Monday, April 10, 2017
Sunny and pleasant
Spare me from the retrogrades! No such luck.
Busy weekend. I started the LA section on POWER OF WORDS, and did some work on the Orient Express section.
I did some further plotting for the revision of FIX-IT GIRL — I have to figure out where I need to put the new material, then write the first draft inserts, then I can go back and start a genuine revision. I’m keeping the ending where it is, on the train from LA to New York.
I did a lot of research, relevant to both projects: books on the studio system, books on various actors and directors, costume research. Also read Joe Eszterhas’s THE DEVIL’S GUIODE TO HOLLYWOOD: THE SCREENWRITER AS GOD. I don’t particularly like him or his work, although I respect what he’s accomplished. I don’t like the arrogant, swaggering persona he projects. I disagree with a lot of what he says — his contempt for many people in the business, and dislike of many manifestations of collaboration.
On the other hand, he has a point, and everything starts from the script. He believes one must fight for the script. I agree, to a point: I think a lot depends on the project. When the script originates with the writer — in other words, as he so often does, the writer writes the script from his own idea/something he wants to do and sells it — then, yes. Defend away, fight, be careful where you compromise. But when you’re brought in to write from an idea or a scenario or a treatment — then you’re hired to bring to life someone else’s vision, and I think you have to be more flexible. Of course, he loathes the idea of rewrites or script doctoring. Again, I understand his position, not messing with another writer’s work. But there are times when it’s the wrong writer for the project, or the notes have gotten things so muddy no one can see or think straight anymore.
Good for him that he’s earned the right not to be flexible, but I think there are plenty of cases where one has to be flexible. Especially when one is paying dues and building credits.
I disagree with many, many things in the book, but his actual advice on the process of writing — six script pages every day on the first draft, how to set work aside and go back and rewrite, that the “first draft” that is shown to anyone is really at least the third draft, writing every day and so forth and so on — that’s all great. It’s such a tiny part of the book — he knows he’ll sell more copies with the more controversial stuff about what he has fun with and/or loathes in the industry — but when he talks about the actual writing, he’s got good, useful stuff to say.
Read some Adrienne Rich poetry and prose, both in honor of National Poetry Month and in preparation for a piece on A Biblio Paradise, which will post tomorrow.
Have working title for the Lavinia Fontana play, but still don’t have the catalyst that will actually put the play into motion. More research required.
In the shower this morning, I had an idea for a new screenplay, set in the late 1930s, as the country comes out of the depression, but before the start of WWII. I’ll have to do some research for it, but I liked the idea — it plays against a lot of the noir ideas of the late 30s/early 40s, and some of their hypocrisies, and yes, the lead role is a woman. A very smart woman. Anyway, I sat down and wrote the outline already this morning, a quick paragraph for almost every scene — a couple of places where I need to figure out where the plant a couple of things.
So, I guess, between the errands and the yard work, and 1K on POWER OF WORDS and 1K on NOT BY THE BOOK and figuring out where to plant additional scenes in FIX-IT GIRL, I better get six pages of script done!