Screenwriting from Iowa
Posts about Seabiscuit written by Scott W. Smith
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Screenwriting from Iowa
“I’m very lucky that I had a movie that allows me to do something as enormous as staging what at that point was the largest sporting event in American history. And at the same time investigate small emotional moments like when Howard loses his son.”

Seabiscuit writer/director Gary Ross

Recently I re-watched Seabiscuit (2003) again and found a great interview on the DVD extras where the director/screenwriter Gary Ross explains how he broke down an auto accident scene which becomes a “pivoital point” in the movie.

The movie set-up is about moving forward into the future. Americans at this time have moved into the age of the automobile. A young boy (around age 12) decides to have an adventure and take his father’s car down river to go fishing. The following quotes are all from Gary Ross and the sections in italic are from his notes:

“What I like to do when I develop a shooting plan for the movie is sort of take the early parts of the prep to do it privately. And at that point I’m sort of pretending that someone else wrote the script and I’m interpreting it. The shooting plan can encompass a lot of things—it can be the way I see the lighting. It can be performance notes. It can be blocking notes. It isn’t just as dry and clinical as a shot list. When I make these notes I’m still connected to the emotional intentions”

(Sc#67.) SERIES OF INSERTS. Fishing pole insert. Rafters. INSERT loading the tackle box. Showing his purpose now- pleasing his father. Getting ready. (All the material that will be scattered across the river bottom later…

“I understand that I’m using these inserts to set up something for later on.”

Last insert is the key in the ignition. His hand fights with the gear shift. It should probably be up shift to emphasize his shortness, craning over the dashboard.

(Sc#74.) Whizzing by on the road. His car one way. The Logging truck the other. Yeah. That would work great.

“(Laughing) I don’t know that it will work great, but I’m sort of talking to myself saying, ‘Yeah, that’s a good idea. Keep going with that.'”

Let’s not show the collision. Let’s allow that to stay in the imagination. Let’s show perspective—into Howard’s perspective at that moment. Getting a phone call [about his son being killed in an accident]. The moment of the accident is not as important as the news of the accident.

Howard racing toward the camera. The world has gone quiet now.

“I think it’s important to say what you’re going to do with sound before you shoot something. Because the sound and picture are so completely fused. Sometimes the loudest things are a distant or silent scream…Those things obviously turn into a shot list, which is more dry or clinical, but when you have both things they enhance one another. One is almost the emotional roadmap to be able to read the other.”

I did find a online version of the clip here but was not able to embed it into this post. Great to watch to understand the whole context. Consider it a solid free five-minute film school lesson that shows the intentionality of an Academy Award-nominated movie and screenplay.

And yet one more reminder of the importance of emotions in filmmaking.

Related posts:

Seabiscuit Revisited in 2008

Writing ‘Seabiscuit’ On writer who also wrote Unbroken.

Shelter from the Storm (‘Unbroken’)

‘Big’ Emotions (Another Gary Ross written screenplay.)

The Creature from… (Ross’ father—Arthur A. Ross—was also a screenwriter.)

‘It Take Guts To Be a Screenwriter’ (Gary Ross quote.)

40 Days of Emotions

Writing ‘The Godfather’ (Part 3) Includes a video showing the shooting book Coppola put together to shoot The Godfather.

Scott W. Smith

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“Remember the old days, when movies were glorious, magical and mute? Neither do I. But the passing of the silent era from memory into myth is what ‘The Artist,’ Michel Hazanavicius’s dazzling cinematic objet d’art, is all about.”

A.O. Scott

New York Times article The Artist (2011)

Yesterday I went to see The Artist for the third time in a movie theater. There have only been a few films in my life that have resonated with me enough to see the film three times in the theater. The last film I saw three times in a theater was Seabiscuit back in the summer of ’03.

I love everything about The Artist— Michael Hazanavicus’s writing and direction, the acting, the cinematography, the editing, the music, the sets, the dog, the costumes, etc., etc. All things which I appreciated more and more on repeated viewings. Heck, I just love the era of the 20s & 30s. And I was pleased when The Artist was awarded five Oscars including Best Motion Picture of the Year.

But as they touch on in The Artist— it’s out with the old in with the new.

