CORMAN: It's partially the idea. It's such a wild idea: A plant that eats people and the little guy who, for reasons not necessarily important, has to murder to feed the plant. It's just a wild, original idea. 

And then I think it was the spirit in which the film was made. The fact that nobody took the work that seriously; we took it with humor, and even the crew were laughing and joking. I think that spirit permeated the film.

What key lesson did you take away from that experience?

ROGER CORMAN: The main lesson: I sacrificed too much by shooting that fast. For instance, I was using two cameras, simultaneously, photographing from two different angles. If two people were talking, I'd have a close-up on one person and a close-up on the other. Because it was a comedy-horror film, you could use flat lighting, but the lighting clearly suffered. In any other type of film, the bad lighting would have hurt the film. 

It was done partially as an experiment, partially as a joke. It succeeded, and then I went back to a normal style of shooting, because you really can do better work with a little more time.

You gave Peter Bogdanovich his first directing assignment with Targets. How did that come about?

ROGER CORMAN: As a result of various complications in a contract, Boris Karloff owed me several days' work. So, I wanted to do a horror film, starring Boris Karloff, in which he would only work for those days.

Peter Bogdanovich had been my assistant. (My assistant before that was Francis Coppola and after Francis had worked for me on a few films, I gave him a chance to direct.) I did the same thing with Peter. I said, 'Here's the problem: The picture must star Boris Karloff, but he can only work for these days.' 

And Peter came up with the idea of Boris as an actor doing a traditional horror film, and in that way,  we could take some footage out of some of the horror films that Boris had done for me before, and also cut away to the boy and tell a parallel story.

Bogdanovich has a couple sequences in the film that are long, continuous takes, with—apparently—no coverage. That would appear to go against your preferred style of shooting.

ROGER CORMAN: It goes a little bit against my rules, but on the other hand, all rules are made to be broken. I do like to get coverage, to get as much coverage as possible. Yet, at the same time, when you're on a very tight schedule, sometimes you have to sacrifice coverage. And when you do that, sometimes you can make a virtue out of necessity.

Peter is highly intelligent, and he had a great knowledge of film. He had written some added scenes for me on previous pictures, and had directed some second unit, so I was aware of his ability as a second unit director and his ability as a writer. I had the feeling that he had the talent.

You mentioned giving Francis Coppola his first chance at directing, with Dementia 13. How did that come about?

ROGER CORMAN: I hired Francis out of the UCLA film school as an editor. I had bought the American rights to two Russian science fiction films, which had wonderful special effects, but they were filled with outrageous anti-American propaganda. And so I hired Francis to re-edit those films, and delete the anti-American propaganda. 

And then he went along and worked with me on several films as my assistant, and particularly on a Grand Prix Formula One race car picture, called The Young Racers, in which we traveled from track to track. 

Francis and our key grip built racks and various compartments into a Volkswagen microbus, so that the microbus was actually a traveling small studio. We used that, with a crew of six or seven professionals, and then we would hire local people. 

When the picture was finished, I had to go back to do a picture in the United States, but it occurred to me we had efficiently functioning crew and everything in microbus, so we could stay and do another picture.

We were finishing at the British Grand Prix, which that year was at Liverpool, but the problem was that British labor laws were very difficult. We only had permits to work in and around the track. But I knew that the Irish labor laws were looser. So I said to Francis, 'If you can come up with an idea for a horror script, you can take the microbus and several of the crew and just put it on a ferry and go across the Irish sea and shoot there.'

He came up with a very interesting idea for Dementia 13, and he contacted some people he'd been with at the UCLA film school and they flew over to Dublin and everybody lived in a big house there while he shot the picture.

It was a very interesting psychological suspense story. We took one idea from Hitchcock, which was that the leading lady would die early in the film, just as she did in Psycho. I always thought that was great, because nobody ever expects the leading lady to die halfway through the film!

You also gave Jonathan Demme his first directing credit, with Caged Heat.

ROGER CORMAN: Jonathan was working out of England, writing publicity for United Artists. I did a film in Ireland for United Artists, and he came over on behalf of UA. It was clear he was a very intelligent young man. He said he was writing publicity but was interested in writing screenplays.

I told him a couple ideas I had and I said, 'If you're ever write anything on this, let me know.' He and his partner, Joe Viola, wrote the script and Jonathan produced and directed. They did one more for me, and then they did Caged Heat, on which Jonathan made his debut as a director.

He had been doing some second unit directing when Joe was the director. I've always liked the idea of a new director shooting some second unit. He gets a feel for what's going on, and I get a chance to judge what he can do.

If you can give a filmmaker only one piece of advice, what would it be?

ROGER CORMAN: Be flexible. Even though you've done all your preparation, don't stick absolutely to the preparation if it doesn't seem to be working. Know that you've got the preparation, but situations change, so be prepared to change with the situations.

Dying to make a feature? Learn from the pros!

"We never put out an actual textbook for the Corman School of Filmmaking, but if we did, it would be Fast, Cheap and Under Control." 
Roger Corman, Producer

★★★★★

It’s like taking a Master Class in moviemaking…all in one book!

• Jonathan Demme: The value of cameos

• John Sayles: Writing to your resources

• Peter Bogdanovich: Long, continuous takes

• John Cassavetes: Re-Shoots

• Steven Soderbergh: Rehearsals

• George Romero: Casting

• Kevin Smith: Skipping film school

• Jon Favreau: Creating an emotional connection

• Richard Linklater: Poverty breeds creativity

• David Lynch: Kill your darlings

• Ron Howard: Pre-production planning

• John Carpenter: Going low-tech

• Robert Rodriguez: Sound thinking

Write Your Screenplay with the Help of Top Screenwriters!

It’s like taking a Master Class in screenwriting … all in one book!

Discover the pitfalls of writing to fit a budget from screenwriters who have successfully navigated these waters already. Learn from their mistakes and improve your script with their expert advice.

"I wish I'd read this book before I made Re-Animator."
Stuart Gordon, Director, Re-Animator, Castle Freak, From Beyond

John Gaspard has directed half a dozen low-budget features, as well as written for TV, movies, novels and the stage.

The book covers (among other topics):

• Academy-Award Winner Dan Futterman (“Capote”) on writing real stories

• Tom DiCillio (“Living In Oblivion”) on turning a short into a feature

• Kasi Lemmons (“Eve’s Bayou”) on writing for a different time period

• George Romero (“Martin”) on writing horror on a budget

• Rebecca Miller (“Personal Velocity”) on adapting short stories

• Stuart Gordon (“Re-Animator”) on adaptations

• Academy-Award Nominee Whit Stillman (“Metropolitan”) on cheap ways to make it look expensive

• Miranda July (“Me and You and Everyone We Know”) on making your writing spontaneous

• Alex Cox (“Repo Man”) on scaling the script to meet a budget

• Joan Micklin Silver (“Hester Street”) on writing history on a budget

• Bob Clark (“Children Shouldn’t Play with Dead Things”) on mixing humor and horror

• Amy Holden Jones (“Love Letters”) on writing romance on a budget

• Henry Jaglom (“Venice/Venice”) on mixing improvisation with scripting

• L.M. Kit Carson (“Paris, Texas”) on re-writing while shooting

• Academy-Award Winner Kenneth Lonergan (“You Can Count on Me”) on script editing

• Roger Nygard (“Suckers”) on mixing genres

This is the book for anyone who’s serious about writing a screenplay that can get produced!