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Billy Wilder, The Art of Screenwriting No. 1
Billy Wilder, The Art of Screenwriting No. 1
Billy Wilder, The Art of Screenwriting No. 1
Interviewed Jame Linville
IU 138, PRING 1996
ill Wilder, one of American cinema’ premiere writer-director, ha alwa maintained that
movie are “authored,” and ha alwa felt that much of a lm’ direction ideall hould take
place in the writing. Like man of the medium’ great lmmaker, Wilder egan hi career a a
writer, et he i unique in the extent of hi involvement in the development of the material he
ha directed. Indeed, he ha cowritten all twent-four of hi lm.
amuel “ill” Wilder wa orn June , in Vienna, in the Autro-Hungarian mpire.
A er ear a a reporter—highlighted a ingle da during which he interviewed Richard
trau, Arthur chnitzler, Alfred Adler, and igmund Freud—Wilder gravitated to erlin. ere
he worked a a crime reporter, drama critic, and (o he claim) gigolo, efore he egan to
produce cenario for the ooming German lm indutr, nall writing over two hundred,
including the notale precuror of neorealim, People on unda ( ). Wilder, driven
Hitler’ acendanc, le erlin; hi mother, grandmother, and tepfather, who taed in Vienna,
perihed later in the Holocaut. He arrived in Hollwood, with onl a temporar via and
almot no nglih, to hare a room and a can of oup a da with the actor Peter Lorre. Later he
upgraded hi quarter to a vetiule near the woman’ retroom at the Chateau Marmont on
unet oulevard.
Wilder egan hi American career at a moment when tudio had egun to let ome
creenwriter direct their own cript—or, a one lm executive aid, let the lunatic take over
the alum—a phenomenon that parked the career of a numer of remarkale writer-director
(Preton turge, John Huton, Joeph Mankiewicz). At the time, rnt Luitch, an émigré
from the earlier, ilent, period, wa head of production at Paramount, where Wilder rt
ourihed, the onl time a lmmaker ha een in charge of a major tudio.
A a contract writer at Paramount, Wilder cowrote a numer of lm with Charle rackett,
among them all of Fire, directed Howard Hawk, lueeard’ ighth Wife and Ninotchka,
oth directed Luitch. Although he credit the experience of working with Luitch for
teaching him much of what he knew aout lm, Wilder grew increaingl exaperated the
miinterpretation of hi work leer lmmaker. He reolved to ecome a director himelf.
Wilder’ lm how an extraordinar range, from lm noir to crewall comed. Although
he claim that a a director he apired to an unotruive tle of hooting, all hi lm,
nonethele are marked a ingular viion—elegant dramatization of character through action,
ditinctive dialogue, and a our/weet, or even mianthropic, view of humanit—qualitie that
tem, for the mot part, from the writing. Wilder’ credit a a director and cowriter include
Doule Indemnit, unet oulevard, arina, Ace in the Hole, talag , e Lot Weekend, ome
Like it Hot, and e Apartment. Four lm directed and cowritten Wilder have een elected
the National Film Regitr of the Lirar of Congre for recognition and preervation. Onl
director John Ford, with ve, ha more.
e o ce where he goe ever weekda i a imple uite on the econd oor of a low-rie
o ce uilding. On the wall acro from hi dek, in gilt letter eight inche high i the quetion
how would luitch do it? A da ed, like an analt’ couch, i et againt one wall. e
oppoite wall i decorated with peronal photo, including a numer of him with ome of
cinema’ other great writer-director—John Huton, Akira Kuroawa, and Federico Fellini.
Wilder point out a Polaroid collage depicting a paper-trewn dek—“David Hockne’ portrait
of m o ce”—and then, with mercurial amuement, a numer of hi own creation: a goof
erie of plater cat of a ut of Nefertiti, each painted and decorated with the ditinctive
feature of a numer of cultural gure—a Groucho Nefertiti, an intein Nefertiti, a Little
Tramp Nefertiti. Wilder mention with ome pride the “one-man how” of thee gurine that
had een preented at a galler near.
Aked aout hi noted art collection, Wilder a, “I didn’t get rich a a director, I got rich
elling art. irt-four million dollar to e exact, when it went on ale at Chritie’.” When
aked for tip on collecting he a, “ure, don’t collect. u what ou like, hold onto it, enjo it.”
Later he would o er a numer of other get-rich tip: “ack ome pornographic lm and then,
a a hedge to alance our invetment hould famil value rie, u tock in Dine.” Alo, “et
conitentl againt the Lo Angele Ram.”
A retle man, taller than expected, Wilder wear large lack-framed glae, and conduct
himelf with the air of a enevolent, even exuerant, dictator. When rml ettled in a large
chair ehind hi dek, he a, “Now, ou wanted to ak me a quetion.”
I N T RV I W R
You’re known a a writer and director for our harp ee. Could that have anthing to do with
our ene of ourelf a an outider?
