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.”
It’s been just over a year since I completed my political thriller SOS United States. Like all my screenplays, I revisit them after some months for various edits. Part of the general premise revolves around a cyber-attack on the nation’s power grid that also cripples military satellites. Imagine my response when Emmy and Peabody Award winning journalist Ted Koppel’s book “Lights Out” was released last week. As Koppel stated on CBS This Morning, Centcom Commander General Lloyd Austin had told him, “It’s not a question of if, it’s just a question of when.” Needless to say, Koppel’s book will now be part of my “general” pitch with SOS United States.
As American’s we like to think we are number one, that we are an invincible. Sure, we lead in many areas, including our military capability, but unless you are truly living off the grid we all remember the Sony Entertainment hack and one drive down most streets in our nation says – fix me. It’s always a positive when a journalist like Koppel shines a light on something we take for granted – electricity. Remember 1953’s War of the Worlds when the phone went dead after the initial alien attack took out the power lines? “That’s funny the phone isn’t on the same circuit as the lights.”
As for film, the American Film Market (AFM) starts next week. Their website boasts, “2,000 new films and projects”. You should see the catalogs of sales agents and the hundreds and hundreds of films that are represented. One does have to truly wonder how to stand out in the crowd. But stand out we must. Because, let’s be honest, it’s our project first before someone else’s.
It should be interesting to see how AFM resonates after Toronto’s tepid market. There’s no question that the recent box office troubles of Steve Jobs, Burnt and Our Brand is Crisis will be over analyzed and discussed. As filmmakers we are told by the “experts” that you need to attach stars to pre-sell into foreign markets, raise capital and secure distribution. But how many times do we see the absence of the consumer equation in this formula? It doesn’t matter what star you have in your film if the story isn’t there audiences won’t buy it.
Case in point I watched Marathon Man yesterday. Now there is a film that has stars and story. Imagine seeing the legendary Sir Laurence Olivier bring a film to life with the incomparable Dustin Hoffman along with the great Roy Scheider and the, what I believe, was the American debut of Marthe Keller. Watching the DVD special features, the passion of all involved truly made this film resonate at the box office in 1976, a film which still holds up today as a classic crime thriller.
This industry is a marathon. It’s easy to read about this great deal and that great deal, but we very rarely get the entire back story of the years it took to get to that point. By example, just this past week, two years after our initial release, a distributor in one of the world’s largest film markets, reached out to me about Justice Is Mind for VOD. It’s all at the preliminary stage, but it proves that long term marketing and promotion is effective.