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Walter Hill Interview2
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7ALTER (ILLS FIRST PRODUCED SCRIPT WAS IN
BUT HIS FILMS ARE A THROWBACK TO THE 'OLDEN
!GE AND TO STORYTELLING TRADITIONS THAT SEEM INCREAS
INGLY ENDANGERED IN TODAYS (OLLYWOOD (E BRINGS
A MODERN SWAGGER TO OLD FASHIONED GENRES (E
RELISHES STORIES THAT CENTER ON MALE HEROICS WITH
CINEMATIC ACTION "UT HE IS ALWAYS REACHING FOR
INTELLIGENT THEMES (E PRIDES HIMSELF ON CRAFT AND
LITERACY (E WAS LUCKY TO HAVE WORKED CLOSELY WITH
3AM 0ECKINPAH AND *OHN (USTON LEARNING DISPA
RATE LESSONS FROM THE EXPERIENCES (E IS AT ONCE THE
CONSUMMATE PRO AND A PERSONAL AT TIMES POETIC
FILMMAKER IT HELPS AS HE EXPLAINS IN THIS INTERVIEW
THAT HE HAS TAUGHT HIMSELF TO WRITE IN hONE VOICEv
LIKE 0ECKINPAH OR hMANY VOICESv LIKE (USTON
(ILL SWIFTLY TURNED DIRECTOR EMERGING AS ONE OF
THE BEST OF THE NEW CROP OF WRITER DIRECTORS IN THE
S "UT AFTER THE STELLAR RUN OF (ARD 4IMES 4HE
$RIVER 4HE 7ARRIORS 4HE ,ONG 2IDERS 3OUTHERN
#OMFORT AND (23 THE INDUSTRY BECAME IN
CREASINGLY HOMOGENIZED AND (ILL FOUND HIS NICHE
SHRINKING (E BRANCHED OUT INTO PRODUCING AND
DIRECTING OTHER PEOPLES SCRIPTS 7HEN ) lRST CON
TACTED HIM ABOUT AN INTERVIEW HE SAID HALF JOK
INGLY HE WAS TOUCHED THAT ANYONE THOUGHT OF HIM
AS A WRITER ANYMORE (ILL HAS MASTERED THE (OLLY
WOOD GAME (E MAINTAINS AN INCREDIBLE OUTPUT HE
CAN BOAST SEVERAL FRANCHISE HITS THE !LIENS SERIES
(23 AND ITS SEQUELS THE 4ALES FROM THE #RYPT SE
RIES AND THOUGH IT IS A CONSTANT STRUGGLE HE KEEPS
MAKING HIS MORE PERSONAL lLMS
(ILL DOESNT GO IN FOR EXTRAVAGANT PUBLICITY
HE DOESNT GIVE MANY INTERVIEWS 4HIS ONE HE AP
PROACHED CONSCIENTIOUSLY -UCH OF IT WAS BY EMAIL
WITH HE HIMSELF POLISHING THE lNAL DRAFT
(DUO\<HDUV
&ILM )NTERNATIONAL (OW DOES YOUR FILM SENSIBIL
ITY COME OUT OF YOUR PERSONAL BACKGROUND AND LIFE
STORY
7ALTER (ILL ) HAVE NO IDEA 4HERE ARE THE MYSTER
IES OF THE HEAD AND HEART ) ADMIT TO A SOMEWHAT
JUVENILE SENSIBILITY WITH AN EMPHASIS ON PHYSICAL
HEROICS ) WAS ASTHMATIC AS A KID SEVERAL YEARS OF
SCHOOL INTERRUPTED 4HIS LEFT ME WITH A LOT OF TIME
ALONE n DAYDREAMING READING LISTENING TO RADIO
SERIALS ) WAS DEVOTED TO COMIC BOOKS ) NEVER LIKED
KID FICTION MUCH READ ADULT NOVELS AT A VERY EARLY
AGE NEVER MUCH LIKED KID MOVIES EITHER )VE ALWAYS
BEEN A GOOD READER -Y FATHER AND HIS FATHER WERE
MY GREAT HEROES SMART PHYSICAL MEN WHO WORKED
WITH THEIR HEADS AND THEIR HANDS "OTH HAD GREAT
MECHANICAL ABILITY ) HAD NONE "EING A SICK CHILD
MEANS THAT YOU ARE FANTASTICALLY SPOILED n WHICH OF
COURSE ) LOVED AND WAS EXCELLENT PREPARATION FOR
(OLLYWOOD
&ILM )NTERNATIONAL -Y %PHRAIM +ATZ &ILM %NCY
CLOPEDIA ADMITTEDLY NOT ALWAYS PERFECTLY RELIABLE
MENTIONS YOUR INVOLVEMENT WITH CARTOONING JOUR
NALISM YOUR DEGREE IN %NGLISH CONSTRUCTION AND
OIL DRILLING AND ALSO EDUCATIONAL DOCUMENTARIES
7HICH OF THESE HAD THE MOST USEFUL APPLICATION TO
YOUR CAREER AS A WRITER
7ALTER (ILL )F THE ENCYCLOPEDIA SAYS ) HAVE A DEGREE
IN %NGLISH IT IS MISTAKEN ) WAS A HISTORY MAJOR )F
IT SAYS ) WAS A JOURNALIST ITS ALSO MISTAKEN ABOUT
THAT &OR A FEW WEEKS OF MY LIFE WHILE YOUNG AND
UNEMPLOYED ) CONTEMPLATED JOURNALISM n NEVER DID
ANYTHING ABOUT IT ) DID WORK IN THE OIL FIELDS ON
3IGNAL (ILL DURING SUMMERS OF THE LATTER PART OF MY
HIGH SCHOOL YEARS AND SEVERAL MORE YEARS WHILE IN
COLLEGE -Y JOB DESCRIPTION WAS A ROUSTABOUT ) WAS
NEVER PART OF A DRILLING RIG THEY ARE SKILLED WORKERS
) WAS NOT THOUGH ) HAVE BEEN AROUND DRILLING UNITS
A GREAT DEAL BUT MOSTLY AROUND CREWS THAT PULLED
THE RODS AND CASINGS ON INDIVIDUAL WELLS -Y GRAND
FATHER ON MY FATHERS SIDE WAS AN OIL MAN A WILD
CAT DRILLER WHO BECAME AN OWNER AND OPERATOR
!S TO CONSTRUCTION ) RAN AN ASBESTOS PIPE CUTTING
MACHINE FOR A SUMMER ADD TO THAT FACTORY WORK
n ) WAS A SPRAY PAINTER IN THE *OHN "EAN FACTORY IN
,ANSING -ICHIGAN (ORRIBLE JOB ) CAN STILL SMELL
THE FUMES
!LL OF THIS TAUGHT ME ONE IMPORTANT THING THAT
CARRIED OVER TO WRITING )F YOU ARE CAPABLE OF MAK
ING A LIVING OUT OF YOUR TALENT AND IMAGINATION YOU
ARE A PRIVILEGED SOUL !S TO THE ACTUAL WRITING YOU
LEARN ABOUT WRITING BY READING !ND THEN YOU LEARN
TO MAKE USE OF YOUR OWN PARTICULAR ATTITUDES GIFTS
AND SKILLS BY n WRITING WRITING WRITING
*RLQJSURIHVVLRQDO
&ILM )NTERNATIONAL 9OU SPENT TIME EARLY ON IN
THE INDUSTRY AS AN ASSISTANT DIRECTOR ) SUPPOSE
WHAT THAT JOB TEACHES IS OBVIOUS n BUT IS IT )S WHAT
YOU LEARNED ON "ULLITT FOR EXAMPLE VASTLY DIFFER
ENT FROM THE LESSONS LEARNED ON 4AKE THE -ONEY
AND 2UN
7ALTER (ILL !S AN ASSISTANT DIRECTOR ) SAW HOW
OFTEN THE PROCESS OF FILMMAKING WAS POLITICAL AS
WELL AS CREATIVE !GAIN ONE SHOULDNT GENERALIZE
BUT THIS WAS TRUE ON "ULLITT NOT TRUE ON 4AKE THE
-ONEY WHICH WAS THE FIRST TIME THAT ) WORKED WITH
AROUND A WRITERDIRECTOR ) DIDNT DO MUCH BUT
PASS OUT THE CALL SHEETS AND FILL OUT TIME CARDS
4HE FACT THAT THE DIRECTOR IS A WRITER AND HAS WRIT
TEN THE SCRIPT BEING MADE CHANGES ALL ATTITUDES
%XECUTIVES ACTORS CREW n TO THEM THE DIRECTOR
BECOMES THE PERSONIFICATION OF THE SCRIPT AND IT
THEREFORE IMMEDIATELY BECOMES MUCH LESS VULNER
ABLE TO ATTACK ) THINK )M A PARTICULARLY GOOD WIT
NESS TO THIS AND AS A WRITER BEFORE ) WAS A DIRECTOR
) WAS GENERALLY TREATED IN THE CLASSICAL (OLLYWOOD
TRADITION
&ILM )NTERNATIONAL 7HAT WAS THE DATE AND CIR
CUMSTANCES OF YOUR FIRST PROFESSIONAL SALE OF WRITING
IE YOU GOT PAID MONEY #AN YOU DATE YOUR FIRST
SCRIPT SALE IN (OLLYWOOD 0RODUCED OR NOT
7ALTER (ILL *OE 7IZAN BOUGHT A SCRIPT THAT )D WRIT
TEN A 7ESTERN IN ) THINK (E OPTIONED IT
FOR A COUPLE OF YEARS PICKED UP THE OPTION ONCE
n h,LOYD 7ILLIAMS AND (IS "ROTHERv WAS THE TITLE
n LATER CHANGED TO h$RIFTERSv .EVER GOT MADE 'OT
CLOSE A COUPLE OF TIMES 3AM 0ECKINPAH WAS GOING
TO DO IT AFTER 4HE 'ETAWAY THEN HE JUMPED OVER
TO -'- AND 0AT 'ARRETT ;0AT 'ARRETT AND "ILLY THE
+ID = ) USED SOME MATERIAL FROM h,LOYD 7IL
LIAMSv WHEN ) DID THE SCRIPT FOR (ARD 4IMES SO IT
PROBABLY WORKED OUT FOR THE BEST %XCEPT FOR *OE
&ILM )NTERNATIONAL ) HATE TO JOIN THE LONG LINE OF
&ILM )NTERNATIONAL
7KH*HWDZD\ 'RF0F&R\ 6WHYH0F4XHHQ DQGKLVZLIHLQFULPH&DURO $OL0F*UDZ
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PEOPLE WHO HAVE ASKED YOU ABOUT 0ECKINPAH BUT
HES A HARD SUBJECT TO AVOID ) LOVE 4HE 'ETAWAY IT
SEEMS THE PEAK BEFORE THE DECLINE 7HAT DID 0ECK
INPAH BRING TO THAT COLLABORATION AS A WRITER /R
WAS HE MY IMPRESSION PARTLY FRUSTRATED AND INAR
TICULATE AS A WRITER
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7ALTER (ILL ) HAD BEEN HIRED BY 0ETER "OGDANOVICH
TO WRITE 4HE 'ETAWAY ACTUALLY TO CO
WRITE IT WITH
HIM (E HAD READ (ICKEY "OGGS AND GOT THE PRO
DUCERS &OSTER AND "ROWER TO SIGN ME UP )M AC
TUALLY NOT SURE THAT 0ETER EVER READ (ICKEY "OGGS
BUT 0OLLY 0LATT DID THEY WERE SEPARATED BUT SHE
WAS STILL A VERY BIG PLAYER IN HIS LIFE )
DIDNT KNOW 0OLLY THEN LATER WE GOT
TO BE FRIENDS
!NYWAY 0ETER AND ) BEGAN TO WRITE
n ) WAS IN 3AN &RANCISCO WITH HIM
WHILE HE WAS SHOOTING 7HATS 5P
$OC 4HE WAY WE WORKED
WAS PRETTY SIMPLE ) WAS STAYING IN
4HE (UNTINGTON WORKING ON PAGES
AND THEN BRINGING THEM TO HIM ON
THE SET HE WOULD THEN GIVE ME NOTES
7E HAD MAYBE TWENTY
lVE PAGES
WHEN WE WENT BACK TO ,! AND
3TEVE -C1UEEN lRED HIM .OTH
ING TO DO WITH THE PAGES WE HADNT
TURNED ANYTHING IN n PERSONALITY
THING 3O ) STARTED OVER 0ETER WAS
TRYING TO MAKE A (ITCHCOCK
LIKE PICTURE OUT OF THE
MATERIAL WHICH ) WASNT VERY COMFORTABLE WITH BUT
