first of all, I have to say that if "Pearl Harbor"
was four hours, then they would've had to keep twisting
the plot, ie, Josh Hartnett wouldn't be dead after all
and Kate Beckinsale would die of pneumonia. Then Ben
and Josh could be best friends forever.
for the questions. How does Joe LoDuca write the scores
of movies? Does he write peices from the context of
the script and you edit them to fit the film, or does
he write them to a rough nearly-finished version of
I just saw "Bless the Child" last night with
a few friends last night and couldn't believe how bad
they went into CGI-overkill. They used CGI for plates
spinning on a table, snow spinning on it's own in a
snow globe, and candles lighting themselves. It seems
to me like it would've looked a lot better if they just
would've put a little work into figuring things out.
The snow globe alone could be done just by shaking it,
putting it down and then reversing the film in post
production. If you had the budget to include computer
generated imagery in every shot, would you use it for
everything remotely difficult, or would you rather rig
something up-like connecting 50 candles to a model rocket
when you write scripts where some characters die, like
in "Cycles", do you know before you start
writing it who's going to die, or is that just a spur-of-the
for your time, and I can't wait to see "If I Had
buddy, you lost me a couple of times there. Let's see?
Wasn't "Pearl Harbor" four hours long? It
felt like it. Regarding Joe LoDuca, as soon as the picture
editing is locked he gets the tape and scores to that.
to digital effects, I say use them when you need them.
And finally, when writing any script I am well aware
of how it ends and who dies before the actual writing
commences. The actual process of writing, to paraphrase
John Irving, should be a process of remembering, not
few easy questions Josh.
go back a few years to two earlier episodes of Xena
you directed(Finns, Femmes & Gems/Kindred Spirits).
have blooper tapes from the fan club and they showed
one scene in particular from "FF&G" where
Lucy, Renee and Ted first enter Aphrodite's temple(at
the beginning of the episode), and Lucy had a difficult
and couldn't get it right. I've read where she had a
little too much to drink the night before at a party.
in another tape, they showed a scene in "KS"
where Renee walked up to talk to Ted and he had the
contraption on his neck and Ted kept getting tongue
tied and coudn't get it right. In both of these, they
kept screwing up and screwing up and when they didn't
screw up they got the giggles.
was very funny to watch, but what was your reaction
when they were having these problems. Did you get frustrated
because of all the time constraints, or did you think
it was funny yourself and were you laughing with them.
in all the times you worked with Lucy and Renee, have
you every shared any cross words with them?
just an opinion here. If you ever get a chance to film
another one of your scripts and it has 2 major femal
characters; why not ask Lucy and Renee to play the parts.
I'd assume you won't be able to get any of the Hollywood
big-wigs; and if word got out that Lucy and Renee were
working together again it would be big news to a ton
of folks even if was a low budget project. Would be
good attention for your project; not to mention getting
two gal who are good at their craft and work well together.
Of course they could turn it down; but it wouldn't hurt
to ask them if the situation ever came up.
the worst with those sorts of flubs, I just can't stop
laughing. Lucy coming in and goofing up her lines in
FF&G was so funny I thought I would choke. That
was a wonderful sequence of giggles and screw-ups in
KS, too. We had one just like it on SP when the two
of them are on top of that cliff at the beginning. To
watch two pros like Lucy and Ted or Renee and Ted unable
to deliver their lines because they can't stop laughing
just kills me.
is about trying to get the appropriate actors in the
right roles, it's not about giving your friends gigs.
If I ever have parts (and financing) for Lucy or Renee,
I'll offer them a part.
you seem to have an affinity for screwball comedy, I'd
be interested to know what some of your favorite comedies
are. (For my money, there's still nothing better than
"Bringing Up Baby," but then I'm just a novice
movie geek and you and the other professionals will
doubtless find a way to rip my post to shreds and use
it to shoot virtual spitballs at me for my ignorance.
Eh.) Also, if you're feeling extra smart and/or energetic,
I'd like to know who you think the best comic actor
and actress are. (Off the top of my head, I'd probably
go with Peter Sellers/Cary Grant and Madeline Kahn.)
