This interview took place 6 years ago and we wanted to share it in honor of his passing recently!

(Interview first appeared in Screenwriter’s Monthly in December 2002)

Rear Window is considered to be Hitchcock’s most “cinematic” picture. At times it had to communicate a lot to the audience without a word ever being spoken. This isn’t surprising as Hitchcock started directing in 1922, during the silent era, making several silent films. By 1954, the year Rear Window was released he had clearly mastered the art of directing. However, before he could unleash his visual brilliance there had to be a great script from which to allow such a great movie to be made.

Think of the drawbacks to the story. First, the protagonist is bound to a wheelchair and is most of the time a reactive participant who is essentially isolated. Second, the antagonist doesn’t say more than a dozen words (at least that we hear), and isn’t confrontational with the protagonist until the very end. Hitchcock often said, “the better the villain, the better the picture.” The obstacles placed in the protagonist’s way were rooted in circumstance and happenstance-nothing placed by the antagonist. Thirdly, the entire movie takes place in an apartment and what is seen from the window. What might at first be seen as limitations were most likely viewed as cinematic possibilities and challenges that Hitchcock could not refuse.

John Michael Hayes’ screenplay was based on Cornell Woolrich’s original 1942 short story “It Had to Be Murder”. He was assigned to write the script after one meeting with Hitchcock.

Hitchcock didn’t sign on to direct the picture until after reading a thirteen page treatment by playwright Joshua Logan. Logan’s work laid the foundation from which Hayes wrote his treatment.

The short story lacked several important details which were added to the screenplay. It did not have a strong female character, or love interest, and Logan keenly injected that into the narrative. But, for the most part, it stuck closely to the source material. Logan’s treatment opens with New York City and Jefferies (the name is spelled “Jeffries” in Woolrich’s story and Logan’s treatment), who’s isolated in his apartment due to a broken leg in a cast. Logan created Trink, a love interest for Jeff, who is later renamed Lisa by Hayes. Also, in Logan’s treatment, Jeff is a sports writer, which is later changed to a photographer by Hayes. As in the final movie, Logan’s treatment has Jeff’s love interest go into the killer’s (Thorwald) apartment where she is discovered. The killer later comes after Jefferies when he is alone. But before he can kill Jefferies he is himself killed. Which, of course, was changed by Hayes.

Logan’s treatment clearly laid the foundation for Hayes to build on, but it had several problems and lacked numerous elements that Hitchcock and Hayes would add to strengthen the story: story elements, richer characters, more conflict, and better visuals.

Hayes constructed a convincing narrative with richly drawn characters and keenly raised the emotion and drama by injecting well placed conflict. Hayes knew that everything hinged on Jefferies’ character. He had to build a sympathetic protagonist the audience would absolutely love spending time with in order for the movie to work. He fleshed out Jefferies’ background, his relationship with Lisa, and his own internal conflict and emotional resolve. The result is a classic Thriller.

To read the Interview

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You Got Close To Page 60 But… In general, there are many reasons why you “Lost it in the Second Act.” This class focuses on the major issues that arise. Here are just a few that will be covered:

Failure to outline your Dramatic Arc (This I cover in detail and show you where your script is going wrong and pinpoint early warning signs.)

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Your desire to complete the story wanes (You lost the passion, why? We’ll look at the dynamics of effective story selection and development.)

More information…

DIE HARD screenwriter Steven E. de Souza helped to create what some call as the “modern action film” where the hero gets bloodied and beaten, but some how comes through at the very end and at the last second.

“The franchise can go on and on, because it no longer has to be a ‘Die Hard’ movie,” explained the screenwriter to MTV Movies Blog recently. “Only the first two movies were actually ‘Die Hard’ movies, which I would define as the solitary hero with little or no help, largely alone for long stretches of time, trapped in an enclosed area he cannot escape. The first two pictures held to that model.” Along with fan-favorites Bonnie Bedelia (as Holly) and Reginald VelJohnson (as Twinkie-loving cop Al Powell), de Souza was removed from the series for 1995’s “Die Hard With a Vengeance” and last year’s “Live Free or Die Hard.” “[Now] they go out and they travel,” he said of those films. “They go to Canada and come back, and they go to New Jersey, and they drive around in cars and go all over the Eastern Seaboard in the fourth picture. Those are excellent pictures. They’re well-made movies, but I think it’s interesting that neither one of those - three or four - was originally written as a ‘Die Hard’ movie.”

