The screenwriter of the studio mogul’s biopic works on Act One. 2,036 words. Part One. Part Three tomorrow. Illustration by John Donald Carlucci.
Hollywood – 1969
Weak, Dave, weak. Just like your ex-wife said. Or soft, as Jules used to say. Driving out the front gate was like stepping from inside a fun-house mirror. He felt a headache coming on, the kind he used to get when he worked at Hollywood mogul Jules Azenberg’s Argot Pictures – like a nail being hammered into old plaster, making a hole twice its size and sending dust flying everywhere. He never did work for anyone remotely like Jules after leaving the movie business. Television was a completely different animal. Writers like Dave were hired for a series episode for one reason only: to fill in the intervals between commercials. There was no pretense of making art, or quality entertainment. It was called programming for a reason. The beats were all laid out; writers merely inserted new words inbetween. No one expected Dave to pour his heart and soul into a teleplay the way he had with a movie script in the vague hope that a scintilla of what he’d written actually made it to the screen intact. It never did but it never stopped screenwriters from trying. Keeping that kind of delusion going took a great deal of energy. And Dave had paid for it with big plaster cracks.
The next night, over dinner, Dave and his friend Joel Rodgers discussed Azenberg’s offer to write a warts and all biopic of Jules’ life and career.
“You said yes, I hope,” Joel said.
Dave nodded, but couldn’t conceal his unease.
“Good. For once in your life, maybe you’ll be smart,” Joel chided him. “Take the money and run.”
“It’s not that simple, Joel. It’s just that I’ve never been a leech.”
“It’s a wonder you’ve survived,” Joel chortled. “In this town you need to be either a leech or a lemming. Or a rat. So tell your agent to squeeze that little fucker’s balls until he screams. Then, once you have your money, write whatever the hell you want. He gave you permission. Now call him on it.”