Name: James Flower
OK, here's my short e-mail, with one loudy question: are THOU SHALT
NOT KILL...EXCEPT and RUNNING TIME being released in Britain any time
soon? LUNATICS was cool, hope the other two are just as good,
I don't have any deals set for European distribution, nor anywhere
else on Earth except the USA and Canada, for the moment. My US distributor
is friends with a distributor in Germany, Atlas, and is supposed to
set me up. So far, it hasn't happened.
Also, on one page of answers you say the last script of Fins was the
best and the other page of answers you say the first was the best, what's
up with that?
If that's what I said, what I meant was that the last draft of "Fins"
was the best and the 1st draft of "If the Shoe Fits" was the best.
another question about If the Shoe Fits... What I want to know is what
did you do to Renee O'Connor to make her voice all squeaky when she
was the Fairy Godsister? Or was that Renee just talking high pitched?
Also, how did you come to write the the story for Locked Up and Tied
Down (Shark Island Prison was a much better title IMO), is this the
only time you have written a Xena or at least, the only time you have
had a writer's credit?
You should search around this website some more, your answers lurk
within. I have one other Xena writing credit, on "Chariots of War,"
the second Xena episode of the first season. I came to write "Locked
Up & Tied Down," (thanks, I liked the title "Shark Island Prison" better,
too), when Rob Tapert called me up and said, "I have a great teaser
and don't know where to go with it. Xena and Gaby are ambushed by bad
guys whom they easily beat up and Xena asks why they attacked them and
the bad guy says, 'You killed our priestess,' and they say her name
and Xena says, 'Oh yeah, her, I did kill her. I'm guilty. Take me to
prison.' They put her chains and take her away. End on Gaby with her
mouth open. But I don't know where to go with it because if Xena turns
herself in then she won't want to escape." I replied immediately, "Xena
gets to prison and the priestess she was supposed to have killed is
there and alive," and Rob added, "And she's the warden," and we were
off and running . . .
And as to Renee's high voice, she inhaled helium immediately before
her scenes, which was her idea and a very funny one, too.
Name: Maud BEAU
Buenos dias, Señor Becker
How far have you got with the distribution deal that would released
the film in Europe ?
As i live always in France, what shall i do if i want to buy "RUNNING
TIME" video tape or DVD on your site? I want my collector too !!!
If you want see a good recent French film [in my opinion ], try "Le
COUSIN" by Alain Corneau (1997). With chance, this movie could enjoy
you. One never knows, we could ever dream.
Hasta la vista, Dynamic Solo
Go ahead and buy a copy, I'll send it to France. I just sent one to
Australia. Only 35 left. Hurry.
Name: Bruce Harris Bentzman
Dear Mr Becker:
I thought it might be of interest to you that I have also written a
short story entitled "The Gospel According to Judas" that appeared,
in two parts, in the May 1997 and June 1997 issues of The Free Cuisenart:
If you're interested, go to back issues #13 & #14.
Bruce Harris Bentzman
Well, you did better than me, mine was never published anywhere.
Name: Mike Colpitts
I would just like to say that you are one of the finest directors of
our time. "Thou Shall Not Kill ... Except" was a great movie, as was
"Running Time". I would like to order a copy of "Running Time", and
I noticed that you offered to sign it. Now, Bruce Campbell has to be
one of the finest actors working today (its a shame he hasn't gotten
more parts). So, my question is this: is it possible for Bruce Campbell
to also autograph my copy of the movie? I know it is asking a lot, but
it would be the greatest thing.
If you buy one of the remaining 35 copies of "Running Time" you automatically
get my silly autograph. That is the extent of the Beckerfilms.com guarantee.
Take it or leave it.
How are you? You are probably sick of hearing from me by now but I
have yet another question for you. When exactly is TSNKE coming out?
I have been terrorizing the staff at my local blockbuster weekly as
to when it's coming out and they don't know. So I figured I'd come straight
to you. Well thanks a lot for you time, you are the best.
It's out. If you can't find it at your local blockbuster, go online.
It's there I swear.
I am a newcomer to filmmaking and wanted to know what the difference
between reversal and negative film is?
Is there a benefit cost wise or creativly over using one over the other?
Reversal is positive; negative is, oddly, negative. Super-8 is reversal,
which means that the same film that runs through your camera is now
what you run through the projector--you're working with the original.
With negative film, to run it through a projector you must make a print,
called a workprint. Of course, now you can transfer directly from the
negative to video tape, then either cut on tape or on a non-linear editing
system, like the Avid. To end up with a film print you must then conform
your negative to the edited picture. Basically, no one shoots reversal
anymore. It was popular when TV news was shot on film, back in the 60s
and 70s. If you're shooting Super-8 then you have no choice. If you're
shooting 16mm or 35mm then most of the choices of film stocks are negative.
Let's face it, you don't want to be working with your original and you
do want the ability to make prints, so use negative film.
Name: Carl Platz
Hello, I have a friend who wants to buy a video of the movie, "Emperor
of the North (Pole)" could you supply me with any information on where
I could find this movie on video tape?
Thank You for Your Time,
Carl S Platz
Did something on this website give you the idea that I am the reincarnation
of Robert Aldrich (whom I met once)? Go to a search engine, put in "Video
Tapes" and see what happens.
Name: Joe Bulum
Who can I write/plead with for a CD release of the TSNKE soundtrack
(Thou Shalt...) ????? Its a masterpeice! More! More! More TSNKE!
I absolutely agree with you, it's a great score. In fact, I think Joe
LoDuca's score is the best thing about the whole film. If you close
your eyes you can really imagine terrific movie going on. Sadly, it
does not exist on CD.
Name: John Forde
I'm curious about your songwriting process: will you be writing the
music for your upcoming folk music feature?
Do you play an instrument when you write songs?
Howdy, Pard. No, I will not be writing any songs for my upcoming film,
I'm using all folk standards. I cannot play any instrument. In fact,
I'm somewhat uncoordinated. But I do play a mean air-guitar.
When i read in the article about the making of Running Time that Janie's
apartment is acctually your apaertment I thought that was soo cute so
i watched running time for the 6th time your apartment is so cute I
love the pictures on the walls they are cute. Also last night I rented
Lunatics from my local Video store I was amazed that they had it. It
was so funny YOU are a genius (seriously). Now I have an acctual question
when Running Time is released what will be the difference between the
version that you sold and the version that the store will sell??? thanks
a lot for your time
There will be no difference other than the packaging. It will be duplicated
off the same master.