) WAS DOING MY JOB MAN
) WROTE A lRST DRAFT IN ABOUT SIX WEEKS AND THEN
THEY HIRED 3AM (E CAME IN FROM %NGLAND WHERE
HE HAD BEEN lNISHING UP 3TRAW $OGS ) AS
SUMED HE WOULD DO ANY REWRITES HIMSELF OR BRING
IN ONE OF HIS CRONIES BUT WE TALKED GOT ON WELL
AND HE KEPT ME AROUND 7HILE ) WAS DOING CHANGES
MAINLY TRIMS DIALOGUE POLISH AND PROBABLY MOST
CRITICALLY n GOING FROM PERIOD n n TO CONTEM
PORARY HE GAVE ME SEVERAL OF HIS OLD SCRIPTS TO READ
(E HAD A MOTIVE (E SUGGESTED ) LIFT A FEW PAGES
OUT OF ONE OF THEM AND ADAPT THEM TO THE STORY AT
HAND 7HICH ) DID 4HIS WAS THE lRST TIME ) RAN INTO
THE IDEA OF DIRECTORS REWORKING OLD SCENES AND MAK
ING THEM lT ANEW )VE DONE IT MYSELF A NUMBER OF
TIMES !S THEY SAY MOST OF US ONLY KNOW ONE STORY
/NE OF THE PLEASANT SURPRISES OF MY LIFE WAS HOW
LITTLE 3AM CHANGED MY 'ETAWAY SCRIPT WHILE THEY
WERE SHOOTING !ND ) THOUGHT IT CAME OUT TO BE A
PRETTY GOOD lLM n CERTAINLY WELL DIRECTED WELL SHOT
AND FOR THE MOST PART WELL ACTED
)N SPEAKING ABOUT 3AM YOU NEED TO BE CAREFUL
ABOUT WHICH STAGE OF HIS CAREER YOURE TALKING ABOUT
) THINK THE DIVIDING LINE IS AROUND 0AT 'ARRETT A
lLM )M NOT WILD ABOUT BUT ) KNOW OTHERS ARE
/BVIOUSLY )M TALKING ABOUT ALCOHOL AND LETS SAY
VARIOUS OTHER FORMS OF INTOXICANTS )M IN NO POSI
TION TO THROW STONES BUT 3AMS HABITS WERE WELL
DOCUMENTED AND IN THE END VERY SELF
DESTRUCTIVE
(E WAS ALCOHOLIC BUT FUNCTIONAL AND RATIONAL UP
TO ABOUT THIS TIME n AFTER THAT HE WAS IN AND OUT OF
COHERENCE ESPECIALLY ARTISTIC COHERENCE )M TRYING
TO BE DISPASSIONATE HERE n ITS DIFlCULT ) WAS VERY
FOND OF 0ECKINPAH 7E WERENT TERRIBLY CLOSE BUT
HE WAS A FRIEND (E HELPED MY CAREER IN MANY WAYS
AND MANY TIMES ENCOURAGED ME AS A WRITER AND A
DIRECTOR (E COULD BE A LOT OF FUN n HE HAD A WICKED
SENSE OF HUMOR n BUT HE ALSO HAD MOST OF THE TRADI
TIONAL MANIFESTATIONS OF AN AFmUENT ALCOHOLIC AND
THEY ARENT PRETTY &OR INSTANCE EXCESSIVE RELIANCE
ON TOADIES AND mUNKIES TALKING BADLY ABOUT PEOPLE
HE ACTUALLY LIKED AND THAT LIKED HIM AND THE CON
STANT PARANOID SEARCH FOR DISLOYALTY WAS ABSOLUTELY
.IXONIAN
0ECKINPAH WAS A GOOD WRITER BUT HE ONLY HAD ONE
VOICE (E COULD JUST WRITE HIS KIND OF THING 7EST
ERNS HARD GUYS BITTER
ENDERS "UT HE WROTE THEM
QUITE WELL (E WAS GOOD AT STRUCTURE AND GOOD AT
lNDING THE IRONIC MOMENT /N DIALOGUE ITS A LITTLE
HARDER TO BE COMPLETELY GENEROUS (E WAS GOOD AT
lNDING SHORT CATCHPHRASES FOR CHARACTERS THAT DE
SCRIBED THEIR INNER
WORKINGS BUT ) ALWAYS THOUGHT
HE WAS WAY TOO EXPLICIT IN HAVING CHAR
ACTERS BALDLY STATE THEMATIC IDEAS
4HE CONTRAST WITH *OHN (USTON )
THINK IS INTERESTING (USTON LIKE THE
MORE TRADITIONAL SCREENWRITERS COULD
WRITE IN MANY VOICES &OR INSTANCE
ITS IMPOSSIBLE TO IMAGINE 3AM WRITING
$R %RLICHS -AGIC "ULLET *EZEBEL
OR 7UTHERING (EIGHTS
"UT ONE CAN CERTAINLY SEE HIM DOING
4REASURE OF THE 3IERRA -ADRE 4HIS
SOUNDS LIKE A CRITICISM OF 0ECKINPAH BUT
ISNT MEANT TO BE ) ACTUALLY THINK YOU
ARE MUCH BETTER OFF WRITING IN AS NAR
ROW A VOICE AS POSSIBLE PRODUCES HIGHER
QUALITY WORK AND A MORE PERSONAL STATE
MENT BUT THE OTHER SIDE OF THAT COIN AND 3AM IS
ILLUSTRATIVE OF THIS YOU PROBABLY BURN OUT FASTER
&ILM )NTERNATIONAL $O YOU FEEL YOU WRITE WITH ONE
VOICE OR MORE
7ALTER (ILL )M OLD
FASHIONED ) CAN WRITE IN MORE
THAN ONE VOICE BUT ) THINK ALL MY BEST STUFF IS WHEN
) PLAY TO MY STRENGTH 5NFORTUNATELY IN MY CASE
THOSE PROJECTS ARE MUCH HARDER TO GET MADE
&ILM )NTERNATIONAL ) KNOW THERE IS SOME TRICK TO
WRITING FOR 0AUL .EWMAN WHO CAN BE FUSSY BUT IT
SEEMS LIKE AN ELUSIVE ENIGMATIC JOB FROM THE OUT
SIDE 9OU GOT AWAY WITH IT TWICE IN THE EARLY S
(OW 3ERENDIPITY
7ALTER (ILL ) DIDNT KNOW .EWMAN AT ALL 3TILL
DONT ) WAS AROUND AT THE BEGINNING OF THE SHOOT
ING OF 4HE -ACKINTOSH -AN n h4HE &REE
DOM 4RAPv IN THOSE DAYS 7E DID HAVE A COUPLE OF
MEETINGS TO GO OVER REWRITES n HE WAS QUITE PLEAS
ANT STRUCK ME AS THE KIND OF GUY THAT WANTED TO
LIVE TO BE A HUNDRED AND HAVE EVERYBODY LOVE HIM
(E MAY MAKE IT
4HAT WHOLE THING ;4HE -ACKINTOSH -AN= WAS A
REAL lASCO 4HE NOVEL WASNT MUCH MY SCRIPT WASNT
MUCH (USTON WAS DOING IT FOR THE MONEY AND
.EWMAN WAS DOING IT BECAUSE (USTON WAS DOING
IT ) GOT INTO -ACKINTOSH BECAUSE IT GOT ME OUT OF
BEING SUED ! COUPLE OF YEARS BEFORE ) HAD BEEN
SIGNED TO WRITE AN ORIGINAL 7ESTERN FOR 7ARNERS
h4HE "IG 2" v NEVER GOT WRITTEN WHEN A SPIRITED
lGHT BROKE OUT OVER THEIR SELLING MY SCRIPT (ICKEY
"OGGS TO 5! ) HAD BEEN PAID ) THINK
HARD TO REMEMBER AND THEY SOLD IT FOR A COUPLE OF
HUNDRED THOUSAND -Y AGENT *EFF "ERG TOOK THE
POSITION THAT 7ARNERS WAS MEANT TO BE MAKING
MOVIES NOT BROKERING SCRIPTS AND CERTAINLY NOT
WITHOUT CUTTING THE WRITER IN ON THE WINDFALL 9OU
CAN SEE WHERE THIS IS ALL GOING ANYWAY A YEAR GOES
BY 7ARNERS IS MAD BECAUSE THEY ARE NOT GETTING AN
ORIGINAL SCRIPT BY ME AS PROMISED BY SIGNED CON
TRACT AND THEY HAD PAID ME SOME STARTUP MONEY
THIRTY YEARS LATER ) CAN SEE THEY HAD A POINT 3O
"ERG SETTLES THE WHOLE MESS BY JACKING UP MY PRICE
ON THE OLD h2"v DEAL AND TELLS THEM )LL ADAPT
SOMETHING FOR THEM 4HEY LITERALLY SEND ME A BOX
OF NOVELS THEY OWNED n ) PICK ONE OUT AND CRANK
OUT A DRAFT n REMEMBER )M STILL FURIOUS ABOUT THE
(ICKEY "OGGS TRANSACTION 4HE BOOK WAS A HALF
ASSED SPY STORY A GENRE THATS NEVER BEEN ONE OF MY
FAVORITES )N TRUTH AND PRETTY OBVIOUSLY ) SHOULD
NEVER HAVE DONE THE DAMN THING ) WROTE ) THINK
UNDERSTATEMENT AND HAD A LOT OF MONEY TROUBLE )
GOT lRED IN THE END (USTON ENDED UP WRITING A LOT
OF THE lNAL SCRIPT LATER HE WAS RELUCTANT TO ADMIT
THIS AS WELL HE SHOULD HAVE BEEN AS DID A COUPLE
OF OTHER WRITERS n 'ERALD (ANLEY AND SOMEONE ELSE
) FORGET WHO !S TO THE lNISHED lLM ) WROTE ABOUT
EIGHTY PERCENT OF THE lRST HALF )LL LET SOMEBODY ELSE
DO THE MATH NOTHING AFTER THAT 3OMEHOW ) ENDED
UP WITH SOLE CREDIT ON THE THING n JUST MY LUCK
) HAD AMBIVALENT FEELINGS ABOUT (USTON FOR YEARS
AND THEN WE GOT TOSSED TOGETHER AGAIN OVER 2EVENGE
4HIS WAS BACK IN ,! IN THE MID
EIGHTIES (E WAS
LONELY BROKE VERY SICK LIVING IN SOME CRAPPY HOUSE
UP IN ,AUREL #ANYON (E HAD JUST WRITTEN A SCRIPT
BASED ON *IM (ARRISONS STORY WITH HIS SON 4ONY
n COINCIDENTALLY ) HAD CO
WRITTEN A SCRIPT WITH
$AVID 'ILER SEVERAL YEARS BEFORE FROM THE SAME
MATERIAL !ND ORIGINALLY (ARRISON HAD WRITTEN A
DRAFT ) THINK FOR *ACK .ICHOLSON 2AY 3TARK TRIED TO
ENGINEER A BLENDING OF THE (ILL'ILER AND (USTON
(USTON SCRIPTS WHICH ) WAS TO DIRECT (USTON WHO
REALLY SHOULD HAVE DIRECTED IT WAS TOO ENFEEBLED AT
THAT POINT /DDLY ENOUGH HE SEEMED TO LIKE OUR
SCRIPT BETTER THAN HIS OWN SAVE FOR THE ENDING n THE
LAST THIRTY PAGES ACTUALLY n ) THINK HE WAS RIGHT )
CAN STILL HEAR HIM h9OU HAVE COMPLETELY FUCKED UP
EVERYTHING THAT THE STORY IS TRYING TO BE
ABOUT TORN THE PETALS OFF THE ROSEv (E
LOVED TO ARGUE ) REMEMBER ONCE ) HAP
PENED TO MAKE A PASSING COMPLIMENTARY
REFERENCE TO !POCALYPSE .OW AND
(USTON DID THIRTY MINUTES ON WHAT CRAP
THE lLM WAS n WOULDNT HEAR A WORD IN
FAVOR OF IT
!T THIS TIME HE WAS GETTING READY TO DI
RECT THE *OYCE STORY 4HE $EAD IN
SOME WAREHOUSE OUT IN THE 6ALLEY (E WAS
PLAYING THE LAST CARD AND KNEW IT 4HEY
WERE BRAVE LAST DAYS !NYWAY WE MADE
OUR PEACE
4HE OTHER 0AUL .EWMAN PROJECT WAS
YET ONE MORE MESS ,ARRY 4URMAN AND
$AVID &OSTER $AVID HAD PRODUCED 4HE 'ETAWAY
HAD A DEAL AT &OX AND ASKED ME TO DO A SCRIPT OF 2OSS
-AC$ONALDS 4HE $ROWNING 0OOL 2ICHARD -ULLIGAN
WAS TO DIRECT ) DID A DRAFT AND TRIED TO TOUGHEN UP
THE MATERIAL AND PUT A LITTLE MORE MUSCLE IN ,EW