When I left the theater yesterday I saw a line forming for the midnight showing of The Hunger Games. No, it wasn’t just a line, it looked more like some kind of protest mixed with a Justin Bieber concert. There was a line of teenage girls and tents. Tents—as in camping. I don’t believe I’ve ever seen tents outside a movie theater before. Granted it looked like it might rain little, and who wants to wait six hours in the rain? And my guess is that scene was repeated in theaters across the United States last night.

It will be showing this weekend in a staggering 10,000 theaters. According to The Washington Post, The Hunger Games set the record for advanced ticket sales of a non-sequel film. The midnight showing sold out 1,400 theaters and made $20 million just last night/this morning. I’m going to go way out on a limb and say that it’s going to be the box-office champ this weekend and pull in more than $100 million.

I don’t know the cultural phenomenon behind The Hunger Games other than the books have a diehard following. But I look forward to seeing the film because it stars Jennifer Lawrence (Winter’s Bone) and was directed by Gary Ross. (Ross, if you recall, directed Seabiscuit.) He also credited as screenwriter along with Billy Ray and Suzanne Collins (who wrote the book that the movie is based on). Ross has been quoted as saying of his work on The Hunger Games, “I’m as proud of this as anything I’ve ever done in my life.”

So by the end of the weekend it’ll probably be The Artist 3—The Hunger Games 1.

P.S. Just realized that both The Artist and Seabiscuit both deal with the same time period in and around The Great Depression and address issues of loss, obsolescence and redemption. The past was rough, but judging from the previews of The Hunger Games, the future looks worse. (Are there any movies where the future looks positive?)

Related posts:

Writing “The Artist” (Part 1)

Writing “The Artist” (Part 2)

Writing “The Artist” (Part 3)

Seabiscuit Revisted in 2008

It Takes Guts to Be a Screenwriter (Gary Ross)

Writing “Seabiscuit”

Winter’s Bone (Debra Granik)

Related Links: Interesting article by Anne Thompson comparing why The Hunger Games killed it at the box office and why John Carter didn’t.

Scott W. Smith

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“Big is one of those rare films that will tickle the funny bone and touch the heart.”

Movie critic Peter Travers (then with People magazine)

“(As a screenwriter) I’m in that emotional place where there is room for idealism. In Big (1988) and Dave (1993) there is a similar question being asked: Is innocence redemptive? And I want people to come away with renewed optimism.”

Four-time Oscar nominated producer/screenwriter Gary Ross (Seabiscuit)

1993 LA Times article

The following exchange between screenwriters Anne Spielberg and Gary Ross can be seen on the second disc of the expanded edition of Big. The 1988 film brought the screenwriters an Oscar nomination, as well as landing Tom Hanks his first Academy Award nomination.

Gary: If there was a punch line on top of the situation where you could feel the writer—we’d yank it out. If you were organically laughing at the situation, then than was great, that’s where the comedy should come from. If we went through pages and pages (in reading the script for Big) when you weren’t laughing, that was okay.

Anne: And that’s what gave the poignancy to it—that you’re always on that edge of being a kid on his own, and he can’t go home again. There’s always that little moment of sadness just right around the corner.

Gary: And under a lot of the movie there is a lot of sadness. A loss of childhood is a wonderful and sad thing, and I think we respected both of those emotions. And I think one of the things we did that was good was when the story wasn’t funny to us, but was true to the story—that was okay.

An interesting sidenote to the casting of big; Tom Hanks originally turned now the role in Big, and Anne and Gary (and director Penny Marshall) were working with Robert De Niro to play the role of the boy who wakes up a man. Imagine how different that film would be.

And way back in 1959 a Twilight Zone episode written by Rod Serling called Walking Distance first aired. It’s the story of an ad man who mysteriously returns to his childhood town—and nothing has changed. Rod said it was one of his most personal episodes and the theme of returning to one’s youth was never far from his thoughts. You can read that script at rodserling.com. The small boy in the clip below from that episode was played by Ron Howard.