I L LY WI L D R
verthing wa new to me when I arrived in America, o I looked cloel. I had arrived in the
countr on a ix-month viitor’ via, and I had great di cult otaining an immigration via
that would allow me to ta on. Alo, the tatu of m nglih wa rather poor. I couldn’t
rearrange the furniture in m mouth—the tonil, the curved palate. I’ve never lot m accent.
rnt Luitch, who came in , had a much heavier accent than mine, a did Otto
Preminger. Children can get the pronunciation in a few week, ut nglih i a tough language
ecaue there are o man letter in word that are totall uele. ough and through. And
tough!
I N T RV I W R
Coming to the American movie indutr at a time when man ditinguihed German director
were working, did ou feel part of a pecial group?
WI L D R
ere were ome excellent German director, led Mr. Luitch, ut I impl met him and
hook hi hand; he had no interet in me when I arrived. In fact, he wa ver reluctant to give
jo to German; it wa onl four ear later that he hired me. I had written ome picture in
German, uuall working alone. ut when I came here I had to have a collaorator on account
of m untead nglih and m knowledge of onl aout three hundred word. Later I found
that if I had a good collaorator it wa ver pleaant to talk to omeod and not come into an
empt o ce. e head of the writer’ department at Paramount had the good idea to pair me
with Charle rackett, a ditinguihed man from the at, who had gone to Harvard Law
chool and wa aout een ear older than I. I liked working with him. He wa a ver good
man. He wa a memer of the Algonquin round tale. He had een the movie critic or theater
critic on e New Yorker in the eginning, the twentie.
One da, rackett and I were called in to ee Luitch. He told u he wa thinking vaguel
aout doing an adaptation of a French pla aout a millionaire—a ver traightforward law-
aiding gu, who would never have an a air with a woman unle he wa married to her. o he
married even time!
at would e Gar Cooper. Claudette Colert wa to e the woman who wa in love with
him, who’d init “I’ll marr ou, ut onl to e the nal wife.” A the meeting wa eing
adjourned, I aid, I have a meet-cute for our tor. (A “meet-cute” wa a taple of romantic
comedie ack then, where o meet girl in a particular wa, and park .) Let’ a our
millionaire i an American who i ver ting. He goe to a department tore in Nice on the
French Riviera where he want to u a pajama top, ut jut the top, ecaue he never wear the
pant. he ha come to the ame counter to u pajama for her father, who a it happen onl
wear the pant. at roke the ice, and we were put to work on that picture, which ecame
lueeard’ ighth Wife.
Luitch, of coure, would alwa nd a wa to make omething etter. He put another twit
on that meeting. rackett and I were at Luitch’ houe working, when during a reak he
emerged from the athroom and aid, What if when Gar Cooper come in to the tore to u
the pajama top, the aleman get the oor manager, and Cooper again explain he onl want to
u the top. e oor manager a, Aolutel not, ut when he ee Cooper will not e
topped, the oor manager a, Mae I could talk to the tore manager. e tore manager
a, at’ unheard of ! ut end up calling the department tore’ owner, whom he ditur in
ed. We ee the owner in a cloe hot go to get the phone. He a, It’ an outrage! And a the
owner goe ack to hi ed ou ee that he doen’t wear pajama pant either.
I N T RV I W R
When ou rt met Luitch over lunch, did ou think of that meet-cute on the pot?
WI L D R
No, I alread had that. I had een hoping to ue it for omething, and when he told u the tor
of the picture I aw how it might t. I had dozen of meet-cute. Whenever I thought of one I’d
put it in a little noteook. ack then the were de rigeur, a taple of crewall comedie. ver
comed writer wa working on hi meet-cute; ut of coure we don’t do that anmore. Later, I
did a verion of the meet-cute for e Apartment, where Jack Lemmon and hirle MacLaine,
who when the ee each other ever da have thi little routine together. And in arina, where
he reappear and the ounger Larraee, William Holden, doen’t recognize her—him not
recognizing her ecome a kind of meet-cute. When dne Pollack wa remaking that movie, I
told him the hould make the Larraee famil’ compan a ankrupt compan, and arina’
competition for the ounger Larraee the daughter of a Japanee propective-uer.
I N T RV I W R
You have a gold-framed legend on the wall acro from our dek. How Would Luitch do it?
WI L D R
When I would write a romantic comed along the Luitchian line, if I got topped in the
middle of a cene, I’d think, How would Luitch do it?
I N T RV I W R
Well, how did he do it?
WI L D R
One example I can give ou of Luitch’ thinking wa in Ninotchka, a romantic comed that
rackett and I wrote for him. Ninotchka wa to e a reall traight Leninit, a trong and
immovale Ruian commiar, and we were wondering how we could dramatize that he,
without wanting to, wa falling in love. How could we do it? Charle rackett and I wrote
twent page, thirt page, fort page! All ver laorioul.
Luitch didn’t like what we’d done, didn’t like it at all. o he called u in to have another
conference at hi houe. We talked aout it, ut of coure we were till, well . . . locked. In an
cae, Luitch excued himelf to go to the athroom, and when he came ack into the living
room he announced, o, I’ve got it.