!RCHERS PANTS WHICH WAS PROBABLY A MISTAKE #ER
TAINLY THE STUDIO AND THE PRODUCERS ENDED UP FEELING
THAT WAY THEIR MAIN CRITICISM WAS -AC$ONALDS FANS
DONT RESPOND TO PHYSICAL ACTION 4HEY MAY HAVE
BEEN RIGHT BUT ) THOUGHT GOING IN THE DIRECTION THEY
WANTED WITH THE SCRIPT WAS THE HIGHWAY TO DULLSVILLE
3O ) MORE OR LESS JUMPED SHIP TO START WRITING (ARD
4IMES AT #OLUMBIA FOR ,ARRY 'ORDON
7HAT FOLLOWED ON 4HE $ROWNING 0OOL WAS THE
USUAL (OLLYWOOD HORSESHIT ,ORENZO 3EMPLE RE
WROTE ME 4RACY +EENAN 7YNN THEN REWROTE HIM
!ND lNALLY ) THINK %RIC 2OTH DID SOME WORK ON IT
)N THE lNISHED PICTURE THERE ARE A COUPLE OF SCENES
THAT ) CAN SAY ) MORE OR LESS WROTE n BEYOND THAT
NOT MUCH -ULLIGAN LEFT THE PROJECT WHEN ) DID HE
AND ) GOT ALONG lNE .EWMAN WASNT PART OF THE
DEAL AT THE TIME ) THINK HE CAME IN AFTER ,ORENZOS
DRAFT !S YOU MAY INFER FROM MY REMARKS ) WASNT
TOO CRAZY ABOUT THE MOVIE
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A WORKMANLIKE SCRIPT n THIS IS THE DANGEROUS GIFT OF
BEING ABLE TO WRITE IN MORE THAN ONE VOICE n BUT IT
WASNT ANYTHING MORE THAN WORKMANLIKE #ERTAINLY
NOTHING SPECIAL !NYWAY VAGUELY EMBARRASSED )
TURNED IT IN AND LEFT TOWN ! COUPLE OF WEEKS LATER )
CALLED "ERG FROM 3AN &RANCISCO AND HE IMMEDIATE
LY SAYS h7HERE THE SHIT HAVE YOU BEEN %VERYBODYS
LOOKING FOR YOU n GREAT NEWS BLAH BLAH v )D BEEN
DRIVING ALL OVER THE 'OLD 2USH COUNTRY AND STAYED
A WHILE OVER IN 2ENO HE TOLD ME TO GET MY ASS BACK
TO ,! BECAUSE .EWMAN AND *OHN (USTON WERE
DOING MY SCRIPT !ND IT WAS TRUE "UT
4HEY mEW ME TO ,ONDON THEN TO )RELAND TO
WORK WITH (USTON 7E DIDNT GET ALONG VERY WELL
WITH THE WORK BUT HE WAS GREAT AT LUNCH AND DIN
NER (E KEPT WANTING TO STICK TO THE BOOK AND
) KEPT SUGGESTING WED BETTER CHANGE AS MUCH AS
POSSIBLE ) KNOW ALL THIS SOUNDS MORE THAN A BIT
SELF
SERVING AND HAVE THE ACCURACY OF HINDSIGHT
BUT TRUST ME ITS TRUE !NYWAY ) FELT A BIT DESPER
ATE SMELLING DISASTER !ND (USTON REFUSED TO GET
TOO EXCITED ABOUT IT ALL "Y THEN HED SURVIVED MANY
DISASTERS AND HE WAS A BIT PREOCCUPIED IT WAS A BAD
TIME FOR HIM (E WAS GETTING SICK EMPHYSEMA
HAVING A LOT OF PROBLEMS WITH HIS NEW WIFE MASSIVE
&ILM )NTERNATIONAL
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&ILM )NTERNATIONAL (OW DID YOU TEACH YOURSELF
SCREENWRITING
7ALTER (ILL 4HE USUAL STORY n READ A LOT OF SCRIPTS
SAW EVERY POSSIBLE MOVIE 7ROTE A LOT AT NIGHT -Y
BIG PROBLEM WAS FINISHING n ) MUSTVE WRITTEN TWEN
TY
FIVE FIRST ACTS n ABANDON AND MOVE ON ABANDON
AND MOVE ON 4HIS WENT ON ABOUT THREE YEARS
&UNNY THING ONCE ) WAS ABLE TO FINISH A SCRIPT )
WAS ABLE TO MAKE A LIVING AT IT RIGHT AWAY
&ILM )NTERNATIONAL ) DONT MEAN THE FORMAT SO
MUCH ) MEAN THE ESSENCE OF IT AS WELL AS THE KIND
OF STYLE YOU PREFERRED 7ERE YOU INFLUENCED BY SPE
CIFIC SCRIPTS
7ALTER (ILL !LEX *ACOBS SCRIPT OF 0OINT "LANK
WAS A REVELATION (E WAS A FRIEND WONDER
FUL GUY LOOKED LIKE A PIRATE FUNNY AND CRAZY 4HIS
REVELATION CAME ABOUT DESPITE A CHARACTER FLAW OF
MINE ) HAVE ALWAYS HAD DIFFICULTY BEING COMPLI
MENTARY TO PEOPLE WHOSE WORK ) ADMIRE WHEN
FACE
TO
FACE WITH THEM 4HIS IS NOT THE NORM IN
(OLLYWOOD WHERE EFFUSIVENESS IS GENERALLY A GIVEN
!NYWAY A MUTUAL FRIEND TOLD !LEX HOW MUCH ) AD
MIRED 0OINT "LANK AND *OHN "OORMAN !LEX THEN
VERY GRACIOUSLY GAVE ME A COPY OF THE SCRIPT 4HIS
WAS ABOUT THE TIME HE WAS DOING 4HE 3EVEN
5PS
!NYWAY BY NOW )D BEEN MAKING A LIVING AS A
SCREENWRITER FOR MAYBE TWO OR THREE YEARS AND HAD
GOTTEN TO THE POINT WHERE ) WAS DISSATISlED WITH THE
STANDARD FORM SCRIPTS WERE WRITTEN IN n THEY JUST ALL
SEEMED TO BE A KIND OF SUB
LITERARY BLUEPRINT FOR
SHOOTING A PICTURE AND GENERALLY HAD NO PERSONAL
VOICE -INE WERE TIGHTER AND TERSER THAN THE AVER
AGE BUT ) WAS STILL WORKING WITHIN THE INDUSTRY
TEMPLATE AND NOT TOO HAPPY ABOUT IT !LEXS SCRIPT
JUST KNOCKED ME OUT NOT EASY TO DO IT WAS BOTH
PLAYABLE AND LITERARY 7RITTEN IN A WHOLE DIFFERENT
WAY THAN STANDARD FORMAT LACONIC ELLIPTICAL SUG
GESTIVE RATHER THAN EXPLICIT BOLD IN THE IMPLIED
EDITORIAL STYLE ) THOUGHT !LEXS SCRIPT WAS A PERFECT
COMPLIMENT TO THE MATERIAL HARD TOUGH AND SMART
n MY ABSOLUTE IDEALS THEN 3O MUCH OF THE WRIT
ING THAT WAS GENERALLY PRAISED INSIDE THE BUSINESS
SEEMED TO ME SOFT AND VASTLY OVERSTATED n VASTLY
OVER
SENTIMENTAL 4HEN AND NOW ) HAVENT CHANGED
MY OPINIONS ABOUT THAT "UT ) HAVE CHANGED THEM
ABOUT THE PRESENTATIONAL STYLE
!NYWAY ) IMMEDIATELY RESOLVED TO TRY TO GO IN
THAT DIRECTION THAT !LEX HAD SHOWN AND ) WORKED
OUT MY OWN APPROACH IN THE NEXT FEW YEARS ) TRIED
TO WRITE IN AN EXTREMELY SPARE ALMOST (AIKU STYLE
"OTH STAGE DIRECTIONS AND DIALOGUE 3OME OF IT WAS
A BIT PRETENTIOUS n BUT AT OTHER TIMES ) THOUGHT IT
WORKED PRETTY WELL ) NOW REALIZE A LOT OF THIS WAS
BEING A YOUNG GUY WHO WANTED TO THROW ROCKS AT
WINDOWS
&ILM )NTERNATIONAL 7HAT SCRIPTS DID YOU WRITE IN
THAT PARTICULAR STYLE
7ALTER (ILL (ARD 4IMES WAS THE FIRST AND ) THINK
MAYBE THE BEST !LIEN n THE FIRST DRAFT THEN
WHEN $AVID AND ) REWROTE IT WE LEFT IT IN THAT STYLE
4HE $RIVER WHICH ) THINK WAS THE PURIST SCRIPT THAT
) EVER WROTE AND 4HE 7ARRIORS 4HE CLEAN NARRATIVE
DRIVE OF THE MATERIAL AND THE SPLASH
PANEL APPROACH
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TO THE CHARACTERS PERFECTLY FIT THE DESIGN ) WAS TRY
ING TO MAKE WORK /F COURSE ALL THIS DEPENDS ON
THE NATURE OF THE MATERIAL ) DONT THINK THE STYLE
WOULDVE WORKED AT ALL HAD ) BEEN WRITING ROMANTIC
COMEDIES
&ILM )NTERNATIONAL 9OU APPEAR TO HAVE A KNOWL
EDGE AND APPRECIATION OF CERTAIN SCREEN WRITERS OF
THE PAST !RE YOU CONSCIOUS OF THE INFLUENCE OF PAR
TICULAR OLD
TIME SCREEN WRITERS
7ALTER (ILL ) DID SOME HOMEWORK 9OU OWE IT TO
THE CRAFT "ORDEN #HASE ,AMAR 4ROTTI "EN (ECHT
PROBABLY THE CLASSIC EXAMPLE OF THE MULTI
VOICE
SCREENWRITER 0RESTON 3TURGES ;2OBERT= 2ISKIN
AND OF COURSE (AWKS n WHO WAS A WRITERDIRECTOR
THOUGH HES USUALLY NOT BILLED THAT WAY ) DONT PRE
TEND TO BE A SCHOLAR ABOUT THE HISTORY AND EVOLUTION
OF SCREENWRITING AND ) THINK YOU HAVE TO APPROACH
IT AS A CRAFT RATHER THAN AN ART "UT ITS THE OLD STORY
IF THE CRAFT GETS GOOD ENOUGH IT IS AN ART
&ILM )NTERNATIONAL )N GENERAL HOW MUCH DO YOU
NEED A CO
WRITER EITHER FOR BALANCE FEEDBACK OR
JUST COMPANY
7ALTER (ILL !S THEY GET OLDER WRITERS TEND TO SPE
CIALIZE GIVEN THEIR PARTICULAR COMFORT ZONES BUT )M
STILL TRYING TO BE FLEXIBLE )M HAPPY TO SIT DOWN
AND WRITE AN ORIGINAL AN ORIGINAL ON SPEC OR AFTER A
PITCH ONE OF THE FIRST RULES ) LEARNED BUT HAVE BRO
KEN MANY TIMES n NEVER WRITE FOR FREE AND NEVER
USE YOUR OWN MONEY TO BUY A PROJECT OR ADAPT
FROM A SOURCE ) LIKE CO
WRITERS FOR ALL THE REASONS
YOUVE MENTIONED BUT )VE DISCOVERED THERERE VERY
FEW PEOPLE ) CAN WORK WITH )TS JUST SUCH A DELICATE
THING YOU HAVE TO BE ON THE SAME WAVELENGTH NOT
THAT YOU WONT HAVE SOME ROARING DISCUSSIONS n YOU
SHOULD REALLY LIKE EACH OTHER OTHERWISE THE PROCESS
IS SO INTIMATE THAT YOU WILL PROBABLY END UP TRY
ING TO CHOKE YOUR PARTNER #O
WRITING IS GREAT FOR
TWO BASIC REASONS YOUVE GOT AN EQUAL TO TEST YOUR
IDEAS AGAINST AND VICE VERSA THE OTHER REASON BEING
YOU HAVE SOMEONE YOU CAN HAVE SOME LAUGHS WITH
) CANT WRITE WITH SOMEONE UNLESS ITS FUN AS YOU
KNOW WRITING ALONE CAN BE VERY GRIM
)N THE PAST )VE ONLY WRITTEN WITH AS OPPOSED TO
HAVE WORKED WITH THREE GUYS n $AVID 'ILER ,ARRY
'ROSS ,UKAS (ELLER 7ITH $AVID WE USUALLY ENDED
UP WORKING IN HOTELS WITH PLENTY OF TIME FOR 46
SPORTS AND LONG DINNERS WHERE ALCOHOL WAS SERVED
