Good interviews about Father Knows Less
Okay. It’s not actually podcasting, but behold the site’s the first-ever audio links.
I’m currently rewriting a script called Father Knows Less, originally written by Aline Brosh McKenna. It’s the story of “a loving but aloof guy (Dustin Hoffman) abandoned by his trophy wife, [who] finds himself in charge of raising his young kids. In order to connect with them as their father, he turns to his children from his first marriage for help.” (synopsis by IMDb)
Tonally, it’s a dramedy in the James L. Brooks mode. More Jerry Maguire, less The Pacifier. New Line is the studio.
As it happens, Claude Brodesser of Variety has been tracking this project on his KCRW radio show The Business, and has had various members of the production on to talk about the process. It’s a refreshingly candid discussion of how a movie wends its way through development.
You can start with the initial conversation with McKenna, agent Devra Lieb, and producer Laura Hopper about the pitch, and how the project was set up. The discussion starts at 11:08.
Next, there’s a follow-up conversation with McKenna and Hopper as they start looking for a director. Starts at 2:51.
Finally, Brodesser talks with the movie’s director, Shawn Levy, who explains his decision to take the project, and the discussion about bringing on a different writer (which ended up being me). The talk starts at 9:20.
(All clips are in RealPlayer format.)
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May 3rd, 2005 at 3:59 pm
Very cool! I’ve been following tht story on The Businees. Will you be going on there in the upcoming weeks to give an update? How the project came to you, How you pitched for it, etc.
Or… Will you be giving a little insight here on this site?
RED
May 3rd, 2005 at 8:07 pm
Congratulations. Love to hear what attracted you to the project and anything else about your creative take and direction. Be sure and let us know if you’re going to be interviewed on the show.
According to KCRW, The Business is not only available for Real Player, but also as a true podcast here. Apparently, you need to download some podcasting software to get it onto your computer and then onto your iPod, but it is explained on the KCRW site.
May 4th, 2005 at 8:23 am
From Pitch to Premiere John August points to an interesting series of interviews tracking a film as it goes from pitch to pre-production to shooting….
May 4th, 2005 at 4:27 pm
Anyone know how to do get older editions of the The Business in MP3 format?
May 5th, 2005 at 5:42 am
John, this is fascinating.
It’s a bit tragic though when the writer says that she’s terrified of them signing a director who is ‘a firer’…!
It reminds me of the famous Persian story about Death:
One day, a lord was walking in his garden when one of his servants came to him in fright. He said that Death had appeared to him and threatened him, and pleaded with the lord to allow him to take one of his horses so he may flee to Tehran and be safe. The lord agreed. Later, the lord ran into Death himself, and asked him “Why did you threaten my servant?” Death replied, “I did not threaten him. I merely expressed surprise to still see him here, when I was expecting to meet him tonight in Tehran…”
…the moral being that the fear of something happening often leads to actions which end up bringing about that very same feared thing.
Probably not what happened in this case, but it’s an interesting story.
Like those above, I’d love to hear your journey with this project – did you pitch for it? What attracted you to it? Why do you think they chose to go with you instead of working it out with the first writer? Etc.
Cheers!
May 5th, 2005 at 6:47 pm
well, very interesting. really, thanks. and i’m happy for you. so how are you getting along with the original writer? it sounds so rough, i know you “win some, lose some”, but still…
(oh, and dustin hoffman is probably the most underestimated actor in hollywood)
May 5th, 2005 at 7:11 pm
Vvoi brings up an interesting question. How is your relationship with the writer you are replacing?
As side question, what are your thoughts on end credits for re-writers? I think it’s a great idea (the version that Craig at artfulwriter.com has offered).
As always, great site.
May 5th, 2005 at 8:01 pm
Vvoi:
I didn’t know Aline before this project, but as you can hear in the interviews, she’s very forthright and open. No writer likes to be replaced. I’ve been exactly in her situation several times, and even in the best circumstances, it sucks.
Since she originated the project, it was important to me to talk with her about what she’d accomplished — written a great script that landed a director and a major actor — and where she saw opportunities to explore and rethink. No one knows the secrets of a script better than its writer.
And while no one likes to be rewritten, it doesn’t have to be awful. I had a really good relationship with the Wibberlys on the second Charlie’s Angels. They were brought in to do some things to the script I really disagreed with, but we talked on the phone before and after they worked on it, and ended up getting along great. Basically, we were grown-ups. We even did the DVD commentary together, which was weird and fun.
May 6th, 2005 at 2:36 am
This Is Why They Call It Development John August highlights a fascinating series of radio interviews about a pitch that becomes a screenplay that becomes a rewrite that hopefully becomes a movie. I haven’t listed to it all yet, but I’ve heard enough to recommend it. So…
May 7th, 2005 at 6:38 pm
While I’m sure that John will do a good job on the script I was most fascinated by the interview with the Director they finally got, Shawn Levy. This guy made it clear that once the director is hired, it’s his movie. And while he said that the decision at the time hadn’t been made about the writer, he was candid that he was unlikely to keep the original writer, Aline.
I can understand if the producer was able to go out and get James L Brooks or reincarnate Billy Wilder, but to put it mildly - this director ain’t them.
One can only hope that Aline got well compensated.
May 8th, 2005 at 3:30 pm
Most fascinating insight. Thank you.
During the interview the writer mentions writing a “set”, one draft and four revisions if I recall correctly. Could you tell me a little bit more about this, what it is exactly and a common approach. That would be great. Thank you again..