Hepburn and Grant are both at their peak, I've never
much cared for "Bringing Up Baby." Although
it is considered a classic and a great comedy, Howard
Hawks didn't really like it, either. I'll take Hawks'
"Monkey Business" over "Baby." I
also love Preston Sturges' "Christmas in July,"
"The Lady Eve," "The Palm Beach Story,"
"The Miracle of Morgan's Creek" and "Unfaithfully
Yours." There's a wonderful, rarely-shown film
called "So This is New York," produced by
Stanley Kramer and directed by Richard Fleischer that
really made me laugh. There's a terrific film called
"Remember the Night" with Barbra Stanwyck
and Fred MacMurray (written by Preston Sturges) that
slaughters me every time I see it. I finally just saw
"Million Dollar Legs" with W. C. Fields that
was as wacky as any American movie I've ever seen. Fields
is the president of the country of Klopstockia where
all men are named George and all women are named Angela.
I just saw traffic, and for the most part agree with
everything you said. To me it really did seem like a
tv show, really just a bunch of episodes slapped together.
I think the tv series is being released on tape here
in North America, I don't see how it could not be better
unless it's acted out by the Muppets. On second thought...
question I wanted to raise was your point about nobody
metioning the legalization of drugs. Do you really think
that politicians, all of whom are about the status quo,
would want to say something like that out loud? I think
the film did touch on this problem in the plane when
Michael Douglas' character says the dams are open for
suggestions (and ack! there's an ugly metaphor if ever
there was one). What he gets is silence in return.
only suggestion he gets is to filter out more money.
Of course no one is going to suggest legalization.
but why are we in a place in our society at this late
date where a "hip" filmmaker like Steve Soderbergh
won't even mention legalization? I find it stupid and
E-mail: Our own circle of hell.
Dear Rob Tapert's bitch,
thought you might like to know about all of the continuity
errors that I found in Soul Possession. Clearly Joxer
begins that episode with exactly 57 eyebrow hairs above
his left eye and later in the same episode he has only
55 and a half eyebrow hairs, so what the hell happened
to the other fucking eyebrow hairs? I mean come on how
the fuck am I supposed to continue to live in my fantasy
world in which Xena and Gaby really exist if you keep
screwing up the details? And duh of course Xena would
already be comfortable with Gaby's hair color, especially
since that it not a wig, no it's really Renee's hair!
It's all real it's all fucking real!! I have to go back
to my Xena chat room now and waste away my short life
discussing the fine details of a TV show, goodbye you
Xena Psycho Fan:
calling me "Rob Tapert's bitch"? Well, thank
you so much for writing in and sharing your sharp observations.
Now, back to your chat room.
your last "Xena" episode on WGN and enjoyed
it (especially the in-jokes), even though I didn't know
(or particularly care) how it fit into the whole "Xena"
mythos. Nice use of cherries, too.
your opinion on the work of James Cameron? I enjoyed
"Aliens" and the "Terminator" movies,
and even parts of "The Abyss." But "True
Lies" was a dud and I have successfully avoided
really hate him if it weren't for "Aliens,"
which I like a lot. I can entirely live without either
"Terminator" movie, the second one being particularly
boring, and Ed Harris is good in "The Abyss"
but the rest of the picture can happily sink without
a trace. I still think that "Titanic" is the
worst film of the past ten years.
saw Soul Possession and it had parts in it I liked (mostly
Lucy's performance) but I thought it contradicted what
I happened at the end of Sacrifice II and the beginning
of A Family Affair. Okay, whatever.
have a question about the ending when "Xena",
who is now in Annie's body, says to Mattie (Gabrielle)
- "You know I like you better blonde but I can
go with this".
does she say that? Didn't "Xena" just spend
over a year in Harry's body looking at Mattie? Shouldn't
she have gotten used to it by now? Shouldn't that have
been Mattie's line since Annie's body would have been
"new" to Mattie (Gabrielle)?
whose idea was it to do the whipped cream and cherries?