,ATELY HE AND ) HAVE WORKED AT HIS PLACE UP IN THE
HILLS n THATS WHERE WE DID 5NDISPUTED ,U
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KAS AND ) ALWAYS WORKED OUT AT MY BEACH HOUSE 7E
ALSO MADE ARRANGEMENTS FOR 46 SPORTS AND DINNER
,ARRY AND ) USUALLY WORKED AT WHATEVER STUDIO WAS
PAYING US THEN WED EACH GO OFF AND WRITE THEN
WED HOOK UP THE NEXT DAY /BVIOUSLY YOU WORK
WITH PEOPLE BECAUSE THEYRE GIVING YOU SOMETHING
THAT YOU THINK IS GOING TO MAKE IT BETTER
$AVIDS THE BEST DIALOGUE WRITER )VE EVER KNOWN
!ND HES GOT A MARVELOUS CAPACITY FOR COMING UP
WITH THE UNEXPECTED n A U
TURN THATS NOVEL BUT AT
THE SAME TIME UNDERLINES WHAT YOURE TRYING TO DO
WITH THE MATERIAL ! LOT OF THE TIME HELL PRESENT IT
AS A JOKE AND ITLL TURN OUT TO BE A GREAT IDEA ,IKE
IN !LIEN WHEN THE )AN (OLM CHARACTER WAS REVEALED
TO BE A DROID n THAT WAS $AVID
,UKAS WAS ALSO A GREAT FRIEND n ) MISS HIM VERY
MUCH n HE WAS JUST REALLY GOOD AT EVERYTHING ABOUT
SCREENWRITING #ONSTRUCTION 3TORY $IALOGUE
4HEME ! TERRIlC ADAPTOR HE HAD TO HAVE SOURCE
MATERIAL /THER THAN THAT HE HAD ALL THE BASES COV
ERED 4HREE TO lVE PAGES A DAY THEN PASS THE BOTTLE
,ARRY IS AN UNAPOLOGETIC INTELLECTUAL 6ERY RARE IN
SHOW BUSINESS %XTREMELY WELL
READ
%XTREMELY KNOWLEDGEABLE ABOUT THE HISTORY OF
lLM (ES VERY GOOD AT KEEPING SCENES ON THE THE
MATIC TRACT 7ELL DISCUSS SOMETHING AND HELL THEN
CITE A MOMENT FROM $OSTOEVSKY "ORGES 9EATS OR
SOME SUCH TO ILLUSTRATE IT THEN WE SIT THERE AND TRY
TO lGURE OUT HOW TO STEAL IT LAUGHS
&ILM )NTERNATIONAL 0EOPLE ALWAYS SAY THAT WRITING
IS A LONELY PROFESSION BUT DIRECTING ALTHOUGH YOU
ARE SURROUNDED BY PEOPLE IS ALSO A SOLO ACT ) CAN
FIGURE OUT WHAT MIGHT BE PROFESSIONALLY REQUIRED
n BUT WHAT IS PSYCHOLOGICALLY NECESSARY FOR A WRITER
TO MAKE THE LEAP TO BEING A DIRECTOR
7ALTER (ILL 7RITING DOES NOT TRAIN YOU FOR THE FOL
LOWING ESSENTIALS IN DIRECTING n VERBALLY TRANSMIT
TING YOUR IDEAS TO OTHER PEOPLE 3UFFERING FOOLS
0RACTICAL PROBLEM
SOLVING OF A PHYSICAL NATURE
,EADERSHIP THAT FALLS SOMEWHERE BETWEEN BEING
THE FIRST OF EQUALS OR A RUTHLESS TYRANT n DEPENDING
ON YOUR CHARACTER AND THE ROLE YOU CHOOSE TO PLAY
-OST OF ALL A SENSE OF HOW TO DEAL WITH THE AC
TORS TO GIVE
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&ILM )NTERNATIONAL (ARD 4IMES HOW MUCH OF A
STRUGGLE WAS IT TO GET YOUR FIRST DIRECTING JOB
7ALTER (ILL ) MET ,ARRY 'ORDON IN THE SPRING OF
n HE WAS RUNNING !)0 THEN AND HE TOLD
ME HED GIVE ME A SHOT AT DIRECTING IF )D WRITE A
SCRIPT FOR HIM 7E HAD TO FIND A SUBJECT OBVIOUSLY
n SOMETHING THAT APPEALED TO BOTH OF US n THEN HE
MOVED OVER TO #OLUMBIA ,ARRY WAS GOING TO HAVE
HIS OWN UNIT THAT SPECIALIZED IN LOW
BUDGET ACTION
FILMS
,ARRY IS ONE OF THE GREAT CHARACTERS FROM -IS
SISSIPPI OBSTREPEROUS HIGH
DECIBEL TOUGH BUSI
NESSMAN REAL SMART AND CAN MAKE YOU LAUGH FOR
HOURS 4HE lRST THING HE TOLD ME WAS THAT HE DIDNT
lGURE HE WAS TAKING MUCH OF A CHANCE ON ME AS A
DIRECTOR ) COULDNT BE ANY WORSE THAN THE ONES HED
BEEN WORKING WITH AT !)0 AND AT LEAST HED HAVE A
SHOT AT GETTING A GOOD SCRIPT ) WAS IN THAT BULLSHIT
hHOT
WRITERv PHASE COMING OFF 4HE 'ETAWAY SO WE
MADE A DEAL WRITE FOR SCALE DIRECT FOR SCALE AND
THEY COULDNT MAKE THE PICTURE WITHOUT ME 3O IT
WAS A GOOD BARGAIN FOR EVERYBODY THEY GOT ME
CHEAP AND ) GOT A SHOT AT DIRECTING 4HE TRUTH IS )
WOULDVE PAID THEM FOR THE CHANCE
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,ARRY HAD A PROJECT SET IN 3AN 0EDRO ABOUT STREET
lGHTING FOR MONEY (E HAD DEVELOPED A SCRIPT FROM
A NEWSPAPER ARTICLE n IT WAS CONTEMPORARY AND
PRETTY ROUGH STUFF n VERY !)0 ) THOUGHT MAYBE
IF YOU DID IT MORE LIKE A 7ESTERN WITH A KIND OF
MYTHOPOETIC HERO IT MIGHT TAKE THE EDGE OFF n GIVE
IT A CHANCE TO COME UP
MARKET ,ARRY WENT WITH
THAT SO WE MADE IT PERIOD n SET IT IN .EW /RLEANS
,ARRY HAD SPENT A LOT OF TIME THERE HE WENT TO LAW
SCHOOL AT 4ULANE (E KNEW A LOT ABOUT THE CITY AND
) THOUGHT ) KNEW A LOT ABOUT EVERYTHING LAUGHS
!NYWAY ) GUESS ) TOOK A DEEP BREATH n A SUBJECT
MATTER ) LOVED A PRODUCER ) RESPECTED A DEAL THAT
SAID ) COULD DIRECT n HERE WAS MY CHANCE NO EXCUSES
ALLOWED ) WROTE A DRAFT THEN REWROTE IT FOUR OR lVE
TIMES BEFORE ) lNALLY GOT IT "UT ) DID GET IT AND )
KNEW IT ) KNEW IT WAS GOING TO GET AN ACTOR AND
GET MADE
&ILM )NTERNATIONAL (OW MUCH OF A STRUGGLE WAS IT
TO HOLD ON TO THE JOB AND DO IT PROPERLY
7ALTER (ILL ) SHOT IT IN THIRTY
EIGHT DAYS )T SEEMED
LIKE ABOUT A YEAR AND A HALF ) GOT ALONG PRETTY WELL
WITH ;#HARLES= "RONSON NOT SO WELL WITH ;*AMES=
#OBURN LOVED 3TROTHER -ARTIN ) HAD WRITTEN A
RATHER EXOTIC CHARACTER 3TROTHER ASKED ME IF HE
COULD JUST PLAY IT LIKE 4ENNESSEE 7ILLIAMS ) SAID
GREAT AND THAT TOOK CARE OF IT 3TROTHER COULD BE
VERY WASPISH BUT HE WAS A GENTLE SOUL (E GAVE ME
A SPECIAL EDITION OF 7HITMAN WHEN WE FINISHED )
WAS SORRY WE NEVER GOT TO WORK TOGETHER AGAIN 4HE
CAMERAMAN 0HIL ,ATHROP HELPED ME ENORMOUSLY
&ILM )NTERNATIONAL (OW MUCH OF A SWITCH WAS IT
GOING FROM WRITER TO WRITER
DIRECTOR
7ALTER (ILL .OT A LOT 3OME PEOPLE HAVE A KNACK
FOR IT n ) THINK ) FIT THAT CATEGORY 7HAT ) THINK IS
DEPLORABLE IS THE NOTION THAT DIRECTING IS AN EXTEN
SION OF A WRITING CAREER AND THAT THOSE WHO DONT
MAKE THE JUMP ARE SOMEHOW THE LESS FOR IT
&ILM )NTERNATIONAL )S IT POSSIBLE TO SAY WHICH
OF YOUR FILMS WAS MADE WITH THE GREATEST CREATIVE
FREEDOM
7ALTER (ILL ) CANT HONESTLY SAY )VE EVER HAD A LOT
OF PRODUCER INTERFERENCE ,ARRY AND ) USED TO HAVE
FIGHTS BUT THEY WERE ALWAYS COUCHED IN GOOD HU
MOR AND RESPECT !ND WHEN HE DISAGREED WITH ME
HE NEVER WENT TO THE STUDIO BEHIND MY BACK 4O A
LOT OF PEOPLE ,ARRYS A BIT OF A ROUGH CHARACTER BUT
) ALWAYS FOUND HIM TO BE MORE THAN HONORABLE )
HAVENT ALWAYS DONE SO WELL WITH THE STUDIOS
&ILM )NTERNATIONAL %VEN IN THAT PERIOD IN THE
S
7ALTER (ILL 4HE FIRST TWO FILMS WENT OKAY n WHEN
) TURNED MY CUT OVER TO #OLUMBIA ON (ARD 4IMES
THEY HAD TWO LITTLE NOTES ) SAID NO AND THEY SAID
FINE ) HAD SOME REAL FIGHTS WITH -ICHAEL %ISNER ON
4HE 7ARRIORS AND A FEW YEARS LATER ON (23 "UT
,ARRY ALWAYS SMOOTHED THEM OUT AS BEST AS POS
SIBLE
&ILM )NTERNATIONAL $O YOU LIKE %ISNER
7ALTER (ILL ) LIKE HIM ABOUT AS WELL AS HE LIKES ME
,ETS LET IT GO AT THAT
&ILM )NTERNATIONAL 9OU MADE TWO FILMS FOR HIM
BOTH MADE MONEY AND GOT GOOD REVIEWS
7ALTER (ILL 4O BE HONEST ) NEVER LIKED HIS GENERAL
APPROACH HE WAS THE PROTOTYPE OF THE EXECUTIVE
THAT LED US TO THE HIGH
CONCEPT MARKET
DRIVEN STU
DIO ) REALIZE THAT MAKES ME SOUND LIKE A ,UDDITE
BUT FUCK IT ) HAVE TO ADMIT HAD %ISNER NOT TAKEN
THE PATH SOMEONE ELSE WOULD HAVE
-Y CLEAREST IMPRESSION IS THAT %ISNER WANTED
MOVIES TO BE A KIND OF PLEASANTLY mAVORED CHEW
ING GUM AND WAS ALMOST PHYSICALLY UNCOMFORT
ABLE IN DEALING WITH ANYTHING ABOUT THE DARK SIDE
OF THE HUMAN HEART 4HERES NO TAKING AWAY HES
A HUGELY SUCCESSFUL BUSINESSMAN AND HE WAS OB
VIOUSLY A GREAT lT FOR $ISNEY ) LIKED TWO THINGS
ABOUT -ICHAEL HE DIDNT GIVE A DAMN ABOUT WHAT
YOU THOUGHT ABOUT HIM AND HE HAD AN UNSHAKABLE
BELIEF IN HIS OWN OPINIONS BOTH ARE RARE QUALITIES IN
lLM EXECUTIVES 5NFORTUNATELY THE UNSHAKABLE BE
LIEF HAD A DOWNSIDE HE HAD GREAT POPULAR INSTINCTS
BUT HE LACKED ANYTHING APPROACHING ARTISTIC TASTE
!ND TO BE REALLY GOOD YOU NEED BOTH
4HE WHOLE EXECUTIVEWRITER THING IS OBVIOUSLY
TRICKY )VE LIKED A LOT OF THEM BUT %ISNER ) JUST
FOUND ALL HIS NOTES IDEAS AND ENTHUSIASMS TO BE
SO SHALLOW ) LIKED BEING AROUND !LAN ,ADD 'ARETH
7IGAN *OHN #ALLEY n SMART GUYS THAT HAD VERY HIGH
