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he is often referred to as "Shakespeare of Hollywood".
Hecht never really made himself at home. His Girl Friday", "Some Like it Hot", "Scarface" and "Notorious", who became a favourite of Howard Hawks, Alfred Hitchcock and David O. Selznick, was a man who hates Los Angeles. Using his income from showbiz to buy himself some show bizz - he spends the few month he wasn't committed to the studiomoguls in his hometown of New York composing fiction, theatre pieces, essay and his serious work.
David Thomson writes that Hecht, together with his colleague and "Citizen Kane" co-author Herman Mankciewitz, passed away "annoyed and frustrated". "Their history is not one of a kind, at least in the age of the studios. In his aboriginal years, Hollywood screenwriting was a occupation inhabited by unfortunate Oriental literate looking for a great check out West and insight California robbed of the intellectual - a foolishness and a point.
The script has become a coveted medium for the artist, separated from the grueling commissioned work of the big studio. Writing a screenplay is now profoundly linked to the passion for movies and TV (in the early years they didn't know they loved it completely), and is no longer a profession serious authors condescend to.
While Pike was paying his fortune to go, many are paying their money to study how to remain. Hecht is the first one to mention Brian Koppelman to me when I come to see him in his offices, right on Central Park on the Upper East Side of Manhattan. It' s simple to understand why Koppelman quotes Hecht as a Christian spiritually - he also started in the 1930s (he is now forty-seven) and decides to keep as far away from the smooth Hollywood engine as possible when he's not in full swing.
Yet Koppelman does not despise the act of writing the script, and he has the feeling that his mind has atrophied. He' s proud of what he's done - he's produced several studios, among them "Rounders", "Oceans Thirteen" and most recently the Ben Affleck car "Runner, Runner" - and he doesn't intend one of these days to give up the script for a higher literature target.
Due to their brief length and repeating loops, his messages can take on the qualities of Zeng Koan, little mantra that could be sung into faith. Throughout Koppelman's case, this belief is that the screenplay literacy community is fundamentally deceptive and restrictive, that good storytelling is in person and cannot be learned, and that studying how to compose a screenplay from a textbook is like studying a missile from a V.C.R. handbook.
Writing a screenplay is a difficult media. At the beginning, authors were contracted to work for the recording companies, and even the most highly-paying, independents felt paralyzed by the upsetting gullet of the recording system. Writing screenplays still seldom happens in a void of air - there are producer memos, director's memos, execution memos, actors' articles.
If the scriptwriter is also the stage manager, their work is the kind of letter over which they have the slightest amount of influence; a screenplay is a cake with a hundred fingers in it. Of course, it was not a media that was at first highly appreciated by those who took the letter seriously.
Herman Mankiewicz Hecht, when he came to Hollywood, sent a cable saying: "Millions should get out of here and the only competitors are dumb. As for screenwriting, it tends to provide financial support to the nonwriter and a large part of it. He says that he considers the economy of the job - the discipline of literary expression that offers much more wealth than just fantasy or poetics or even journalists - to be provocative, imaginative and, even more so, never makes it to the side.
While mentioning a fistful of writers like Woody Allen and Nicole Holofcener who succeed in overcoming these barriers, he says that high-quality scripts are a cause that still needs firearms.