After reading that the apartment used in Running Time is your actual
apartment, my friend Kristin(darktower14) and I decided to examine it
closely and see if we can find the real you..and I just think that your
apartment is so great. I love it! If those pictures on the walls are
really yours, then you have great taste, and everything else is just
so cool. We rented Lunatics: A Love Story last night, and that was great
as well. You are such a brilliant man :) Now for the question...Who
wrote the poetry used in Lunatics? Was that original stuff or what?
Thanks a lot,
Other than the movie posters, the pictures on the walls were chosen
for the movie. They are all of empty places. The poem in "Lunatics"
is mine. I wrote it when I was 18 year old and I think it's the best
poem I ever wrote, which isn't saying much.
I originally had an obviously bad poem in there and over the course
of writing the script I came to feel that it was both disingenuous and
a cop-out, so I replaced it with the best poem I ever wrote. It may
well still be a bad poem, but it's the best I can do and, therefore,
the best that Hank can do, too.
Name: Heath Opper
Hi. A couple of days ago a received a copy of your movie 'Hercules
in the Maze of the Minotaur' from a place in England. I haven't gotten
a chance to watch it because I won't be able to get it converted for
a couple of weeks. My question is how much of the movie is new scenes
and how much of the movie is scenes from the the other four Herc movies?
Also is it easier to direct a 'clip show', like 'Maze of the Minotaur',
or an entirely new show, like any of your Xena episodes?
There is 65 minutes worth of new material and 25 minutes of clips in
"Minotaur." I was able to cut out all of the clips and make a very solid
60 minute episode out it. The most difficult part of doing a clip show,
in my opinion, was getting an idea that was dramatically solid in and
of itself that would still support the clips. As a little note, I wrote
the story for "Minotaur," but due to a contractual problem did not get
credit. (I also wrote the story for the 1st season episode of Hercules,
"The Path to Freedom" and didn't get credit, but that's a different
story). From a directing standpoint, it makes no difference to me what
I'm directing--a clip show, a Hercules, a Xena or an independent feature--I
take things one scene at a time and try to make it as good as I can.
By the way, you may get some weird freeze-frames from the PAL to NTSC
conversion. I hope you enjoy it when you see it.
Name: Brian Phillips
I was wondering if you could actually confirm this for me. I found
this at the Austrilian Xena Info Page http://xenite.simplenet.com/rumours.html and it has been nawing at my scull!
"Oh check this out....In Fins, Femmes & Gems Gabrielle was
originally going to be obsessed with Xena and she would "come out"!
This was going to be the "Ellen" episode of XWP!!!!
The TPTB chickened out so we ended up with Gabrielle obsessing about
herself and it's one of my favourite episodes. It was funny. Personally
if Gabrielle was to come out I would prefer it not in a comedy but in
a serious episode and none of that slapstick comedy.
This has been confirmed by Josh Becker - the director of FFG http://www.beckerfilms.com"
Is this true!?! I was hoping that it was, but I havent heard anything
about it anywhere else!
Dealing with this issue got me into severe trouble with many Xena fans,
as well as the Xena producers. It's exactly as you've explained it,
and let's leave it at that. I don't write them, I just direct them.
Name: Joe Bulum
How can I get ahold of the original 8mm pilot of "Strykers War"? The
letterbox mastered copy is AMAZING! please help the Stockton T.S.N.K.E.
fan club celebrate in style!
I was just discussing this very issue with the nice folks at Anchor
Bay Ent. I suggested that they include "Stryker's War" on the "Thou
. . ." DVD. Sadly, the music clearance is a big enough issue so that
I'm not at all sure they'll actually do it. The problem with all of
our old movies is that we scored them very liberally with every great
film score we could get our grubby hands on. "Stryker's War" has hunks
of: Jerry Goldsmith's scores for "Patton," "MacArthur," and "The Sand
Pebbles;" John Williams' "Close Encounters" and "1941;" Elmer Bernstein's
"The Great Escape;" Bernard Herrmann's "North By Northwest," "The Seventh
Voyage of Sinbad" and "Taxi Driver," not to mention Herbie Hancock's
cool score for "Death Wish" and Denny Zeitlen's "Invasion of the Body
Snatcher's." Are you getting the idea as to how much music clearance
is involved here? We'll see what Anchor Bay does?
Name: Victor Cayro
You forgot to list John Woo's classic, Bullet in the Head, instead
you listed the inferior Broken Arrow. if you took the time of daylight
or light of moon and viewed Bullet in the Head, and didn't like it,
you're a clump of pubes short of a full bush...But if you haven't, do
yourself a favor, rent it, or order it through taiseng video....you'll
thank me! either that or your cursing me right about now....
There are no John Woo films on my list. The "Broken Arrow" referred
to is Anthony Mann's 1950 film starring James Stewart, Jeff Chandler
and Debra Paget, which is shockingly similar to "Dances With Wolves,"
although it's better, and hour shorter and bolder, too. John Woo's "Broken
Arrow" was garbage. I couldn't sit through "Bullet in the Head." I guess
that makes my bush a few pubes short, eh?
Name: Red River
What's your take on Rob Tapert's decision to remove "The Way" episode?
Did Studio USA force his hand on this issue? And lastly, will faxing,
e-mailing, and writing the show's affiliates help to reinstate the abandoned
episode, or is it just a waste of time?
Dear Red River:
An episode of Xena costs over a million dollars, so no one wants to
abandon one. I don't know what pressure was brought to bear on Rob,
but probably a lot from many directions. There is talk, however, that
it might have parts reshot, then be re-edited and aired. We'll see.
I recently purchased the original script of "For Him the Bell Tolls,"
my favorite episode of "Xena," and couldn't help but notice many of
the differences. The opening fight scene, for example, is much more
played out in the final version, and Aphrodite is made to sound more
like a Valley Girl. How much input did you have in making the final
version, as this was one of the episodes filmed after Lucy Lawless'
This script was written in an extreme hurry due to Lucy's injury, so
it was very rough. Basically, all changes from the text are my changes.
I make my changes in the margins of my script throughout the two weeks
of prep. I make a number of suggestions at the read-through the night
before we begin shooting and the one's that the producers and actors
like go into the script. Then, anytime an actor has difficulty with
a scene, I show them my change and nine times out of ten they go for
I recently had the chance to listen to Bruce Campbell speak at a local
film festival here at the University of Michigan. He commented on his
somewhat distain for the "hollywood" type movies. He commented that
he enjoys doing "real" independent films and recommended to me "Running
Time." Now I respect Bruce Campbell's work and opinions and I was wondering
what your take was on the whole "hollywood" image of movies? Thanks
for your time.
