Who is your favorite screenwriter and why? Pedro Almodóvar. His films are highly imaginative, beautifully crafted and completely insane. I would like to live in his mind one day and hopefully…not in his skin suit. –Marla Mindelle Charlie Kaufman, Diablo Cody, Noah Baumbach, Todd Solondz, Nicole Holofcener, Lisa Cholodenko. Sorry—can’t name just one! Each has their own distinct voice, and an ability to find humor through truth. –Jonathan Parks-Ramage Alan Ball. I’m inspired by his ability to create stories and characters that are emotionally captivating but always feel grounded and truthful. –Andrew Bluestone Quentin Tarantino is a master of story structure and creates vividly memorable characters. He writes amazing scenes—up to 13 minutes in length, brilliantly breaking all rules. He juggles with life and death. –Rani DeMuth Jim Taylor. I love his unique blend of sad humor. His characters are so wonderfully flawed and human, so dark and awesome and petty. –Erica Rosbe One person I come back to a lot is Alex Garland. Compelling character writer, seamless at generating suspense, and knows his way around story like he lives in a national book depository. As a stylist, no word is wasted. Every part of the buffalo gets used. His scripts are the easiest for me to visualize. –HF Crum
What is the best-written love story? Brokeback Mountain –Marla Keep The Lights On –Jonathan When Harry Met Sally… –Andrew The Apartment –Rani Loves of a Blonde –Mike Broadcast News. The big confession scene between Holly Hunter and Albert Brooks is absolutely perfect. –Erica Happy Together—hard to touch Wong Kar-wai for poetic realism. –HF
What is the funniest line in a film? “I need some lube…for my pussy.” Wet Hot American Summer —Marla “Y’know, people are always putting New Jersey down. None of my friends can believe I live here. But that’s because they don’t get it: I’m living in a state of irony.” – Happiness (Todd Solondz) —Jonathan “There’s no crying in baseball!” A League of Their Own —Andrew “That’s okay, we can walk to the curb from here.”Annie Hall —Rani “She’s ignoring us too intently to not be aware of us.” The Bakery Girl of Monceau —Mike “I saved Latin. What did you ever do?” Rushmore —Erica “Nobody fucks with the Jesus.” The Big Lebowski —HF
What is the best line from a villain? “It won’t cost much. JUST YOUR VOICE!” The Little Mermaid —Marla “I put a bullet in her head, but her heart just kept on beating.” Kill Bill Vol. 1 —Jonathan “He didn’t get out of the cockadoodie car!” Misery —Andrew “Sweep the leg.” The Karate Kid —Rani “Fuck you, you fucking fuck” Blue Velvet —Mike “Love your suit.” The Silence of the Lambs —Erica “Innocent people die every day. They might as well do so for a reason.” The Spy Who Came in from the Cold —HF
What screenplay made you want to be a screenwriter and why? Wet Hot American Summer, Waiting for Guffman—relatively small films with massive cult followings. Their execution of humor was so inspiring to me and has pushed me to write projects with the same injection of wit, camp, rip-roaring laughs and above all, heart. Because you gotta have heart. –Marla Adaptation is one of my favorite screenplays. It tackles the creative process in an absolutely mind-melting way. Also, it’s effing hilarious. –Jonathan American Beauty was the first film where I thought “wow, they can actually DO this in movies?”—and then watched over and over not just for enjoyment, but because each repeat viewing revealed something deeper or more meaningful to me. –Andrew My Dinner with Andre, a movie consisting entirely of a conversation between two men at a restaurant, a film that should fail, and yet it triumphs. A fascinating study of friendship, postmodernism and philosophy. –Rani The Last American Virgin, because it was the only 80’s teen film that ended on a down note. –Mike I’m not totally sure, but maybe Reality Bites? The dialogue felt like real life, only better. I quoted it constantly. –Erica Tootsie. I loved the movie as a kid. Growing up thousands of miles from Hollywood meant I didn’t really know screenplays existed—not written down anyway. I assumed movies were all improvisation, cue cards and earpieces (like Erik Estrada in Dos Mujeres, Un Camino). In the pre-internet days of high school, a buddy found some mail order outfit in the Valley that would sell scripts for $18 a piece. We scrounged for cash, bought scripts and shared them with each other. They were mostly Ramis/Murray comedies and John Hughes flicks, but at some point I bought Tootsie. It was revelatory on so many levels—but mainly because it was COMPLETELY different from the movie. Much darker, grittier, and less gag-driven. The first act was this pathos-driven spiral of self-loathing that digs deep into the nadir of life as a struggling actor in 1980’s New York. I didn’t know movies—especially comedies—could be so honest and raw. Yet somehow the romance and comedy were there, too—just more biting and sincere. I never passed the script to my buddies. I kept it for myself. It felt like I’d been entrusted with a secret that I wanted to keep all my own. –HF
What is the most memorable line ever? “Different places!” Showgirls —Marla “Rumrack: Can you fly this plane, and land it? / Ted Striker: Surely you can’t be serious. / Rumrack: I am serious…and don’t call me Shirley. Airplane! —Jonathan “Let me tell you something my friend. Hope is a dangerous thing. Hope can drive a man insane.” The Shawshank Redemption —Andrew “This one goes to 11.” This is Spinal Tap —Rani “If you love me, just be quiet.” Contempt —Mike “Gentlemen! You can’t fight in here! This is the war room!” Dr. Strangelove —Erica “We train young men to drop fire on people, but their commanders won’t allow them to write ‘fuck’ on their airplanes because it’s obscene.” Apocalypse Now —HF Mary Sollosi / Film Independent Blogger