(Yes, Hollywood is one big family–Ron’s dad, Rance Howard, is an actor, Anne’s brother is Steven, and Gary’s dad, Arthur A. Ross, was a screenwriter —deal with it. Write a script as good as Big and you’ll be in the family as well. One more reason Diablo Cody should be your screenwriting hero—a total Hollywood outsider…until she had a hit film and won a Oscar.)

I think the Big commentary by Anne and Gary is the single best commentary I’ve ever heard on a movie from the perspective of a screenwriter, because it is the only one I know that has the original recordings of the creative process as they developed the story right out of the gate.

Related posts:

It Takes Guts to be a Screenwriter (Gary Ross quote)

Rod Serling’s Binghamton Roots

Writing “Seabiscuit”

The Juno—Iowa Connection

Scott W. Smith

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“You talkin’ to me? You talkin’ to me? You talkin’ to me?”

Travis Bickle (Robert De Niro)

Taxi Driver

Written by Paul Schrader

No Bobby, I’m not talkin’ to you. But I did spend a couple days talking to students (and a few visitors) at Calvin College in Grand Rapids, Michigan the last couple days and the above photo was one of the movie posters hanging outside the video theater where I spoke. Calvin’s most famous film alumni is Taxi Driver screenwriter Paul Schrader.

I would like to thank Prof. Bill Romanowski for the invite and and all the support staff, other professors, and students for the opportunity to speak, as well as the sponsorship by the Gainey Institute and Communication Arts & Sciences department. It sure is more fun to talk about this stuff than write about it.

I not only got to meet a lot of eager students, but had lunch yesterday with a New York actor who’s recently been on Law and Order and had a director from L.A. sit in on one of my seminars. (He was in town raising funds for a film that would take advantage of Michigan’s 40%-42% tax incentives.)

Those tax incentives are bringing a film called The Genesis Code not only to Michigan, but they will be shooting part of the film at the Calvin College campus. But Michigan is learning quickly about Hollywood’s ways as people have gotten excited about films starring people like Samuel L. Jackson, Joe Mantegna and Robert Duvall scheduled to shoot in Michigan only to see them postponed for one reason or another.

It was an interesting time to be in Michigan because not only is Detroit hurting because of the decline in auto sales, but the whole economy of the state is effected because many of the smaller cities are made up of manufacturing plants that produce parts for the automobiles that people aren’t buying.

So people are both excited and skeptical about the possibilities of a film industry bringing jobs. Enrollment at schools and colleges that teach film and video is up. I saw people shooting footage around the Calvin campus including this young fellow that I snapped a picture of as he was in action. This kind of thing is happening all over the country.

While at Calvin College I learned that they have a few other grads who are working in the film industry, but the most impressive to me is Jeannie Claudia Oppewall. She’s is a four time Oscar nominated production designer/art director who’s worked on two of my favorite films, Seabiscuit and Tender Mercies.

And for what it’s worth, she’s worked in Iowa twice on The Bridges of Madison County and the yet to be release Ellen Page film Peacock. And just to come full circle she was once married to Paul Schrader.

Schrader’s divorce played a part of his state of mind before writing Taxi Driver, as did Jean-Paul Sartre, “Before I sat down to write Taxi Driver, I reread Sartre’s Nausea, because I saw the script as an attempt to take the European existential hero…and put him in an American context.” Schrader has also said that part of the inspiration for picking a taxi driver to represent loneliness was based on the Harry Chapin songTaxi about a taxi driver who used to dream of being a pilot and one night gives a lift to his old girlfriend.

…And me, I’m flying in my taxi,

Taking tips, and getting stoned,

I go flying so high, when I’m stoned.

Taxi

Harry Chapin

Before that song was a hit in 1972, Chapin had actually written and directed a documentary called Legendary Champions which was nominated for an Oscar in 1969.

And lastly, AFI lists “Are you talking to me?” as the 10th most popular movie quote of the last 100 years. So yes, it is possible to be born and raised in Grand Rapids, Michigan and to write a screenplay that leaves an imprint on film history. (Though it’s okay to start out with slightly lower aspirations.)

Scott W. Smith

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“You don’t just throw a whole life away just because it’s banged up a little.”

Tom Smith (played by Chris Cooper)

Seabiscuit’s trainer

“This is not a movie about victory, but about struggle.”