Lucy's? Yours? Or was that in the script?
I shot the script they gave me. The whip cream was in
the script, I added the cherries.
case you weren't adequately frustrated today I pulled
this from today's newspaper...
film opens with Lara Croft doing desperate battle with
a deadly robot, in what turns out to be a homage to
the openings of the Pink Panther movies where Clouseau
took on Kato."
above quote is from the three star review for Tomb Rainder,
in the Chicago Sun Times, by Roger Ebert. That's three
stars out of four. (Four being a masterpiece.)
Angelina "space cadet" Jolie even comes within
a billion light years of Peter Sellers' talent I'll
eat my hat. And this is a film based on a video game.
think this may be one of the signs of the apocalypse.
what's the frustrating part of this? That Angelina Jolie
isn't as talented as Peter Sellers or that Roger Ebert
is a big fat idiot with his taste up his ass? The only
thing that made Ebert bearable was Siskel. With Siskel
gone, Ebert is just one more paid-off, Hollywood PR
guy masquerading as a critic. Regarding "The Tomb
Raider," I'm sure it's every bit as interesting
as the software it's based on. I can't wait for the
feature film version of "MSWord."
beg to differ - I'm a bigger geek and smart-ass than
either of you. I got curious, and thanks to a quick
Google-search, discovered that your buddy Kearston had
indeed communicated with you *a year and a half ago!*
Back when "Return of the Dragoon" and "Kindred
Spirits" came out. You eloquently observed ""Even
willing to sleep with me, I still don't have a job for
you." (You've got it archived on Page 9.)
you should have slept with her - nothing like a (semi-literate)
for continuing to make me laugh,
for the detective work. I had a feeling I'd encountered
how are you? You are probably hoping for some intelligent
and though-provoking questions but you will have to
make due with my two ridiculous questions instead. First,
what's it like being a director? Just kidding. My real
question is, what was the origin of Ted's line about
Japanese bean paste cakes in Lunatics? I mean that's
not a snack food that just pops into one's mind when
coming up with dialogue. I own a copy and have seen
it several times and have always thought that was a
weird and funny line, especially with Hank's hand shaking.
And my second question is , why have I never seen a
photo of Ivan Raimi? Is he a vampire, camera shy, is
he in witness protection? I have no idea why I care
about what Ivan looks like but having been a fan of
all things Raimi for a while I was just curious.
believe the line in the script was "Japanese rice
cakes" and good old Ted turned that into "Japanese
bean paste cakes." Ted's good at that kind of thing.
As for Mr. Ivan Raimi, I have few pictures of him lurking
around. I just pulled out my 7th grade yearbook and
there he was, so he must not be a vampire. Actually,
he's worse than a vampire, he's an emergency room doctor.
Raimi on the set of "Acting & Reacting,"
think Pearl Harbor should have been 4 hours instead
of 3 hours. Then Ben Affleck could have been responsible
for winning the battle of Midway and droped both Atomic
bombs on Japan. And just think, in the sequell, his
son, who is not really his, could invent helicopter
fighting in Viet Nam. And if they get Sage Stallone
to play him the second could be about how he becomes
Rambo and in the third hour he could be Clint Eastwood's
character in Firefox or Malcom Mcdowell's character
in Blue Thunder. What do you think?
knew you were really the mastermind behind all these
movies. I think maybe you run Hollywood.
Dear Bearded Wonder,
book is fantastic. I love the photo of the gang on "swamp
patrol." Ah Bruce, what would the world do without
haven't read the finished version of Bruce's book yet
because he has failed to send me my copy. He says he
will, soon. Anyway, the joke of that photo is that we're
all on our knees to make the swamp water look deeper.
Actually Kearston, it's "you're a geek" not
what happens? I try to be a smart-ass and I'm wrong.
think your a real geek, how's that spelling for you!