It’ funn, ut we noticed that whenever he came up with an idea, I mean a reall great idea,
it wa a er he came out of the can. I tarted to upect that he had a little ghotwriter in the
owl of the toilet there.
I’ve got the anwer, he aid. It’ the hat.
e hat? No, what do ou mean the hat?
He explained that when Ninotchka arrive in Pari the porter i aout to carr her thing
from the train. he ak, Wh would ou want to carr thee? Aren’t ou ahamed? He a, It
depend on the tip. he a, You hould e ahamed. It’ undigni ed for a man to carr
omeone ele’ thing. I’ll carr them melf.
At the Ritz Hotel, where the three other commiar are taing, there’ a long corridor of
window howing variou oject. Jut window, no tore. he pae one window with three
craz hat. he top in front of it and a, “ at i ludicrou. How can a civilization of people
that put thing like that on their head urvive?” Later he plan to ee the ight of Pari—the
Louvre, the Alexandre III ridge, the Place de la Concorde. Intead he’ll viit the electricit
work, the factorie, gathering practical thing the can put to ue ack in Mocow. On the wa
out of the hotel he pae that window again with the three craz hat.
Now the tor tart to develop etween Ninotchka, or Garo, and Melvn Dougla, all
ort of little thing that add up, ut we haven’t een the change et. he open the window of
her hotel room overlooking the Place Vendôme. It’ eautiful, and he mile. e three
commiar come to her room. e’re nall prepared to get down to work. ut he a, “No,
no, no, it’ too eautiful to work. We have the rule, ut the have the weather. Wh don’t ou
go to the race. It’ unda. It’ eautiful in Longchamp,” and he give them mone to gamle.
A the leave for the track at Longchamp, he lock the door to the uite, then the door to
the room. he goe ack into the edroom, open a drawer, and out of the drawer he take the
craziet of the hat! he pick it up, put it on, look at herelf in the mirror. at’ it. Not a
word. Nothing. ut he ha fallen into the trap of capitalim, and we know where we’re going
from there . . . all from a half page of decription and one line of dialogue. “eautiful weather.
Wh don’t ou go have ourelve a wonderful da?”
I N T RV I W R
He returned from the athroom with all thi?
WI L D R
Ye, and it wa like that whenever we were tuck. I gue now I feel he didn’t go o en
enough.
I N T RV I W R
You’ve indicated where Luitch got hi idea. Where do ou get our?
WI L D R
I don’t know. I jut get them. ome of them in the toilet, I’m afraid. I have a lack ook here
with all ort of entrie. A little it of dialogue I’ve overheard. An idea for a character. A it of
ackground. ome o-meet-girl cenario.
While I wa working with Mr. Lemmon for the rt time on ome Like It Hot, I thought to
melf, i gu’ got a little it of geniu. I would love to make another picture with him, ut I
don’t have a tor. o I looked in m little lack ook and I came acro a note aout David
Lean’ movie rief ncounter, that tor aout a married woman who live in the countr, come
to London, and meet a man. e have an a air in hi friend’ apartment. What I had written
wa, What aout the friend who ha to crawl ack into that warm ed?
I had made that note ten ear earlier, I couldn’t touch it ecaue of cenorhip, ut uddenl
there it wa— e Apartment—all uggeted thi note and the qualitie of an actor with
whom I wanted to make m next picture. It wa ideal for Lemmon, the comination of weet
and our. I liked it when omeone called that picture a dirt fair tale.
I N T RV I W R
unet oulevard?
WI L D R
For a long time I wanted to do a comed aout Hollwood. God forgive me, I wanted to have
Mae Wet and Marlon rando. Look what ecame of that idea! Intead it ecame a traged of a
ilent-picture actre, till rich, ut fallen down into the a a er talkie. “I am ig. It’ the
picture that got mall.” I had that line earl on. omeplace ele I had the idea for a writer who i
down on hi luck. It didn’t quite fall into place until we got Gloria wanon.
We had gone to Pola Negri rt. We called her on the phone, and there wa too much Polih
accent. You ee wh ome of thee people didn’t make the tranition to ound. We went to
Pickfair and viited Mar Pickford. rackett egan to tell her the tor, ecaue he wa the more
eriou one. I topped him: No, don’t do it. I waved him o . he wa going to e inulted if we
told her he wa to pla a woman who egin a love a air with a man half her age. I aid to her,
We’re ver orr, ut it’ no ue. e tor get ver vulgar.
Gloria wanon had een a ig tar, in command of an entire tudio. he worked with
DeMille. Once he wa dreed, her hair done to perfection, the placed her on a edan and two
trong men would carr her onto the et o no curl would e diplaced. ut later he did a
couple of ound picture that were terrile. When I gave her the cript, he aid, I mut do thi,
and he turned out to e an aolute angel.
