“I want to talk about your project,” he said, “but first we need to talk about Thomas Mann.” He then went on to connect Mann’s writing to the hotly-debated political issues of the day. He sat down and plopped a copy of Thomas Mann’s Last Essays on the table. The latter film, directed by John Curran, was also executive produced by Gross, and below he discusses the ways in which screenwriters can function as producers to get their projects made.Īn aside: years ago, I had a lunch meeting with Larry to discuss a project. His credits include Walter Hill’s 48 Hours and Streets of Fire, Clint Eastwood’s True Crime, and also independent films like Chinese Box, Prozac Nation and We Don’t Live Here Anymore. Launching the column is this interview with Larry Gross, a keenly intelligent writer whose work has encompassed Hollywood films, independent titles and also film criticism. We will explore both the art and business of screenwriting, particularly as it applies to projects that exist off the Hollywood axis. In this new, occasional column, we will explore these issues with screenwriters whose approach, no matter the project, is inarguably independent. Is that because so many independent directors write their own scripts? Because screenwriters-for-hire are inevitably drawn to the world of Hollywood? Or, perhaps, because the term means little when applied to the craft of screenwriting? After all, while a director is reliant on others to provide financing and labor, a writer can always sit down with pen, paper or word processor. “The independent screenwriter” - is the term a tautology or oxymoron? While the word “independent” is often applied to directors and sometimes producers, it’s rarely seen appended to the job title of screenwriter. In Filmmaking, Interviews, Screenwriters, Screenwritingĭevelopment, john curran, Larry Gross, Screenplay Writing, Screenwriters, Terrence Malick, Walter Hill, wayne wang
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