OSCAR FICTION PACKAGE: A Red Carpet meet compels this couple to keep going. 2,312 words. Part One. Illustrations by John Donald Carlucci.
Backstory: My name is Nat, I work in the mailroom at the Academy of Motion Pictures Arts and Sciences, and I went to the Academy Awards. Instead of sitting up in the lousy seats with the rest of the AMPAS staff, I met Erin Teller, the Erin Teller, and she sort of made me her date. I sat with her and she won the Best Actress Oscar for When The Mountain Sings.
And now we’re going to the Governors Ball.
I am not making this shit up.
So Erin and I are walking out of the Dolby when Erin grabs my hand and asks me where I’m going because, duh, don’t I know the Governors Ball is upstairs and she’s starving to death. She says some of the cast from Hamilton is performing and isn’t it the best musical ever. I tell her I haven’t seen it and she says, boy, I’m in for a surprise.
This whole night is a surprise. Having my date get a migraine so I go to the Awards solo, then running into Erin Teller – literally, when her limo door knocks me down. Now I can’t figure out why she hooked on to me. But I’m not complaining.
We’re riding up the escalator to the Governors Ball and Erin has her Oscar clutched in her fist. Occasionally, she waves it in the air and says, “Woo hoo,” and people shout, “Woo hoo” back at her. This is the most amazing night of her life. And, fuck me, I never want it to end.
Will ambition kickstart his movie career or kill his marriage? 2,292 words. Part One. Illustration by Thomas Warming.
“So, yeah, this is risky. But life goes fast, Emma. We’re both starting to realize that. In two years we’ll be invited to our fifteen-year high school reunions and the next fifteen years will fly by. I want to have fun making films.”
“No, I think you want to feel like an important filmmaker. You want to drive some German sports car around Beverly Hills and sit by the swimming pool with movie stars and get the cool table at Craig’s. You want to read about yourself in Variety. You want to be respected by people you hate. Fine. But there’s no way to get that stuff unless you gamble with both of our lives. You can’t spin it, Mike. Paramount is safe, that’s a fact. You have friends there. If something happens, they’ll find you a job somewhere else. You’re always telling me that getting fired is the best way to get a promotion by moving from studio to studio. It’s a club and you’re finally a member. If you turn your back on that, they’ll be rooting for you to fail. And when it happens, you’ll be tainted goods. Is that what you want?”
Mike spoke very slowly into the burning silence of her stare. “I am not going to fail.”
“Really? So then tell me: when have you ever succeeded?”
“That’s not fair.”
“My life is at stake. So, sorry, fair doesn’t matter to me right now. What matters is making you see the truth before it’s too late.”
Mike rummaged helplessly for something to say back to Emma. It seemed that all the words had been used up. There were just three left.
“I want this.”
Every movie career has ups and downs. But every marriage has a breaking point. 1,924 words. Part Two tomorrow. Illustration by Thomas Warming.
Jim pushed his glass aside and leaned forward.
“Let me tell you what’s really going on,” he said. “Bill Terhune has a deal going.”
“Bill Terhune always has a deal going,” Mike replied. “He probably had deals going in kindergarten – ‘You cover for me during nap time and you can have my cookie at snack.’”
“This is real."
“So was that. Not to mention the black market Lincoln logs. And the crayon exchange. Apparently he had the only sharpener.”
Jim had to laugh. “I mean it, Mike, this is serious. He found someone with money.”
It was the one sentence guaranteed to knock the smile off Mike’s face and silence him. This was what everyone was looking for, the seam of gold in the mountains, the genie in the battered lamp, the copy of the Declaration of Independence on the garage sale table: someone with money to make movies.
“Who is it?”
The female filmmakers finally, finally, shoot their indieprod. 2,893 words. Part One. Part Two. Part Three. Illustration by John Donald Carlucci.
For Rachel and Stacey, the making of Escapade was a kind of blissful dream. Part of that feeling came from the European landscapes, which had a sort of abstract beauty since the filmmakers never stayed anywhere long enough or took enough time away from the work to absorb their reality. So they were carrying away memories like photographs. Not that there was anything wrong with that. They enjoyed floating. They were living in their own world for those eight weeks and everything else was just backdrop.
It was so easy, that was the astonishing part. It had begun with everyone’s small investments and then Peter Sandrian’s hundred thousand dollars and just continued, like a heartbeat, with the casting, their arrival in Paris, Hector Passy just walking up to them in a cafe and solving a dozen problems at once.
It seemed that every circumstance conspired at perfection: weather and bureaucracies, mood and coincidence and the currency exchange rate. Every location worked out easily. And Rachel’s unnerving cry of "Let’s put it in the movie!" soon became a standing joke. That was how it went. The movie was as much accident as design. Many of the things people wound up liking best were devised on the spur of the moment. For Rachel it was just common sense to take good stuff wherever she found it and use everything. She hated waste.
