We try to make these people understand, the people that are doing the deal, that I want to be part of the solution, not part of the problem. I like it. KING : The other side of this, too, is that if you do that, you can say to these people, what I want is a share in whatever comes in, as a result, from dollar one.
They were perfectly willing to go along with that. A lot of people feel like you want to get in their business. I want to be part of the solution. There were things about the screenplay that I thought were a little bit wonky actually, you know.
I thought, well this seems a little off the subject. But it was great in the movie. KING : No. And the other thing is, you start from the belief that these people know their business. And I like that. If those things translate well, it almost [had] to be better than the prose in the book did.
Now I got sidetracked on that, I forgot your question. DEADLINE : I wondered if giving those controls to an author can cost you getting a great filmmaker accustomed to having control — you had Stanley Kubrick do one of your books, for instance?
When you get a really gifted director in particular who wants to guide the process of the film, the actual creation, that filmmaker wants to work with the screenwriter in order to get certain effects that they want.
There was a time when I distrusted that process very much. But having been around the business with so many films, I have more of a tendency to trust good directors than I used to.
But after watching over and over for years, I appreciated more and more the spectacular visual moments in that movie, and I grew to love it. Initially, you were less than thrilled. Kubrick, what about hell? Absolutely no arc at all. All he does is get crazier.
Strangelove , for one and Paths of Glory , for another. I think he did some terrific things but, boy, he was a really insular man. In the sense that when you met him, and when you talked to him, he was able to interact in a perfectly normal way but you never felt like he was all the way there. He was inside himself. Would you still make that deal with him and trust in a great filmmaker even if you once again found yourself on the outside?
KING : Yeah.. I would. You know this movie Melancholia? And, in fact, I made an American miniseries out of his Kingdom Hospital. And, again, I would stand aside and say, go to it and have a great time. The other thing that interests me is when you get a chance to give a talented newcomer a shot.
There was some talk about Ben Affleck making The Stand. Affleck understands story, and the fact that movies are this wonderful medium for storytelling. What was your opinion of that whole process? KING : Well, it was a learning curve because I came into the whole thing thinking that screenwriting was work for idiots because everything was on the surface.
But little by little, as I learned, I got more respect for it. DEADLINE : Michael Connelly had to go through an ordeal to get back rights to his Harry Bosch mysteries which languished at Paramount since and he found the studio had placed prohibitive overhead costs against them.
Ever make a deal like that, one that you greatly regretted? KING : Never. DEADLINE : You never had one where you basically gave up too many rights and you felt like you were getting jerked around because nothing was happening? And Warner Bros. Is it for the teenagers? Is it for the super hero crowd? What is it? Or get all the way in, you know, and become a part of the team the way that I am with those brothers, and be willing to travel, make the changes.
If you have to be on set because stuff comes up, you have to do it. I did a miniseries called Rose Red , with ABC, and one of the principal actors, David Dukes, died of a heart attack on the show, and so I have to go to work and figure out how to make that work anyway. What has the long lar with the multi-platform and the limited run television and stuff like that.
But I wonder, what has The Dark Tower experience shown you about the climate today in trying to make tent poles happen? KING : Well, it suggests to me two things.
Step 7: Have them threaten to blow something up. Great care must be used in the threat scene. The danger must be clear and immediate. It is best if an innocent protagonist is directly and unknowingly a target of the terrorist attack. In all cases, you must make it clear that the motive has to do with holy war. Step 8: Have a prayer scene. This follows directly from Step 6.
If unsure what the procedure for prayer is, include enough kneeling and prostrating to make it all look believable. Step 9: If your movie is set in a plane, do not worry because you can still have the protagonists pray in the aisles. Step Never, ever cast a woman as part of the group. But if you must, she should be entirely veiled in black; preferably, she should be mistreated by other Arabs. Another possible use of a female character is as a belly dancer. You will find that your audience roots for the hero even more after such a scene.
Step When all previous steps are completed, have your hero kick some Middle Eastern butt. Everyone will cheer and go home happy, and you can sit back and watch the money roll in. As far as I know, mine is the only step guide to sure-fire comic relief and financial success at the expense of a minority. I expect that it will be of great use to screenwriters in this town, and I hope to start receiving my royalty checks soon.
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