It was sometime in the 1970s when I first saw Gone with the Wind. It must have been on TV as we didn’t have a VCR. The moment I saw this film it quickly became my favorite movie. The story, the actors, the sets, the music, it all worked on so many levels. Since that first viewing, I’ve watched it on laserdisc, DVD and streamed it. This afternoon I’ll see Gone with the Wind as it was intended – in a theatre.
What I always liked about the Gone with the Wind story was the sheer ambition of how it was made. From the “Search for Scarlett” to endless script rewrites to changes in directors, the production was fraught with issues. But in the end a masterpiece was created winning 8 Academy Awards including Best Picture. If you want to learn more about this epic film, I highly recommend the book Scarlett, Rhett, and a cast of thousands: The filming of Gone with the Wind.
There’s no question in my mind that Gone with the Wind inspired my interest in this industry. What I’ve always been particularly drawn to are the “movers and shakers” behind the camera. In the case of Gone with the Wind, it was producer David O. Selznick. For every film made there’s one person you can point to that is responsible for its existence. Oh sure, the actors and crew are vital, but they wouldn’t have anything if it wasn’t for the producer—that one person who sees the vision and takes the risk.
Selznick International Pictures produced another one of my favorite films, Rebecca. It was Selznick who brought director Alfred Hitchcock over from England. That one decision that Selznick made led to films such as North by Northwest and Psycho.
While the opening sequence references “A Civilization gone with the wind,” another civilization that is long gone is the studio system that made it. Yes, Selznick International Pictures was somewhat independent, but it was the studio system that made Gone with the Wind possible (MGM provided half the budget).
As we celebrate the 80th anniversary of this iconic picture, I look at the modern world of filmmaking. Although Selznick’s company disbanded decades ago, MGM is still around along with a literal handful of the legacy studios (sadly 20th Century Fox has been acquired by Disney). But the one thing that now prevails is the independent filmmaker. We chart our own course against a sea of seemingly endless possibilities and to destinations sometimes unknown.
When I attended the American Film Market this past November presenting First Signal and my other projects, I couldn’t help but think of the ambitions of so many under one roof striving to present their “motion picture” to new civilizations.
Tomorrow, is today.
If you’ve seen Justice Is Mind, First World or Serpentine: The Short Program, you know I don’t shy away from using multiple locations to tell my stories. I’ve been very lucky with my productions to secure some unique locations.
Each one of those projects had one or two critical locations. For Justice Is Mind it was a courtroom and MRI facility. For First World it was a presidential suite and a horse farm. For Serpentine it was a figure skating complex. Each of those locations brought gravitas to their stories.
For this new project, my aim is a simple one. Keep the story largely contained to one interior room and one outdoor scene. My goal is both for story and cinematography. With the primary story taking place in a windowless bunker one of my inspirations is Alfred Hitchcock’s Dial M for Murder. For those that have seen this classic, the story primarily takes place in an apartment. As that film was first produced as a play, it largely makes sense that it would be confined to one location.
This new story is a prequel to First World and revolves around one particular meeting. While I would obviously love to see First World produced, I also know that it’s a science fiction epic that would require, while maybe not an “epic” budget, certainly one in the seven figures. For this project, the aim is to contain production costs for independent production.
While Dial M for Murder is one inspiration, another is Fail Safe. The scenes in the Pentagon’s “war room” worked on a variety of levels. What I particular liked was the rear projection that was used to display the military crisis between the United States and U.S.S.R. Because this type of “special effect” was produced while the movie was being photographed, it saved time in post-production.
With a good amount of my research completed, I’ll shortly start the writing process. The fall and winter months are my favorite time to write an original story. Believe me, it’s the cold weather that will set the mood for this piece!
This story will revolve around a particular signal intercept and how certain government and military officials are responding to it. To give you an idea of the conflict in this story, I’ll borrow a quote from Valkyrie, “This is a military operation. Nothing ever goes according to plan.”
I only subscribe to a handful of writing and filmmaking newsletters. In today’s day and age anyone can have a newsletter, but what it really comes down to is content. Many years ago my former business partner recommended that I subscribe to C. Hope Clark’s FundsforWriters. The amount of useful and insightful information about the world and industry of freelance writing is nearly unlimited. For me, I always enjoy Hope’s “EDITOR’S THOUGHTS” and the featured article. I was honored when Hope asked me to write the featured article for this week’s newsletter. Titled “From Bookstore to Theater, Turning Your Book into a Movie”, you can read my article at this link.
Writing an original story is not easy by any stretch and we all approach our stories differently. But in each and every case, there is that one moment when we are inspired to write that one word or phrase that will ultimately result in a book a movie or both. When I wrote a screenplay for a friend last year based on his book, there was a road map of sorts, a foundation in which to build off the primary story. The book was the original idea, the screenplay was the adaptation. A couple of weeks ago at the World Figure Skating Championships in Boston, a friend of mine was passionately telling me about an original story that they want to turn into a movie.
And therein lies that one word that drives us creatives – passion. I can only speak for myself when it comes to writing an original story, but passion is the number one driving force for me. When you are “world building” an original story, if you aren’t excited about the concept why should anyone else be? I was having dinner with a friend last night who mentioned the complexities of the Justice Is Mind story and how it compared to a particular author and the movies that followed. The comment was very flattering.
For me, I like a complex story. A story that isn’t paint by number, but one that you need to watch more than once. I like characters that are multi-dimensional or suddenly change their tone. Take for example Margaret Miller in Justice Is Mind. In the beginning we see a concerned wife who happens to be a novelist. Suddenly in her desperate attempt to save her husband she goes against type by retaining a dubious private investigator to steal what she wants.
Having spent over three decades in the sport of figure skating in a variety of capacities, I suppose it had to be inevitable that I would conceive of a story around the sport. When talking about the concept a couple of weeks ago, I referenced the political thriller Marathon Man that starred Dustin Hoffman and Laurence Olivier. But there is another movie, a bit obscure, that is having another influence on this story—the conspiracy thriller Executive Action that starred Burt Lancaster and Robert Ryan. I say obscure, because when you look up the film you’ll see what happened when it was initially released.
In the end the goal, of course, is to write a story that audiences will enjoy. For me films are a living legacy. Long after their creatives are gone, a film lives on. One of my favorite thrillers is Alfred Hitchcock’s The Lady Vanishes (1938).
But before I vanish into this new world I’m writing, I’ll leave you with a sample piece of dialogue from an FBI supervisor, “If I know this much you can bet that someone else sure as hell does. Because suddenly, there’s a concerted effort to get Wilson’s daughter to the World Championships in a country that has no extradition treaty with the United States.”