She was equally pragmatic about giving direction to her actors. She never couched her comments in Actor’s Studio jargon or Hollywood catchphrases. Instead she’d say specific things like "Give it an extra beat before you talk," or "Fall down when you say that line." Any time acting was in evidence, it was overacting to Rachel. "Don’t show us how hard you’re working," she said once. "Leave that to Meryl Streep."
The two women indie filmmakers now must find a cinematographer. 3,224 words. Part One. Part Two. Part Four tomorrow. Illustration by John Donald Carlucci.
Rachel and Stacey rehearsed Escapade for weeks, a luxury that no studio production could afford. At the same time they were making travel plans and renewing their passports. They wanted to organize the whole film in advance, but there wasn’t much they could accomplish until they actually arrived in Paris. They were set to leave April 1, and booked the others two weeks later. Outside the travel agency, with all the tickets clutched in one hand, Rachel threw her arms around her friend. "We’re really going, now. It’s official.”
The week before they left, Rachel threw a dinner party for the cast and crew. She wanted everyone comfortable with everyone else before they started shooting a low-budget film at close quarters in a foreign country. It was an enjoyable afternoon – volleyball on the beach, an early cook-out, people having fun. The only disturbing moment happened with Emily. Again.
They were outside in the deepening evening. A cool wind was blowing in off the ocean and Rachel was getting hamburgers onto buns before they burned. Emily slipped beside Rachel as she worked.
“So what am I feeling now?” Rachel asked her.
“Suspicious. Uncomfortable. Annoyed. It’s just something I can do. I wish you trusted me more. I could help you. I want to talk about… ” Emily looked around and lowered her voice, “Rafe DeMarco. He isn’t what he seems. You should get away from him.”
“I’m leaving for Europe with him in less than a week.”
“He’s trouble. I just think you should get as far away from him as possible.”
Rachel stared at her. “Where am I supposed to find a new DP who’ll fly his whole crew to Europe on four days’ notice?”
Will the two female indie filmmakers find an angel investor? 3,532 words. Part One. Part Three tomorrow. Illustrations by John Donald Carlucci.
A few weeks before Christmas, Rachel was awakened at six in the morning by a long distance call. "This better be important."
The deep voice on the other end of the line sounded amused. "I think you could say that."
"Who is this?"
"Peter Sandrian. When we were in eighth grade, I took you to Wollman ice-skating rink in Central Park. You had to hold me up the whole time. The insides of my ankles were practically touching the ice. I fell in love with you that day, Rachel. But I never got up the courage to tell you."
Rachel laughed, fully awake now. "Oh no! I had a crush on you for years. Why didn’t you ever call me?"
"Why didn’t you call me?"
"Girls weren’t supposed to."
"We blew it, didn’t we? We were idiots.”
There was a moment of silence while the reverberations of gratuitous adolescent heartbreak subsided.
"What are you doing now?" Rachel asked. "Where are you calling from?
"Cleveland. I’m married; we have four kids. I’m the new Chief Executive Officer of Sandrian Pharmaceuticals. Dad wanted to take early retirement, and I knew the business inside out, so now I get to work the sixteen-hour days with occasional trips to Des Moines or Omaha. It’s not quite as glamorous as the movie business."
Two women start the disspiriting process of making an indie film. 3,231 words. Part Two tomorrow. Illustration by John Donald Carlucci.
On a warm evening in July, Rachel Scanlon and Stacey Clark were sitting at a tiny table overlooking the Chateau Marmont hotel bar.
"Andy Dickson," Stacey said. "Tommy Bell. Marty Cohen. Mark DeSalvo. Peter Steinkamp. Susan Drexel."
Rachel looked up. "What made you think of all these people?"
"They’re on my list. Don’t you ever read those alumnae reports that Dalton sends out?"
"I never open my mail from Dalton or Hampshire. They always want money and I never have any."
"They also have a section with information on your classmates. Annie Sobel is a painter. She just bought a loft in Tribeca and had two one-woman shows at the Holly Solomon gallery. Mark DeSalvo inherited four million dollars from his grandfather. He supports the arts and collects Rookwood pottery. Peter Steinkamp has a seat on the New York Stock Exchange and is renovating an old firehouse in Brooklyn."
"Does he support the arts, too?”
"I bet he does. And I have two artists in mind. They’re planning to make a low budget movie."
The indie filmmaker begs and borrows to finish her shoot – and feed her dog. 2,006 words. Part One. Illustration by John Donald Carlucci.