Gary Ross, Screenwriter/Director

Seabiscuit

Seabiscuit turned five this year — not the horse, of course, but the movie. And I wish Universal would re-release the film in theaters this holiday season. (In the digital projection future those decisions will be easier to make.)

The film originally came out in the summer of 2003. The economy was still in a slump from the terrorist events surrounding 911. Unemployment was high. The Laura Hillenbrand book, Seabiscuit: An American Legend, about a race horse set in the Great Depression was already a #1 New York Times bestseller.

The movie had a solid box-office run and was nominated for 7 Academy Awards. It was not only my favorite film of that year, but I’d put it in the top ten of my all time favorites. In my book it is across the board solid filmmaking on par with Rain Man and On the Waterfront. As time goes by that film will continue to find favor because it is a film with many layers.

(Seabiscuit is also the only movie poster I own. And as seen in the above photo, I keep it close by where I edit for inspiration. It just so happened that I moved to Iowa in the Summer of ’03 and for various reasons it was a hard enough transition that I saw Seabiscuit three times just in movie theaters.)

And the reason I’d love to see a re-release of the film is because the theme resonates even more today than it did even in 2003. Unemployment is higher today than it’s been in the past 15 years. While the stock market hasn’t crashed it has recently seen some of its greatest declines since the Great Depression. And then there is the auto industry.

Seabiscuit is set in a time of transition in the United States. A transition from the natural to the mechanical on one level and an examination of the American Dream on another level. And all wrapped together around three broken people and one broken horse.

It’s a movie that could have turned into a bad After School Special in the wrong hands, but in careful hands is a classic movie.

Of course, one thing that is happening now that wasn’t the case in 2003 is the auto industry is in a slump. What has been called the back bone of industry in our country is in trouble. Reports of sales being a third lower than normal are causing a ripple effect throughout the country. By some accounts the auto industry represents 10% of all US jobs when you begin to connect the related industries.

Maybe we could have a double feature with Seabiscuit. Remember the Ron Howard film Gung Ho? It starred Michael Keaton as a worker who has to justify his automotive job with the Japanese company that has taken over. By all accounts some US automotive companies need some major restructuring to survive.

In the movie Seabiscuit automobiles represent the future and bring wealth to Howard (played by Jeff Bridges), but it comes at a price. His son is killed in an automobile accident. And it is Howard who must find a way to put the pieces back together again. And along the way there is the forgotten horse trainer (Chris Cooper) and the angry jockey Red (Tobey Maguire) who are all brought together because of an underrated race horse. It’s a story of brokenness and restoration.

On the DVD commentary Gary Ross comments, “Howard is a guy who lost his son, and Red is a guy who lost his father. That’s just kind of the basic facts of it both in almost a cataclysmic way. And that original wound can never be righted but you can make peace with the pain in your life and somehow kind of continue. It can’t replaced, but it can be understood.”

And what’s special about Seabiscuit is it’s a film that connects with most of our lives. In fact, the closing shot is not one of victory, but one of a point of view of the audience on the horse as if to imply this is race we are all in. There will be battles and scars. But get back on the horse. As one friend tells his little boys when they get scrapes–“cuts and scars are proof of living.”

And Ross is careful to convey that these characters are far from perfect. “We labor under the tyranny of perfect heroes. Especially with movies that cost any money and everything gets homogenized down to things that are not objectionable or that are only heroic. The things that are ultimately most heroic are people struggling against their own obstacles or struggling to become something or struggling against their flaws and that’s what’s really heroic right there. I was lucky, I had three flawed heroes.”

And of course, this all started with the words written by Laura Hillenbrand as she researched and wrote the book over a course of years. Struggle is not foreign to Hillenbrand who has suffered from chronic fatigue syndrome since she was a college student in Ohio.

At 19 she had to abandon her dreams of some day getting a Ph.D. and in an interview with Anne A. Simpkinson said, “I spent the first year of my illness pretty much bed-bound and when I began to improve a little bit in 1988, I needed some way to justify my life.” She turned to writing.

In an article she wrote for The New Yorker, A Sudden Illness — How My Life Changed, Hillenbrand recounts the long process of adapting to her new life and how hard it was to write, “Because looking at the page made the room shimmy crazily around me, I could write only a paragraph or two a day… It took me six weeks to write 1,500 words.” Knowing that adds weight to her writing (not that it needs it).

