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An Agoraphobic's Guide to Hollywood How Michael Jackson Got Me Out of the House von Craviotto, Darlene (eBook)

  • Erscheinungsdatum: 17.11.2011
  • Verlag: Front Door Books
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An Agoraphobic's Guide to Hollywood

AN AGORAPHOBIC'S GUIDE TO HOLLYWOOD: HOW MICHAEL JACKSON GOT ME OUT OF THE HOUSE is an irreverent, behind-the-scenes look at show business. It tells the true story of how an agoraphobic screenwriter learns to overcome her fear of stepping outside of the house, and starts to live her life again-thanks to a top secret project, an eccentric superstar, and the most important assignment of her career.

Produktinformationen

    Format: ePUB
    Kopierschutz: none
    Seitenzahl: 264
    Erscheinungsdatum: 17.11.2011
    Sprache: Englisch
    ISBN: 9780984671106
    Verlag: Front Door Books
    Größe: 556kBytes
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An Agoraphobic's Guide to Hollywood

2
Back Story

Hemingway's advice about writing is to write one true sentence. My advice is to just write anything. It doesn't matter if it's true, false, good, or bad. If you write it, it can be re-written. And in Hollywood chances are it'll be re-written by someone else. Just get anything down on paper because someone somewhere is going to find fault with it, think they can do better, or simply change it because it's their job. Knowing this not only helps you finish writing your scripts, but it should also help you say goodbye to them when they move on or end up gathering dust on a studio shelf somewhere.

You don't think about these realities when you're first hired. Anything seems possible when you're having celebratory dinners with agents, managers, parents, or lovers you want to impress. You consider yourself the most brilliant of screenwriters, certain that this project will either bring you the Oscar or at least permanent health benefits for the rest of your life. There's no better high than when the phone rings and your agent on the other end says, "They want you." It's the closest to sex you'll ever have with your clothes on.

In fact, writing a Hollywood screenplay is very much like dating. You meet. You fall in love. Everything about each other is magic. But pretty soon the criticisms begin: I don't like this about you; I don't like that. Change is expected, but of course it's never enough. And before you know it, you're out the door, shaking your head, "What the hell did I see in that person?" Of course, sometimes you luck out, and the relationship is productive: a film is born. But most times projects are like old soldiers (or the most painful of scars): they just fade away. You don't think about any of this when you're newly hired or when that first meeting comes around. All you know is that you're in love, and it will last forever. Life is good.

"Are you sitting down?" Depending on who asks you this will also depend if it's good news or bad. On this particular morning, the voice at the other end of the phone was my agent, Raymond. In his case, it could go either way.

"Disney wants you for a huge project," he announces after an obligatory dramatic pause. "Youwontevenbelievethis!" he squeals.

"I won't do animation," I tell him.

I had a good, solid movie of the week career, and my last script won an Emmy for outstanding television film. The last thing I wanted to do was to start writing cartoons. Not that I'm a snob (I love animation), but I just can't relate to characters that don't eat, pay bills, or go to the bathroom.

Disney started buzzing around me when I was nominated for the Emmy; the film I wrote went on to win, and the courtship heated up. The studio sent me a book they were considering, something they wanted to adapt as a feature film for Steven Spielberg to direct. It was to be a co-venture between Disney and Amblin at Universal. I liked the story a lot, but the studio was hesitant because it took place in Vietnam, and Disney felt Vietnam was too political.

"We're thinking it might work if we change it to the Korean Conflict," suggested one of the Disney executives, emphasizing "conflict" as clearly the more acceptable term when describing battles involving bloodshed. "The locale is still Asian, but people won't be put off by it." Heads nodded all around the room. "Steven's never done the Korean Conflict," one of the Amblin executives ad

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