I ued tar wherever I could in unet oulevard. I ued Cecil . DeMille to pla the ig
important tudio director. I ued rich von troheim to pla the director who directed the rt
picture with wanon, which he in fact did. I thought, Now, if there i a ridge game at the
houe of a ilent tar, and if I am to how that our hero, the writer, ha een degraded to eing
the utler who clean ahtra, who would e there? I got Harr . Warner, who plaed Jeu in
DeMille’ ilical picture, Anna Q. Nilon, and uter Keaton, who wa an excellent ridge
plaer, a tournament plaer. e picture indutr wa onl or ixt ear old, o ome of the
original people were till around. ecaue old Hollwood wa dead, thee people weren’t exactl
u. e had the time, got ome mone, a little recognition. e were delighted to do it.
I N T RV I W R
Did ou ever feel diappointed with our reult, that the picture ou had imagined or even
written hadn’t turned out?
WI L D R
ure, I’ve made lunder, for God’ ake. ometime ou la an egg, and people will a, It wa
too earl. Audience weren’t read for it. ullhit. If it’ good, it’ good. If it’ ad, it’ ad.
e traged of the picture maker, a oppoed to the plawright, i that for the plawright the
pla deut in edford, Maachuett, and then ou take it to Pitturgh. If it tink ou ur
it. If ou examine the credit of Mo Hart or George Kaufman, no one ever ring up the pla
that omed in the province and wa uried a er four how.
With a picture that doen’t work, no matter how tupid and how ad, the’re till going to
tr to queeze ever ingle penn out of it. You go home one night and turn on the TV and
uddenl, there on televiion, taring ack at ou, on prime time, that lou picture, that thing, i
ack! We don’t ur our dead; we keep them around melling adl.
I N T RV I W R
I there one ou have in mind?
WI L D R
Don’t make me. I ma loe m reakfat.
Now, I do have to admit I wa diappointed the lack of ucce of ome picture I thought
were good, uch a Ace in the Hole. I liked the movie ver much ut it did not generate an
“mut-ee” mood in audience.
On the other hand, ometime ou’ll have a rough time, and the lm will turn out all right.
On arina I had a ver rough time with Humphre ogart. It wa the rt time he’d worked
with Paramount. ver evening a er hooting, people would have a drink in m o ce, and a
couple of time I forgot to invite him. He wa ver angr and never forgave me.
ometime when ou nih a picture ou jut don’t know whether it’ good or ad. When
Frank Capra wa hooting Claudette Colert in It Happened One Night, a er the lat hot he
aid, Will that e all Mr. Capra?
We’re all done.
All right. Now wh don’t ou go and fuck ourelf. he thought the picture wa hit, ut he
won the Academ Award for it.
o ou’re never quite ure how our work will e received or the coure our career will take.
We knew we’d gotten a trong reaction at the rt ig preview of unet oulevard. A er the
creening, arara tanwck went up and kied the hem of Gloria wanon’ roe, or dre, or
whatever he wa wearing that night. Gloria had given uch an incredile performance. en in
the ig Paramount creening room, Loui . Maer aid loudl, We need to kick Wilder out of
America if he’ going to ite the hand that feed him. He wa with hi contingent from MGM,
the king then, ut in front of all hi department head, I told him jut what he could do. I
walked out jut a the reception wa tarting.
Although the movie wa a great ucce, it wa aout Hollwood, exaggerated and
dramatized, and it reall hit a nerve. o on the wa down the tep I had to pa all thoe people
from MGM, the cla tudio . . . all thoe people who thought thi picture would oil the tate of
Hollwood.
A er unet oulevard, rackett and I parted friend. Twelve ear together, ut the plit
had een coming. It’ like a ox of matche: ou pick up the match and trike it againt the ox,
and there’ alwa re, ut then one da there i jut one mall corner of that araive paper le
for ou to trike the match on. It wa not there anmore. e match wan’t triking. One of u
aid, Look, whatever I have to give and whatever ou have to o er, it’ jut not enough. We can
end on the good note of unet oulevard. A picture that wa revolutionar for it da.
I N T RV I W R
How do collaorator work together?
WI L D R
rackett and I ued to hare two o ce together with a ecretar in etween. When we were
writing he alwa laid down on the couch in m o ce while I would walk around with a tick in
m hand.
I N T RV I W R
Wh the tick?
WI L D R
I don’t know. I jut needed omething to keep m hand u and a pencil wan’t long enough.
He alwa had the ellow legal talet, and he wrote in longhand, then we’d hand it to the
ecretar. rackett and I would dicu everthing, the picture a a whole, the curtain ituation
— rt act, econd act and then the end of the picture—and the curtain line. en we would
reak it down and go to a peci c cene and dicu the mood and o forth, then we’d gure out
what it of the tor we’d tell in thoe ten page of the cene.
I N T RV I W R
Wa it the ame working with I. A. L. Diamond?
WI L D R
Prett much the ame a with rackett. Dicu the tor, reak it down into cene, and then I
would dictate and he would tpe. Or he would it there thinking, and I would write on a ellow
talet and how it to him.
How’ thi? I’d a.
No. No good, he’d a. Never in an initent wa, however.
Or he might ugget omething to me, and I’d hake m head. He’d jut take it, tear it up,
and put it in the wateaket, and we’d never come ack to it.