STANDARDS ) CERTAINLY DONT BELIEVE THAT STUDIO INTER
FERENCE HAS EVER MADE ANY PROJECT )VE BEEN AROUND
MORE COMMERCIAL /R BETTER 4HE BEST DEFENSE IS A
GOOD SCRIPT )T ALL STARTS THERE
&ILM )NTERNATIONAL 7AS THE SCRIPT PROCESS ON
(23 ACRIMONIOUS
7ALTER (ILL (23 STARTED OUT AS AN IDEA BY
,ARRY 'ORDON )N THE ORIGINAL STORY THE GOVERNOR
OF ,OUISIANAS DAUGHTER WAS KIDNAPPED BY A VICIOUS
CRIMINAL WHO STRAPPED DYNAMITE TO HER HEAD AND
ANNOUNCED TO THE WORLD THERE WERE FORTY EIGHT
HOURS TO PAY THE RANSOM OR +!"//- 3OLVING
THIS DILEMMA WAS OBVIOUSLY A JOB FOR THE MEANEST
COP IN .EW /RLEANS WHO GOES TO THE WORST PRISON
IN ,OUISIANA AND GETS OUT THE MOST VICIOUS CRIMINAL
IN THE HISTORY OF THE STATE A #AJUN FOR HIS SPECIAL
KNOWLEDGE ABOUT THE DEVIOUS WAYS OF THE KIDNAP
PER WHO COINCIDENTALLY USED TO BE HIS CELLMATE
4HE COP AND THE CON DONT GET ALONG VERY WELL BUT
FINALLY HARD JUSTICE IS DONE TO THE MISCREANT 6ERY
HARD JUSTICE !S YOU CAN SEE IN SOME WAYS THINGS
CHANGED A BIT !ND IN SOME WAYS THEY DIDNT )
GUESS THIS IS A GOOD EXAMPLE OF MY JUVENILE SENSE
OF HEROICS BECAUSE EVEN THOUGH )M POKING A LITTLE
FUN HERE ) LOVED THE BASIC NOTION OF THE STORY 2IGHT
FROM THE FIRST
2OGER 3POTTISWOODE WROTE ONE OF THE EARLY
DRAFTS WHILE HE WAS LIVING AT MY HOUSE UP OFF -UL
HOLLAND n RIGHT AFTER WE HAD lNISHED (ARD 4IMES
2OGER WAS THE EDITOR ON THE lLM HE WANTED TO DI
RECT AND ,ARRY AND ) ENCOURAGED HIM TO WRITE HIS
WAY INTO THE JOB "ILL +ERBY WROTE A DRAFT AS DID A
COUPLE OF OTHER GUYS n THE PROJECT MOVED FROM #O
LUMBIA TO 0ARAMOUNT 4HEN 4RACY +EENAN 7YNN
WROTE A DRAFT ) GUESS THEN IT WAS MY TURN ) WROTE
A QUICK DRAFT THAT TOOK IT IN ANOTHER DIRECTION
4HIS WAS MEANT TO BE FOR %ASTWOOD ,ARRY GOT
HIM INTERESTED IN THE STORY BUT #LINT WANTED
TO BE THE CONVICT !S ) WAS LEAVING TO DO 4HE
,ONG 2IDERS ) SUGGESTED TO THE STUDIO THAT WE
mIP THE ROLES AND )D REWRITE IT WITH THE IDEA THAT
%ASTWOOD BE TEAMED UP WITH 2ICHARD 0RYOR "UT
%ASTWOOD DIDNT WANT TO PLAY A COP n THAT WOULD
BUMP HIS $IRTY (ARRY SERIES OVER AT 7ARNERS (E
WAS RIGHT ABOUT THAT 4HEN HE DECIDED TO DO
A PRISONER ROLE IN !LCATRAZ WITH $ON 3IEGEL
;%SCAPE FROM !LCATRAZ =
A N D
THAT PRETTY MUCH PUT PAID
TO THE IDEA THAT HE WOULD
PLAY OUR CONVICT PART
!LCATRAZ TURNED OUT TO BE A
GOOD lLM BUT IT DIDNT HELP
US ANY 4HE BIG lSH HAD SLIPPED
THROUGH THE NET
!NOTHER COUPLE OF YEARS
WENT BY NOTHING MUCH
SEEMED TO HAPPEN THEN OUT
OF THE BLUE ,ARRY CALLED
ME AND ASKED IF )D DO
THE PICTURE WITH ;.ICK= .OLTE 3UDDENLY EVERYTHING
HAD BROKEN RIGHT AND ,ARRY PUT THE MOVIE TOGETH
ER A GOOD EXAMPLE OF A PERSISTENT PRODUCER n ,ARRY
NEVER QUIT ON IT 7E SHOT THE lLM SEVEN YEARS AFTER
2OGER HAD WRITTEN HIS DRAFT
5P TO THIS POINT THERE WASNT ANY ACRIMONY THAT
) KNEW ABOUT "UT ONCE WE HAD A START DATE AND
,ARRY 'ROSS CAME IN TO HELP ME TUNE THE SCRIPT UP
THEN IT GOT PRETTY ROUGH AND STAYED THAT WAY UNTIL
THE MOVIE CAME OUT IN THE lRST PART OF $ECEMBER
7E STARTED SHOOTING IN THE MIDDLE OF -AY IF ) RE
MEMBER CORRECTLY WITH ABOUT A SEVEN
WEEK PREP
,ARRY 'ORDON WAS BUSY ON A LOT OF HIS PROJECTS SO
HE HAD *OEL 3ILVER WHO WORKED FOR HIM PRODUCE
THE MOVIE ON A DAILY BASIS WHILE HE ;,ARRY= OVERSAW
WHAT WAS GOING ON
&ILM )NTERNATIONAL 3O ,ARRY REMAINED ACTIVE ON
THE PROJECT
7ALTER (ILL 9EAH 6ERY MUCH SO ) THINK (23
WAS OUR FOURTH MOVIE TOGETHER AND BY NOW WE WERE
GREAT FRIENDS 4HIS WAS ABOUT THE TIME $ON 3IMPSON
WAS CARRYING WATER FOR %ISNER $ON WAS 0RESIDENT OR
6ICE 0RESIDENT IN CHARGE OF THE 7ESTERN 5NIVERSE
SOMETHING LIKE THAT n ONE OF THOSE PHONY TITLES THEY
GIVE EACH OTHER ! FEW MONTHS LATER THEY FIRED $ON
AND MADE HIM A PRODUCER n THE WAY HE LIVED MADE
THEM NERVOUS !NYWAY $ON WOULD GET %ISNERS
NOTES AND TRANSMIT THEM TO ME 4HEY WERE USU
ALLY INCOHERENT MORE OR LESS DEPENDING UPON THE
AMOUNT OF DRUGS $ON HAD INGESTED !T SOME POINT
THE STUDIO FIGURED OUT THIS SYSTEM
WASNT SO HOT 3O 2ICARDO -ES
TRES STARTED DOING THE NOTES
AND $ON JUST SIGNED THEM )TS
ACTUALLY NOT CORRECT TO CALL THE
NOTES %ISNERS -ICHAEL WOULD
HAVE SOME GENERAL NOTION
ABOUT THE SCRIPT AND
HED PUT IT IN THE
P I P E L I N E S
T H E N
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LOUSY 7HEN ) DID THE GUNFIGHT SCENE IN THE HOTEL
WHERE .ICK FACES OFF WITH *IMMY 2EMAR n ) THINK
IT WAS THE FIRST OR SECOND WEEK AFTER WE GOT BACK TO
,! THEY THE EXECUTIVES WENT TO DAILIES AND SAID
)D NEVER WORK AT 0ARAMOUNT AGAIN
&ILM )NTERNATIONAL 7HY
7ALTER (ILL 4OO VIOLENT 4HEY THOUGHT IT WOULD
KILL THE HUMOR
&ILM )NTERNATIONAL 9OU DID WORK AT 0ARAMOUNT
AGAIN
7ALTER (ILL 9EAH "UT THEY WERE ALL GONE
&ILM )NTERNATIONAL $ID THEY REALLY WANT TO FIRE
%DDIE -URPHY
7ALTER (ILL 9ES "UT THAT WASNT %ISNER 3EVERAL OF
THE EXECUTIVES DIDNT THINK %DDIE WAS FUNNY /R TO
BE PRECISE THEY DIDNT THINK HE WAS LIKE 2ICHARD
0RYOR WHO WAS THE DEFINITION OF FUNNY BLACK MAN
AT THAT TIME ) SHOWED %ISNER SOME CUT FOOTAGE AND
HE THOUGHT %DDIE WAS FINE BUT THAT ) WAS STILL NOT
LETTING THE MOVIE BE FUNNY ENOUGH (E KEPT TALKING
ABOUT hBLOCK COMEDYv SCENES 4HATS A 46 EXPRES
SION )M NOT EXACTLY SURE WHAT IT MEANS )
TOLD -ICHAEL ) DIDNT KNOW WHAT THE FUCK
HE WAS TALKING ABOUT BUT NOT TO WORRY
THE STORY WAS COMING ALONG FINE !ND
THAT %DDIE WAS VERY FUNNY !S USUAL ,ARRY
'ORDON SMOOTHED IT ALL OUT AND ) KEPT
SHOOTING 4HE PERSON THAT REALLY UNDER
STOOD THAT %DDIE WAS DOING GREAT WAS *OEL
2EMEMBER THIS WAS %DDIES FIRST MOVIE
AND HE WAS ALL OVER THE PLACE BUT *OEL
UNDERSTOOD WE WERE ONLY GOING TO USE THE
GOOD STUFF !ND THERE WAS PLENTY OF THAT
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7ALTER (ILL ) GENERALLY DUCK ANSWERING !LIEN QUES
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MONIOUSLY AND WHEN YOU GIVE YOUR SIDE IT USUALLY
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TRY TO TALK NOT AS A PRODUCER BUT AS A WRITER n HOW
EVER IN THIS CASE ITS DIFFICULT TO SEPARATE
$AVID AND ) HAD FORMED A PRODUCTION COMPANY
WITH 'ORDON #ARROLL n THIS WAS ABOUT
!BOUT SIX MONTHS AFTER WE STARTED ) WAS GIVEN A
SCRIPT CALLED !LIEN BY A FELLOW ) KNEW -ARK (AG
GARD INTERESTING GUY A REAL *OHN &ORD EXPERT WHO
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&ILM )NTERNATIONAL 7HAT DID YOU DO WITH THE
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THEN AFTER A WHILE ) DIDNT READ THEM AND TOSSED
THEM n FINALLY ) JUT STARTED SENDING THEM OVER TO
*OEL ;3ILVER= UNREAD AND TOLD HIM TO TELL ME IF
THERE WAS ANYTHING ANY GOOD IN THEM (E HAD HIS
SECRETARY READ THEM AND SHED TELL *OEL WHAT SHE
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PERSONALITIES OF .ICK AND %DDIE ;-URPHY= n AND
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PLAY TO THEIR STRENGTHS 4HE BIG PROBLEM IN A SENSE
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ON ALL MY MOVIES n AND TURNING HIM INTO A REAL FILM
PERSONALITY NOT LETTING HIM SIMPLY BE A COMEDY
SKETCH CHARACTER OUT OF 3ATURDAY .IGHT ,IVE ,ARRY
'ROSS AND ) WERE REWRITING %DDIE TO THE VERY LAST
DAY OF SHOOTING 4HE MORE WE LEARNED THE BETTER
HE GOT /F COURSE ITS OBVIOUS THAT HE WAS A GOLD
MINE OF TALENT ) GUESS WE DID SOMETHING RIGHT
n %DDIE PLAYED BASICALLY THE SAME CHARACTER FOR THE
NEXT TEN YEARS
&ILM )NTERNATIONAL (OW MUCH OF %DDIES DIALOGUE
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7ALTER (ILL .OT A LOT /CCASIONALLY HE CAME UP
WITH SOMETHING REALLY GOOD WHICH ) WAS SMART
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WHEN HE WANTS TO BE "UT LETS NOT GET INTO THE IDEA