Indie filmmaker Annie Grayson wasn’t young. But she had more energy than any obnoxious 22-year-old snot-nosed kid out of film school. Both crew members Nigel and Ted admired her for that. So they were onboard as much as they could be without too much self-sacrifice for a very likely doomed project.
Nigel hated to think of it like that. But Annie would not listen to reason. Yes, collaboration could make it work. But not if she refused their help and knowledge.
“First-time filmmakers don’t jump into features or even thirty minute shorts. They do ten minute shorts, or five minute shorts,” Nigel said to Ted, the sound man.
“George Lucas will tell you he started out with a thirty second short and a lot of storywriting experience,” said Ted, lighting up a joint. “Want a toke?”
“Thanks.” Nigel, the cinematographer, said and inhaled. “Then she complains that Tricia is always late. No shit. Actors are always late. They’re prima donnas, even the unknowns.” He let out the breath.
“Especially the unknowns.”
An indie filmmaker likes to play the underdog. With her dog. 2,210 words. Part Two. Illustration by John Donald Carlucci.
It was a hot Los Angeles summer day. Annie Grayson, the alleged author and self-proclaimed indie film authority, brought a dog to her set, which was the street in front of the Century Plaza Towers. The mangy dirty mutt with matted hair was very unhappy to be there in the heat. But Annie dragged him around everywhere. “Louie, come here!” she yelled as she pulled his thick rope leash.
Nigel, with his DSLR camera and lugging a Flycam rig, spotted her from across the street and thought, Is that her? With the dog? She looks younger in her picture. Ok, here we go. I can’t believe she brought a dog.
He walked up. “Annie?” The dog starting barking at him.
“Louie!” she yelled. The dog got quiet. “You’re Nigel? Tricia is late. She’s always late. I’m calling her now.”
“That’s typical,” Nigel said, shaking her hand as the dog barked again.
“Louie! Shut up!” Annie said. “She can’t find parking. Here, talk to her.” Annie handed Nigel the phone.
“There are free spaces right off Olympic,” Nigel shrugged. Whatever. Actors are always late. He looked at Annie and the dog and thought, She brought a crazed wild animal to a film set and she’s worried that the actor is late? Looking back, Nigel didn’t think Annie deserved to call the dog hers. But at the time he was hired to film her project.
A writer has to get out of a movie job contract and off an exotic island. 1,918 words. Part One. Illustration by John Donald Carlucci.
The next morning, Jenny Logan came to escort me to Jack’s place. She didn’t say a word about the job offer she’d made me to come from L.A. to this isolated island off Cambodia and write and possibly direct a film. But, as we stopped outside the steps of the beachside mansion belonging to the movie studio owner, a Luxembourg billionaire, I noticed cut marks on both Jenny’s wrists. They were obviously recent.
Jenny saw me looking at them. “I’m sorry if I’ve been weird, James. I think, when I get back to L.A., I’ll be my normal self again.”
She gave me a kiss on the lips, and then pulled back before I could turn it into something intimate.
Just then, a tropical rainstorm snapped into life and I rushed inside the palatial home. Jack was short, stocky and tanned but not even plentiful spa treatments could hide his fifty-something age. He smiled like a villain from a Bond movie and welcomed me inside. Of course, Jack’s bodyguard stood expressionless five feet behind us at all times.
“Thank you for this amazing opportunity, Mr. Hauser,” I said politely. I noted he didn’t offer me a drink, not even tap water. At least in Hollywood they offer you a bottle of Voss before they drain you of life.
A writer gets a movie job offer on an exotic island and goes to check it out. 2,134 words. Part Two. Illustration by John Donald Carlucci.
It was bang in the middle of another Writers Guild strike, and I woke up with a throbbing headache. I hadn’t drunk more than half a bottle of Trader Joe cheap red, and in those days that wasn’t enough for me to suffer a hangover. No, the pounding in my forehead was a form of dread at the thought of traipsing over to Sony Studios to join my comrades on the picket line yet again. I didn’t even know what we were fighting for exactly: just something to do with making money from the Internet. All I did know for certain was that I was broke, and my damn headache wouldn’t go away.
As I sipped a cup of coffee inside one of the few remaining rent-controlled apartments in Santa Monica, I felt entirely disillusioned. I couldn’t turn on the TV for any respite because, without the writers, the programming was filled with reality shows and repeats. Nor did I feel like going out for a walk, as the June gloom had set in since L.A. is never as sunny as people like to think. So, instead, I stared at my laptop screen trying to come up with an original story idea.
In theory, this quiet period would give Hollywood writers an opportunity to delve into our artistry and create something we cared about. But my screen remained blank for an hour. If I’m honest, it was a futile task; I hadn’t been able to write anything original since my first script that had snagged me representation. Everything else since then had been assignments.