We had a great deal of trut in each other. ut ometime with writing ou jut can’t tell,
epeciall if ou’re writing under preure. Diamond and I were writing the nal cene of ome
Like It Hot the week efore we hot it. We’d come to the ituation where Lemmon trie to
convince Joe . rown that he cannot marr him.
“Wh?” rown a.
“ecaue I moke!”
“ at’ all right a far a I’m concerned.”
Finall Lemmon rip hi wig o and ell at him, “I’m a o! ecaue I’m a o!”
Diamond and I were in our room working together, waiting for the next line—Joe .
rown’ repone, the nal line, the curtain line of the lm—to come to u. en I heard
Diamond a, “Nood’ perfect.” I thought aout it and I aid, Well, let’ put in “Nood’
perfect” for now. ut onl for the time eing. We have a whole week to think aout it. We
thought aout it all week. Neither of u could come up with anthing etter, o we hot that
line, till not entirel ati ed. When we creened the movie, that line got one of the igget
laugh I’ve ever heard in the theater. ut we jut hadn’t truted it when we wrote it; we jut
didn’t ee it. “Nood’ perfect.” e line had come too eail, jut popped out.
I N T RV I W R
I undertand our collaoration with Ramond Chandler wa more di cult?
WI L D R
Ye. Chandler had never een inide a tudio. He wa writing for one of the hard-oiled erial
magazine, e lack Mak—the original pulp ction—and he’d een tringing tenni racket to
make end meet. Jut efore then, Jame M. Cain had written e Potman Alwa Ring Twice,
and then a imilar tor, Doule Indemnit, which wa erialized in three or four intallment in
the late Liert magazine.
Paramount ought Doule Indemnit, and I wa eager to work with Cain, ut he wa tied up
working on a picture at Fox called Wetern Union. A producer-friend rought me ome
Chandler torie from e lack Mak. You could ee the man had a wonderful ee. I rememer
two line from thoe torie epeciall: “Nothing i emptier than an empt wimming pool.” e
other i when Marlowe goe to Paadena in the middle of the ummer and drop in on a ver old
man who i itting in a greenhoue covered in three lanket. He a, “Out of hi ear grew hair
long enough to catch a moth.” A great ee . . . ut then ou don’t know if that will work in
picture ecaue the detail in writing have to e photographale.
I aid to Joe itrom, Let’ give him a tr. Chandler came into the tudio, and we gave him
the Cain tor Doule Indemnit to read. He came ack the next da: I read that tor. It’
aolute hit! He hated Cain ecaue of Cain’ ig ucce with e Potman Alwa Ring Twice.
He aid, Well, I’ll do it anwa. Give me a creenpla o I can familiarize melf with the
format. i i Frida. Do ou want it a week from Monda?
Hol hit, we aid. We uuall took ve to ix month on a cript.
Don’t worr, he aid. He had no idea that I wa not onl the director ut wa uppoed to
write it with him.
He came ack in ten da with eight page of aolute ullhit. He had ome good phrae
of dialogue, ut the mut have given him a cript written omeone who wanted to e a
director. He’d put in direction for fade-in, diolve, all kind of camera move to how he’d
graped the technique.
I at him down and explained we’d have to work together. We alwa met at nine o’clock, and
would quit at aout four-thirt. I had to explain a lot to him a we went along, ut he wa ver
helpful to me. What we were doing together had real electricit. He wa a ver, ver good writer
—ut not of cript.
One morning, I’m itting there in the o ce, ten o’clock and no Chandler. leven o’clock. At
eleven-thirt, I called Joe itrom, the producer of Doule Indemnit, and aked, What
happened to Chandler?
I wa going to call ou. I jut got a letter from him in which he reign.
Apparentl he had reigned ecaue, while we were itting in the o ce with the un hining
through, I had aked him to cloe the curtain and I had not aid pleae. He accued me of
having a man a three martini at lunch. Furthermore, he wrote that he found it ver
diconcerting that Mr. Wilder get two, three, ometime even four call from ovioul oung
girl.
Naturall. I would take a phone call, three or four minute, to a, Let’ meet at that
retaurant there, or, Let’ go for a drink here. He wa aout twent ear older than I wa, and
hi wife wa older than him, elderl. And I wa on the phone with girl! ex wa rampant then,
ut I wa jut looking out for melf. Later, in a iograph he aid all ort of nat thing aout
me—that I wa a Nazi, that I wa uncooperative and rude, and God know what. Mae the
antagonim even helped. He wa a peculiar gu, ut I wa ver glad to have worked with him.
I N T RV I W R
Wh have o man novelit and plawright from the at, people like F. cott Fitzgerald and
Doroth Parker, had uch a terrile time out here?