I admit it. I'm a geek. But think of our encounter this
way, I may have inspired you to write the first error-free
sentence of your life. You should celebrate.
afraid not, Josh. She used the second-person plural
(and singular, in modern usage) possessive pronoun where
the appropriate word would have been its homonym, the
contraction of "you" and "are."
However, I'm unsure whether that constitutes a spelling
error or a grammatical error.
(obviously, a bigger geek than Josh)
Dear Mr. Becker,
was just wondering if you liked "Requiem for a
Dream" (if you saw it).
thought "Pi" (by the same director) was a
great film, and I noticed it in your list of films you
liked. I liked "Requiem", as well; but have
a feeling that you might find it to be too choppy and
drawn out. Other than that kind of dark, forboding feel
that they have, they seem worlds apart.
only real complaint with "Requiem" was the
excessive use of that modern, chaotic editing style.
The film still managed to get to me, though; and afterwards,
I was stuck in this intense, melancholy state for hours.
haven't seen it yet.
a delightful romp "Soul Possession" was. As
many others have already said, thanks for the nice glimpse
of Ares and Joxer one last time - each got the chance
for some wacky comedy, and for some more serious scenes.
Ted's bits with Lucy were especially touching, and allowed
him to show that "sweet" side that I recall
from "Lunatics." Since I gather the final
two episodes are going to be one of those grim, sins-from-the-past
plotlines, this was a very fitting way to say goodbye
to two favorite characters without some apocalypse breaking
especially liked the quick shot of the flowers shrivelling
as Ares sped by, and of course the little in-jokes (like
"the guy who played him was a goofball," "Bruce
Campbell was too expensive," and of course the
eye-poke! Joe Besser is shuddering somewhere, I'm sure!)
Nice close-ups on the "random reporter," too.
I've appreciated your comments on how some of the lines
and business were developed in rehearsal. Any others
that may have been improvised, ad-libbed, or revised
as you went? (And did I miss Ted's Sinatra imitation,
or was that edited out?)
again for a really enjoyable episode!
Sinatra tribute was cut. I turned in my cut about 90
seconds long, and the two things that were cut were
Ted doing Sinatra and another fart joke. Ted and I got
together during prep and rewrote a lot of the dialog
for Joxer. We added the whole drunk thing.
Dear Mr. Becker:
fully agree with your praise and admiration for and
of William Wyler. My own favorite scene, (of many, many
scenes) is in "Best Years", where Homer (Harold
Russell) shows Wilma (Cathy O'Donnell) how helpless
he is without his "hooks". It took Wyler's
skill and fine taste to direct a new actress in her
first movie and an amateur (one training film for the
Army)in this most extraordinary love scene!
for your excellent tribute! Wyler was an American patriot
in war and peace, as well!
fellow Wyler fan. Yes, that scene where Homer has Wilma
put him to bed (I just got goose bumbs thinking about
it) and remove his arms is human, wonderful, powerful
filmmaking. Then again, I think every scene in that
film is exceptional.
Cameron K. Smith
the sight/insight into film making. I've kicked around
the acting in biz in Canada for the past twelve years
& have spent the last ten months in film school
to start working on the other side of the camera to
one day get my own projects goings. I wanted to say
I appreciate your "point blank" film reviews,
advice & anicdotes from the industry. My question
is this, why are there not more folks like you out there
teaching film instead of the "kid gloves"
instructors I've seen. This is an industry where shit
hits the fan regularly & none of these kids are
going to be prepared for what happens when they actually
do get working. Would appreciate your feed back.
Set Armourer" = "Gunbunny Ventures"
aren't there more people like me? I've been wondering
that my whole life. I may not have much else going for
me, but in a world of non-stop crap you can consider
me Radio Free Bullshit. As Bob Dylan said, "When
you ain't got nothin', you ain't got nothin' to lose."
