Screenwriting is an inspiring, creative, amazing profession with seemingly endless opportunities. However, it can be daunting, especially for the newcomers. There’s a lot to take into account when writing out your movie: the setting, the time period, the genre, which actors will play which characters. The movie business has a lot of moving parts, but unlike writing novels where the novel is the finished product, the screenplay is where the whole journey begins. And that process is often very long and arduous. Stephanie Palmer, author of Good In a Room, provides several infographics to help decipher the screenwriting and process and movie business.
James Linville interviewed Billy Wilder for the Paris Review some years back, obviously, and learns valuable lessons about filmmaking, collaboration and betting on the Los Angeles Rams.
Here’s an excerpt:
“Now, I do have to admit I was disappointed by the lack of success of some pictures I thought were good, such as Ace in the Hole. I liked the movie very much but it did not generate any “must-see” mood in audiences.
On the other hand, sometimes you’ll have a rough time, and the film will turn out all right. On Sabrina I had a very rough time with Humphrey Bogart. It was the first time he’d worked with Paramount. Every evening after shooting, people would have a drink in my office, and a couple of times I forgot to invite him. He was very angry and never forgave me.
Sometimes when you finish a picture you just don’t know whether it’s good or bad. When Frank Capra was shooting Claudette Colbert in It Happened One Night, after the last shot she said, Will that be all Mr. Capra?
We’re all done.
All right. Now why don’t you go and fuck yourself. She thought the picture was shit, but she won the Academy Award for it.
So you’re never quite sure how your work will be received or the course your career will take. We knew we’d gotten a strong reaction at the first big preview of Sunset Boulevard. After the screening, Barbara Stanwyck went up and kissed the hem of Gloria Swanson’s robe, or dress, or whatever she was wearing that night. Gloria had given such an incredible performance. Then in the big Paramount screening room, Louis B. Mayer said loudly, We need to kick Wilder out of America if he’s going to bite the hand that feeds him. He was with his contingent from MGM, the king then, but in front of all his department heads, I told him just what he could do. I walked out just as the reception was starting.
Although the movie was a great success, it was about Hollywood, exaggerated and dramatized, and it really hit a nerve. So on the way down the steps I had to pass all those people from MGM, the class studio . . . all those people who thought this picture would soil the taste of Hollywood.
After Sunset Boulevard, Brackett and I parted friends. Twelve years together, but the split had been coming. It’s like a box of matches: you pick up the match and strike it against the box, and there’s always fire, but then one day there is just one small corner of that abrasive paper left for you to strike the match on. It was not there anymore. The match wasn’t striking. One of us said, Look, whatever I have to give and whatever you have to offer, it’s just not enough. We can end on the good note of Sunset Boulevard. A picture that was revolutionary for its day.”