WI L D R
Well, ecaue the were hired for ver ig amount of mone. I rememer thoe da in New
York when one writer would a to the other, I’m roke. I’m going to go to Hollwood and teal
another thouand. Moreover, the didn’t know what movie writing entailed. You have to
know the rule efore ou reak them, and the impl didn’t chool themelve. I’m not jut
talking aout eait or newpapermen; it wa even the novelit. None of them took it
erioul, and when the would e confronted their uperior, the producer or the director,
who had a louder voice and the weight of the tudio ehind him, the were not particularl
intereted in taking advice. eir idea wa, Well, crap, everod in America ha got a creenpla
inide them—the policeman around the corner here, the waiter in Denver. verod. And hi
iter! I’ve een ten movie. Now, if the would onl let me do it m wa . . . ut it’ not that ea.
To egin to make even a mediocre lm ou have to learn the rule. You have to know aout
timing, aout creating character, a little aout camera poition, jut enough to know if what
ou’re uggeting i poile. e pooh-poohed it.
I rememer Fitzgerald when he wa working at Paramount and I wa there working with
rackett. rackett, who wa from the at, had written novel and pla, and had een at
Paramount for ear. rackett and I ued to take reak and go to a little co ee joint acro the
treet from the tudio. Olath’! we ued to a. e onl place in the world ou can get a grea
Tom Collin. Whenever we aw cott Fitzgerald there, we’d talk with him, ut he never once
aked u anthing aout writing creenpla.
Picture are omething like pla. e hare an architecture and a pirit. A good picture
writer i a kind of poet, ut a poet who plan hi tructure like a cra man and i ale to tell
what’ wrong with the third act. What a veteran creenwriter produce might not e good, ut it
would e technicall correct; if he ha a prolem in the third act he certainl know to look for
the eed of the prolem in the rt act. cott jut didn’t eem particularl intereted in an of
thee matter.
I N T RV I W R
Faulkner eemed to have hi di cultie too.
WI L D R
I heard he wa hired MGM, wa at the tudio for three month, quit and went ack home;
MGM never gured it out and the kept ending the check down to Miiippi. A friend of
mine wa hired MGM to do a cript and he inherited the o ce where Faulkner had een
working. In the dek he found a ellow legal pad with three word on it: o. Girl. Policeman.
ut Faulkner did ome work.
At ome point he worked with Howard Hawk on To Have and Have Not, and he cowrote
e Land of the Pharaoh. On that movie the went wa over chedule with production and far
pat their etimated cot. On creen, there were thouand of lave dragging enormou tone
to uild the pramid. It wa like an ant heap. When the nall nihed the lm and creened
it for Jack Warner, Warner aid to Hawk, Well, Howard, if all the people who are in the picture
come to ee it, we ma reak even.
ut there were other writer out here who were clever and good and made a little fortune.
e plawright en Hecht and Charle MacArthur, for example. Hecht trul endeared himelf
to the people he worked with. A producer or director would e in a jam . . . the et uilt, the
lead hired, the hooting egun, onl to admit to themelve nall that the cript the had wa
unuale. e would ring out Hecht, and he would lie in ed at Charle Lederer’ houe and
on a ellow talet produce a pile of heet, a creenpla read to go. e’d take that night’
page from Hecht’ hand, forward them to Mr. elznick, who’d ddle with them, have the page
mimeographed and put in the actor’ hand morning. It wa a craz wa to work, ut Hecht
took the work ver erioul, though not a erioul a he would a pla of hi. e call that ort
of thing cript doctoring. If Hecht had wanted, he could have had credit on a hundred more
picture.
I N T RV I W R
Doe the cript ou’ve written change a ou direct it?
WI L D R
A omeone who directed cript that I melf had cowritten, what I demanded from actor wa
ver imple: learn our line.
at remind me. George ernard haw wa directing a production of hi pla Pgmalion,
with a ver well-known illutriou actor, ir omething. e fellow came to rehearal, a little it
drunk, and he egan to invent a little. haw litened for a while and then elled, top! For
Chrit’ ake, wh the hell didn’t ou learn the cript?
ir omething aid, What on earth are ou talking aout? I know m line.
haw creamed ack at him, Ye, ou know our line, ut ou don’t know m line.
On a picture, I would ak the actor to know their line. ometime the would tud the
part at night and might ak me to come to dicu thing. In the morning, we would it in
chair around a long tale o to the ide and read the da’ cene once more. It wa wonderful to
work with ome actor. Jack Lemmon. If we were to tart at nine, he’d e there at eight- een
with a mug of co ee and hi page from the night efore. He’d a, Lat night I wa running
line with Felicia—hi wife—and had thi wonderful idea. What do ou think here? And he’d
go on. It might e wonderful and we’d ue it, or I might jut look at him, and then he’d a, Well,
I don’t like it either. He worked hard and had man idea, ut he never wa interfering.
ometime I’d have an actor o tuorn that I’d a, All right, let’ do it two wa. We’d do it
m wa, and I’d a to m aitant, Print that. en to the actor, All right, now our wa. We’d
do it hi wa with no celluloid in the camera.
I N T RV I W R
What wa it like working a a writer for a tudio?
WI L D R
When I wa a writer at Paramount, the tudio had a warm of writer under contract—a
hundred and four! e worked in the Writer uilding, the Writer Annex, and the Writer
Annex Annex. All of u were writing! We were not getting ig alarie ut we were writing. It
wa fun. We made a little mone. ome like en Hecht made a lot of mone. All the writer were
required to hand in eleven page ever urda. Wh on urda? Who know? Wh eleven
page? Who know? Over a thouand page a week were eing written.
