Film writing

April 4, 1995

April 4, 1995 Diary

My Cub Scout, A
My Cub Scout, A

In retrospect, it’s ironic my youngest son “vanished” the day after Vanished aired on NBC. (I wrote the teleplay, based on the Danielle Steele novel.) It’s about “a man and woman faced with an almost unthinkable tragedy – the mysterious abduction of their son.”


Vanished 1

My fascination with kidnapped children began with a Reader’s Digest condensed book, Kidnap: The Story of the Lindbergh Case by George Waller.  Half a century later, I’ve read almost every book on the subject (and there are a lot).  IMHO, Bruno Richard Hauptmann was innocent, but we’ll never know for sure. That enduring mystery is one of the reasons the case still captivates. Kidnappers Leopold and Loeb also inspired their share of films and books but in their case, the mystery wasn’t who did it, but why.  More recently, the 2007 disappearance of Madeleine McCann is a hot case and the subject of a new Netflix documentary.

I didn't know this until today, but this version of the DVD lists me as the director and the director as the writer.
I didn’t know this until today, but this version of the DVD lists me as the director and the director as the writer.

Missing children – in fiction as well as true crime – capture public imagination because the stories speak to a primal parental fear. I suspect most parents survive at least one heart-stopping moment where their child appears to vanish and the previously unimaginable is agonizingly imminent. In a moment of clarity, you understand that one mistake – an instant of distraction – can shatter everything. Since all of us are human, all of us make mistakes. I made several. All my children terrified me with at least one disappearing act. Luckily, none of them were gone very long.

A, again.
A, again.

 

 

March 8, 1973

March 8, 1973

All my dreams...What looked like my lucky break was actually a crash course in how quickly “All my dreams are coming true!” can dissolve into no one’s returning my phone calls. Sadly, this was far from my last experience with emotional whiplash, careers version.

My teacher and mentor, Bill Froug
My teacher and mentor, Bill Froug

Still, Froug was right when he advised me to celebrate. Why not bask in the potential something amazing just might happen? So what if it doesn’t, this time?  The near-miss zone is nothing to be ashamed of. Most people never get that close. Nobody gets there by accident. Somebody noticed you and said, “the kid’s got talent.” If they didn’t believe it, they wouldn’t waste their time. The least you can do is believe in yourself.

The least you can do is believe in yourself

Legend has it, the average overnight success endures twenty to fifty rejections before they’re rewarded with that first life-changing YES. What are you waiting for? The faster you rack up the no’s, the sooner your dreams come true.

What are you waiting for?

The script that earned me this near-miss – “Intimate Changes,” not the greatest title – never got produced, but it won me introductions to agents, producers and network execs, all pivotal in my later career.  What felt like loss was only life unfolding more slowly than I preferred.

 

December 3, 1980

December 3, 1980

 These were heady, exciting days.  The chance to adapt S.E. Hinton’s novel for the screen was the break of a lifetime and I didn’t want to blow it. At my pitch meeting, I impulsively volunteered to return to high school – posing as a student – to determine if contemporary high school cliques resembled those depicted in Hinton’s 1967 novel.

As part of my disguise, I permed my hair to hide my face. Yikes!
As part of my disguise, I permed my hair to hide my face. Yikes!

I was a novice at writing as well as posing as somebody I wasn’t. I’d written two spec scripts and an unproduced MOW. Technically, I knew what I was doing; I could perform at a high level in academia but what about the real world, for real stakes?  The story meetings were intimidating. Facing blank pages felt terrifying. Add to that, the pressure to pass for a 17-year-old high school student when I was a 29-year-old married mother.

My high school student disguise
My high school student disguise

Because I was a nobody in a sea of somebodies, there’s no reason Jon Davidson should have recognized me – particularly since I worked all of three months at New World, ostensibly as Roger Corman’s assistant (my title) but actually as the receptionist (harsh reality). Jon was sweet to pretend; it gave my ego a tiny but desperately needed boost.

Real life - if Ren Faire can be considered real life.
Real life – if Ren Faire can be considered real life.

 

November 28, 1995

November 28, 1995

 

The conference call was about "Her Last Chance" - and Patti LuPone said yes.
The conference call was about “Her Last Chance” – and Patti LuPone said yes.

This was an exciting time. I loved the fast and furious pace of television versus the plodding development process in features. Most of my television credits are stand-alone MOWs (Movie of the Week), a 90s network staple. TV movies unfolded in seven acts, to accommodate six commercials. Ideally, all six act breaks were cliff-hangers, to ensure viewers didn’t channel hop when the ads started.