“Man is preoccupied with freedom yet laden with handicaps.”

Laura Hillenbrand

Seabiscuit, An American Legend

If you’re a writer, Hillenbrand recounting the difficulties she endured while researching and writing Seabiscuit will probably give you little room to complain about the difficulties surround your situation. She wrote the first article on Seabiscuit from a tiny apartment in Washington, D.C.

And whatever grace Hillenbrand tapped into to write that book was passed on to screenwriter Gary Ross as he translated the 400 page book into a two hour and 21 minute movie. And in one of the rare cases in movie history the author was pleased with the movie script; “I found myself struck by how deftly Gary had managed to weave so much of the story into so short a time without it feeling compressed or rushed. Gary’s screenplay is simply brilliant, and I am so deeply grateful to him for his immense effort, his creativity, and his inspiration.”

On a closing note, if I recall correctly there were some interesting choices Ross made while adapting the script. I don’t expect to see every character in the book but from memory here are a handful of changes you may find interesting from a writer’s perspective and why I think they were made:

1) Howard’s son who was killed in real life was a teenager and not his only son. By making him younger and the only son creates more empathy for Howard.

2) Howard’s second wife Marcela (Elizabeth Banks) was actually the sister of his son’s wife. But why complicate the story? Plus in the movie there is only one son and he’s killed in his youth.

3) Tick-Tock McGlaughlin the colorful character played by William Macy is a fictitious character. And by Ross’ admission he’s there to compress the needed exposition to keep the story moving forward.

4) Ross also chose to end the movie when a sense of order had been restored in each of the lives. It’s a great jumping off point. But the epilogue in the book is a little different.

5) Hillenbrand writes that while Red lived close to the pulse of Tijuana that, “he appears to have passed up offers from Tijuana prostitutes.” Ross chose to use Red in the brothel as key scene where he learns of his vision problems. This is in the movie because I think there is a quota in Hollywood where x-amount of movies must have a prostitute or a pole dancer in it.

If you have never seen Seabiscuit do yourself a favor and see it before the end of the year, and if you just lost your job watch it tonight.

And for the writers out there here’s Hillenbrand quoted in the Ballinetine Books, Seabiscuit, The Screenplay reminding us of the power of storytelling:

“I was thinking ‘if I can sell five thousand copies (of Seabiscuit) out of the truck of my car, I’ll be happy.’ I just wanted to tell the story.”

Update November 27: Happy Thanksgiving. A day after I wrote this post I saw an ad for a new film called The Tale of Despereaux with the tagline about a “Small Hero. Big Heart.” Sounded kinda like Seabiscuit. I looked who to see who the screenwriter was and it’s Gary Ross. I look forward to that Christmas release.

If you’re looking for a Thanksgiving movie to watch today check out Pieces of April on DVD which is a wonderful film I’ve written a little bit about. It stars Katie Holmes and was written and directed by Des Moines, Iowa native Peter Hedges (What’s Eating Gilbert Grape?). And for you indy filmmakers that film was made just a few years ago using a Sony PD 150 DV camera that you can find on ebay these days for under $1,500.

photo & text copyright 2008 Scott W. Smith

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Last Friday I learned that Screenwriting from Iowa was nominated for an Emmy. Who knew you could even win an Emmy for a blog?

A couple months ago I entered a couple of my productions for regional Emmys in the Upper Midwest Chapter of the National Television Academy. I saw where there was a catagory for blogs on the arts and decided to give that a shot as well.

While I’ll find out in October if I’ve won I really have to thank (one more time) Diablo Cody. Her inspirational story of blogging that eventually lead to her writing Juno (which of course, led to her winning an Academy Award) is what gave me nudge to jump into the blogging game.

She single handedly changed my perception of blogging. (Well, Ken Lee of Michael Weise Productions also had a role.) As I’ve said before, I began blogging Screenwriting from Iowa just a few days after seeing Juno and discovering Ms. Cody went to college at the University of Iowa. (The Juno-Iowa Connection.)

