By Patrick McGilligan
The sequence has confirmed priceless and edifying for movie scholars, students, and historians, for screenwriters and different pros, and for movie buffs as a rule. Applauded via reviewers and named one of the "100 crucial movie books" via a Los Angeles Times-appointed panel, it really is stated usually and quoted in lots of movie histories.
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Extra info for Backstory 3: Interviews with Screenwriters of the 1960s
I thought, "Christ, that's for me . . " When I was eighteen, I wrote a play that actually Dick Aldrich considered for a while. It wasn't any good, but it had something . . and I spent some time trying to write short stories for preposterous magazines. Then I sold a half-hour radio play when I was twenty, the first big thing I sold and the first thing I wrote for radio. I knew a guy in an ad agency who produced radio shows, and he let me go to a rehearsal. I had never seen a radio script before I got a copy of one.
Frannie loved it, so I became a client of Leland Hayward's office. Then Leland sold out to MCA [Music Corporation of America], so I became an MCA client. This was approximately 1947. MCA absorbed Leland's literary clients; they had two departments at MCA in those days—talent and writers. Then, this is what happened: CBS was attempting to build some in-house comedies because they were always being forced to buy packages and getting screwed on the deals, and also because they felt tyrannized by Arthur Godfrey.
Not an original. An adaptation. I thought his script was great. The woman character was weak but easily corrected. It was called The Verdict. I told the producers—David Brown and Dick Zanuck, who had produced Brodie —the script was wonderful. " He agreed that was the case. " I did a draft and did make the woman strong, and the producers were thrilled with it. " Before anything could happen, Bob Redford came to look at our house in Connecticut at a time when we thought we were maybe moving. He saw a copy of the script in the house.