Keaston letter has to be joke, one of your friends yanking
your chain. If not, I'm scared, very very scared.
doesn't seem like a joke. I hope it is.
wanted to let you know that your Web site is listed
in my Tribute to Anthony Quinn appearing this week on
the About Classic Movies site, located at http://classicfilm.about.com
There is no charge or obligation for this listing or
any listing on any About site other than paid advertising.
for the listing.
a few questions on "SP".
was this episode such a Renee-lite episode? Was it to
give her a bit of time off for her pregnancy, or just
giving her some time of for the heck of it?
since it was Renee-lite; was Renee there on set when
Ted and/or Kevin had their little farewell party? And
was there any tears shed with Lucy and Renee as they
said goodby to Ted/Kevin?
entire flashback story is Gaby-lite because she's supposedly
dead. As to the little farewell parties, I don't recall
who did what because as a director under a strict deadline
any of these little farewell deals is just an intrusion
on my schedule, mainly achieving making me more nervous.
festivals did RT play at? Looking back, did it help
you in selling it or getting you any addittional talk
also said you can't get any distributors to even look
at "Hammer". I though they'd look at anything.
That, after all, is their job isn't it? Is there a reason
that perhaps they are avoiding it on purpose? Something
about the story that's an automatic turn off to the
studio folk? The fact that it's low on violence and
sex (I think it is anyway). Or perhaps because it takes
place in the past? Just wondering if maybe you were
thinking something along these lines too?
'spect you'll get in somewhere, sometime. Have a good
have no doubt I can get the film into any of the second
and third tier festivals in the world, but you don't
get anything out of that. No, being in various festivals
did nothing for the sale of RT. It played NY, Chicago,
Orlando, Phoenix, Helsinki, Sao Paulo, E. Lansing, Champaine-Urbana,
lots of little festivals. They're kind of fun, but they
don't mean anything.
to the distributors not watching the film, they're not
picking on me. You think that's their job, watching
whatever comes in, but that's not how it is. If there
isn't a reason for them to watch it--like it was at
Sundance or won Telluride or something--they simply
won't bother with it. I'm trying to get a film rep to
handle it right now. We'll see how that goes . . .
know what im not here to ask a question i regreat for
even being nice to you, no i regreat even talking to
you, your a jerk, i dont need your help to become an
actress because you knw what when i do and you want
me in a movie, im going to be there to lough in you
face, remeber that
then, we've communicated before? I suppose I could go
back and check what horrible thing I said, but I don't
feel like it. You certainly have a terrific grasp of
spelling and the English language, I have no doubt you'll
make it big, and then won't I be sorry? Your last little
bit there sounds just like Rupert Pupkin talking to
Jerry Langford in "King of Comedy." If your
talent doesn't get you ahead, you might considere taking
you for" Soul Possesion" It was funny and
did answer questions from before not answered. I loved
seeing Ted and Kevin and of course Renee. Lucy was so
true to form of this one. It really showed what a talent
she is in any form. Thank you Josh for all your work
on the show and hope to see more of your talent in the
future. It is to bad the show is going to be gone but
the best to all in the future .
Thanks to all .
you. As a little note, which Ted pointed out, this was
the first time in all the episodes these two did that
Joxer and Ares had dialog together. Strange, huh?
wanted to let you know yet another person watched "Soul
Possession" and very much enjoyed it. Great one-liners,
crackling chemistry between the actors (pity Renee wasn't
in the script more--I think she's got excellent comic
timing), and some surprisingly touching scenes (the
Joxer/Xena pre-wedding thing worked infinitely better
than it had any right to). Especially delighted to see
Ted Raimi again. You got another wonderful performance
out of him in his final ep. Anyway, I'd like to compliment
you on directing the very best of the Xena comedies
and let you know how much I've enjoyed your work. Not
that I'm kissing your "steely, sun-kissed buttocks"
or anything... Take care, Josh, and best of luck in
I guess I'll just have sit here on steely, sunkissed
buttocks (Ted and I added that line, BTW). I must say
that I somewhat dreaded having to do that scene with
the something old, something new . . . because it was
so sappy on the page. But I think Lucy and Ted really
gave it a supreme effort and pulled it off.
course we saw Soul Possession!
am sooooo delighted! I just don't know where to begin
with talking about it with you, that all (only saw it
much do I have to say, that I may as well just give
you a link to my list of observations, if you're curious:
the one thing I've GOT to know is, were you aware that
there is an apparent error in props with regard to the
old chakrum and new one.
