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A Dynamic Duo: Gary Fleder and Scott Rosenberg
by Candy Cruz
(July 2000) |
Those who attended the July 8 Scriptwriters Network meeting were treated to a double-dose of industry insight. The scheduled guest was Gary Fleder, director of Things to Do in Denver When You're Dead, Kiss the Girls, and the upcoming Impostor, as well as episodes of Tales from the Crypt, From the Earth To the Moon and Homicide: Life On the Street. The surprise guest was Scott Rosenberg, writer of Things to Do in Denver When You're Dead, Beautiful Girls, Con Air and Disturbing Behavior, as well as the summer's first blockbuster, Gone in 60 Seconds. Rosenberg is also co-writer of the critically acclaimed High Fidelity, based on the cult novel by Nick Hornby. Notably, Rosenberg and Fleder happen to be longtime friends. And the good humor and respect evident in their friendship illustrates the importance of establishing -- and sustaining -- quality relationships in this industry.
Fleder and Rosenberg met at Boston University in 1983. Fleder, a native of Norfolk, Virginia, began making movies with a series of Super-8 shorts back in high school. It wasn't until college, as he puts it, that he "learned how to make films the right way," namely the technical aspects: focus, focal lengths, film stocks, exposure, and so on. Observing that many of the directors he respected had gone to film school, he later transferred to USC Graduate School, where he studied under screenwriting teacher Frank Daniel. One of Daniel's lessons has stayed with Fleder throughout his directing career: "Even if you don't write your own movies, learn how to do so." In other words, learn all you can about screenplay structure, act breaks, subtext and characterization.
Rosenberg, a writer since childhood, continued to study the craft while attending Boston University. But it wasn't until he followed a girlfriend to L.A. that he "got into screenplays." After transferring first to USC film school, then to UCLA, he gained attention -- and his first agent -- when he came in third for the Samuel Goldwyn Writing Award for excellence in screenwriting.
Yet their respective careers didn't really catalyze until Fleder contacted Rosenberg about collaborating on his thesis film. They shared a similar vision; and Rosenberg's writing complemented Fleder's directing style. The resulting short film, a suspense thriller entitled Air Time, was "the" student film at USC that year, and garnered both Fleder and Rosenberg a motherlode of industry attention. Indeed, producer Joel Silver was so impressed he offered to buy anything they pitched. After two or three sales, however, they always found themselves stuck in "development hell."
Then, when Rosenberg lost his father to cancer, he turned inward to write a dark, inventive, "down and dirty" story by way of catharsis. That story turned out to be Things to Do in Denver When You're Dead, which ultimately was picked up for distribution by Miramax. With its unique premise, intricate plot and a lyrical language all its own, the film won critical and audience accolades from around the world. This was the turning point that launched both their careers into the stratosphere.
During shooting, their close professional relationship proved a great advantage. Rosenberg was able to assist Fleder by acting as a liaison between the director and the actors. Fleder recognized that Rosenberg, as the writer, best understood the deeper motivations of the characters, and was therefore uniquely qualified to help each actor better understand his or her role. "When a writer cares about the material and has a stake in the picture, I love having them around," Fleder reflects. As a result, Rosenberg was on the set throughout the shoot as well as in the cutting room. "I was completely spoiled by the experience," Rosenberg admits now.
Later endeavors brought harsher lessons about 'creative differences.' On Kiss the Girls, Fleder's second feature, he felt the story needed to focus more on Ashley Judd's and Morgan Freeman's characters. The original screenwriter, David Klass, wanted to stay closer to the novel by James Patterson, written from the point of view of the killer. The two parted ways, and another writer, Mark Moss, was brought on to reshape the story. On screen, Fleder's taut direction brought out impressive performances from Judd and Freeman. Emerging as a provocative and diabolical thriller, Kiss the Girls (the movie) is considered by many to outshine its source material, and remains a favorite at video stores everywhere.