Me with Rita Hayworth
Me with Rita Hayworth

“Malibu Shores” was my only series experience. As co-producer, I worked long office hours with producers John Eisendrath and Joel Feigenbaum. After decades of writing at home on my own timetable, this was a shock to my system.

Malibu Shores

As staff writer-producers, we wielded more power than the directors we hired on a per-episode basis and the actors consulted us when they wanted to change a line.  John and Joel insisted I veto the first request, to experience the thrill of saying “no” to a script change.  That said, we could not say no to Aaron Spelling, broadcast Standards and Practices or the NBC executive in charge of the show.

Malibu Shores 2

In his novel Artistic Differences, Charlie Hauck compared producing a television series to chapter 37 of Moby Dick. I quote him below, slightly abridged. I highly recommend his book to anyone interested in staff writing.

“It’s exactly like chapter 37 of Moby Dick. Captain Ahab finally spots Moby Dick. He has a shot at him. And he gets a boat down in the water, a skiff or whatever. And he’s got these Asian guys rowing the boat. They’re not his regular guys – these are some kind of hotshot whaling experts. Anyhow, all these guys are rowing the boat. They really know what they’re doing…they’re Joe Whaler. And Ahab is standing in the back with this harpoon that he’s been sharpening for three years. And Moby Dick is flopping around, like, two hundred yards away. And all of a sudden, these sharks surround the skiff. They’re everywhere. And the sharks start taking bites out of the paddles of the oars. And the paddles are getting smaller and smaller, and it’s getting harder for the guys in the boat to row, and the whale’s not going to stay there forever, right?

But the thing is, the sharks don’t want the oars. They want the whale, just like Ahab and the Asian guys. But the sharks, who want the whale as much as anybody else, they’re the ones who make getting the whale impossible. You see?

And here’s the analogy. The whale is the television show. The hit series. Like, if it goes into syndication, everybody connected with it makes fifty million dollars. And the people in the boat, they’re the writers and producers. They’re the ones trying to get the whale, who know how to do it. And the sharks, the guys biting the oars, they’re the network guys, and the production company executives and the agents and everybody else who, when they don’t know how to get to the whale, decide, somewhere back in the swamp ova of the human brain, well, Jesus, I should do something, why don’t I try to sink the boat? And that’s exactly what it’s like trying to produce a television show.”

Artistic Differences_edited-1

 

February 19, 2012

February 19, 2012

There’s a bittersweet quality to seeing my oldest son do what I once did – albeit, in an entirely new way. Naturally, I’m proud of him (see my October 14, 2006 blog for details of his torturous – for his parents, anyway – journey from sophomore high school drop out to valedictorian in his film school major at UCLA. It was for real – we heard him give the speech. He thanked his father, who majored in poli sci at USC, instead of me, a fellow UCLA film school alumni. Go figure.) As happy and proud as I am, part of me longs to stand where he now stands. It’s less about envy than nostalgia.

CD preparing to walk for graduation.
CD preparing to walk for graduation.
His mother, not mentioned, in the valedictorian speech
His mother, not mentioned, in the valedictorian speech
The Melnitz lobby facing the blank theater
The Melnitz lobby facing the James Bridges  theater

These feelings became acute the night John and I attended the screening of his Project 1 equivalent film. Melnitz Hall looks the same, at least from the outside – and the Jakes Bridges theater where I screened my Project 1 film is oh so familiar – but look closer and everything has changed.  I don’t recognize a single name on the faculty roster. Different people occupy all of my old professor’s offices.

The sculpture gardens outside Melnitz Hall.
The sculpture gardens outside Melnitz Hall.
The sculpture garden as I remember it.
The sculpture garden as I remember it.

During another student’s gory film, I took a breather and went into the lobby. Sitting there, by myself, sent me reeling through decades long gone. Memories of hours spent between classes in that very spot – albeit on funkier couches – flooded me. I half expected a classmate from my past to stroll up and say hello but that didn’t happen. As an old Madonna song might put it,  Melnitz Hall used to be my playground. Now, although it holds a place in my life and my heart, it’s not my world and it won’t be again.