It wa all ver tightl controlled. We even worked on aturda from nine until noon,
knocking o half a da o we could watch UC or UCLA pla footall in the Colieum. When
the union negotiated the workweek ack to ve da, the executive ran around creaming the
tudio wa going to go roke.
ere wa one gu at the tudio whom all the writer turned in their work to—a Yale man
who wa at Life when hi clamate Henr Luce and riton Haddon founded the magazine.
verone at the tart of the magazine had the option of getting omething like event- ve
dollar a week or part of hi alar in Time tock. ome uilding at Yale were uilt people
who went for the tock. Our gu at Paramount ued to a proudl, I went for the cah.
I N T RV I W R
What happened to the thouand-plu page a week that were eing generated?
WI L D R
Mot of the writing jut gathered dut. ere were ve or ix producer, each pecializing in
di erent kind of picture. e would read the writing over the weekend and make comment.
I N T RV I W R
What were the producer’ comment like?
WI L D R
I wa talking once with a writer who had worked at Columia who howed me a cript that had
jut een read amuel rikin, one of the ig men at that tudio. I looked at the cript. On
ever page, there wa at the ottom jut one word: impro e.
I N T RV I W R
Like e New Yorker editor Harold Ro’ imperative “make etter.”
WI L D R
at would e one word too man for thee producer. Jut impro e.
I N T RV I W R
What aout the “cheherazade” one hear aout?
WI L D R
e were the gu who would tell producer torie, or the plot of creenpla and ook.
ere wa one gu who never wrote a word ut who came up with idea. One of them wa: an
Francico. earthquake. Nelon dd. Jeanette McDonald.
Great! Terri c! Cheer from the producer. A lm came out of that entence.
Do ou know how Nelon dd ended up with hi name? He wa ddie Nelon. He jut
revered it. Don’t laugh! ddie Nelon i nothing. Nelon dd wa a tar.
e tudio era wa of coure ver di erent from toda. ere were man di erent efdom
cattered around town, each producing it own ort of picture. e Paramount people would
not convere with the MGM people; wouldn’t even ee each other. e MGM people epeciall
would not conort for dinner or even lunch with the people from Fox.
One night efore I wa to egin One, Two, ree I had dinner at the home of Mr. and Mr.
William Goetz, who alwa had wonderful food. I wa eated next to Mr. die Goetz, Loui
Maer’ ounger daughter, and he aked what ort of picture I wa going to make. I told her it
wa et in erlin and we’d e hooting in German.
Who pla the lead?
Jimm Cagne. A it happen, it wa hi lat picture except for that cameo in Ragtime.
he aid, Who?
Jimm Cagne. You know, the little gangter who for ear wa in all thoe Warner rother .
. .
Oh! Dadd didn’t allow u to watch Warner rother picture. he had no idea who he wa.
ack then, each tudio had a certain look. You could walk in in the middle of a picture and
tell what tudio it wa. Warner rother were motl gangter movie. For a while Univeral did
a lot of horror picture. MGM ou knew ecaue everthing wa white. Mr. Cedric Gion,
the head of production deign, wanted everthing white ilk no matter where it wa et. If
MGM had produced Mr. coree’ Mean treet, Cedric Gion would have deigned all of
Little Ital in white.
I N T RV I W R
Film reall i conidered a director’ medium, in’t it?
WI L D R
Film’ thought of a a director’ medium ecaue the director create the end product that
appear on the creen. It’ that tupid auteur theor again, that the director i the author of the
lm. ut what doe the director hoot—the telephone ook? Writer ecame much more
important when ound came in, ut the’ve had to put up a valiant ght to get the credit the
deerve.
Recentl, the Writer’ Guild ha negotiated with the tudio to move the writer’ credit to a
place jut efore the director’, a more prominent poition, umping aide the producer. e
producer are creaming! You look at an ad in the paper and the are littered with the name of
producer: A o-and-o and o-and-o Production, Produced Another Four Name!
xecutive Producer omeod le. ing are lowl changing. ut even o the poition of a
writer working with a tudio i not ecure, certainl nothing like a writer working in the theater
in New York. ere a plawright it in hi eat in the empt parquet during rehearal, right
alongide the director, and together the tr to make the production ow. If there i a prolem,
the have a little talk. e director a to the writer, I it all right if the gu who a, Good
morning. How are ou? intead enter without aing anthing? And the plawright a, No!
“Good morning. How are ou?” ta. And it ta.
Nood conult the movie writer. In production, the jut go wildl ahead. If the tar ha
another picture coming up, and the need to nih the picture Monda, the’ll jut tear out
ten page. To make it work omehow, the add a few tupid line.
