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..

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.

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.

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.

(oh, and dustin hoffman is probably the most underestimated actor in hollywood)

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!

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.

Or… Will you be giving a little insight here on this site?

RED