I believe that it is impossible for any company in Hollywood to make
a good film, the system will not allow it. Since "Jaws" in 1975, then
"Star Wars" is 1977, Hollywood has geared itself entirely for the blockbuster,
which means aiming their films exclusively at 12 to 14 boys. Since no
executives are 12 to 14 year old boys, younger and younger executives
are hired straight out of college with the idea that they are closer
to that age and will have a better understanding of it. Since a 26 year
old really has no clue what a 14 wants, what you have are people second-guessing
other people. Since movies cost so much money now and take so long to
develop, whatever might have been good about the idea to begin with
is stripped away draft by draft, writer by writer until all that remains
is a meaningless mishmosh. If something interesting mistakenly slipped
through the cracks and got shot, it will be removed as the film is subjected
to focus group screenings. Beyond all of this, the entire Hollywood
process is humiliating as complete know-nothings force the writers and
filmmakers into doing things as they "ought" to be, so that "they" will
like it. This amorphous "they" is a retarded 12-year old that can't
read a stop sign. In an attempt to retain some measure of my self-respect,
I have stopped putting myself through this process entirely. I no longer
care whether I ever get a movie made through this process. I would much
rather make a quarter of a million dollar indie feature that I have
complete control over than a $75 million Hollywood movie that must be
subjected to a committee's approval, which basically amounts to being
forced through a meat grinder from which all that comes out is ground
It's interesting that your next project will be music-oriented, since
you've added music as an element into many of the Xena episodes you've
directed. Now obviously, if it's Gabrielle doing a "Beverly Hillbillies"
parody, then it could pretty much be improvised. But what about some
of the more elaborate numbers? Like the "Joxer the Mighty" song in "For
Him the Bell Tolls," or the Sigmund Romberg operetta-style duet in "If
the Shoe Fits?" (I think you had said that you added that to the script
once you were already starting to shoot.) Since Joe LoDuca isn't there
to compose a tune, how does it work? Do the performers dub in the actual
vocals later, once it's been orchestrated and everything? How much do
the writers write, how much of it is you or the performers improvising,
and how much is actually the composer?
All right, here's how this goes: "For Him the Bell Tolls" was written
in an extreme hurry due to the fact that Lucy broke her hip on Jay Leno's
show, which is why she is almost not in the show. Given this, I thought
it was a pretty good script, but I felt that it needed something more.
I decided that Joxer ought to have a theme song. I came up with the
first verse of "Joxer the Mighty."
Joxer the Mighty
Roams through the countryside
Never needs a place to hide
He's Joxer, Joxer the mighty
I then had to sing this to Rob Tapert, the executive producer and Liz
Friedman, the co-producer. Neither seemed thrilled, but they didn't
say no, either. I then sang the song to Ted, who loved the idea, and
I told him to come up with more verses, which he happily did over the
course of the next few days. During post production, I called Joe LoDuca,
the composer, and suggested that he do a big orchestrated version over
the end titles with a big male chorus, then I played him the main theme
to "Down to the Sea in Ships." Joe then added several more verses. The
irony, of course, is that the song is now credited to Joe and Ted, but
In regard to "The Song of Gabrielle" in "Fins, Femmes & Gems," it
says in the script:
"I sing the song of Gabrielle!
A diamond like none before!
The Bard without peer!
A sight beyond compare! A temptress of renown
A woman with no -- "
Then Xena covers her mouth because she's scaring the fish away. At
the read-through the night before we started shooting, Renee pulled
me aside and said, "I have a few problems with this 'Song of Gabrielle'."
I asked, "Like what?" Renee said, "Well, it doesn't rhyme, it hasn't
got a melody and I can't sing." I smiled reassuringly and said, "No
worries, when the day comes I will have a song for you that you can
sing." Renee smiled and left seemingly reassured that all would be well.
On the day of the shoot, and of course that scene was very first up
at 7:00 A.M., I set my alarm clock for 4:00, got up, drank a cup of
coffee, and wrote the present, "Beverly Hillbillies" version of the
song. I sang it to Renee, she laughed and all was well.
Regarding "I'm in Heaven" (the sheet music is posted in the Xena section),
as well as the disco number, the waltz before it and the Baroque dance
before that, it was rather apparent from early on that the script was
timing out significantly short. I made one of my bold, reassuring statements
to everyone, "I'm going to make a big deal out of Joxer's telling of
the story and I'll make up all the time, I just need the assistance
of a choreographer," whom they were kind enough get for me. I called
Joe LoDuca and told him what I was up to and he sent me a perfect piece
of Baroque music he'd written for something else. For the other dances
I made my own temp tape for playback on the set which had "The Blue
Danube" for the Waltz with a hard cut going into Donna Summer's "MacArthur
Park" for the disco, which is indicated in the script thusly: "Tyro
suddenly break into an UNUSUALLY BOLD dance number." After this the
script indicates that Tyro breaks into song, which is written like this:
"Tyro the Mighty
From a dysfunctional family
They work me hard and call me names
Yet I'm the one who got the fame . . ."
I felt that the "Joxer the Mighty" song had, at this point, been driven
into the dirt and so I decided to go in a completely different direction.
As you so aptly point out, August, it is of the Sigmund Romberg-operetta
parody. I wrote the lyrics on the set, called Joe and sang it for him.
This was followed by a long, trans-Pacific pause that was finally broken
by Joe quietly saying, "Huh." Three days later on the set I was handed
a cassette tape that was the fully orchestrated version of the song
with actual operatic vocalists. Ted Raimi, who sing very well, replaced
the male vocal with his own.
That's the story of the songs. I'll have ten musical numbers in my
Name: Mia A. Carlson-Danner
As a former broadcast professional (14+ years in radio, with final
8 years as news director for a network of three AM/FM combos) who is
now "retired" at the age of 33 to focus on screenwriting, having the
chance to ask such a talented director/writer as yourself is a rare,
yet totally appreciated opportunity. So I will try to keep it short,
although as a writer it may be difficult!
I have written three Xena screenplays and am working on three feature-length
action/thriller screenplays. I have run into this problem and am hopeful
you have some words of wisdom for me...
How the hell does a screenwriter break through the steel wall between
writing a screenplay and getting an agent to consider representing you?