It’s fitting that the Emmy Awards Gala next month will be held in downtown Minneapolis…just a few miles from where Ms. Cody wrote Juno. Don’t you just love those circle of life moments? I may never win an Oscar, but an Emmy (even a regional one) would be pretty cool.

Which brings me to the topic of screenwriting contests and awards. Are they a waste of time and money or something you should do? First let me say the writing lifestyle is hard. Writing is hard in and of itself, and finding time to actually write can be difficult between paying bills and juggling relationships. And then add on top of that it’s difficult to get much encouragement along the way. And the money thing? Forgetaboutit.

Most writers that make a living at writing could measure their work not in pages but in feet before they were discovered and the money began to flow. (Cody is no different in that while Juno was her first screenplay she had been writing since she was 12.)

One thing contests and awards provide is a little encouragement along the way. I know I have pushed more than once to make a deadline for a screenwriting contest. And I’ll never forget the person from the first Project Greenlight who commented that my script reminded then of the movie An Officer and a Gentleman. So if entering a competition forces you to write that’s a good thing. And if you win a reputable contest it could lead to getting an agent and/or getting produced. Some even offer feedback on your script.

On the other hand…I’m not a big fan of screenwriting contests in general. I think they are cash cows for many people and groups and a good deal are a waste of your time and money. Why not spend your time (and money) sending your scripts and notes to various people who can actually get your script bought and hopefully made?

Any salesperson will tell you sales is a numbers game. It’s a matter of knocking on doors, making phone calls, sending emails and shaking hands. When screenwriter/director Gary Ross contacted Seabiscuit: An American Legend author Laura Hillenbrand to tell her why she should chose him to make her film he had on his salesman hat.

(Allow me to add a little Midwest trivia. Hillenbrand attended Kenyon College in central Ohio whose notable alumni include actor Paul Newman, Calvin & Hobbs cartoonist Bill Watterson and writer E.L. Doctorow.)

Before you send your script and money into a contest check it out online and see what other people are saying. I’m sure there are some good ones out there so check around. Of course, the grand daddy of screenwriting contests is The Don and Gee Nicholl Fellowships in Screenwriting.

Lots and lots of competition but they offer up to five $30,000. fellowships. Age range of past winners range between 21 and 64 years old. And winners have gone on to have a role in writing 60 produced feature films. Susannah Grant (Erin Brockovich) was a fellow.

The only produced screenwriter (Love Liza) I know who has his own screenwriting contest is Gordy Hoffman of Blue Cat Screenplay. In fact, Hoffman has an insightful article on screenwriting contests called The Rouge Knight: Why Screenwriting Contests Matter.

I think there are some exciting things developing with online screenwriting contests that will be refined over the coming years and I think will have some real opportunities to not only win awards but have a direct hand in getting winning scripts produced.

Let me end with a closing story on how a screenwriting contest indirectly landed my first paid dramatic writing gig. I was producing a radio program in Orlando and had missed a contest deadline for some reason (like not enough postage) and I was complaining about it at this studio where I was working on the radio program and this guy said, “I didn’t know you wrote scripts. I have a radio drama that I’m producing, do you want to write the scripts?” (Sometimes it’s not who you know or what you know, but where you are when opportunity knocks.)

And over the next several months I wrote 12 one hour long scripts that aired nationally on the USA radio network. The producer who wrote those checks has gone on to produce several feature films so who knows if my missed opportunity many years ago could lead to other opportunities?

So keep writing and keep telling people what you do.

Copyright 2008 Scott W. Smith

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Auntie Em: “Why don’t you find a place where there isn’t any trouble?”

Dorothy:“A place where there isn’t any trouble. Do you suppose there is such a place Toto? There must be.”

The Wizard of Oz

Melissa: “Is there an F5?… What would that be like?”

Jason ‘Preacher’ Rowe: ”The finger of God.”

Twister

Chances are if you think back to where you were in 1996 it may seem like 100 years ago. A lot can happen in 12 years.

1996 is on my radar today because it’s the release date of a two-disc special edition of the movie Twister that was made that year. Iowa was not on my radar back then and neither were storm chasers. Those strange people who in the name of science roam the region known as tornado alley chasing monster-sized tornados looking for data to improve warning systems and hopefully save lives. (And also a good excuse to have an exciting day at the office.)

