Different Perspectives on the Passing of Writer Alvin Sargent

Writer Alvin Sargent

Which headline below do you suppose more captures the essence of the late Alvin Sargent, who died last week?

Yes, we think it’s worth thinking about even if you have no idea who he was and are wondering why the hell TVWriter™ isn’t telling you:

Alvin Sargent Dies: ‘Ordinary People’ & ‘Julia’ Oscar Winner Who Also Penned Three ‘Spider-Man’ Films Was 92

ALVIN SARGENT, SPIDER-MAN SCREENWRITER, DIES AT 92

And now, here’s who Mr. Sargent was, from another source, Robert D. McFadden in the NY Times:

Alvin Sargent, the veteran Hollywood screenwriter who won an Oscar for his gripping portrayal of breakdowns lurking under the surface of an affluent but guilt-ridden family in Robert Redford’s 1980 film “Ordinary People,” died on Thursday in Seattle. He was 92.

The death was confirmed by his daughter Amanda Sargent.

Mr. Sargent also won an Academy Award for his script for “Julia,” Fred Zinnemann’s 1977 film, with Jane Fonda and Vanessa Redgrave, based on a chapter in Lillian Hellman’s memoir “Pentimento,” about her friendship with a woman who died fighting the Nazis in the years leading up to World War II.

One of Hollywood’s most versatile writers, Mr. Sargent, who adapted screenplays from books and stories, wrote or collaborated on scores of television and film scripts over six decades: comedies, dramas, westerns, romances, even Spider-Man adventures. He also wrote the original screenplay for Alan J. Pakula’s 1973 bittersweet comedy “Love and Pain and the Whole Damned Thing.”

But he was best known for “Ordinary People,” his treatment of Judith Guest’s 1976 novel about a family whose idolized older son has drowned in a boating accident. Tormented by survivor’s guilt, his brother (Timothy Hutton) attempts suicide. The mother (Mary Tyler Moore), in denial, clings to an illusion that everything is fine, as the passive father (Donald Sutherland) and a psychiatrist (Judd Hirsch) try to mediate the mess.

“Ordinary People” won three other 1981 Oscars: for best picture, best direction by Mr. Redford and best supporting actor for Mr. Hutton. Ms. Moore was nominated for best actress and Mr. Hirsch for best supporting actor. The picture also won six Golden Globe Awards and critical acclaim….

It isn’t until the 16th paragraph of McFadden’s well-researched profile of Mr. Sargent that Spider-Man finally appears.

Contemporary priorities, gotta love ’em, yeah?

Have ‘Game of Thrones’ Fans been Betrayed by the “Rush to Finish” the Series?

Boy, talk about a tough audience:

by Ben Lindbergh

The showrunners said they didn’t need full, 10-episode installments for seasons 7 and 8, but the breakneck pace ‘Thrones’ has taken is a clear departure from years past and comes with disheartening side effects

Midway through “The Last of the Starks,” the much-memed antepenultimate episode of Game of Thrones, the forces arrayed against Cersei assemble at Winterfell to plot their attack on King’s Landing and its beleaguered queen. “We will hit her hard,” Daenerys says. “We will rip her out, root and stem.”

Her advisers try to talk her down. Tyrion reminds her that indiscriminately ripping out roots without caring about collateral damage is more of a Mad King move. Varys notes that Cersei’s allies are already dwindling. Jon suggests a siege. And Sansa observes that the survivors of the Battle of Winterfell could use a bit of a break before marching south to take part in a second Miguel Sapochnik set piece. “You want to throw them into a war they’re not ready to fight?” Sansa asks.

Dany grudgingly accedes to the siege, but she doesn’t want to wait to put the plan in motion. “We have won the great war,” she says. “Now we will win the last war.”

With two 80-minute episodes remaining in its final season, Game of Thronesfinds itself in a similar situation. The show has won the war for ratings, critical acclaim, and cultural cachet. Now it wants to win the war for a satisfying finale, delivering a pleasing payoff for fans that will prevent any tarnishing of the series’ reputation. But much as Missandei, Rhaegal, and Dany’s fleet paid the price for their leader’s impatience Sunday, Game of Thrones seems to be suffering from a similar hunger to arrive at its goal. Even more so than in Season 7, showrunners David Benioff and D.B. Weiss are playing the part of Daenerys, so fixated on the finish line that they don’t seem to mind how many major story lines are diminished or how many minor story lines get killed in the carnage.

The perplexing part of Thrones’ hurry to remove itself from our screens is that almost no one was rooting for a rapid resolution. Viewers don’t want it to end. The media doesn’t want it to end. HBO doesn’t want it to end. Only the showrunners are ready to wrap things up. In an interview published before the final premiere, D&D made it clear that they were the ones insisting on stopping at eight seasons and limiting the last two to a total of 13 episodes….

Read it all at theringer.com

How Do I Get My Book Made Into a Movie?

Some of you will find this video by Richard Botto of Stage32 helpful. Others may simply find it territory. As LB likes to say, “Knowledge is power, even if you wish you didn’t know it.”

Or to put it another way, “Que sera, sera.”