It seems that unless you have had success, you can't find an agent -
yet without an agent, there is no success. No matter how talented a
screenwriter is, they can't go over, under, around or even through the
So, my favorite director, do you have any suggestions? Any help you
can offer is very much appreciated - although I'm afraid I won't be
able to reciprocate in the manner of your joke in your article "The
Need For Structure" on the Hollywood Lit Sales site! ;)
Thank you for your time and consideration! And may you find only the
greatest of success in the future!
Mia A. Carlson-Danner http://www.geocities.com/Hollywood/Land/7619/home.html
Boy oh boy am I the wrong person to have asked this question. Having
never broken through that "steel wall" myself, I really have suggestions
to offer. I absolutely can't stand agents, having had eight at this
point, and not one of them has ever gotten me a job. I feel that the
system whereby a screenwriter might get their work seen in this town
is so fucked up that it's not even worth bothering with anymore. And
even if you were to get your script read by someone at a studio in a
position to greenlight it (which seems like a ten million to one chance),
the next step in the process is shitcanning the original writer and
hastily disemboweling the script until there's not a trace of whatever
was good in it to begin with. The entire process is so disheartening
that it's not worth it. That is why I strictly pursue independent films
now. Financing is not easy to get, but it's not impossible. Making a
good film in Hollywood at this point is indeed impossible.
No questions at this time -- just a few quick words on how impressed
I am by the articles, rants, and reviews I've read thus far. You raise
some intriguing points -- as a writer and an archaeologist, I was particularly
struck by "Stories & Society" -- and you do so in an intelligent, cagey,
and challenging fashion. (For what it's worth, I've done a couple of
essays for Bruce Campbell's web site airing some of my own grievances
with mainstream flicks, so I have a distinct admiration for your curmudgeon's
soul.) The really cool part is with the few instances in which I do
disagree, for once it's not due to a lack of honesty and insight in
the arguments presented. I can't tell you how much I enjoy reading essays
that make me work to keep up, to better think through and further clarify
my own positions, while still affording such fun in the process.
Great work, Josh. Don't ever lose that edge--
Thank you, it's nice to know that someone is getting something out
of it all.
Hey, Just had a chance to watch "Thou Shalt Not Kill...Except". The
flick was a lot of fun, i even showed some of it to the people in my
high school film class, who liked it as well. I'm just wondering, (and
I'm not sure if this has been asked already) If THOU is released on
DVD, will you include the origional short?
It should, but someone would have to pay for the clearance on the music.
If Anchor Bay, who is releasing the DVD cares, then it could happen.
We'll see . . .
Name: Barry Green
I read your "making of" Running Time page, it was fascinating and I
appreciate your taking the time to document the process. It was inspiring.
My question is, what did you do about guilds and unions? I'm planning
a micro-budget film, and I am facing the question, "To SAG or not to
SAG." On such a low budget, the Hollywood Film Institute (Dov Simens)
says "forget 'em, hire scabs", but you said you used SAG actors. I assume
that means you went with one of the SAG agreements. Did you use the
"experimental" or "limited exhibition" agreements, and if so, did the
"distributor assumption agreement" (with its double residuals) make
it more difficult to sell?
Thanks for making this forum available!
On "RT" I went with the standard SAG low-budget agreement. The "experimental"
deal doesn't apply to a feature-length film and the "limited exhibition"
agreement offended me--I will not have some outside force dictating
to me what I can and can't do. Therefore, I say either go with SAG all
the way, or skip it. On my new film, "If I Had a Hammer," I'm skipping
it entirely. Let's back up. On "RT" is had ten speaking parts over the
course of a ten day shoot with everyone working for SAG minimum (including
Bruce Campbell, who NEVER works for the minimum) and ended up spending
just over $40,000 on the actors. However, I had good reason to do this.
A.) I really wanted Bruce to star in it and he can only work SAG, B.)
Since I was shooting in these excessively long takes (5-8 minutes long),
I absolutely had to have actors that could handle this odd, difficult
situation and not screw up (and they didn't, either) . On this new film
I am shooting in the regular fashion and my two leads are supposed to
be 18 and 19 years old. I intend to use actual 18 and 19 year olds and
at that age most actors have not yet gotten into SAG. Also, everyone
else in my cast has to be a musician that can deliver a few lines. Most
musicians are not SAG members. Now, this is important so pay attention--if
you decide to go SAG and then you use non-SAG actors, you first of all
have to pay them and treat them as SAG actors, plus they then have gone
Taft-Hartley which is the first step toward joining SAG. If you do this
more than a couple of times SAG will fine you. But worse than any of
that, if you go with SAG then you had better have professional 1st and
2nd A.D.s that can keep all of the SAG rules straight so that you don't
break them all the time--meal penalties, turnaround, overtime--which
can end up costing a LOT of money. Also, if you use SAG actors you really
can't shoot on Saturday since it's now time and a half for the first
eight hours, then double time for the next four hours. No matter how
small your cast or how short your shoot, going SAG will cost (with at
least one real A.D. thrown in) minimally $50,000.
If you are not prepared to handle the SAG rules properly, which is
not easy, then I say go non-SAG. You'll have much more freedom, you
can go overtime if you need to, you can shoot on Saturdays and Sundays
and you don't necessarily need topnotch A.D.s. For me on my new film,
going non-SAG is a big enough savings to to shoot a third week and bump
up to 35mm. I think it's worth it.
What is a typical day like for you when you are between film engagements?
And how long does it normally take you to finish a screenplay? Do you
use Scriptware or Dramataca Pro software, or just a regular word processor,
to write your scripts?
Thanks a lot,
My days are odd and varied. Right now I am preparing my next feature
project, "If I Had a Hammer," so lately I have been tracking down potential
crew members, scheduling, doing the breakdown, working on music clearance,
as well as conceiving the visual approach to the script.
This script took me six months of constant work, consisting of three
sub-drafts, then four drafts. There were also about 25 outlines done
during that time. The actual writing, to me, is secondary to thinking
and outlining my way through the story. As far as I'm concerned, the
really important parts of screenwriting do not occur sitting at the
computer--to have a strong structure and thematic material weaving it's
way through the story, it all has to be dreamt up and figured out previous
to turning the computer on. If you do not know exactly what you're writing
and why, it probably won't be any good. Good screenwriting does not
occur as inspiration at the keyboard. Just pounding one's way through
120 pages of script means very little.