THAT 7ILLIAM 0OWELL AND -YRNA ,OY REALLY TALKED
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&ILM )NTERNATIONAL )N THE REDNECK BAR SCENE WHO
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3ATURDAY .IGHT ,IVE AND ) HAD ARRANGED TO DO
MOST OF HIS HEAVY LIFTING AS LATE AS POSSIBLE IN THE
SCHEDULE SO WED HAVE MORE TIME TO WRITE TO HIM
AND WORK WITH HIM 4HE ATMOSPHERE ON THE SET WAS
TERRIFIC 7E HAD A LOT OF FUN MAKING THE MOVIE "UT
THE ATMOSPHERE AT THE STUDIO AS )VE INDICATED WAS
&ILM )NTERNATIONAL 9OU WERE WORKING
IN A SPECIAL NICHE OF YOUR OWN IN THE LATE
S AND EARLY S WITH (ARD 4IMES
4HE $RIVER 4HE 7ARRIORS 4HE ,ONG 2IDERS
AND 3OUTHERN #OMFORT n LEAN ELEGIAC FILMS
WHICH )M GUESSING BENEFITED FROM MOD
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LOW PRODUCER INTERFERENCE
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ISTS 4HE MIDDLE GROUND HAS LARGELY FALLEN
OUT OF THE STUDIO SYSTEM
&ILM )NTERNATIONAL )S IT POSSIBLE TO SAY
FOR YOU WHICH OF THEM TURNED OUT THE BEST /R IN
RETROSPECT YOUR FAVORITE
7ALTER (ILL ) COULDNT SAY 4HEYRE SOCIAL AS WELL AS
AESTHETIC EXPERIENCES )F YOU POINT A GUN AT ME )D
PROBABLY SAY 7ILD "ILL IS AS GOOD AS ANYTHING
)VE DONE "UT THAT WAS YEARS LATER
&ILM )NTERNATIONAL !RE THE MEGA HITS LIKE (23
A KIND OF MIXED BLESSING
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ON THE WHOLE OUTWEIGH EVERYTHING ELSE ! BIG HIT
ALLOWS YOU TO GO FORWARD KEEP WORKING "UT THE
FINANCIAL PEOPLE CONSTANTLY WANT YOU TO NOT SIMPLY
REPEAT YOURSELF )M NOT AGAINST THIS IN PRINCIPLE
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THEY USUALLY WANT YOU TO GO OUT AND MAKE EXACTLY
THE SAME MOVIE RIGHT DOWN TO THE SHOELACES ) AM
AGAINST THAT )F ) MAY DIGRESS THIS OLD SAW THAT )VE
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WAS ONE OF MY FAVORITE lLMS FROM WHEN )
WAS A KID AND THIS SCRIPT REMINDED ME OF IT BUT IN
AN EXTREMELY CRUDE FORM
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ZY BUT A GOOD VERSION OF THIS MIGHT WORKv SPEECHES
4HE NEXT NIGHT ) REMEMBER ) WAS WATCHING *IMMY
#ARTER GIVE HIS ACCEPTANCE SPEECH TO THE $EMOCRAT
IC CONVENTION AND WAS QUITE HAPPY TO ANSWER THE
PHONE WHEN IT RANG )T WAS $AVID n HE TOLD ME )
WAS CRAZY BUT HE HAD JUST GOT AS FAR AS THE BIG SCENE
THE CHEST BURSTER AND IT WAS REALLY SOMETHING 3O
BASICALLY OFF THE STRENGTH OF THAT WE ACQUIRED THE
RIGHTS AND KICKED IT AROUND FOR A FEW WEEKS TRYING
TO lGURE OUT WHAT TO DO WITH IT 2EMEMBER NEITHER
OF US WAS A REAL SCI
l WRITER OR A HORROR WRITER BUT
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HOW THE GENRES WORKED &IRST WE GAVE THE ORIGINAL
SCREENPLAY TO THE STUDIO WE HAD A DEAL WITH &OX
THEY READ IT AND PASSED ACTUALLY IT HAD BEEN PREVI
OUSLY SUBMITTED TO THEM SO TECHNICALLY THEY PASSED
TWICE BUT WE JUST DIDNT WANT TO LET IT GO 7E BE
LIEVED THAT IF YOU GOT RID OF A LOT OF THE JUNK n THEY
HAD PYRAMIDS AND HIEROGLYPHICS ON THE PLANETOID A
LOT OF VON $NIKEN CRAP AND A LOT OF BAD DIALOGUE
n THAT WHAT YOU WOULD HAVE LEFT MIGHT BE A VERY
GOOD VERY PRIMAL SPACE SURVIVAL STORY &INALLY )
SAID )D GIVE THE FUCKER A RUN
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TO (ONG +ONG WITH HIS GIRLFRIEND BUT BEFORE HE LEFT
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MAN CREW AND THE CREATURE WAS
SOME KIND OF OUTER SPACE OCTOPUS n THE
MAIN IDEA $AVID AND ) HAD WAS TO DO A
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BEST WE COULD AVOIDED THE USUAL CHEESE
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SEEM LIKE MUCH NOW BUT THE NOTION THAT
YOUD WRITE UP TO A @" MOVIE IDEA n MAKE
IT TO BE PLAYED WITH THE SAME INTENTIONS
AND STYLE AS HIGH DRAMA n THAT WAS OUT OF
THE BOX THEN !ND PRETTY OBVIOUSLY WE
WERE THINKING LIKE PRODUCERS BEFORE WE
BEGAN TO DEAL WITH IT AS SCREEN WRITERS
/NE OTHER THING n ) RESIST SCIENCE lC
TION THAT SUGGESTS THE UNIVERSE IS SOME
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(AWKSS 4HE 4HING AND ONE OF THE IDEAS
IN THE lNISHED SCRIPT THAT ) LIKED BEST WAS
THE WAY IT DRAMATIZED AND VALORIZED IN
STINCTIVE WARINESS AND PRACTICALITY WHEN
DEALING WITH THE UNKNOWN OVER THE
NEEDS OF SCIENCE 2IGHT FROM THE lRST )
WANTED VERY MUCH TO GET A VERSION OF THAT
INTO THE SCRIPT !ND ) THINK THAT QUALITY IS
WHAT MADE THE MOVIE SO !MERICAN EVEN
THOUGH IT WAS SHOT IN %NGLAND HAD AN
%NGLISH DIRECTOR %NGLISH TECHNICIANS AND SEVERAL
%NGLISH CAST MEMBERS
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LAS A WOMAN ) TRIED THAT BUT ) THOUGHT THE MONEY
WAS ON MAKING THE ULTIMATE SURVIVOR A WOMAN
n ) NAMED HER 2IPLEY AFTER "ELIEVE )T /R .OT LATER
WHEN SHE HAD TO HAVE A lRST NAME FOR )$ CARDS )
ADDED %LLEN MY MOTHERS MIDDLE NAME ) CALLED
THE SHIP .OSTROMO FROM #ONRAD NO PARTICULAR
METAPHORIC IDEA ) JUST THOUGHT IT SOUNDED GOOD
3OME OF THE CHARACTERS ARE NAMED AFTER ATHLETES
"RETT WAS FOR 'EORGE "RETT 0ARKER WAS $AVE 0ARKER
OF 4HE 0IRATES AND ,AMBERT WAS *ACK ,AMBERT OF
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SPACEv THIS BECAME AN INSTANT CLICH YOU COULDNT
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HATS BUT THE MOST SIGNIlCANT DIFFERENCE IN THE TWO
SCRIPTS WAS SETTING THE MOOD THE ENVIRONMENT AND
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THEN ADDED A ROUGH CONTEMPORARY QUALITY TO THE
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lND IN 3CIENCE &ICTION MOVIES 2EMEMBER WE WERE
AT THE SAME STUDIO THAT HAD MADE 3TAR 7ARS
4HE ON LOT JOKE AT THE TIME WAS THAT WE WERE THE
2OLLING 3TONES TO THEIR "EATLES
&ILM )NTERNATIONAL $ID YOU LIKE THE JOKE
7ALTER (ILL 3HOOT ME AS THE !NTICHRIST BUT ) NEVER
MUCH LIKED THE "EATLES
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CIZED FOR HAVING WEAKLY DEFINED CHARACTERS
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n AND THEY HAVE IMMEDIACY !ND OF COURSE OUR BEST
CHARACTER WAS THE !LIEN
&ILM )NTERNATIONAL #AN YOU ELABORATE
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PERFECT ORGANISM )TS STRUCTURAL PERFECTION MATCHED
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SIONS OF MORALITY v
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BER ) MET WITH 4OMMY ,EE *ONES IN .EW 9ORK WE
WERE INTERESTED IN HIM PLAYING $ALLAS n HE TOLD ME
HE HAD READ THE SCRIPT TWICE AND THE ONLY CHARACTER
THAT REALLY GRABBED HIM WAS THE MONSTER AND THAT
HED SIGN UP TOMORROW IF HE COULD PLAY IT
&ILM )NTERNATIONAL )T SOUNDS LIKE YOU AND $AVID
'ILER HAD A GOOD TIME WRITING THE SCRIPT
7ALTER (ILL 4OO MUCH PROBABLY !ND TO TELL THE
TRUTH WE WERE KIND OF LEFT HANDING THE WHOLE
THING ) DONT MEAN WE THOUGHT WE WERE ABOVE THE
MATERIAL THATS THE WORST SIN AND SENDS YOU STRAIGHT
TO THE INNER CIRCLE OF HELL "UT WE WERE BUSY ON A
LOT OF OTHER PROJECTS AND AGAIN NEITHER OF US FELT
SCI FI WAS OUR NATURAL MTIER !LTHOUGH ) HAD BEEN
A BIG SCI FI READER WHEN ) WAS A KID $AVID NOT AT
ALL /DDLY ENOUGH IN THE LONG RUN ) THINK THAT
DISTANCE HELPED THE SCRIPT n THE FEELING WE HAD OF
STANDING SOMEWHERE OUTSIDE THE GENRE HELPED GET
IT OFF CENTER AND MADE IT DIFFERENT IN TONE !ND IT
GAVE US THE COURAGE TO BE IRREVERENT ) MEAN WHEN
ITS TWO AM AND YOURE WRITING ABOUT A MONSTER
WITH ACID FOR BLOOD SOME IRREVERENCE IS CALLED FOR
WE WERE ALWAYS TAKING AN IMPLAUSIBLE SITUATION AND
TRYING TO MAKE IT SOUND REAL AND MOST OF THE TIME
WE PULLED IT OFF ) THINK ) GUESS WHAT )M TRYING TO
SAY IS THAT WE MAY HAVE LEFT HANDED THE SCRIPT BUT
WE DID WORK VERY HARD THE !SH DEATH SPEECH WE