In the tudio era, creenwriter were alwa on the loing end in attle with the director or
the tudio. Jut to how ou the impotence of the creenwriter then, I’ll tell ou a tor from
efore I ecame a director. rackett and I were writing a picture called Hold ack the Dawn.
ack then, no writer wa allowed on the et. If the actor and the director weren’t interpreting
the cript correctl, if the didn’t have the accent on the right word when the were delivering a
gag, if the didn’t know where the humor wa, a writer might ver well pipe up. A director
would feel that the writer wa creating a diruption.
For Hold ack the Dawn, we had written a tor aout a man tring to immigrate into the
U.. without the proper paper. Charle oer, who plaed the lead, i at rope’ end, detitute,
tranded in a lth hotel—the peranza—acro the order, near Mexicali or Calexico. He i
ling in thi lou ed, holding a walking tick, when he ee a cockroach walk up the wall and
onto a mirror hanging on the wall. oer tick the end of the walking tick in front of the
cockroach and a, “Wait a minute, ou. Where are ou going? Where are our paper? You
haven’t got them? en ou can’t enter.” e cockroach trie to walk around the tick, and the
oer character keep topping it.
One da rackett and I were having lunch acro the treet from Paramount. We were in the
middle of writing the third act of the picture. A we le our tale to walk out, we aw oer, the
tar, eated at a tale, hi little French lunch pread out efore him, hi napkin tucked in jut o,
a ottle of red wine open on the tale. We topped and aid, Charle, how are ou?
Oh, ne. ank ou.
Although we were till working on the cript, Mitchell Leien had alread egun to direct
the production. I aid, And what are ou hooting toda, Charle?
We’re hooting thi cene where I’m in ed and . . .
Oh! e cene with the cockroach! at’ a wonderful cene.
Ye, well, we didn’t ue the cockroach.
Didn’t ue the cockroach? Oh, Charle, wh not?
ecaue the cene i idiotic. I have told Mr. Leien o, and he agreed with me. How do ou
uppoe a man can talk to ome thing that cannot anwer ou? en oer looked out the
window. at wa all. nd of dicuion. A we walked ack to the tudio to continue to write
the third act, I aid to rackett, at on of a itch. If he doen’t talk to the cockroach, he
doen’t talk to anod! We gave him a few line a poile . . . wrote him right out of the third
act.
I N T RV I W R
Wa that one of the reaon ou ecame a director, the di cult of protecting the writing?
WI L D R
at wa certainl one of the reaon. I don’t come from the theater or an dramatic chool like
the traerg chool, and I didn’t particularl have amition to e a director, to e a depot of
the oundtage. I jut wanted to protect the cript. It’ not that I had a viion or theor I wanted
to expre a a director; I had no ignature or tle, except for what I learned from when I wa
working with Luitch and from analzing hi picture—to do thing a elegantl and a impl
a poile.
I N T RV I W R
If ou’d alwa had more repectful director, uch a Luitch, would ou have ecome a
director?
WI L D R
Aolutel not. Luitch would have directed m cript conideral etter and more clearl
than I. Luitch or Ford or Cukor. e were ver good director, ut one wan’t alwa aured
of working with director like that.
I N T RV I W R
I ee Federico Fellini on our wall of photo.
WI L D R
He alo wa a writer who ecame a director. I like La trada, the rt one with hi wife, a lot.
And I loved La Dolce Vita.
Up aove that picture i a photo of melf, Mr. Akira Kuroawa, and Mr. John Huton. Like
Mr. Fellini and me, the too were writer who ecame director. at picture wa taken at the
preentation of the Academ Award for et picture ome ear ack.
e plan for the preentation wa for three writer-director to hand out the award—John
Huton, Akira Kuroawa, and melf. Huton wa in a wheelchair and on oxgen for hi
emphema. He had terrile reathing prolem. ut we were going to make him get up to join
u on tage. e had the preentation carefull orchetrated o the could have Huton at the
podium rt, and then he would have fort- ve econd efore he would have to get ack to hi
wheelchair and put the oxgen mak on.
Jane Fonda arrived with the envelope and handed it to Mr. Huton. Huton wa to open the
envelope and give it to Kuroawa. Kuroawa wa to h the piece of paper with the name of the
winner out of the envelope and hand it to me, then I wa to read the winner’ name. Kuroawa
wa not ver agile, it turned out, and when he reached hi nger into the envelope, he fumled
and couldn’t gra hold of the piece of paper with the winner’ name on it. All the while I wa
weating it out; three hundred million people around the world were watching and waiting. Mr.
Huton onl had aout ten econd efore he’d need more oxgen.
While Mr. Kuroawa wa fumling with the piece of paper, I almot aid omething that
would have nihed me. I almot aid to him, Pearl Haror ou could nd! Fortunatel, he
produced the lip of paper, and I didn’t a it. I read the name of the winner aloud. I forget now
which picture won—Gandhi or Out of A ica. Mr. Huton moved immediatel toward the
wing, and acktage to the oxgen.
Mr. Huton made a wonderful picture that ear, Prizzi’ Honor, that wa alo up for the et
Picture Award. If he had won, we would have had to give him more oxgen to recover efore he
could come ack and accept. I voted for Prizzi’ Honor. I voted for Mr. Huton.