Being an old-timer at this point and having begun writing on a manual
typewriter, I use four tab settings, which is all that a screenplay
consists of. I honestly don't see how any of that script software can
of any real service. If you don't know what you're doing, it won't help
you; if you do know what you're doing, it's of no value. As I've said,
the real writing occurs with the computer turned off.
Hello Sir Josh,
Hey, what "Xena" director do you admire most, and what episode did
I haven't seen most of the Xena episodes. I did laugh very hard when
I first saw Michael Levine's "Warrior . . . Princess."
What type of film would you suggest using in order to make short films
to learn the film making process and how to use a camera ect. Video,
8mm, Super 8, 16mm, or what??
thanks for your time
I am a filmmaker, I like film. Sadly, Super-8 is too much of a specialty
item these days and not very cheap anymore. Therefore, I say go with
16mm. It's not as easy as video, but it looks much better, can be blown-up
to 35mm with better results and can be edited cheaply.
Name: John Forde
Congratulations on the distribution deal for 'Running Time'; it is
a film that deserves a wider audience. Will this deal get you closer
to breaking even? Also, I've brought the order form for 'R.T.' to a
local Blockbuster. I truly loathe that chain but if it can help you,
it's worth it. The responses I get from the clerks up to the mangers
have varied from indiference to laughter. Thus far, the film has not
been added to their inventory (no, they do not have a Bruce Cambell
section, go figure). My question: who at Blockbuster do I have to pay(ola)
to get your film into their inventory?
Howdy John (sorry, I can't help it):
I think Blockbuster may stock it once Anchor Bay releases it for real.
I certainly do appreciate your efforts, though. By the way, I saw "She
Wore a Yellow Ribbon" again the other night and liked just much as always.
1) I was fascinated by your "Real Stories" story. Have you worked on
other TV series (other than XWP) or feature films (other than your own?)
2) Without prying, I'm just curious - are you financing your next
project on your own, or did you come up with some investors?
3) Great job on "If the Shoe Fits" - the stuff you added for Ted Raimi
was some of his best work! You've said it yourself, and it shows - you're
an "actor's director."
4) Great answer to Mr. Fat Dick!
I did 14 appearances as an extra on the 2nd season of "Beverly Hills
90210." I worked 6 days as an extra on John Cassavettes' film "Opening
Night." I had one line on "Step By Step." That's about it, other than
"Real Stories," Herc & Xena.
As to the financing for "If I Had a Hammer," I will personally put
up most of the money, but I do have one investor that I'm talking to.
Thanks for the nice comment on "If the Shoe Fits." Ted certainly doesn't
need much urging to chew up all of the scenery. I simply guide him toward
which hunks of scenery I feel need the most chewing.
As for Mr. Fat Dick, it's a helluva lot easier to call people names
than to actually back up your opinions. If I say I don't like something,
I'm always perfectly happy to explain why.
Okay .. while strolling through your site today, I actually found something
that I had never noticed before. You directed some episodes of Real
Stories of the Highway Patrol and that was news to me. Very cool. So?
Don't suppose you would care to tell me what that was like? Did you
ever get to film anything interesting? "Murders.. Killings.. Homicides.."
Love to hear more about this one. And one other note .. while at the
video store the other day, I picked up a lovely little flick entitled
"Mosquito." I'll bet that role (roll) was sheer torture.
You see how varied my talents are. I directed re-enactment segments
on the first season of "Real Stories," so I didn't actually see any
real action. My job was to go to a state, sift through hundreds of police
reports until I found action-packed crimes that I could potentially
shoot in the course of one day or one night. My crew was me, a cameraman
and a sound man. All of the parts in these re-enactments were played
by policemen and policewomen, who were generally quite game, but the
worst actors of all time. I actually shot one segment entirely in Spanish
and I don't speak Spanish.
As for "Mosquito," what can I say? My good buddy, Gary Jones, the director,
asked me if I wanted to be in his film? I said, "Sure." He said, "You'll
have to be naked." I said, "Gary, I'm too old to be doing nude scenes."
And Gary replied, "Oh, OK." I show up to shoot in an old tool & die
factory in a terrible part of Detroit. Everybody in the crew, all of
whom I knew rather well, came up to me and said, "I can't believe you're
going to do a nude scene," and I'd say, "No, Gary said I don't have
to be nude," and each person would mutter, "Huh," and move on. Finally,
Gary came up to me and I said, "I don't have to be nude in this, do
I?" and Gary replied, "Oh, yeah, you do." The woman with whom I was
to do this nude scene had been hired in a topless bar. She and I spent
8 hours in a tent in the middle of a stage pretending to have sex. Let
me just inform you that doing a nude sex scene is 100% more difficult
for a man than a woman. There are certain physiological events that
one expects to occur under these circumstances that suddenly seem entirely
inappropriate, particularly with a whole film crew around. I ended up
with one of the worst headaches of my entire life. Every member of the
crew said to me at one point or another during the day, "I couldn't
do that." Anyway, it was a learning experience.
How did you get into film and television? what's been your best and
worst moment? and what advice would you give to people who want to enter
the media world of film and TV
First I was a film fan, then, when I was about 12, I began making Super-8
movies. I would like to believe that whatever is my best moment is to
come. The worst was directing "Hercules in the Maze of the Minotaur,"
with the crabbiest crew on Earth. My advice would be: see as many old
movies as possible and read as many books as possible, to see how stories
can be told, then tell your stories. To paraphrase Norman Jewison from
the Oscars, "Forget grosses, tell good stories."
Name: Heath Opper
Will you be involved with the new TV show "Love Police" that Sam Raimi,
Rob Tapert, and Shaun Cassidy are currently developing for the USA Network?
I don't know if I'll get another Xena episode, let alone anything else.
To quote what I think is the most popular phrase in Hollywood, "We'll
see . . . "
I finally got around to viewing THOU SHALT NOT KILL...EXCEPT and absolutely
loved it. But I am a little confused. All the information I read about
this film described it as a horror/suspense film. However, upon viewing
it, I saw it as a splat-stick comedy/exploitation movie (in the same
vain as Evil Dead 2). Was this how you intended the film to be?
Splat-stick is a good term. "Thou . . ." was shot two years earlier
than ED2, but certainly in the same vein, or artery, as the case may
be. I mean, how seriously can you take the premise, the Marines Vs.
the Manson Family, right? It's being listed as horror to get it into
the same section of the store as ED.