“They were each scripts that were done and ready to go, and someone at the last minute said, ‘Hey, we want to make a ‘Die Hard’ movie. Bruce is available, so let’s change this character’s name to John McClane,” de Souza pointed out. “So, a script called ‘Simon Says’ was turned into ‘Die Hard 3’ and the bad guy was turned into the brother of [Alan Rickman] from the first movie. Then the last picture was originally called ‘World War 3’ about an older cop who arrests a hacker. And again, they said: ‘Let’s make the older cop McClane.’” “The first two pictures were written to be ‘Die Hard’ movies - whatever that briefly was,” de Souza explained. “The third picture could just as easily have been ‘Lethal Weapon 8’.”

Source: http://moviesblog.mtv.com/2008/10/02/die-hard-screenwriter-looks-to-john-mcclanes-past-future-muses-on-live-free/

12 years of screenwriting has taught me some things that I want to share. I’ve made money as a screenwriter, columnist, and non-fiction writer. When I started all those years ago on the Internet as this “Schmuck with a keyboard” I never thought I would get as far as I did; though I still really never made it all the way….yet. So I feel like I am the perfect one to give you some advice. I am still one of you to an extent and still on the fringes trying to fight my way in.

1) PATIENCE – there is no way to overstate this important trait that you MUST develop if you ever wish to make money (as I have) as a screenwriter or any kind of writer, period. It took me 4 years to get an agent; another 2 years to lose the agent; 5 years to make money as a writer; 6 years to get my first option; 7 years to quit my day job; 10 years to get my first assignment; 10 years to make good money (once) as a writer; 12 years to realize that what I know is really not much.

2) CHARACTER – and I am not talking about the ones you create at midnight in the throws of a creative convergence. I’m talking about YOU! Your character as a person and your psyche. You have to learn to live with yourself no matter what ends up happening. On no less than 3 occasions I was convinced that I was going to have my movie made. Had funding & contract (if it weren’t for that cast approval thingy); had Deal Memos on 2 occasions and it all added up to only more frustrations. I gave up twice only to realize I love to write.

3) TALENT – Ok, I put this third as we all know there are a lot of marginally talented folks making lots of money in Hollywood. I think talent is right there with:

3a) CONTACTS – It’s a WHO you KNOW business. What was it I read recently? Oh yeah, only about 4 or 5 percent of Hollywood’s screenwriters get the top screenwriting gigs. They are the ones making all the money because they are the ones who have the contacts. Are you serious about making it as a writer? Well, you can start with the online stuff, independent route, and that can get your foot in the door. But ultimately, you have to go THERE…

4) BE A STUDENT – not in the take classes continually sense (though I do teach online at 4screenwriters.com and taking 1 or 2 can help :). But as you develop your craft you must always be reading, writing, and watching. Improve your craft (art) by always being on the KNOW. Watch movies, read screenplays and books, read those Hollywood insider mags and websites, and always be writing. (ABW).

5) COMMITMENT – This goes with Patience and Character, but we all know there have been lots of folks who succeeded without a lot of heart or commitment. But for us, you and me, we gotta have the heart to go on every stinking day.

6) THICK SKIN – I have had some of my writing literally thrown away in front of me. I have had my ability as a writer questioned (and maybe rightfully so). You have to be able to take constructive criticism, that’s a no-brainier. It’s that egomaniac, bug-eyed, red-faced producer who froths at the mouth when they don’t get what they want though they can’t communicate what it is they really do want. And when they start spitting trying to sputter out their contempt for you…. Ah, Joy.

7) USE THE INTERNET WISELY – there’s a lot out here that can help you, use it. It can be your foot in the door. But don’t let it become your crutch. Sometimes, a lot of times, just reach under that desk and pull the plug. Grab a notebook and a pencil and go outside and:

LIVE LIFE – you will become a better screenwriter if you get out of that apartment, duplex, condo, whatever, and go out and smell the flowers or the dogshit. You need to experience life in order to fill that well of knowledge, emotions, and experiences that you can tap into and use in your writing. It takes more than creativity or imagination to be a writer. It requires that you hurt a little, bleed some, and heal over time. It requires that you live a little…

9) YOUR CHARACTERS – Ok I have to mention the actual craft and art that is screenwriting. What I have learned? Well, it’s not so much about gimmicks or hooks, though they are important in certain respects, but at the end of the day can you write great characters? Can you write the kind of characters that rapture your audience (reader) and make them forget what is around them? Craft them well, make them real; not too real as they are after all supposed to be a little better (or worse) than the rest of us.

10) GIVE YOURSELF PERMISSION TO GIVE UP – so long as it is only temporary.

Take a class from Chris: >>>> Click Here.

Cheers!

Chris