I remember the mission I was on when I wrote First World in 2006. It was a commitment and passion to learn the craft of screenwriting, research a project and then, to quote this recent article in Script magazine, “write the hell out” of it. Those early efforts resulted in three screenplay nominations and the production of a short film version that screened in several countries. Indeed, I was on a mission.
We live in a world of instant gratification. But that world is a fantasy in the entertainment industry. Someone at some point at some place at some time dedicated years (or decades) to make their project a reality.
Just this week the tireless efforts of the SS United States Conservancy seems to have led to a deal to save the majestic and historic SS United States ocean liner. The redevelopment of the famed liner will be announced in New York City this week. Anyone that has been following their efforts knows this has not been smooth sailing. Thankfully an impassioned plea by the Conservancy to save the ship from the breakers a few months ago brought much needed worldwide attention and donations to the storied liner. The same passion and commitment holds true in the entertainment industry.
After I wrote Justice Is Mind I remember the endless pitches, presentations, blind alleys, dubious investors and bad advice. But it was at one point during the process that I remember going through the same thing in publishing a decade plus prior when trying to raise capital for that venture. That deal clicked at one point just like Justice Is Mind did. But in both cases there was a commonality – I produced these projects myself with investors. That’s the direction I now take.
Would it be grand if “Hollywood” wanted to take one of my projects and run with it? Of course. But Hollywood as we now know it, because the industry is fragmented and decentralized, is everywhere. Audiences don’t care where or how a film came together, they just want to be entertained. It’s really that simple. It was the same with magazines. I was told over and over again that nobody would take me seriously unless we published out of New York. I lived in New York and worked in publishing (TIME magazine). Sure, it was cool. But expensive. In the end, I published market leading magazines based in Worcester, Massachusetts. Readers and theater audiences don’t care where a project originates from.
There was a certain sense of satisfaction when I returned to Los Angeles in 2013 for the West Coast Premiere of Justice Is Mind. A film, born out of Worcester and filmed primarily in central Massachusetts was screening in the entertainment capital of the world. “Hollywood” is as much an atmosphere as it is a corporate entity comprised of all manner of divisions. All “Hollywood” wants is the audience because the larger the audience the larger the revenue.
For those of you on a mission in this industry, I encourage you to read Jeanne Veillette Bowerman’s article in Script magazine. Above all else you need to be passionate about your work while keeping an open mind on collaboration.
S.O.S. United States. The call went out by the SS United States Conservancy this week and was answered by media around the world. From The New York Times, to The Telegraph to CBS, the famed ocean liner SS United States may be auctioned by the end of the month and scrapped unless a buyer, developer or investors save America’s flagship. As the conservancy’s Executive Director Susan Gibbs stated to CBS, “We have never been closer to saving the ship and never closer to losing her”.
After World War II, the United States government realized the value ocean liners could bring when Cunard’s Queen Mary and Queen Elizabeth were converted into troop ships during the war. Partially funded by the government, the SS United States keel was laid in 1950 and was launched in 1951. A technological marvel, she projected American pride around the world and shattered speed records during her sea trials sailing through the ocean at 38 knots or 44 miles per hour. She won the eastbound and westbound Blue Riband for speed records in 1952 and still, to this day, holds the westbound title. So advanced were her propellers and steam turbine engines, they were classified Top Secret until the 1970s. In the event of war, she could quickly be converted to a troop ship for 15,000 soldiers.
Of course, with jet travel literally taking off in the 1960s, the SS United States along with the Queen Mary and Queen Elizabeth were withdrawn from service. While the Queen Elizabeth was lost in a mysterious fire in Hong Kong, the Queen Mary is still with us as a museum ship in Long Beach, California. I’ve had the opportunity to visit the Queen Mary on a few occasions. That liner still projects to this day a symbol of an era that should be remembered, not scrapped.
I have long wanted to write a story that revolved around an ocean liner. A story that also enveloped the complexities of world governments and the atmosphere of the Cold War, but set in the present. In SOS United States we learn that the “world’s fastest ocean liner” is heading to New York and may, or may not, have a nuclear device on board. Modeled after the SS United States, the ship is called the SS Leviathan. In the real world the SS Leviathan was originally called the Vaterland until it was seized by the United States government after World War I and became the flagship of the United States Lines; the same line that would eventually build the SS United States. It was maritime engineer William Francis Gibbs who renovated the Leviathan and who went on to design his dream ship the SS United States. Entirely self-taught, he devoted himself to this singular passion.
And now that same passion has been picked up by his granddaughter Susan Gibbs. Her tireless efforts, determination and commitment to save this ship reflects the best in America—pride.
Stated Gibbs, “It’s our shared history as a nation.”
SS United States