Film and Television

I’m Glad I’m Not a Freelance Journalist Anymore

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I put myself through college, and supported myself for a few years after graduation, covering the entertainment industry for the Los Angeles Times Syndicate, Newsweek, Starlog, American Film, Playgirl, and a bunch of other publications. I went to a lot of movie sets, interviewed a lot of movie stars, and attended a lot of press junkets. I had no illusions that what I was doing qualified as major journalism, but I had ethical standards. I asked whatever questions I wanted to ask, I never let a publicist or studio dictate what I was going to write (even if my employers let them pay my way to distant sets), and I wrote the story I wanted to write.

I couldn’t do that today. Because now "journalists," and I use that term lightly, are required to clear their questions with publicists first… to agree before an interview not to ask certain questions about certain subjects.  Or, as in the case with junket for MR. AND MRS. SMITH, reporters had to sign contracts agreeing not to ask Brad and Angelina about their relationship.

When one reporter – who, like all the attending journalists, was required to
sign a "loyalty oath" vowing not to ask personal questions – inquired about the
stars’ onscreen chemistry, Pitt replied, "Between me and [Smith costar]
Vince [Vaughn]? It was palpable. I mean, we knew immediately when we looked into
each other’s eyes . . . "

I’d refuse to sign a document like that. And I wouldn’t clear my questions with a publicist first. So I’d probably be blackballed from studio junkets and interviews…which is why I’m glad I’m not doing that any more.

Does the studio really think America is clamoring to know about the
making of MR. AND MRS. SMITH? Or if Angelina did all her own stunts. Or
if Brad improvised any of his lines. Hell no.  People want want to know
if Brad was fucking Angelina while was making the movie and if he’s
fucking her now.  Thats the only "news" value at the moment in MR. AND
MRS. SMITH. There’s nothing else to write about (except, perhaps, that
the director is a strange and difficult guy to work with, as the LA Times reported a few days ago).

Of course, if writers and editors in the entertainment press had any self-respect or journalistic integrity whatsoever (which they clearly don’t), they’d band together and refuse to accept any conditions on their coverage. And if the studios didn’t like it, they could kiss goodbye any publicity for their film. Overnight, the conditions placed by publicists on entertainment reporters would disappear. Because the fact is, the studios need the magazines and TV shows more than the shows need them.

The Persuaders

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PersuaderslogoVariety reports that Ben Stiller and British comic Steve Coogan are teaming up for a Dreamworks feature film version of  the 1971 UK-produced TV series THE PERSUADERS, the one-season bomb that starred Roger Moore and Tony Curtis as ner-do-well playboys drafted by a retired judge to work as detectives in Europe. The series began as a spin-off episode of  Moore’s  THE SAINT,  with Stuart Damon in the role that eventually went to Tony Curtis. Despite the immediate  failure of THE PERSUADERS  here, the John Barry instrumental theme is still a beloved hit in France to this day (where it is known as AMICALEMENT VOTRE) and the show remains unaccountably popular overseas.  (Trivia tidbit: Roger Moore also designed the wardrobe on the show. He went from THE PERSUADERS straight into James Bond)

James Bond’s Daughter

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This is an excerpt from a long email I received today from an aspiring writer.

I thought perhaps you may be interested in a project that I am contemplating. Or perhaps give your input on the idea? The idea involves a new Bond movie but not with James, rather "Jane Bond" his estranged daughter? WithAngelina Jolie as "Jane", and Sean Connery as the "Retired" Bond, I really think it could be a blockbuster movie…I would really appreciate your feedback and any information or advice you can give me as to what you think of the idea and how to go about making it happen?

Here’s how I replied: Don’t waste your time on "Jane Bond." For one thing, you don’t own the Bond
character and the people who do are very litigous. For another,
it’s hardly a fresh idea. If you are going to write a screenplay, write
something that is entirely original…not based on any existing characters or
movies. Write something that will showcase your creativity, your ability to
create characters, and your unique story-telling instincts. Don’t write "Daughter of
Bond" or "Sister of Superman" or "Brother-in-Law of Buffy" or a sequel to
"Bullitt." Also don’t think about boxoffice potential or casting possibilities or ad campaigns right
now…just think about telling a terrific story. Good luck!

That was the end of my reply. Bet you thought I’d be snarkier, didn’t you? Must be my sinus medication mellowing me out. Here’s the thing that really struck me, though, about his email: The guy says he’s a film school graduate… you’d think they would have taught him, at some point, that it isn’t a good idea to write a script based on a property you don’t own.

Ready for the Staff Job

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I got this email today from an aspiring writer who has just finished writing his first two episodic spec scripts:

Now, for
the first time, I begin the process of looking for an agent.  I have two spec
scripts that are great examples of what I can do on a TV
staff.

Here’s how I responded: Congratulations on finishing your specs. That’s a big step! However,
I’d aim your sights a little more realistically. The best you can hope for at
this stage (after landing an agent) is to be invited in for a freelance pitch
and possible writing assignment. In the mean time, start writing another script… perhaps an original feature,  if you don’t have one already.

The name is Goldberg, Lee Goldberg 2

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The slick James Bond site MI6 is celebrating the 20th anniversary of A VIEW TO A KILL and has posted my interview with screenwriters Richard Maibaum and Michael Wilson as part of the celebration

Meeting Richard Maibaum was a very big deal for me and had an enormous impact on my life.

I was (and am) a big James Bond fan.  At the time, I was an 18-year-old kid on his way to UCLA to attend college…and putting himself through school as a freelance journalist (mostly doing phone interviews so no one would know how old I was).  I chose UCLA because it was near the film and TV industry and I wanted to learn as much as I could about both.