I was trying very hard to remember what I cared about – maybe that was giving me the headache – when my phone rang. This hadn’t happened in a few weeks. I feared that a comrade was calling out of disgust with my inability to show up at the picket line. But the call was from my agent.
Had the strike suddenly ended? Or was she quitting the business to start up a yoga studio?
The director wraps her film by punishing and praising those who deserve it. 2,474 words. Part One. Part Two. Illustration by Thomas Warming.
Fed up with my lead actress Brittany, I decided to pay a visit to Rex Durand in his suite. The famous actor in my movie Lost Encounter, now shooting, was not feeling well. His bodyguard was at his side. His dresser was also there. Everyone confided that Brittany was sleeping with the screenwriter. I had to wonder how much rehearsal had really been going on between them. Obviously, very little. For an actress already on shaky ground, would this affair be the final blow? I had to talk to the scripter. I was sworn to secrecy not to reveal my sources, as the lovers did not want me to know.
The following day another six hours were los because of Brittany. Once more, we did the best we could by shooting around her. I had had enough. At first, the screenwriter denied anything was going on. I told him I knew the truth and it was pointless to deny it. And if her work kept suffering, they ultimately were hurting the film. He promised to keep the situation under control. I was still naïve enough to believe that he would help the film by making sure Brittany was prepared.
On our schedule the following week was the fashion show and that was when the film’s producer Lawrence Perlman arrived. He was to be a first row extra. We had secured a very large space with plenty of room to build a stage and a walkway as well as the biggest Atlas crane to make the most of the expanse. Inspired by Chanel, I had asked for a series of multiple mirrors on the stage and liked the results. And my costume supervisor pulled off a miracle with the clothes and all the accoutrements and secrets of a great stylist. The difficulty had been to make the fashion believable and she had done so a thousand times over.
My personal challenge at this point was physical. I became sick on the very first day of the shoot. The pressure of it all, and the very cold weather, had gotten the best of me. By the third day, I was barely conscious. Between takes, I wrapped myself in blankets, doped myself with flu medicine, drank a lot of hot liquid and prayed that lighting would take a little longer before I had to spring back into action.
The film director now contends with off-screen drama from her lead actor and actress. 2,069 words. Part One. Part Three. Illustration by Thomas Warming.
Everybody was thrilled with the progress of pre-production of Lost Encounter. The picture had survived another day. Luckily, I made a great choice for a director of photography the second time around. Working with my chosen few on our still imaginary film had its laughs and daily rewards. And we ate well. We were in Paris after all.
It was February 12th, and the start of production was now two weeks away. I had begged for a later start but the rights to the story owned by the people who had made the original film were expiring. We had to go. It was a mad dash. My producer Lawrence Perlman asked me to meet with the American actress who said she loved the project and thought the world of me – in other words, the usual Hollywood crap.
Beyond exhausted, I agreed to meet her. “No strings attached,” I was assured. Later on, a story went around that our film’s leading man Rex Durand had seen a magazine with a photo of the American actress, pointed his finger and said: “That one. I want that one.”
When I met with Brittany in my hotel suite, she was physically impressive. Tall beautiful body, luscious red hair like Rita Hayworth’s, an uncomplicated but pretty face. She was oozing charm and promising to be the best collaborator I ever had. I could not think of one reason not to hire her. I gave her the part on the spot. At that point in time, if I had rejected Brittany, the film would have collapsed or I might have been fired. I did want to direct so I let this one slip by.
A film director in crisis must split time between her pre-production and her father. 2,492 words. Part Two. Part Three. Illustration by Thomas Warming.
It was a few days before Christmas and I was ensconced at the Hotel Raphael in Paris. Jack Kennedy, Katharine Hepburn and Marlon Brando had all stayed there. The Arc de Triomphe and the Trocadero were steps away. In my suite, elegant tapestries, wooden wall panels and period furniture surrounded me. I was back in my home country. By all accounts, I should have been thrilled but I was miserable.
My father was dying.
I had come to Paris in October for pre-production on the sequel to a celebrated and profitable erotic romantic drama which at that point was an orphan without a title. The project was at a standstill as we waited and waited for the starring actor from the original movie, Rex Durand, to sign his contract. In the meantime, he approved me as the director. Getting the job turned out to be the easiest part of making the movie.
The film was to be my third directorial assignment and to try me in ways I had never been tried before, as if all the negative forces in the universe had banded together and decided “Let’s see what she’s really made of.”
Among the complexities was the financing of the film which was partially coming from state-sponsored film funds in three European countries. Each country had requirements attached to the money. We would have to shoot in the trio of nations, and the cast and crews would have to be split between them as well. Having a European passport had been one of the reasons I had been chosen. And the other was my directing work and its sexy edge. For this was to be a very sexy film.