Thank You so much for the autograph it means so much to know that you
took the time to send it I'm gonna frame it. I was just wondering how
you and Sam and everyone learned how make the super 8s that you made
when you were young? Did you take classes or what? Cause I really really
wanna be a filmmaker but there is no where to take classes for people
my age(14) and I live in NY no less so what did you all do to learn?
thanks for taking the time to answer my question you really are the
Nobody taught us how to make the Super-8 movies, we just made them.
And the more we made, the better and more ambitious they got. There
is no better classroom for filmmaking than actually making a film. Write
the best 10-minute script you can, using locations and actors you think
you can get your hands on, put it all together, shoot it and cut it.
Between what you originally had in mind and what you end up with is
the lesson. Then do it again.
Name: Donald Alao
I hear you like Boyz N' the Hood. Would you give me your analysis on
that film, because I can't find anything good about it.
For me, "Boyz N' the Hood" gave a clear, believable view of a place
and a situation that I thought was interesting. It doesn't stick with
me very well, but I enjoyed it at the time.
what are the reasons for not being able to order copies of Running
Time outside of usa and canada. The reason i ask is because, if there
are any extra costs in sending overseas i am sure the buyer would be
willing to cover the extra charges.
Also can i please have your thoughts on the films of Jim Jarmusch.
thankyou for your time.
I'll send these last few copies out anywhere. I think I have 50 left.
As for Jim Jarmusch, I liked "Stranger Than Paradise" quite a lot and
think it's a rather exceptional low-budget movie. But I feel that Mr.
Jarmusch shot his wad with that one picture and hasn't had a thing to
say or show us since.
Name: Mary Leah
I'm a senior in high school who really wants to go into film. I am
trying to decide which college to go to based on my desire for a strong
film program which will help further my career. What would be your suggestion
between Duke and University of Miami? Which school would give me the
most opportunities to really make some contacts in the film industry
and make me a standout among all the other individuals aspiring to enter
this field. I'd really appreciate some advice and thank you for your
I don't know anything about film schools. I attended one semester (fall
1976) of Columbia College here in L.A. and learned how to properly coil
a cable, and I spent one semester (winter 1977) at Sherwood Oaks Experimental
College, where I got to meet a bunch of cool people (Francois Truffaut,
Martin Scorsese, Robert Aldrich, Robert DeNiro, Robert Wise), but didn't
really learn anything. Everything that I know about filmmaking I picked
up making or watching movies. When everything is said and done, it's
not where you went to school, it's what you know. I don't think it matters
even slightly whether you have a degree from Duke, University of Miami,
USC or UCLA, because that's not how people get jobs as filmmakers. In
fact, of all the filmmakers I know, I'm not sure any of them have college
degrees--I don't. I'm not saying that there is anything wrong with going
to film school, but unlike Med school where if you follow the proscribed
steps you'll emerge at the end a doctor, at the end of your tenure at
film school you'll simply be one more person that wishes to be a filmmaker,
no closer to your goal than someone that just got off the bus in Hollywood.
Name: David Rogerson
What were your favourite cult TV shows from the 60's, 70's and 80's
What makes a show or a film "Cult?" I hear this term applied to Quentin
Tarantino and the Coen Bros., whose cults seem to be the viewers of
the world. How can a TV show that is being broadcast to hundreds of
millions of people have anything to do with a cult? Anyway, back in
the 1960s when I was a kid I liked all the standard stuff: Star Trek,
Green Hornet, Batman, Combat, Green Acres, Gilligan's Island, Lost in
Space. By the time I was a teen in the 70s I pretty much stopped watching
TV except for movies and didn't pick it back up in the 80s. Now, however,
I like The Simpsons and ER and most everything on Turner Classic Movies.
Really looking forward to the DVD release of Running Time. Can you
tell me what Special Features (if any) it will include? An Audio Commentary
with yourself and Bruce would be great, and how about a documentary
on the making of Running Time. Also What is the status of your Western
Projet Warpath? Any closer to getting made. You need investors I'm there
If Bruce is available it will be he and I doing the commentary track.
There are no plans for making a documentary. I hope to get to "Warpath"
next year, after I make "If I Had a Hammer," my period folk musical.
And I ALWAYS need investors.
Name: Tamara Clay
I am so glad I get to send email directly to you. I would like to know
if you have any projects you plan on directing soon. I am a young actress
(21 yrs. old) and have dreams of being in movies. I would like to know
if you would please help me. I would appreciate it so much if you just
give me a chance. I can act-I can deliver the goods. Please contact
me at: firstname.lastname@example.org. I just want a shot :)Thanks and take care!
If you REALLY want a shot, take it, don't wait for someone to give
it to you. If you're waiting for someone to give you a break, you'll
grow old and die waiting.
Name: Jon Bayless
I appreciate your honesty in criticizing legends like Kubrick and George
Lucas. However I don't remember seeing any comments on Spielberg. Do
you enjoy his work, or is it too mainstream (Hollywoodish)? Also, do
you think it's best to go to a film school to lean how to make movies
or to work and finance you own film work? One last question, what kind
of music do you like?
You obviously missed my review of "Saving Private Ryan." This will
answer all of your questions concerning my view of Spielberg.
I personally think you'd learn a lot more putting your own movies together
than going to film school. I also suggest watching and paying attention
to as many old movies as possible.
In regard to my musical tastes, I generally listen to KUSC, which is
classical, most of the day. I particularly like: Ralph Vaughn Williams,
Aaron Copland, Chopin, Beethoven and Rachmaninoff. I'm also a jazz fan
and like: Dave Brubeck, Coleman Hawkins, Ben Webster, Gerry Mulligan,
Stan Getz, Lester Young, Duke Ellington, Johnny Hodges. And, I still
listen to mainly older rock & roll like: Bruce Springsteen, Emerson,
Lake & Palmer, Van Morrison, Led Zepplin, Jimi Hendrix, Santana, Jethro
Tull. I quite like R.E.M.'s new album, "Up."
In a recent response you claim kubrik hasn't produced anything of value
since clockwork orange. Bullshit. Full Metal Jacket is the blueprint
for most modern war movies, and has a valid stance for being Kubrick's
2nd best film (naturally 2001 beats all). Suck my fat dick, dorkmeier.
Dear Mr. Fat Dick:
Is your dick being so fat a genetic problem, or does it get fatter
every time you say something stupid? Obviously you don't know much about
Mr. Kubrick's career. To seriously believe that "Full Metal Jacket"
is his 2nd best film is pure ignorant foolishness. First of all, half
the story is spent in boot camp, which seems completely excessive, and
there isn't one new idea put forth that hasn't been in 50 other movies.