Stage32’s YouTube channel is HERE

Stage32 is HERE

Larry Brody: Live! From Paradise! #45 – “The Past Comes Calling”

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THE USUAL NOTE FROM LB: From the summer of 2002 to  the spring of 2010, Gwen the Beautiful and I were the proud and often exhausted owners of a beautiful Ozarks property we called Cloud Creek Ranch.

In many ways, the ranch was paradise. But it was a paradise with a price that started going up before we even knew it existed. Here’s another Monday musing about our adventure and the lessons we learned.

Oh, and if y’all detect any irony, please believe me when I say it comes straight from the universe and not your kindly Uncle Larry B.

by Larry Brody

One weekend, while I was paddling down the Buffalo National River with Gwen the Beautiful, Brannigan the Contractor, and Brannigan’s girlfriend Sweet Jane, Jane asked me if I miss show business. It was a fair question, and I gave it some thought. My mind went all the way back to the Prehistoric Era of the late ‘60s, when I first got into the “Biz.”

I remembered how awed I was by everything Hollywood. I was completely overwhelmed by the fact that entertainment was the main business of the huge sprawl of ambition that all of Southern California had become. I loved the fact that everyone I met was part of showbiz in some way. Even the waiters and waitresses (we didn’t have “wait people” then) were really actors waiting for the rocket to stardom to zoom them away.

I reveled in the conversations that took place around me at the gas station or in a department store. Words like “deal,” “option,” “post-production” gave me chills. I still remember the first time I saw a real live star. Rick Nelson, standing ahead of me in the supermarket check-out line.

I remember the second time too. I was stuck in rush-hour traffic on the Hollywood Freeway, sweating in my un-air-conditioned ’66 Mustang. I looked to my left and saw a familiar face behind the wheel of an exotic Italian car. Steve McQueen. He saw me looking and gave me his trademarked crooked grin. And a sly thumbs-up.

Only a few weeks before, I’d been living in Iowa City, Iowa. You didn’t see fancy sports cars or Steve McQueen there, that’s for sure. Although there were a lot of crooked grins—deliberately copied from the cool Mr. McQ.

Over the years, as I toiled at studio jobs that, regardless of their sometimes fancy titles, were still just long, exhausting hours of “workin’-for-the-man-and-payin’-the bills,” I grew disenchanted with a way of life that never went beyond who was making what movie or TV show and how much they were getting paid. Oh, and who was having how hot an affair with whom.

Nothing else in the world seemed to matter. Not the cure for cancer. The end of poverty. World peace. Not even taking care of your kin. One day I was in the office of the head of what is now Sony Pictures. “Of course we’re worth more as human beings than doctors or scientists or even the President of the U.S.!” he thundered. “If we aren’t, why are we being paid so much more?”

It was the day after Father’s Day and I was wearing a new watch my pre-teen son and daughter had given me. The studio head glanced down at my wrist.

“Rolex?” he said.

“Seiko,” I told him.

The studio head stared at me in disbelief. After that meeting he never spoke to me again. Later, when my contract came up for renewal he cut me loose because, he said to someone we both knew, “He let me down.”

Yep. I sure had. I’d proudly worn a $50 Seiko instead of a $5000 Rolex. How could I do such a thing?

Thirty-plus years in any business can take a huge toll. Showbiz is no different. Creatively, I did the best I could and was part of some shows that made me beam with pride and others that made me ashamed. Sometimes they were the same show.

I did the best I could personally too, with similar mixed results. Although most of my pride there is in how well my kids have turned out in spite of me and the shame has to do with mistakes that were all my own.

I’ve got no qualms about having moved on to a place where the only foreign cars I see are Toyota pick-ups and instead of waiting for a rocket to stardom everyone’s working hard just to survive. Where money doesn’t define a person because everyone knows it’s not what we’ve got that’s important but who we are inside. And where instead of playing roles on the screen, folks are starring as themselves in their own real lives.

Do I miss show business? That weekend on the Buffalo, after Sweet Jane asked me that question I closed my eyes, just for a second. And during that second I missed the rush of the river and tangled green of the trees growing along its bank more than I’ve ever missed anything about Hollywood.

WGA-ATA Still Slogging Away

by Larry Brody

No big news in the War For The Soul of Hollywood (as some people in the know seem to be regarding it), but the Writers Guild of America has taken an interesting tack in trying to explain the basis for the dispute by reprinting and posting the article shown in the image above.

If you’re a WGAW member you’ll be equipped to bypass security and read it all here:

https://www.wga.org/uploadedfiles/members/member_info/agency_agreement/wga_dj-4-25-19.pdf

If you’re not a member, you can try searching the Daily Journal site. I did and failed, but who knows? You just might be a more passionate seeker than yours truly.

In the article, the writer, attorney Thomas Vidal, sums up what we’re fighting for quite well:

By aggressively pursuing their packaging fees, agencies and agents have elevated their own interests above those of their writers. This the law does not and should not countenance.

Other issues are involved here, of course, but that one, boys and girls, is the Big One.

While we’re at this, a couple of interesting perspectives on the what’s happening, via Deadline and The Hollywood Reporter, are here:

Agentless Writers Find Early Success Crowdsourcing New TV Hires

Lessons From Past Strikes May Hold Key To Unlocking WGA-ATA Impasse

In Solidarity!