How to be a Hollywood WriterBecoming a Hollywood Writer
Said he would be sending a courier to collect my Opus-in-Progress every l5 pages I had written, so he could be sure that we were on the same page.
An author types, erases, rewrites. However, the film' s maker was insisting and I knew I had beaten tens and tens of other authors to get the show, so I agreed. I' ve written. As I got to page 120, I phoned the producers and said I would like to respond to the whole screenplay.
The following weekend, the manufacturer recalled. Said the scriptwriter hates the screenplay. "No, " said the manufacturer. "There was no way he could be disturbed. Now, he wants to take your place as a writer. There was the period when I said to the manager of a studios that I was moral against doing anything brutal, against wives, racists or humiliations of any nationalities.
There was a period when a manufacturer asked me to include a kid in a screenplay because children were in fashion. And I said a kid doesn't go in the game. Leaning over the dining room desk, he grasped my arms, intensively looking me in the eye and said: "I am your boyfriend.
" M mate? Yeah, like Qaddafi was my mate. When he grilled me and stroked my hands, I made up a tale and recounted that it was secret. And then she asked about the screenplay. As if he actually had one, the manufacturer put his hands on his hearts and said that the screenplay was set because I was hesitant to use a pediatric.
And I went to the toilet and swabbed the palm he was holding a few nights earlier. I worked with a celebrity TV actor another night. Wanted to make a movie and picked my screenplay. He phoned me every single second. Then he offended me and my screenplay.
There were certain words in my screenplay that insulted him because they elicited reminiscences of his age. Somebody in his offiice phoned me to tell me he was dead. Perhaps I didn't know how to spell it. Perhaps my hide was too thin and, as one Lucrezia Borgia-like manufacturer proposed, if I couldn't take the hot weather, I should take it up from the canteen.
I was the only female scriptwriter without a female writer and five of Hollywood's most famous scriptwriters asked me to be there. The soup came, I glanced at them all and asked: "Has any of you ever had a poor Hollywood time?
That second quiet blow was punctured by one of the authors who said he had had a great experience.........twenty-five years earlier. One of the things I'm proud of the most is that I didn't take any of the screenwriter's abuses in person after lunch.
I' ve often wanted to leap over a desktop, reach a head of a recording studios or a production manager by the lapel of his army uniform and scream: "Who did this to you as a schoolboy? My last experience was when a production manager asked her seven-year-old kid to get on a high seat, look at me and give me screenplay notices.
There was the day I was writing a TV-scripts about my boyfriend who had passed away an early, traumatic life. L.A., so the maker threw me there, put me in an impudently pricey motel, feed me until I felt like a duck whose livers were about to blow up to make pie, kiss me on the lip, and then he substituted me and had the screenplay re-written.
I was asked one evening to speak to a large gathering of pupils at a nearby language college about the role of a Hollywood scriptwriter. "Could you put me through to a manufacturer you worked with?" asked another one.