To have the Vincent D'Onofrio go crazy and kill the D.I. is a meaningless
conclusion to the first half since in reality this never occurs. Since
it is not representative of anything that ever happens in reality, there's
nothing to learn from it. Second, to then begin following a photographer
(Matthew Modine), to me seems like a total rip- off. Then, to have the
entire story come down to a single sniper shooting at them in what is
clearly and obviously NOT Vietnam, but instead the chilly gray suburbs
of London, seemed completely foolish. That the sniper was a girl, to
me had no resonance or irony. If someone is shooting at you and killing
your buddies, you have the right to shoot back. As far as Vietnam war
movies go, the ones I think have some value are: Platoon, Go Tell the
Spartans, Apocalypse Now, and Born on the Fourth of July.
As far as Stanley Kubrick's films go, my list would go like this: 2001
(Hey, we agree), Paths of Glory, Dr. Strangelove, A Clockwork Orange,
The Killing, Spartacus, Lolita, The Shining, Full Metal Jacket, Barry
Lyndon and Killer's Kiss.
And as to your fat dick, perhaps occasionally using your brain might
cause the swelling to subside.
I will be traveling to New Zealand and would love to be an extra on
Xena. I heard that the extras are fan walk-ons. Is this true? Also,
when does the filming of the show take place? If I can be an extra do
you know where I should go when I get there? Thank you very much for
your time in answering my questions. I have loved the episodes that
you have directed and written!!!
I don't know where you heard that the extras on Xena are "fan walk-ons,"
but that's entirely untrue. They are all hired New Zealand extras. If
I am not mistaken, and I could be, an American cannot go down to New
Zealand and work unless you have a work permit, and you can't get one
of those without having the job before you leave. Sorry and good luck.
Star Wars takes a big crap down your throat. You know, for somebody
that hasn't made a single movie his entire career that anybody gave
one little shit about except for some two bit weak ass critics, you
sure have a big mouth. If Star Wars was such a terrible set of movies,
then how come so many people love those movies? Lucus must be doing
something right. If you ask me, maybe YOUR criticism is misplaced, and
99% of America would say exactly the same.
Dear Spartacus ("No, I'm Spartacus!"):
Since 99% of America has chosen you as their spokesperson, I guess
I better shut up.
Name: John Forde
Speaking of "the creepy, right-wing, conservative assholes were all
let off the hook scott free", let us not forget a certain young actor
who started his political career at the HUAC trials. Who is this young
actor? Ronald Regan. He was a rat and it certainly has not tarnished
his American hero image.
I was just wondering, how do you become a Director? How did you start
out? How did you get to Direct Xena and are you enjoying your life?
I began by watching every movie I could possibly watch and developing
a critical sense of what I considered good. I then began making Super-8
movies, which I did intensely for 15 years. I then switched to 16mm
short films, then a 16mm feature, then 35mm (then back to 16mm for "Running
Time" and now back to 35mm for "If I Had a Hammer"). I began on "Hercules"
as the 2nd Unit Director, then, seemingly haven proven my worth, became
a Main Unit Director. Herc lead to Xena. Of course, I did grow up with
Rob Tapert and Sam Raimi, the show's Executive Producers, so there is
a whole aspect of "it's not what you know, it's who you know." Quite
frankly, however, I think it's a combination of both. As to, "do I enjoy
my life?" Sure, it's the only one I've got.
Ok, I´m from Sweden. Which is pretty far away from Santa Monica. What
would be the best way to make sure we get to see Running Time in Sweden
(and Europe)? Any suggestions?
Yeah, buy a tape from me, I'll send 'em anywhere now.
Name: Daniel Titmus
Hi Josh, nice to talk to you,
I am living in Australia and very keen to see your film Running Time,
I would even love to buy a copy but I dont live in the US, as a film
student I am very eager to see your work, I have heard nothing but praise,
is there anything I can do from way over here to see it?
Well, I just made the U.S./Canada video-DVD deal and next I will attempt
to sell the rest of the territories in the world. I have contact for
Europe, but sadly, I don't have one for Australasia. I don't know what
the postage would be, but if you want to buy a tape from the website
here, just do it, I'll deal with customs. I don't take Australian Dollareedoos,
so you'll have to use a credit card.
Name: Beth Smarr
I just read that you have a deal with Anchor Bay Entertainment to release
"Running Time." I just ordered my second copy from your site as a keeper
as I use my first as a loaner to gather more fans for you. Will you
sign my new copy for me? I also want to know what is next your your
directorial plate. Any positive news on the projects I read about a
month or so ago? Keep up the good work.
Thanks for buying two copies. As of this moment, I begin shooting my
new film, "If I Had a Hammer" on Aug. 1, although much could happen
between now and then.
Name: Cathy O'Grady
Having seen the Xena episode, If the Shoe Fits fairly recently, I
was wondering if you enjoy working with children? I was very impressed
with the little girl who appeared in this episode, has she acted before
do you know? Secondly, I was also surprised to read that the script
went through so many changes as I thought this was a very funny episode.
Do you think last minute re-writes are necessarily a bad thing?
I enjoy working with everyone on a film shoot, young and old, as long
as they do what I tell them to. Going into this episode I was very concerned
about the little girl's part. If we couldn't find someone good (down
in New Zealand) the whole episode would be in trouble. Di Rowan, the
NZ casting director, who always does a good job, found Olivia Tennant,
the little girl that played the part. I think I looked about 8 or 10
little girl's auditions. Several of these little girls were really beautiful,
but Olivia was the only one that knew what she was saying. Olivia is
a terrific little actress, always knew her lines, listened to what I
said and remembered my directions, never became bored with the process
(which is amazing) and was simply a joy to have around. Also, Lucy really
took Olivia under her wing and was goofing and talking with her all
As for last minute rewrites, well, generally they're not very good.
The script was in such bad shape that this shoot got pushed back a day,
which has never occured before or since. We had gone through three white
drafts, a pink, a blue, a green and two yellows. On the Sunday before
we began to shoot, Rob Tapert came by my place and the two of us sat
there for about 6 hours picking the best page from each draft--none
of which connected to each other--and I was given carte blanche to make
everything fit together. I then stayed up until midnight or 1:00 A.M.
each night trying to get it all to connect by the time I was picked
up the next morning at 5:45 A.M. This was by far the most difficult
Xena I've ever done (pushing "Hercules in the Maze of the Minotaur"
to number 2). A few examples of elements I put into the story that were
not in the script (any of them): the Baroque dance number, the waltz,
the disco number (represented by one line in the script, "Joxer does
a bold dance step"), the song "I'm in Heaven" (which was supposed to
be yet another verse of "Joxer the Mighty," a gag that has been driven
into the dirt), as well as Gabrielle's problem, which is usefullness.