Conferring with Dean (I think)
Conferring with Dean (I think)

On the bright side, writing – my area of specialization – remains essentially the same, at least in terms of skill set, despite technological advances such as computers instead of an IBM Selectric, printers instead of carbon paper, script delivery by email attachment instead of by messenger. (What happened to the messenger industry? Are they out of business?) I got on board with word processing early and it hasn’t been hard to stay on top of the curve.

CDR Valedictorian

I was faced with another transition shortly after CD graduated, when I was offered an opportunity to teach screen writing at Columbia College Hollywood. I’ve always identified as a student – in part because I enjoy and take frequent writing workshops to stay current – and now I’m on the other side of the desk. So far, I enjoy it.  Spending hours mentoring millennials is as close as I’ll get to re-experiencing my heady undergraduate days (albeit vicariously, from a different POV). There’s a palpable rush of creative energy that comes when I cross the threshold of a campus like UCLA or Columbia. It’s not a time machine or the Fountain of Youth, but it’s close enough.

September 20, 2016

September 20, 2016

I felt terrible about being tardy on the very first day of a nine-month class and the panicked rush to minimize the damage made me even more nervous than I would have been anyway (which is pretty darn anxious). A fight-or-flight surge of adrenalin takes over when I have to speak in front of a group of strangers and unless I’m very careful, I talk at supersonic speed. I felt like I was making a terrible impression on this new group of kids which flustered me even more. There’s an obvious solution – think less about how I’m coming across and more about the kids I’m here to teach. Gradually I leveled out. I took some admittedly poor photos of my class that first day.

They weren't being rude and texting. I asked them to take selfies and email them to me - to help me me learn their names.
They weren’t being rude and texting. I asked them to take selfies and email them to me – to help me me learn their names.

This was the first day of my second year teaching Screen Writing Symposium at Columbia and I couldn’t imagine ever liking a class as much as I liked my first class. I kept up with them (as much as you can with occasonal updates on Facebook) but I actively missed our Thursday afternoons in Room E.  I struggled to remember the names of my new students. I thought, it will never be the same.

Josh Andersen, Kevin Salcedo, Peter Zaragoza, Kaitlyn Hutchins, Justin Thompson, Alex Falcon, Charlotte Scrivener, Holden Weihs, Ryan Brennan. Not pictured: Tanner Novotny
Josh Andersen, Kevin Salcedo, Peter Zaragoza, Kaitlyn Hutchins, Justin Thompson, Alex Falcon, Charlotte Scrivener, Holden Weihs, Ryan Brennan. Not pictured: Tanner Novotny

I was right; it wasn’t, in the same way my second child isn’t the same as my first and my third is quite different from both siblings. Inevitably, every class – especially one that meets four hours a week for nine months – develops it’s own unique identity. Comparing them is futile, they’re both special – irreplaceable – in their own way. Just like I miss the kids in my first class on Thursdays, I miss the kids in my second class (except, I taught them on Tuesdays, Fridays, and finally Mondays, so I didn’t associate them with a day).

top, l-r: Jarred McClarty, Kendall Collins, Danae Fishman, Andrew Levin; bottom, l-r;David Alvarez Faith-Ann Bishop, Ryan O'Donnell, David Lugowski. Not pictured: Michael Akkerman, Natalie Frank
top, l-r: Jarred McClarty, Kendall Collins, Danae Fishman, Andrew Levin; bottom, l-r;David Alvarez Faith-Ann Bishop, Ryan O’Donnell, David Lugowski. Not pictured: Michael Akkerman, Natalie Frank

I hope to keep up with them as they traverse the real post-college world, probably via Facebook.  I’d like to see all of them again too.  I fantasize that if and when I retire, I’ll host a party at my house for all my former students and the ones that show up will regale me with the highs and lows of their careers. Hopefully, their wins will far outpace their losses.

top, l-r: Jarred McClarty, Kendall Collins, Danae Fishman, Andrew Levin; bottom, l-r;David Alvarez Faith-Ann Bishop, Ryan O'Donnell, David Lugowski. Not pictured: Michael Akkerman, Natalie Frank.
top, l-r: Jarred McClarty, Kendall Collins, Danae Fishman, Andrew Levin; bottom, l-r;David Alvarez Faith-Ann Bishop, Ryan O’Donnell, David Lugowski. Not pictured: Michael Akkerman, Natalie Frank.

September 17, 1979

September 17, 1979A

My career had yet to begin. I was closing in on a paying gig as a writer but it hadn’t happened yet. If you’re in my situation – no prior job, no WGA membership, no credits – you need to do what I did. Seek out fellow young, hungry producers or directors, work out stories with them as a team, pitch them to anyone who will listen.

