Scott Frank

And those kinds of movies that I'm fixing are rarely sort of, no one's going to fix a Wes Anderson movie or a Paul Thomas Anderson because they're so singular and we're not taught to do that. The movies that I'm fixing are often approached so mechanically that you can fix them. Or the studio will say, you know... Just do a pass? Well, you do a pass. Or actors are insecure.

Can you just do... And writers might be good at structure, but the dialogue isn't good. Or they have a great idea. And screenwriters, because they've been taught this, I think, have confused participation with creation. So they think, well, I was there first. I should have a credit. I was there first. That means everything came from me. Not really.

Can you just do... And writers might be good at structure, but the dialogue isn't good. Or they have a great idea. And screenwriters, because they've been taught this, I think, have confused participation with creation. So they think, well, I was there first. I should have a credit. I was there first. That means everything came from me. Not really.

Can you just do... And writers might be good at structure, but the dialogue isn't good. Or they have a great idea. And screenwriters, because they've been taught this, I think, have confused participation with creation. So they think, well, I was there first. I should have a credit. I was there first. That means everything came from me. Not really.

And it depends. It's more complicated than that. And the fact that you don't know it's more complicated than that is kind of interesting. And then, so that's, and it's a third rail of guild politics, is when you talk about that.

And it depends. It's more complicated than that. And the fact that you don't know it's more complicated than that is kind of interesting. And then, so that's, and it's a third rail of guild politics, is when you talk about that.

And it depends. It's more complicated than that. And the fact that you don't know it's more complicated than that is kind of interesting. And then, so that's, and it's a third rail of guild politics, is when you talk about that.

I share credit with a couple people that way, of whom has a big award nomination. Yeah, we're not going to go there, but it's fascinating to me. And because I remember sitting there with the co-writer writing together, Ja. Ja. Ja. Ja, ja. It's hard to have a career in Hollywood that lasts. It's very difficult. And I think that you think the credit is the thing.

I share credit with a couple people that way, of whom has a big award nomination. Yeah, we're not going to go there, but it's fascinating to me. And because I remember sitting there with the co-writer writing together, Ja. Ja. Ja. Ja, ja. It's hard to have a career in Hollywood that lasts. It's very difficult. And I think that you think the credit is the thing.

I share credit with a couple people that way, of whom has a big award nomination. Yeah, we're not going to go there, but it's fascinating to me. And because I remember sitting there with the co-writer writing together, Ja. Ja. Ja. Ja, ja. It's hard to have a career in Hollywood that lasts. It's very difficult. And I think that you think the credit is the thing.

And so there's a lot of fight over for credit. And I understand because a lot of people are denied credit that deserve it as well. But you listen to actors and directors going, I basically rewrote it. And it's like, no, you didn't. No, you didn't.

And so there's a lot of fight over for credit. And I understand because a lot of people are denied credit that deserve it as well. But you listen to actors and directors going, I basically rewrote it. And it's like, no, you didn't. No, you didn't.

And so there's a lot of fight over for credit. And I understand because a lot of people are denied credit that deserve it as well. But you listen to actors and directors going, I basically rewrote it. And it's like, no, you didn't. No, you didn't.

It was a weird impetus. I was home for Christmas, my sophomore year of school, and I remember the Iran hostage situation was all going on. And I remember watching it on TV, and I just woke up in the middle of the night, and I had this idea... Jetzt gibt es tausende und tausende Little Man Tates. Ja, es gibt sie. Yes, there are. And so that's how it started.

It was a weird impetus. I was home for Christmas, my sophomore year of school, and I remember the Iran hostage situation was all going on. And I remember watching it on TV, and I just woke up in the middle of the night, and I had this idea... Jetzt gibt es tausende und tausende Little Man Tates. Ja, es gibt sie. Yes, there are. And so that's how it started.

It was a weird impetus. I was home for Christmas, my sophomore year of school, and I remember the Iran hostage situation was all going on. And I remember watching it on TV, and I just woke up in the middle of the night, and I had this idea... Jetzt gibt es tausende und tausende Little Man Tates. Ja, es gibt sie. Yes, there are. And so that's how it started.

And then I got into this screenwriting class with Paul Lazarus. Harry Cohn's guy? Harry Cohn's guy. Actually it was a different teacher the first time. Named Chuck Wolf, who was also great. And I needed an idea for a movie. And all I had was the kid and his mother. Because he was always going to be talking about his mother. And I just started writing it as a script. Oh, okay.

And then I got into this screenwriting class with Paul Lazarus. Harry Cohn's guy? Harry Cohn's guy. Actually it was a different teacher the first time. Named Chuck Wolf, who was also great. And I needed an idea for a movie. And all I had was the kid and his mother. Because he was always going to be talking about his mother. And I just started writing it as a script. Oh, okay.

And then I got into this screenwriting class with Paul Lazarus. Harry Cohn's guy? Harry Cohn's guy. Actually it was a different teacher the first time. Named Chuck Wolf, who was also great. And I needed an idea for a movie. And all I had was the kid and his mother. Because he was always going to be talking about his mother. And I just started writing it as a script. Oh, okay.

Und dann wurde es ein Ding. Und dann wurde es ein Ding. Und das hat dich dazu gebracht? Das hat mich dazu gebracht, aber ich musste es ziemlich oft wiederholen, weil es viele Filme gab, wie Gary Coleman und der Junge mit der 200 IQ. Und ich konnte nur sehen, dass es nicht wirklich eine originale Idee war. Also musste ich etwas anderes damit machen, um es interessanter zu machen.