I also completely rewrote the bathroom scene between the queen and the
princess, which made no sense at all. I also changed the messenger scene
in Aphrodite's version of the story, where Joxer delivers the message
from the king. Originally, he was supposed to do a Keanu Reeves, valley
guy-sort-of-thing, to which Ted completely objected. I suggested that
he approach the scene as though he were in Frank Sinatra's rat pack,
calling them "koo-koo, crazy chicks," and Ted took it from there. I
love his moment of first seeing Gabrielle as Tyrella and saying, 'Oooh,
that chick is square."
However, on the positive side of last-minute rewrites, I like the one
we got on "Fins, Femmes & Gems," which was better than all the previous
Name: Virginia Kelly
Actually, this is a compliment. I absolutely loved Xen ep "In Sickness
and in Hell." And, forgive me, I hven't looked closely at the credits
yet and I don't know if you were involved, but I just saw "The Play's
the Thing" and I ALMOST like it better than "In Sickness and in Hell."
I also loved "Fistful of Dinars."
Thanks, but I had nothing to do with "The Play's the Thing."
I just thought I'd tell you that you can save your time and skip "Eyes
Wide Shut" if you go rent "Billy Bathgate" with Dustin Hoffman, Bruce
Willis, and features two nude scenes by Nicole Kidman, including a full
frontal. You'll wear out the pause button...
Sadly, however, that would entail me having to sit through "Billy Bathgate"
again, and that's not humanly possible, naked Nicole or not.
Name: Slick Willy
What do you think will be the next major break through for film? As
you wrote in an earlier article, it has been decades since anyone has
done anything that really revolutionized film and showed their real
genius. Is there anyone you feel flips the bill in the industry or is
film on the way of the Dodo bird?
I think movies, whatever format they may be shot on (film, video, digital),
are a very powerful form that will not be replaced soon by anything
else. That nobody is really doing anything with the form at the present
time is a temporary set-back. Everything moves in cycles and we're just
in a valley at the moment. At some point soon we will march out of this
valley and up to the top of the next hill. This will not be based on
faster cutting, more special effects, shakier hand-held photography
or more explosions or more automatic weapon fire. It will be based on
someone actually using a bit more of their brain and taking the medium
to a new place. It can and will be done.
Name: Jason Armadillo
I just found out that Kazan was a anti-Commie Narc! I am amazed
at this, although I don't know why. I admit I don't really know
much at all about what went on in those trials. I know some people
got blacklisted (Dymytryk?) but I thought the creative types (directors,
writers, etc.) in Hollywood kinda stuck together through the whole thing.
It was the outsiders who pointed the fingers. I had no idea Kazan
ratted out 8 collegues! I almost want to watch the Oscars (hey,
it would be my first time ever!) just to see what happens. I guess
I could tape it so I wouldn't have to sit through that garbage.
Hey! Lay off Elia Kazan! He is a great, great director
and anything but evil. The point that is quickly being forgotten
is that he was on the good side of that ugly event. The creepy,
right-wing, conservative assholes were all let off the hook scott free,
people like Richard Nixon, Cecil B. DeMille, Adolph Menjou, Gary Cooper
and John Wayne. These were the ones that were screaming for a
blacklist and loyalty oaths and other fascist, unconstitutional things.
Kazan had been a communist party member in the 1930s, during the depression
when democracy was clearly failing and people were in bread lines and
starving all over America. Anyone with any brains at all was searching
for a better system at the time. The fact that communism was not
the answer made itself known over the course of time. And lets
not forget that Russia was on the allied side during WW2. Kazan
broke from the communists in the late 30s because the party was trying
to dictate to him what plays he should direct and which plays he shouldn't
direct. Once he broke off, the communists became highly vindictive
and made serious attempts to sabotage his career. Kazan came to
realize that not only was communism not the answer, but that these people
were creepy assholes. The HUAC hearing began in earnest in 1947.
When Kazan was called on to testify in 1951, the blacklisting had been
going on for several years and had proven fatal to those people that
didn't talk. Kazan was now forced to name the names of the people
that had earlier tried to ruin him and if he didn't name them, he would
never work again. These were not his friends, they were his enemies.
Under those circumstances I believe that I would have named those names,
too, and so would you, and so would most everyone else. It's very
easy, 50 years later, to say "I wouldn't have named names, my career
be damned," which is akin to saying, "If I had been a soldier during
D-Day, I'd have been a hero." Oh yeah? Kazan did what he
felt he had to do and I don't blame him. As a metaphor, blaming
the HUAC hearings and the blacklist on Kazan is like blaming the holocaust
on an Auschwitz survivor for hiding under the dead bodies in the showers.
You do what you have to do to survive. Let us revile the name
of Richard Nixon, creep extrordinaire and destroyer of many, many lives,
not Elia Kazan, who was a victim as surely as the Hollywood Ten.
The man has spent 50 years being treated as an untouchable.
What is your screenwriting process? What I mean is...how do you start
a screenplay? Do you write a short story or do you outline? Keep up
the great work!!
After jotting down as many ideas as I can get on the topic, I then
write a treatment, which is essentially a short story without a lot
of attention paid to the prose. Once I believe that I'm telling
a complete story, I begin outlining. When I feel that I have three
complete acts, with proper act breaks, as well as understanding my theme
and point, I start the actual writing. Once I have a completed
draft, I let it sit for a week or two, then attack it again and make
every change that seems reasonable and let a few trusted people (like Bruce Campbell) read it, then I attack it again,
and again, and again until I think I've got it down. If you don't
know your entire story and your ending before you begin, it is not possible
to write a good script. In a good story, everything is leading
to the ending.
You are SOO cute!! My question is: What was the first film that really
made you want to be a director?
Awww, you don't mean it. The first film that really moved me--this
is previous to me even knowing that there were such a thing as directors--was
in 1963 with "How the West Was Won" in 3-screen Cinerama. I still
have the hardcover program, in which I wrote my name in crayon.
Soon thereafter I saw "The Longest Day" on a re-release (this was probably 1965 or '66) and
was also highly impressed.
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