As soon as I arrived in L.A, I made up a target list of writer, producers and directors I admired and wanted to interview for articless (I know I could do them for the UCLA Daily Bruin if no where else).  The two names at the top of the list were Richard Maibaum and Steve Cannell.

I don’t remember how I tracked Maibaum down, but with my heart pounding with fear, I called him at home and asked if I could interview him for the UCLA Daily Bruin. Not only did he agree, he insisted that I come over for lunch. I nearly fainted.

Richard was a sweet, lovely man…and so was his wife. He showed me around his house (including a closet decorated with James Bond wallpaper) and shared some momentos he’d collected doing the films. He was delighted that someone was taking an interest in how the 007 films were written (in fact, I would later discover that my interview…not the one reprinted at MI6… was the first significant, detailed discussion with him any journalist had ever done. To this day, I see quotes from the lengthy article have been lifted without attribution books about the movies).

We spent six hours together that first day…and many hours together after that in person and on the phone.  He became my friend and an unofficial mentor.  Not only did Richard give me the confidence to approach other artists I admired (snagging the interview with him gave me the confidence to go after everybody else on my list…and I nearly all of them!), but he encouraged me to try screenwriting myself. 

The article itself was a financial and professional success for me — it won a college journalism award from Rolling Stone magazine (that came with a $1000 check, a HUGE amount of money for me at the time), a Society of Professional Journalists award for college journalism, and I sold it to STARLOG magazine as a two-part interview. That story led to many other freelance assignments, for STARLOG and other publications, writing about the Bond films…including an all-expenses-paid trip to London (my first!)  to cover the opening of THE LIVING DAYLIGHTS and interview the film-makers.

I remember how proud I was…and Richard, too… that years later we were able to walk the picket line together during the 1988 WGA Strike as  fellow professional screenwriters. It was a big moment for me…and one I will never forget. I like to think, in some small way, it was a special moment for him, too.

I don’t think Richard Maibaum ever got the appreciation and recognition he deserved for writing a dozen 007 movies.  It wasn’t in his nature to seek the attention… but consider his achievement:  How many screenwriters today have been nearly as successful or stuck with a single franchise for as long as he did? He was a terrific writer and very nice man. I miss him.

Production Schedules

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I got this email today:

Lee, my aunt and I were discussing when the season premieres usually start
filming, and my aunt was confused as to when the cast take their hiatus and come
back to work. Could you provide a rough ‘year’ schedule for a series as far as
the cast is concerned – when they work on the shows, how far ahead of an episode
is their work done? We’re working under the assumption of a show that has been
on air already one year and is definitely coming back for the next few years. I
couldn’t answer any of her questions.

A successful series, one in which the producers know they are coming back for another season, can bank scripts and even shoot some "next season" episodes at the end of the "current season" (LAW AND ORDER has done this).

But in general, fall season shows usually start filming in July or early August and wrap some time in March or
early April.  The fall schedules are announced in late May and people usually straggle back from hiatus in early June. 

Not counting the time it takes to develop and write a script, it takes about six weeks to produce an episode — from pre-production
(scouting locations, building sets, casting actors) through post-production
(editing, music, sound effects, color correction, looping, etc.).  This doesn’t include FX heavy shows like BATTLESTAR GALACTICA, which naturally take longer in post-production.  Most hour-long dramatic  shows are shot in seven or eight days… though some cheapo syndicated and cable  shows are shot in six.

 

The Name is Goldberg, Lee Goldberg

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AvtakThe James Bond site MI6 is celebrating the 20th anniversary of A VIEW TO A KILL by giving my old articles about the movie (written for Starlog and the LA Times Syndicate among others) a slick, new presentation. First up is an interview I did with Roger Moore. Soon they’ll be posting my visit to the set… as well as some of my other 007 coverage.

My God, has it really been 20 years? I can’t believe I’m old enough to have written anything 20 years ago.

My Feelings Exactly…

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Anthony Lane in the New Yorker:

The general opinion of "Revenge of the Sith" seems to be that it marks
a distinct improvement on the last two episodes. True, but only in the same way
that dying from natural causes is preferable to crucifixion.

The special effects, however, were amazing.

Searching for “Search”

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I don’t what what it is, but Friday seems to be a big day for email. Here’s one I got today, which read, in part:

Television series air and are eventually canceled.  What
happens to them?  Obviously I wouldn’t be asking if I weren’t interested in
a particular series.

"Search," an adventure series that aired in
1972 lasted one season and has never aired since.   Do you
have general knowledge of what might of happened  to a series such as
Search?

Any information that you
might be able to provide that would assist  someone like myself in finding
out more about the disposition of the  series, or how to be able to maybe
have the opportunity to actually view  the episodes once more would be
invaluable.

The simple answer is that cancelled shows end up in a film vault somewhere. Unless the series had enough episodes to syndicate (which SEARCH didn’t), and there’s a real demand to see the reruns (which there isn’t), the show will just stay on the shelf forever.  There are literally thousands of series like that, and not all of them are one-or-two season flops. . There really is no opportunity for fans to get episodes, except bootlegs from collectors. There’s some room for hope…the success of TV show collections on DVD have given some obscure old shows new life. Whoever thought you’d be able to buy the complete DUSTY’S TRAIL (and who would want to?) Whether SEARCH will ever come out on DVD remains to be seen…but there are a lot of other, better known and more successful shows in the Warner Brothers vault that are likely to come out first.  I’m still waiting for SPENSER FOR HIRE…