Twister was shot in Oklahoma and Iowa and according to some reports it was one of the most demanding films ever made. It earned every penny of its almost $500 million worldwide gross. According to Box Office Mojo Twister is #50 in all-time domestic box office draw.

It was everything that you expect from a big Hollywood tent pole movie. Special effects and more special effects. In fact, I think it’s fair to say that in the Twister screenplay the story is basically there to bridge one spectacular special effect with the next. The filmmakers and the studios told us what kind of film they were making and delivered on their promise.

I look forward to seeing the special edition DVD just to see the behind the scene footage and listen to the added commentary material. In fact, the commentary material may be the only way I watch some films from now on. I did that for the first time with the movie Cloverfield. I just rented it to listen to the director’s commentary. (I love learning little things like one phrase producer J.J. Abrams is fond of saying to keep the budget down is “We can make this whole movie with a ball of yarn.” Abrams and director Matt Reeves did an amazing job with special effects on Cloverfield given their budget was only a third of Twisters.)

A couple weeks ago I was meandering in a used book store next to the University of Northern Iowa looking for something different and came across a book called Twister: The Science of Tornadoes and the Making of an Adventure Movie by Keay Davidson.

I flipped through it and found this quote:

“If you want a spiritual experience, you should go spend April to June in the Midwest, because you have never seen cloud formations like this! You watch everything in the sky happening in front of you as if you were watching time-lapse photography. We would literally watch cloud towers shoot into the sky and within fifteen minutes one little cloud would rise to become one 30,000 feet high.”

Producer (Twister) Kathleen Kennedy

Now when Kathleen Kennedy talks you should listen. She has flat out had an amazing career in Hollywood and has had a hand in producing some of my favorite films: E.T.: The Extra-Terrestrial, Jurassic Park, Schindler’s List, Seabiscuit (the only movie poster I own), and most recently The Diving Bell and the Butterfly. If you’re still not impressed, she also produced the upcoming Indiana Jones film being released later this month. (Not bad for starting out as a secretary/production assistant for Steven Spielberg.)

To top it off Kennedy is married to Frank Marshall who produced Raiders of the Lost Ark and The Bourne Ultimatum and a whole lot in between. Together the Kennedy/Marshall duo have produced films that have made over 5 billion dollars.

Here’s another passage from Davidson’s book:

Twister’s setting is as grandiose as its subject: the Midwest. A terrain as rich in myth for Americans as the Aegean is for Greeks…What makes the Midwestern sky “so interesting is that the terrain is so flat—more than half of what you’re seeing is sky! So you tend to pay a lot of attention to it, said (Twister) director of photography Jack Green. “They’ve got these incredible cloud patterns passing through—clouds that contrast against a clear, intense blue and nearly unpolluted sky.”

The blue sky here in Iowa can be mesmerizing. (Especially if you’ve ever been on the Disney lot in Burbank and not been able to see the Verdugo Mountains just a few miles away because of the smog.) And while some Hollywood producers only know that blue sky as they’re flying over this part of the country, there are stories to be told from here. And I hope you’re doing your part to write them down wherever you live.

On a closing note the first week of May is not even over and already around 100 tornados have been spotted in Oklahoma, Arkansas, Missouri, Mississippi, Tennessee, Louisiana and Iowa. Unfortunately it’s cost hundreds of millions of dollars worth of damages and claimed several lives.

And even more tragic, in Myanmar (next to Thailand) they report over 20,000 deaths due to a cyclone this week.

None of us know where we’ll be 12 years from now. But one thing we can be sure of is there will be more disasters like Hurricane Katrina, 911, and the Tsunami that killed over 200,000 in Asia. There will be many prayers said and much relief work done. But remember that stories can also bring healing power and help give us perspective on life.

“Today is Father’s Day. Until my stroke, we had felt no need to fit this made-up holiday into our emotional calendar. But today we spend the whole of the symbolic day together, affirming that even a rough sketch, a shadow, a tiny fragment of a dad is still a dad.”

The Diving Bell and the Butterfly

Jean-Dominique Bauby

Copyright 2008 Scott W. Smith

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