The Devil’s Guide To Hollywood
Page 40
Weaver, Sigourney, 62
Wechsler, Richard, 240
Weinstein, Harvey, 238, 364
Weir, Peter, 248
Weisbourd, Burt, 271
Weld, Tuesday, 24
Welles, Orson, 13, 22, 71, 126, 142, 234, 237, 249, 354
Wells, Frank, 322
Wells, H. G., 157
Wells, Jane, 9–10
Welty, Eudora, 163
West, Mae, 62, 198
westerns, 132
Westlake, Donald, 234
“whammo chart,” defined, 146
White, James L., 97
“whiz-bang,” defined, 146
Wiatt, Jim, 22–23
Widmark, Richard, 125
Wilder, Billy, 82, 147, 231, 319, 329, 360
Wilis, Bruce, 100
William Morris Agency, 46, 192, 197, 286
Williams, Hank, 130
Williams, Robin, 34, 379
Williams, Tennessee, 125, 197, 220
Willingham, Calder, 210
Willis, Bruce, 307, 334, 337–338
Wilson, David, 26
Wilson, Edmund, 344
Wilson, Michael, 232
Winchell, Walter, 43
Winger, Debra, 166, 242, 304
Winkler, Irwin, 101, 106, 171, 231, 257, 272, 277, 347, 373, 374, 375, 376–377, 379
“winner’s walk,” defined, 138
Winters, Shelly, 71–72
Wirtschafter, David, 46, 192
Witness, 82
Wolf, Naomi, 343
Wolfe, Thomas, 71
Wood, Natalie, 191
Woods, James, 306, 334
Wooley, Monty, 122
writers
actors and, 64, 78, 86, 301–334
age of, 49
credits, 96
critics, 337–348
directors and, 13, 25, 51, 68, 79, 89, 223, 252–253
experience of, 49, 52–53
fear of writing, 147–148
hotel suites for offices, 79
length of script, 160, 171–172
length of scriptwriting time, 203–204
movie viewing, 53
novelists and, 94
output per day, 155, 158–159
persistence, 54–55, 366–368
producers and, 89–90, 257–279
role of, 50, 353–354
at sets, 217
sexuality, 71–72, 75
social life, 52, 80
status of, 14–15, 57, 83–84, 94–95, 353–354, 358
studio executives and, 89–92, 95, 224–225, 283–297
studios and, 49
telephoning, 83
writer’s block, 37, 158, 160, 162, 171, 174, 178
Writer’s Film Project (Chesterfield Film Company), 356
Writers Guild, 71, 80
agent selection, 184–185
antitrust actions, 87
credits, 96, 135, 219, 234, 348
Ovtiz, Michael, 196–197
politics of, 59
rewrites, 94
strike, 59
theft prevention, 179–180
Writer’s Network Screenplay and Fiction Competition, 356
writing classes, 9, 34, 47–48, 104–105, 268, 290, 318, 346–347. See also McKee, Robert
writing committees, 93
writing factories, 363
writing process, 151–180
writing schedules, 97, 151, 153, 154, 155, 158
writing speed, 153–154
Wyler, William, 161
Yablans, Frank, 108
Yates, Cassie, 321
Young, Sean, 24, 334
“your script is too soft,” defined, 295
Zaillian, Steve, 96
Zanuck, Darryl, 78, 289, 358
Zemeckis, Bob, 253, 375
Zieff, Howard, 248
Ziegler, Evarts, 341
Zsigmond, Vilmos, 105
Table of Contents
Acknowledgments
Preface
PART ONE: P URSUING Y OUR D REAM
Lesson 1. They Can Snort You Here!
PART TWO: L EARNING THE B USINESS
Lesson 2. Use Your F-Bombs!
Lesson 3. Don’t Let ’Em Fart at Your Ideas!
Lesson 4. Beware of the Back Pat!
Lesson 5. Don’t Let ’Em Bleed on You!
Lesson 6. Don’t Take Your Clothes Off!
PART THREE: G ETTING R EADY TO W RITE THE S CRIPT
Lesson 7. Avoid the Woodpecker!
Lesson 8. Ideas Are Poison!
PART FOUR: W RITING THE S CRIPT
Lesson 9. Slit a Vein and Drip It on the Page!
PART FIVE: S ELLING THE S CRIPT
Lesson 10. How Do You Feel About Going to Bed with an Agent?
PART SIX: F ILMING THE S CRIPT
Lesson 11. Steal As Much Memorabilia from the Set As You Can!
PART SEVEN: W ORKING WITH THE D IRECTOR
Lesson 12. He’s a Passive-Aggressive Snake!
Lesson 13. Every Good Director Is a Sadist!
PART EIGHT: W ORKING WITH THE P RODUCER
Lesson 14. Is His Heart Full of Shit?
PART NINE: D EALING WITH THE S TUDIO
Lesson 15. You’re a Jackass in a Hailstorm!
PART TEN: I NSPIRING THE A CTORS
Lesson 16. Their Shorts Have Skid Marks, Too!
Lesson 17. Just Say the Fucking Words!
PART ELEVEN: S URVIVING THE C RITICS
Lesson 18. They Want to Kill You, Rape Your Wife, and Eat Your Children!
PART TWELVE: T HE H APPY E NDING
Lesson 19. Fight, Write, Throw Up, and Keep Writing!
Epilogue
Index