Xena and Joxer are walking to Dahok's pit, Xena has
the new one on her hip (she *should* have the old one
at that point in the timeline).
she goes off to take a whiz and talk to Ares. She then
has the NEW chakrum on her hip!
or Rob didn't catch that in editing? Or was it too late
to do anything about it?
I also gotta say this, THANK YOU FOR KEEPING SO MUCH
JOXER/TED IN YOUR CUT. When he delivers the line, "...then
I believe she's alive too. I'm sorry I've
been such a downer." My heart melted! Ted is a
great actor, no bones about it.
cheese milkshakes"...made me smile that I heard
that from you first -- thanks for playing along.
error was caught in dailies, but there was no time to
reshoot. The art director should have been on top of
this, but that's how it goes in show biz.
you have any screenplays that you have adapted from
I've never done an adaptation, since I've never had
the rights to any books.
have a question that is fairly morbid, but it's something
that I've wondered about over the years. When there
is an accident on the set that causes an actor's death
should the film continue to be made? For instance,as
i'm sure you know, in Twilight Zone three actors died
when helicopter blades flew off, resulting in one actor's
decapitation and two dead kids, yet the movie production
went on. And in the Crow, Lee died from a loaded "prop,"
and they used stand ins and old footage to fill in the
blanks. At what point do studio's cross the line in
moving forward with these films? Is there any kind of
moral gauge that you would follow should something like
that happen with one of your movies?
at it this way, you spend $50 million opening a factory
and someone accidentally gets killed on the production
line. Do you shut down the factory? Once you've got
that much money behind something, you can't stop --
no one would let you, including the insurance companies.
Morality hasn't got a damn thing to do with it.
for soul possession. iknew it'd be entertaining but
i didn't expect so many laugh out loud moments. kevin's
"call me" and ted imitating gaby were my favorite
scenes. i really didn't think i'd miss xena all that
much til i saw this episode and remembered how damn
funny everyone on it could be. huzzah for ted, lucy,
kevin, renee, and of course the director!
It doesn't seem like very many people watched it, which
is why it's been canceled, I guess. Kevin ad libbed
the "Call me" line on a rehearsal, then didn't
do it on the first take. I asked him to say it, and
he replied, "But they didn't have telephones back
then." I said, "Calling can just be yelling,
right?" He nodded, "Oh, yeah, right."
is the antagonist in MEAN STREATS? Is it the DeNiro
character, or the Local Hood?
I think the only reason "Running Time" wasn't
accepted to Sundance and the likes is because you used
black and white film. Otherwise, it no doubt would have
been accepted and praised.
your new film, If I Had a Hammer, who or what is the
antagonist? What's the conflict?
for your time,
a minute! That can't be true about the black & white.
What about "Pi" and "Stranger Than Paradise"?
I don't want to get into the antagonist, protagonist
nonsense. I don't bother with it. In "Mean Streets"
Johnny-Boy is bringing himself down, not the local hood.
The real drama is with Keitel and how far will he go
to look out for his buddy? That's within himself. In
"Hammer" the conflict is also interior for
both the boy and the girl.
read your articles on stucture the other day and I totally
agree with what you had to say. Do you think that a
commen misconception in understanding three act stucture
is that most people are under the impression that three
acts must follow chronology of events?
instance, RUN LOLA RUN has three acts that take place
at the exact same time...parallel to each other. And,
RESERVOIR DOGS uses flashbacks to escalate it's conflict,
creating an Act Two that takes place weeks before Act
Pinter used the backwards storytelling method in his
romantic drama BETRAYAL which begins with the break
up of a relationship, then goes backwards to show us
WHY, ending with the "resolution of the conflict"
with the couple deeply in love.
the chronological end might happen in the middle of
the film or the beginning or the actual end, most films
still follow a basic three act structure based on the
importance of the events to the characters. Structure
is not about time, it's about story.
do you think, Josh?
completely agree with you, the three acts aren't about
chronology. You can work in flashbacks or go backward,
that's not the issue -- it's how drama flows.
the best movie memory you have? That is in terms of
your own carrer? Like when someone first showed interest
in one of your pictures. Be it a agent, distributor
since I've never been to one, do you ever go to film
festivals as a watcher? I know there are a number of
indi fests in L.A., do you go to em?
god, if you ain't gonna submit to Chicago, what the
hell are ya gonna do with your picture? Keep on a goin'.