PROBABLY WROTE TWENTY TIMES BEFORE WE GOT IT RIGHT
!NYWAY $AVID WENT OFF TO (ONG +ONG AND ) SAT
DOWN AND DID THE SPEC REWRITE OF THE /"ANNON
3HUSETT SCRIPT )T TOOK MAYBE A WEEK !FTER THE HOLI
DAYS $AVID GOT BACK AND THEN HE AND ) REWROTE IT
SEVERAL TIMES 7E GAVE IT TO THE STUDIO AND THEY GOT
ON BOARD 'ARETH 7IGAN WAS THE EXECUTIVE ON THE
PIECE HES ONE OF THE VERY FEW EXECUTIVES )VE EVER
WORKED WITH WHOS ACTUALLY VERY GOOD WITH SCRIPT
$AVID AND ) THEN DID WHAT SEEMED LIKE AN ENDLESS
SERIES OF POLISHES 4HE LAST COUPLE WE DID IN .EW
9ORK IN MY ROOM AT THE .AVARRO NOW THE 2ITZ
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&ILM )NTERNATIONAL "UT IN THE END YOU TWO WERENT
CREDITED
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&ILM )NTERNATIONAL )T SOUNDS LIKE YOURE STILL UN
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LOT MORE IMPORTANT THINGS IN THE WORLD HOWEVER
) CERTAINLY BELIEVE IT WAS AN INJUSTICE IN THE SENSE
THAT IT DOESNT REFLECT THE TRUTH 0ARTIALLY AS A RESULT
OF ALL THAT AFTER THE FIRST !LIEN ) HAVE TO ADMIT )
NEVER FELT AS INVOLVED OR COMMITTED TO THOSE THAT
FOLLOWED THOUGH OBVIOUSLY ) WAS QUITE HAPPY AT
THEIR SUCCESS
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FAVOR
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7ALTER (ILL &IRST BUT NOT NECESSARILY FOREMOST
IT WAS A GOOD SCRIPT n SUGGESTIVE OF DEEPER ISSUES
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ROR MOVIE BUT SOME KIND OF ODD SYNTHESIS THAT
CAME TOGETHER VIA A GOOD SOLID OLD
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MOVE 4HE OBJECTIVE PROBLEM IN THE FIRST HALF BE
COMES SUBJECTIVE IN THE SECOND HALF BY GETTING INTO
2IPLEYS HEAD AND EXPERIENCING THE TERROR THROUGH
HER 4HE FINAL DRAFT WAS VERY TIGHT ONLY ABOUT
EIGHTY PAGES LEAN AND MEAN
"UT WHATEVER THE QUALITY OF THE SCRIPT lLMS HAVE
TO BE REALIZED !ND IN THIS CASE IT JUST ALL WORKED
;$IRECTOR= 2IDLEY 3COTT DID A WONDERFUL JOB THE
BEST lLM HES DONE ) THINK 3IGOURNEY 7EAVER WAS
ICONOGRAPHICALLY PERFECT AND HAD THE CHOPS TO PULL
IT OFF 3HE WAS A VERY YOUNG WOMAN THEN INEXPERI
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SHE WASNT A KNOWN ACTRESS .EEDLESS TO SAY THAT WAS
A TOUGH ONE FOR THE STUDIO TO SWALLOW ) MEAN WE
WERE INSISTING ON A FEMALE LEAD IN A 3CI
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KNOWN FEMALE LEAD 7ITH A DIRECTOR WHOSE PREVIOUS
lLM HAD A WORLDWIDE GROSS OF ) THINK LESS THAN HALF
A MILLION DOLLARS 4HATS WHY MAYBE THE ULTIMATE
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WARM lLMS ARE COMMERCIAL AND COLD ONES ARE NOT
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PATROL MOVIE $AVID WROTE IT DOWN ON A COUPLE OF
PAGES *IM #AMERON WROTE A TREATMENT $AVID AND
) REWROTE IT A BIT THIS MUST BE ABOUT FALL OF @ WE
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CONNECTING WITH BIG AUDIENCES ) THOUGHT HE SHOT
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&ILM )NTERNATIONAL 7HAT ABOUT !LIEN
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STUDIO WANTED TO CRANK ANOTHER ONE OUT 4HERE
WERE A NUMBER OF FALSE STARTS $AVID AND ) WERE A
BIT SICK OF IT AND WANTED TO END THE WHOLE THING
"UT WE WANTED TO DO IT WITH SOME CLASS AND THE
MATIC COHESION 7E THOUGHT THAT KILLING 2IPLEY
n OR TO BE MORE PRECISE HAVING HER SACRIFICE HERSELF
WHILE RIDDING THE UNIVERSE OF THE ALIEN n WOULD BE
A BOLD MOVE AND ROUND OUT THE TRILOGY 4HAT WAS
OUR ONLY STIPULATION BEYOND THAT WE TRIED TO STAY
OUT OF IT AS WRITERS !S USUAL $AVID AND ) WERE BUSY
ON OTHER FILMS 4HERE WERE A NUMBER OF WRITERS AND
DIRECTORS THEN $AVID &INCHER WAS HIRED 4HERE WAS
A START DATE THE SCRIPT WAS ANNOUNCED TO BE A MESS
IT WAS n IT HAD BEEN RUN THROUGH ABOUT FIVE WRIT
ERS UP TO THEN SETS WERE BEING BUILT ACTORS BEING
HIRED n THE USUAL CIRCUS OF EXPENSIVE INCOMPETENCE
4HE STUDIO AND 3IGOURNEY ASKED US TO PUT ON OUR
FIREMEN SUITS SO $AVID AND ) WENT TO ,ONDON AND
STARTED WRITING &IFTEEN YEARS LATER AND WERE STILL IN
HOTEL ROOMS REWRITING !LIEN 7E FELT WE WERE WORK
ING IN HANDCUFFS n WRITING TO SETS THAT WERE ALREADY
BUILT PLOT MOVES THAT HAD BEEN COMMITTED TO THAT
WE DIDNT AGREE WITH 4HEN THERE WERE DIFFERENCES
OF OPINION WITH &INCHER 3IGOURNEY AND THE STUDIO
7E DID OUR BEST AND WENT HOME
&ILM )NTERNATIONAL /N THIS ONE YOU AND $AVID
'ILER GOT CREDIT
7ALTER (ILL /R THE BLAME ) THINK A LOT OF THE IDEAS
IN THE THIRD ONE ARE ACTUALLY THE MOST INTERESTING IN
THE SERIES BUT THE WHOLE THING DIDNT QUITE COME
OFF !ND CERTAINLY SOME OF THAT IS OUR FAULT 3PEAK
ING FOR MYSELF ) DONT THINK OUR SCRIPT WAS NEARLY AS
GOOD AS THE ONE WE DID FOR THE FIRST !LIEN
&ILM )NTERNATIONAL 7HAT ABOUT THE FOURTH !LIEN
4HE 2ESURRECTION
7ALTER (ILL 7E HAD NOTHING TO DO WITH THAT ONE
n DIDNT EVEN THINK IT WAS A GOOD IDEA FOR STARTERS
n WE THOUGHT WE HAD ENDED THE SERIES !ND OUR
RELATIONSHIP WITH THE STUDIO HAD DETERIORATED EVEN
MORE PROBABLY DUE TO THE LAWSUITS 0EOPLE DONT
USUALLY LOVE YOU WHEN YOU SUE THEM /UR ONLY REAL
FUNCTION WAS TELLING THE STUDIO THAT THE SCRIPT THEY
DEVELOPED WITHOUT OUR INPUT WASNT ANY GOOD AND
WOULDNT WORK 7E THEN SUFFERED THE TRADITIONAL FATE
&ILM )NTERNATIONAL
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MOVIE !ND THEY JUST WASTED 7INONA 2YDER 4HATS
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PHYSICAL HEROICS FOR A MOMENT !RE THERE WAYS IN
WHICH THIS STRENGTH HAS ALSO BECOME A STRAITJACKET
)M THINKING OF VIOLENCE AND CAR CHASES FOR EX
AMPLE n WHICH DATING BACK TO 0ECKINPAH AND 4HE
'ETAWAY n WERE AN EVOLUTIONARY INNOVATION IN THE
!MERICAN CINEMA BUT NOWADAYS IN OTHER HANDS
THESE IDEAS TOO OFTEN BECOME A SIMPLISTIC CLICH )
CAN SEE PRODUCERS COMING TO YOU EXPRESSLY FOR THAT
AND URGING MORE AND MORE VIOLENCE AND SMASHUPS
UPON YOU IN TERMS OF BOTH SCRIPT AND FILMING 4HE
STARS TOO BEGIN TO FALL INTO A MOLD AND THEN DEMAND
SUCH THINGS 9ES NO
7ALTER (ILL 9ES "UT SINCE YOUVE ASKED A COMPLI
CATED QUESTION ALLOW ME TO BE A BIT CIRCULAR ) LOVE
COMEDIES MUSICALS AND THRILLERS LIKE EVERYBODY
ELSE BUT ) CONFESS TO BELIEVING ACTION PICTURES ARE
WHAT MOVIES ARE MOST ESSENTIALLY ALL ABOUT )TS THE
WORK THEY DO BEST AND UNIQUELY BEST ) DONT MEAN
ACTION MOVIES ARE BETTER IN FACT MOST OF THEM
ARE ACTUALLY A LOT WORSE THAN THE NORM "UT THE
FEW THAT REALLY WORK ARE SUBLIME &ILMS LIKE #OLO
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ABOUT HEROISM AND DEATH 7ILL HE LIVE OR WILL HE DIE
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WHAT THE CREATIVE PERSON IS MOST TRYING TO ACHIEVE
n THE IDEAL 4HIS IS WHERE ) THINK SCREENPLAYS AND
MOVIES CAUSE TERRIBLE FRUSTRATION THE DRAMATIC FORM
ITSELF IS SO MESSY 3O MUCH OF WHAT WE ARE TRYING TO
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SIMPLE .OW IF YOURE GOING TO DO ACTION lLMS A
WWWlLMINTNU
CERTAIN AMOUNT OF REPETITION WHICH CERTAINLY IS A
KIND OF STRAITJACKET IS INEVITABLE 9OU ARE GOING TO
HAVE TO DEAL WITH GUNlGHTS AND CHASES !ND USUALLY
THERE ARE CERTAIN OTHER LIMITATIONS THAT ARE A GIVEN
)F YOURE DOING $IRTY (ARRY %ASTWOOD IS NOT GOING
TO BE SHOT DEAD AT THE END RIGHT 3O IT BECOMES A
KIND OF GAME 4HE AUDIENCE KNOWS WHAT THE CON
CLUSION WILL BE BUT YOU STILL HAVE TO ENTERTAIN THEM
3O YOU ARE ALWAYS WALKING ON THE EDGE OF A PRECIPICE
n TRYING TO JUGGLE THE GENRE EXPECTATIONS WHICH CAN
SLIP INTO CLICHS AND IN MANY CASES ARE CLICHS n AND
YOUR PERSONAL NEED TO DANCE WITH THE IDEA OF TAKING
THE FAMILIAR AND GETTING A LITTLE OFF CENTER GETTING IT