Like many suspense thrillers, the path a script takes from initial story to the big screen is full of twists and reverses. When Michael Linton, then-president of Hollywood Pictures, first pitched the idea of a remake of Gone in 60 Seconds to him three years ago, Rosenberg was very taken by the idea. Then, while collaborating with producer Jerry Bruckheimer on Con Air, Rosenberg suggested the remake might be a good choice for his next project. Nicolas Cage was looking for a "summer film," and the material seemed a perfect match. During shooting, though, the director's tinkering took the script in a different direction. Still, the production yielded many valuable and memorable experiences. When asked what pleases him about the movie - which grossed over 25 million in its opening weekend, and remained in the top ten at the box office for six weeks - Rosenberg joyfully recalls the first rehearsal when Robert Duvall spoke the words he'd written.
As the self-proclaimed "fastest writer in Hollywood," Rosenberg reports that he needs only two weeks to write the first draft. Where he invests most of his time is the outlining process, crafting 70 scenes - then "living with it" for about a month. Once the flood gates open, Rosenberg spills the first draft on a legal pad, checking off plot points and act breaks as he goes. He then entrusts his first draft to a close circle of five or six people. After receiving their feedback, he revises the script and, after careful review, turns it in.
Rosenberg prefers not to over-analyze scenes prior to writing them, but instead allows them to unfold. For Things to Do in Denver While You're Dead, for example, he wanted to create a new medley of two familiar genres -- namely, washed-up gangsters and the "Old West" -- which, thanks to a ski instructor he knew, inspired him to set the story in the titular town.
Most recently, Rosenberg and Fleder discovered how a project takes on a life of its own. Their current feature, the forthcoming sci-fi thriller Impostor, was originally made by Fleder and written by Rosenberg from a story by Phillip K. Dick as a short for an anthology film. Bob Weinstein at Miramax was so excited when he saw it that he wanted to make it into a feature. Although adapting the five-page story to a feature-length film proved challenging, their success is testament to the power of a compelling short film.
During the lively Q&A, our guests were asked their take on the 'dumbing down' of movies, to which Rosenberg quickly replied, "The scarier thing is the 'younging down' of Hollywood; it's starting to affect the stories themselves." Fleder added, "The whole ageism thing is very prevalent. The studio-level executives are in their thirties. They're all trying to capture an audience that's in their teens and twenties, who go to see the same films over and over."
When asked about the differences between writing for television and film, Rosenberg recalled his experience in creating "Going to California," a pilot for the WB network not slated to air. "It was an amazing experience for a writer," he raved at first. "I actually had influence over casting decisions!" But, he soberly added: "Everyone can see your film after its theatrical release through cable, video and DVD rentals; no one sees un-aired pilots."
Staying with the subject of television, Fleder prefers directing features and pilots rather than on-going TV series. "When you shoot a pilot, you get to set the look of the show," Fleder explains. "Episodic television is actually the worst job for a director," he states, citing the lower payscale and lack of autonomy on the set. While he'd like to produce for television, Fleder will keep his directing sights firmly set on the big screen.
When asked if he writes for specific actors, Rosenberg answered with a resounding "Yes!" And when pitching, he uses the names of stars. "You have to make them [studio executives] see the poster for the movie," he stresses. And how do they deal with the inevitable studio notes? Rosenberg laughs, "Agree with them!" He also adds, "Pick your battles, and know when to fall on your sword. The truly good executives ultimately will defer to your passion."
A big part of survival, says Fleder, is "having a great ego - and I don't mean being arrogant. It's knowing that it's just a matter of time before you're successful." Rejection, Fleder adds, only made him more determined to succeed. "It helps if you're not good at anything else!" Rosenberg cracks.
Certainly a lot has happened since Rosenberg and Fleder first collaborated on their short film. While some might view their phenomenal success as an incredible stroke of luck, it follows the hard work, dedication, passion and integrity each brings to the craft. After all, Rosenberg wrote twelve screenplays before enjoying his first sale. His parting advice stems from a quote from another successful filmmaker: "Steven Soderbergh once said luck equals talent plus perseverance.... People know if you have talent. Perseverance is the key."
Candy Cruz is a writer, editor and graphic artist for a quarterly magazine produced by a nonprofit organization.
The author would like to acknowledge C.S. Drotman for her assistance with this article.
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