Typing

I was fortunate to find a friend and champion in David Bombyk, a smart, ambitious, charming guy from Michigan. He was a year younger than me. We laughed a lot when we got together to gossip or break stories. I can’t remember who slipped my spec script to David – Martha Coolidge? Kip Ohman?  David and I partnered on several spec pitches and a couple of bona-fide (paying!) development deals but – alas – none of our joint efforts survived to see the light of day.

David made it big without me when he found, developed and co-produced “Witness” in 1985. The same year he produced “Explorers” and in 1986 he produced “The Hitcher” with his friend Kip Ohman.

David Bombyk, Producer

Kip succumbed to AIDS in 1987 at age 41. I met David for lunch a few months later. He looked haunted and thin; he talked about how hard it was sorting through and dispersing Kip’s belongings after he was gone.

David Bombyk 1952 - 1989

It was the last time I saw or spoke to David. He died on January 20, 1989, age 36.  His mother got in touch with me shortly after the funeral and sent me a beautiful ceramic vase David wanted me to have. He collected them.

Green Vase_edited-1

She was charged with the excruciating task of sorting through and dispersing her son’s possessions. I can’t imagine how painful that must have been.

LA Times - David Bombyk

AIDS took a lot of good people, especially in the 80s. For me, David Bombyk was one of the great ones. Unfailingly kind, loyal to his friends and brilliant when it came to developing scripts. Witness has long been a staple in screenwriting classes to illustrate a near-perfect script. I see David’s fingerprints on it. I don’t know if I’d have a writing career at all if David hadn’t believed in me before anyone else did. I’ll always be grateful; I’ll miss him and his laughter forever.

Of Mere Being

 

February 20, 1978

February 20, 1978

 The script I refer to here turned out to be my breakthrough spec script “At 17”, inspired by and loosely based on the brilliant Janis Ian song of the same title. I didn’t have the rights – I don’t know if anyone actually did – but ABC was developing it as a Movie of the Week (MOW).

Jani and I when we were both close to At 17 in real life
Jani and I when we were both close to At 17 in real life.

My former boss at NBC, the late and much lamented Len Hill, was one of the ABC executives in charge of MOWs; my sister Janet was his assistant/secretary. He told me if I could write a brilliant script in the next ten days he’d consider it equally with the scripts the network paid for. Ten days isn’t enough to write a great script from scratch under any circumstances and it wasn’t the best of times for me. My son CD was 14 months old but well on his way to the terrible twos.

Most of my time and energy went into containing CD
Most of my time and energy went into containing CD

Nonetheless, I gave it my best shot. The tension was so high I threw up on some of those late nights (gross, I know) but – with Jani’s assistance – I finished it.  I don’t think Len or anybody else expected me to do it.

Janet and I
Janet and I

The problem was – it wasn’t good enough. The network preferred the writer who cashed their big checks. The rejection was so devastating I gave up until my pride and desire for revenge resurrected me. “I’ll show you,” I thought. “I’ll do a great rewrite and prove you were wrong to dismiss me.”

"I'll show you. I'll do a great re-write and prove you were wrong to dismiss me."
“I’ll show you. I’ll do a great re-write and prove you were wrong to dismiss me.”

 Did I succeed? I think so. Although the film never got made, it was optioned three times and garnered interest from directors like Martha Coolidge and Amy Heckerling. Years after Molly Ringwald aged out of playing a teen-ager, she told me she would’ve loved to play one of the parts. To say the least, I would’ve loved for her to play it but my script didn’t reach her at the right time.     

That’s the way things go. Big ups, big downs. Victories won, battles lost, it’s hard to quantify wins and losses when script quality is so subjective and the industry’s in constant flux.  The bottom line is, were those ten sleepless days and nights worth it when I failed to get what I wanted?   Would I do it again? Hell, yes. If I had my life to live over, I’d try harder, reach higher and risk bigger losses.  The only way to fail for good is giving up.

January 19, 1981

 

january-19-1981

Brian
Brian

I was sandwiched in the center of a vinyl booth, two boys on either side. While they seemed semi-civilized at school, a round of Pepsis and fries at Denny’s unleashed their inner beast. As much as I hated to encounter obnoxious loud teenagers in real life, it was a thousand times worse to be dead center in a pack of them.