TO PLAY n PUTTING YOUR lNGERPRINTS ON IT 7E HAVE
OUR AREAS OF SKILL AND WE WANT TO CONTINUE TO EX
PLORE THEM BECAUSE WE FEEL THERES PROBABLY SOME
THING LEFT TO SAY n THE NEED TO MAYBE THIS TIME GET
IT RIGHT ,UKAS (ELLER ALWAYS TOLD ME THAT ;2OBERT=
!LDRICH USED TO SAY THAT THE MANIPULATION OF IDIOTS
;THE STUDIO= WAS PART OF THE JOB "UT YOU MANIPU
LATE THEM TO GET THE OPPORTUNITY TO CHASE A KIND OF
LIMITED PERFECTION
4HE MAIN THING IS TO USE WHATEVER MEANS ARE AT
HAND TO TELL STORIES THAT MEAN SOMETHING TO YOU ON
A PERSONAL LEVEL !ND OFTEN AGAIN ESPECIALLY IN THE
ACTION lELD WHAT IS PERSONALLY INTERESTING TO YOU
MAY BE INVISIBLE TO OTHERS )N THE END OF COURSE
WHEN REVIEWING THE RESULT THE PERSON YOU HAVE
OUTSMARTED IS VERY OFTEN YOURSELF
&ILM )NTERNATIONAL )T SEEMS TO ME THAT WHEN
YOU HAVE DIRECTED hONLYv AND ESPECIALLY PRODUCED
hONLY v THAT OFTEN YOU ARE DOING SO PARTLY IN ORDER
TO STEP OUTSIDE THE MOLD DOING OFFBEAT COMEDIES OR
OTHER STUFF HORROR ETC THAT OTHERWISE MIGHT NOT
COME YOUR WAY )S THAT A FAIR GENERALIZATION
7ALTER (ILL 9ES !BSOLUTELY !ND WITH MIXED RE
SULTS
&ILM )NTERNATIONAL 9OU SEEM TO HAVE MADE A
POINT OF DIRECTING OR PRODUCING WITHOUT WRITING THE
SCRIPTS FOR QUITE A FEW FILMS AFTER THE MID
S )S
THAT PARTLY HAPPENSTANCE /R IS IT A DECIDED CAREER
CHOICE
7ALTER (ILL .EITHER ) THINK IN EVERY INSTANCE FOR
BETTER OR WORSE ) DID A LOT OF WORK ON THE SCREEN
PLAYS BUT DECIDED TO NOT PUT IN FOR CREDIT )N SOME
CASES ) FELT ) DIDNT DESERVE IT IN OTHERS ) THOUGHT )
WOULD HURT THE CHANCES OF THE WRITERS ) WAS WORK
ING WITH IN GETTING CREDIT !S DISCUSSED BEFORE )M
NOT A GREAT ADMIRER OF THE ARBITRATION PROCESS )VE
NEVER DIRECTED A SCRIPT ) DIDNT CONTROL WITH THE EX
CEPTIONS OF THE 3UPERNOVA MESS AND THE $EADWOOD
PILOT FOR ("/
)F YOURE WILLING TO MAKE lLMS WITHOUT REALLY
CONTROLLING THE STORYTELLING ELEMENTS THEN YOU CAN
PROBABLY WORK A LOT MORE "UT UNLESS YOURE BROKE
WHY BOTHER
&KDQJHV
&ILM )NTERNATIONAL (OW DOES YOUR SCRIPT FORMAT
DIFFER FROM WHEN YOU STARTED OUT $O YOU WRITE LESS
DIALOGUE LESS DESCRIPTION NOWADAYS OR WHAT
7ALTER (ILL -Y SCRIPTS HAVE ALWAYS BEEN A BIT TERSE
BOTH IN STAGE DIRECTIONS AND DIALOGUE ) THINK )VE
LOOSENED UP IN THE DIALOGUE DEPARTMENT BUT ) STILL
TRY TO KEEP THE DESCRIPTIONS FAIRLY MINIMAL AND IN
SOME CASES PURPOSEFULLY MINIMALIST ) STILL PUNC
TUATE TO EFFECT RATHER THAN TO THE PROPER RULES OF
GRAMMAR ) OCCASIONALLY USE ONOMATOPOEIAS NOW A
LUXURY ) WOULD CERTAINLY NEVER HAVE ALLOWED MYSELF
WHEN ) WAS YOUNGER -Y FAVORITE DESCRIPTION OF
THE DILEMMA OF SCREENWRITING COMES FROM $AVID
'ILER h9OUR WORK IS ONLY READ BY THE PEOPLE WHO
WILL DESTROY ITv
&ILM )NTERNATIONAL 7HAT IS THE ACTUAL WRITING
PROCESS FOR YOU
7ALTER (ILL 7HEN )M WORKING ALONE THE OLD HARD
WAY ,ONGHAND &OUNTAIN PEN ,EGAL PADS 4HESAU
RUS AT MY SIDE 4HIS LAST ITEM )M NOT ASHAMED TO
SAY IS QUITE HELPFUL n WHEN YOU WRITE SCREENPLAYS
YOU DONT HAVE A LOT OF ROOM AND THE STAGE DIREC
TIONS CAN BECOME ONEROUSLY REPETITIVE IF YOU DONT
WORK AT FRESH DESCRIPTIONS 4RY TO SHOW THE READER
A NEW WAY TO SEE IT 5NLESS OF COURSE YOU ARE US
ING REPETITION AS A RHYTHM DEVICE IN CREATING MOOD
n WHICH ) GUESS IS A PERFECT ILLUSTRATION OF ONE OF
THE THINGS ) LIKE BEST ABOUT SCREENWRITING WHATEVER
IS TRUE THE OPPOSITE CAN ALSO BE TRUE "OTH AT THE
TECHNICAL LEVEL AND AT A MUCH LARGER ONE n ) THINK
ITS BEST APPROACHED AS AN ENIGMATIC WAY TO MAKE
A LIVING
&ILM )NTERNATIONAL 7HEN YOU LOOK AROUND THE
ROOM AT A 7RITERS 'UILD FUNCTION NOWADAYS HOW
MANY PEOPLE DO YOU RECOGNIZE STILL WORKING AT THE
CRAFT FROM YOUR OWN FIRST DAYS AS A SCREENWRITER
7HAT HAS BEEN THE SECRET OF LONGEVITY IN THE FIELD
,UCK TENACITY TALENT
7ALTER (ILL )M UNDER THE IMPRESSION THAT VERY FEW
PEOPLE THAT STARTED WRITING ABOUT THE TIME ) DID
LATE S ARE STILL AT IT BUT ) COULD BE WRONG
/NE LOSES CONTACT n THATS THE NATURE OF THE WORK
"UT ITS FOOLISH TO THINK THERE ARENT A LOT OF CASU
ALTIES ALONG THE WAY !S TO WHAT MAKES FOR CAREER
LONGEVITY n THIS IS DIFFICULT YOUR CATEGORIES OF LUCK
TALENT AND TENACITY ARE CERTAINLY FACTORS n TO LAST AT
A SIGNIFICANT LEVEL RELATIVELY WITHOUT COMPROMISE
SEEMS TO ME TO BE THE HARDEST TRICK TO PULL OFF !LL
THIS BEGS FOR DEFINITIONS HOWEVER AND MY NOTIONS
OF WHO IS COMPROMISED AND WHO ISNT PROBABLY DIF
FER RADICALLY FROM OTHERS
/BVIOUSLY SUSTAINING A CAREER IS PRIMARILY DUE TO
BEING ASSOCIATED WITH EITHER COMMERCIAL SUCCESS OR
WIDELY HELD NOTIONS OF HAVING DONE QUALITY WORK
"UT QUITE OFTEN THE lRST IS A MATTER OF LUCK AND THE
SECOND A MISTAKE IN JUDGMENT THAT GETS REPEATED
OFTEN ENOUGH TO HAVE A LIFE OF ITS OWN
!RE THE CURRENT PRODUCERS OR STUDIO EXECUTIVES
WORSE THAN EVER IN TERMS OF SCRIPT STANDARDS
,ETS NOT KID OURSELVES ITS ALWAYS BEEN A WHORE
HOUSE "UT ) THINK IT WAS A MORE ELEGANT ONE IN
THE PAST AND CERTAINLY THERE WAS A MUCH GREATER
ATTEMPT TO TELL ADULT STORIES ) HAVE CONFESSED MY
JUVENILE SENSIBILITY BUT NOW WHATS ON DEMAND ISNT
JUVENILE ITS MORE OFTEN CHILDISH !S YOU KNOW
PRODUCERS STUDIOS COME IN ALL SHAPES AND SIZES )N
GENERAL )D SAY THAT NOW THEY PUT MUCH MORE EM
PHASIS ON CONCEPT MUCH LESS EMPHASIS AND HAVE
LESS CONlDENCE IN THE CRAFT OF STORYTELLING
) DONT WANT TO FALL INTO THE TRAP OF THE OLD FUCKER
WHO COMPLAINS THAT EVERYTHING WAS BETTER IN THE
PAST ) DONT BELIEVE THAT "UT ) DO THINK SOMETHING
REASONABLY ADULT IS MORE DIFlCULT TO GET THROUGH
THE STUDIO SYSTEM THAN BEFORE NOT THAT IT WAS EVER
EASY 4HERE ARE A LOT OF REASONS FOR THIS BUT THE
GREATEST OF THEM GO BEYOND (OLLYWOOD n ESSENTIALLY
THE CHANGING NATURE OF A MASS AUDIENCE DOMESTIC
AND FOREIGN ) SHOULD ADD )M THE KIND OF PERSON
THAT BELIEVES IF YOU HAD A SYSTEM BUILT ON ALTRUISM
AND GREAT GOODWILL WITH THE SOLE AIM OF MAKING
A POSITIVE CONTRIBUTION TO POPULAR CULTURE n EVEN
THEN NINETY PERCENT OF WHAT GOT MADE WOULD BE
SHIT
! LOT OF ATTEMPTS AT GOOD WORK GET DONE IN THE
INDEPENDENTS BUT THEY GENERALLY LACK SCALE !ND
SCALE IS ONE OF THE GLORIES OF lLM #URRENTLY WHATS
MOST GETTING LOST IS THE PERSONALITY WITHIN lLMS 7E
NEED 2ED 2IVER (AWKS AND "ORDEN #HASE
! WONDERFUL OLD SCREENWRITER TOLD ME THIS RECENTLY
h)TS A PARADOXICAL TRUTH (OLLYWOODS WORSE THAN
EVER BUT IT WAS ALWAYS BADv
"UT ) CANT QUIT ON THAT NOTE )TS ONLY HALF TRUE )N
MY CASE THE OTHER HALF BEING THAT FOR NEARLY FORTY
YEARS NOW ITS BEEN A VOYAGE WHERE )VE BEEN LUCKY
ENOUGH TO WORK WITH AN ENORMOUS AMOUNT OF TAL
ENTED PEOPLE !ND GOT PAID FOR IT .O COMPLAINTS
1RWHV
4HE HILLTOP lELDS DOTTED WITH OIL DERRICKS ON 3IGNAL (ILL OVERLOOKING NEARBY
,OS !NGELES
0RODUCERS ,ARRY 4URMAN AND $AVID &OSTER
"EST
KNOWN EARLY IN HER CAREER AS A COSTUME AND PRODUCTION DESIGNER
THE MULTI
TALENTED 0OLLY 0LATT CLOSELY COLLABORATED WITH HUSBAND 0ETER
"OGDANOVICH UNTIL THEIR DIVORCE .OWADAYS 0LATT IS AS LIKELY TO TURN UP ON
lLM CREDITS AS A PRODUCER "OTTLE 2OCKET OR SCREEN WRITER ! -AP OF
THE 7ORLD
(USTON MADE AN UNCREDITED CONTRIBUTION TO 7UTHERING (EIGHTS
4HE -ACKINTOSH -AN IS BASED ON $ESMOND "AGLEYS NOVEL 4HE &REEDOM
4RAP PUBLISHED IN
2EVENGE WAS EVENTUALLY PRODUCED IN WITH +EVIN #OSTNER !NTHONY
1UINN AND -ADELEINE 3TOWE STARRING 4ONY 3COTT DIRECTING AND THE SCRIPT
CREDITED TO NOVELIST *IM (ARRISON AND *EFFREY !LAN &ISKIN
4HE COMPANY WAS CALLED "RANDYWINE
!LAN ,ADD *R THEN PRODUCTION HEAD OF TH #ENTURY
&OX
7UHVSDVV .LQJ-DPHV 7UDF\0DUURZDND,FH
7 6DYRQ 26KHD-DFNVRQDND,FH&XEH
-RKQQ\+DQGVRPH
&ILM )NTERNATIONAL
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