Damn it, keep on a goin'!!!
a good one.
I'll keep on going, all right. There are plenty of other
festivals beside Chicago. My best memories regarding
my movie career haven't got anything to do with anyone
else accepting me, or liking my work, or giving me approbation.
The actual writing and shooting of my scripts and films
has been the joyous part. The shooting of RT and Hammer
were terrific highlights in my life. Writing "Cycles"
was a wonderful experience. The shooting of all those
Xenas, Hercs, and Jacks was great. It's the actual doing
I like. I suppose if everyone went nuts over something
of mine that would be different, but that hasn't happened
and I'm not holding my breath.
Cynthia E. Jones
order to get your film into a festival, it must feature
young actors on drugs, a hip musical soundtrack, fast,
MTV-style editing, maybe some grainy black and white
super 8 footage, and a psudo-art-house feel. It has
to be like Warhol on speed, like Bruce Campbell in a
strapless sequined gown. You have to have a message
that's questionable, camerawork that's hypnotic, and
a distracting plot that doesn't matter.
films aren't like this. They make sense. They're American.
They star actors who are over 18. They have smooth editing,
40s-inspired lighting, and tripods (although not exclusively).
They are well-made. You see? The deck is stacked against
you already. Maybe you could invent a new film festival
for good non-pretentious movies. The Becker Awards.
Then see how many people get rejected.
on keepin' on...
I'll be offline for a few weeks. I'm driving to NY without
a laptop. The adventure!
is about young people, and two of them smoke a joint
at one point in the film. It doesn't have any of those
other things, however, but then, I don't want to see
those other things. C'est la vie. Have a swell time
in NYC. Give my regards to Broadway, remember me to
Herald Square, tell all the gang at 42nd Street that
I will soon be there.
when I hear a screenwriter say they were ripped off
I wonder who I really believe since I have no script
to make comparisons with. After reading Crime After
Crime I felt oddly compelled to see Breaking In to see
how close it was. So I rented The House of Mirth and
since I had a free rental on my account I tossed in
Breaking In. You are absolutely right. They completely
stole entire segments out of the script. The scene when
they wait for the guy to leave his house and they run
into each other is almost precisely the same. When they
broke into the roof of the supermarket and used the
umbrella my jaw dropped, I couldn't believe what I was
seeing. Not to mention that the whole premise of the
film was lifted from you and Scott. "Breaking In"
is "Crime After Crime" except with all the
momentum and humor sapped out of it. It must have been
incredibly disappointing to experience that. It's hard
to imagine why the makers of this film rejected your
script and hired someone else to water it down with
a limping 60 year old sculptor and a milquetoast sidekick
kid in a film that crawls along painfully slow, as opposed
to Crime After Crime which is fast paced and funny.
I hope this is not too personal a question but are you
still friends with Scott? I've read all of your screenplays
that you posted and you two seemed to strike a nice
chord together, its too bad we didn't get to see much
of it on celluloid.
a really big fan of your films and TV work and I hope
you take up safe
cracking so that you can make a lot more films in the
see that I'm posting all of these scripts on the internet,
the idea of people stealing ideas doesn't really bother
me. But with "Crime After Crime" Scott and
I really felt like we had been ripped-off. Sadly, we
didn't have ten cents between us at that point to fight
any legal battles, so there you have it. Scott and I,
BTW, haven't spoken in several years, although we are
on speaking terms. I do think we did some good work
for being a fan.