Disguised as high school student for my return enrollment at Wilcox in 1981. I hoped the huge hair would draw attention away from my face.
Disguised as high school student for my return enrollment at Wilcox in 1981. I hoped the huge hair would draw attention away from my face.

My adult self wanted to read them the riot act but my high school persona hunched speechless, red-faced.

Redfaced & Speechless
Redfaced & Speechless

They poured out the condiments Denny’s provided in little baskets on every table and scrawled their names in catsup, subbing salt for glitter.  They blew straw wrappers at each other. They insulted diners who viewed us with disgust. If my four-year-old acted like this, I’d whisk him outside where he’d remain until he could behave himself but I didn’t have that option here. I wanted to beg our waitress’s forgiveness and leave a huge tip – I doubted the boys would leave a dime – but I couldn’t without calling attention to myself.

reality-check

After they dropped me off, I called J in LA. “What’s up with your high school boyfriend?” he asked. I told him I wanted to dive under the table at Denny’s. It was hard for him to relate, since he lived a grown-up life with other adults.

After a date at Denny's with four teen-age boys, I need a glass of wine.
After a date at Denny’s with four teen-age boys, I need a glass of wine.

The worst was yet to come. My 3rd period teacher sent me to the library because they were taking a pop quiz on material I missed.  Another class, taught by Mrs. Murray, one of my former teachers in real life, already occupied the library.

When the lunch bell blared, students mobbed the door. A popular-looking perky blonde shook her bangled wrist and regaled her court with details about where she bought it, who designed it, and how much she paid. Most “girl talk” I overheard concerned fashion. They were as passionate about cute clothes as my sixties friends were about rock concerts and Viet Nam. My musings skidded to a halt when Mrs. Murray peered over their heads and said, 

kathy-knutsen

My adrenalin lurched into flight or fight mode. It was all I could do not to react, to pretend I didn’t realize Mrs. Murray addressed me. She repeated herself, not taking her eyes off me.

kathy-knutsen

I feigned confusion. “No,” I said.

“You look exactly like a girl I had ten years ago,” Mrs. Murray said.


sorry-not-me“Sorry, not me,” I said. As a preacher’s kid prone to Biblical references, I felt like Peter in the Garden of Gethsemane, denying my own identity three times. How could that exchange not arouse a glimmer of curiosity from one of the student witnesses?  It didn’t. They were all more  interested in being first in line at the snack bar than anything Mrs. Murray or I said.

January 21, 1994

January 21, 1994_edited-1

Steve & Linda
Steve & Linda

 As some of you recall, the Northridge earthquake struck on January 17, four days before this entry – but this 6.7 ten-second monster wasn’t over and gone like broken china.  The after-effects were massive and far-reaching. Steve and Linda (Angelique) were our two most affected friends – due to earthquake damage, their apartment was deemed uninhabitable, forcing them to move.  

Some of the group - Steve & Linda Stoliar, me, John, Jake Jacobson, Anne Kurrasch, Bobbi Goldin,Marva Fucci, Bill Atherton
Some of the group – Steve & Linda Stoliar, me, John, Jake Jacobson, Anne Kurrasch, Bobbi Goldin,Marva Fucci, Bill Atherton

 We were a close-knit group in ’94, we didn’t think twice about crossing town to lend a hand when one of our band suffered catastrophe (which didn’t happen all that often in the City of Angels). As of today, I’m still at least Facebook friends with everyone mentioned in the above entry – but I regret to report our paths have diverged. I’m not sure when or why it happened, but it did – much like other friendships that burned bright briefly and then faded for no reason, without ill feeling (at least, not on my side.)

Bill Atherton, John Rowell and Steve Stoliar
Bill Atherton, John Rowell and Steve Stoliar

I’d like to believe that nothing fundamental really changed – that we’d be there should a crisis arise – but the truth is I don’t even know where Steve lives these days. That said, it’s conceivable that should we find ourselves in the same location with a few hours of free time to talk, we’d discover that – time and distance notwithstanding – nothing fundamental actually did change. I hope so.

Me, Linda Field Stoliar, John Rowell, Steve Stoliar, Anne Kurrasch
Me, Linda Field Stoliar, John Rowell, Steve Stoliar, Anne Kurrasch

It’s probably a waste of time to quantify friendship and there’s no point looking back for longer than it takes to compose these diary blogs so I’ll focus on the present. I’m grateful to be FB pals with Steve –  reading his posts makes me remember good times and I feel like we’re close again.  I hope some of my diary postings affect people the same way.

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