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Table of contents

They may not always have liked the way they were treated as screenwriters and they may not have liked Hollywood when they finally arrived there, but they did love movies. The screenwriters of the s did not carry any grudge against television. In contrast, many older screenwriters, among those profiled in Backstory and Backstory 2, had seen television, when it first swept the nation in the late s and early s, as a sinister rival; and from their perspective, this view was reasonable.

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However, coming from outside the studio apparatus, the relative newcomers of Backstory 3 took television more in stride. Early television was a legitimate stepping stone for many of them. Writing for television could be a grind, but it could also be "different" in ways that Hollywood wouldn't dare. Many screenwriters of the s learned useful dos and don'ts in television.

For some, television was more than a laboratory: it was a creative refuge. From the late s on, the once-vaunted studios began to crumble under attack. The disarray seemed systemic. The "consent decree actions" that forced the sale of studio-owned theater chains meant cutbacks in production and personnel. The cold war witchhunt for Communists and left-wing sympathizers ignited a purge of Hollywood citizens. The ranks of writers probably suffered most.

Television, in its novelty phase, soared in popularity. For writers, there was work, and plenty of it, in television.

(Department of Economics and Economic History, Autonomous University of Barcelona, )

Blacklisted writers could hide behind "fronts" and operate with impunity there. Aspiring writers could learn from senior writers, many of them old hands on sabbatical or layoff from Hollywood. Thus, the torch was passed. To some extent, the new writers also learned from each other and from people who knew nothing about Hollywood verities. Inexperience and brashness, even boldness, contributed to an infusion of fresh ideas and points of view. Much of the work of the first generation of television writers is lost forever. A book about the writers and scripts of the Golden Age of Television would be a precious act of archaeology.

But these interviews show that writers benefited from the hurly-burly of early television: passing through, they learned expedient methods during "live" broadcast. They practiced workups of eventual films more than one writer went on to write one of his or her television episodes for the bigger screen in Hollywood ; they developed close relationships with directors, producers, and collaborators that tended to continue throughout their careers.

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Television was a mixed bag, but it was undeniably an outlet for the budding talents of many of the screenwriters of the s. Ironically, some established screenwriters have returned to television. Nowadays the wide-open territory of cable and pay channels provides a closing of the circle. Certain screenwriters, like Walter Bernstein and Arnold Schulman—both of whom came to Hollywood at the twilight of the studio era—have rounded out their long, productive careers by returning to the small screen with high-profile projects.

It is true that, dating from the silent era, the vast majority of screenwriters have hailed from the East Coast, especially New York. That city's scenes, vitality, humor, and point of view sometimes an eastern point of view about the West have enriched and, in effect, dominated motion pictures.

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Partly because of television but also because of Broadway and Manhattan publishing, that is also the case with the screenwriters of the s at least among those represented in this volume. There are occasional westerners in Backstory 3, two hail from Texas, one from California, and one was born in the Pacific Northwest , but most are New Yorkers and transplanted New Yorkers. As George Axelrod points out in his interview, in the so-called good old days, if a screenwriter came to Hollywood a successful novelist or Broadway playwright, he or she arrived with a cachet among studio executives.

With the breakdown of the contract system, however, it became more acceptable, even vital, to accept scripts from outside the studio radius—from outside Hollywood. The s screenwriters were the first genuinely bicoastal generation, to the point where many of the people represented in this volume never did settle down on the West Coast and chose to live elsewhere—even, in Stirling Silliphant's case, as far away as Thailand.

Perhaps for those off-site.

Perhaps, as Walter Bernstein comments, the production heads preferred to assign scripts to a "local. In the long run, though, living elsewhere had some advantages. And in both cases the long-term survivors were those writers who could roll with the punches or even lurch back to their feet after a knockout nothing has changed about this truism. The number of motion pictures filmed and released by the major film companies plunged from in to in Columbia went from 63 movies produced in to 28 in , and by , RKO 36 movies in had ceased to exist altogether.

There was a corresponding drop in regular attendance, from an average 87,, weekly in to 42,, in Less movies meant less movie writers. There was a distinct change in the screenwriter population. It was as if a long, cruel winter had set in. Most of the veterans from the early sound era had retired; a few, the hardiest of the breed, hung in there. During this period, the studios understandably did not recruit many young screenwriters.

The vast majority of the screenwriters interviewed in this volume already had a foot in the door by , whereas afterward, it was hard for newcomers to break in. Very few young women broke in, for example. Ironically, there had been female screenwriters galore under the old contract system because women were sought out and hired with regularity—often by female scouts, agents, and story editors. There was no longer a proliferation of teams formed by studio dictate the only bona fide team in this book is the married couple Irving Ravetch and Harriet Frank Jr.

Shared script credits, symptomatic in the s, became again epidemic in the s. But this time there were no writers' tables in the studio commissaries the commissaries were shutting down too , and a screenwriter might never glimpse a colleague, who was also off the lot. Because of the shrinking rolls, there are a high number of coincidentally shared credits among the subjects in Backstory 3: writers who collaborated never in the same place at the same time on The Cincinnati Kid , Barbarella , The Poseidon Adventure , and Funny Lady Screenwriters made a good living, but their fees were nowhere in the neighborhood of those of stars and directors.

Writer-directors, other than those handful already firmly established Billy Wilder is mentioned by more than one subject of Backstory 3 as an inspirational figure , were not encouraged. Of the writers in this book, only George Axelrod tried film directing during the decade of the s, and only Axelrod, Walter Bernstein, and Charles B. Griffith made a sideline out of it. When the studio setups became dysfunctional, most of the screenwriters of the s had to learn to function as their own career gurus. They had to keep alert, scrambling from teetering studio to studio, playing tag with hopeful projects, keeping track of fleetingly important people.

It was a period that called for luck and fortitude, as well as initiative. Although screenwriters had more than the usual job insecurity, they also had unusual independence and were able to push personal and passionately believed-in material. Taking advantage of studio vicissitudes, they were able to usher their stories out of the office of the man of the hour and onto the screen with surprising speed and lack of interference. There was maneuvering room in the s. In the first Backstory, the screenwriter Julius J.

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Epstein sounded a typical complaint that he specialized in adaptations because in the s and s, producers did not welcome or value original scripts, and anyway, "in those days you soon found out that no matter what you wrote, original or adaptation, it never wound up the way you wanted. Without the studio story departments to ferret out properties, there was more of a market for original ideas.

Every writer in Backstory 3 has both adaptations and originals in his or her filmography. The opportunities were such that, more often than in the past, screenwriters could also act as producers of a cherished project themselves, which proved the case at least once for nearly every screenwriter in this volume. The quantity of films may have dropped in the s, but thanks to screenwriters, at the same time the range of subjects widened. There were old-fashioned dramas and comedies, musicals and westerns, historical epics and thrillers, but also clever new hybrid genres, breakthroughs in form and substance, changes in filmmaking that were challenging as well as liberating.

The civil rights and black power struggles, the anti-Vietnam War protests, the feminist movement and ecological awareness were rattling the foundations of society. Screenwriters were Hollywood's shock troops, obliged to confront the times. Social upheaval was transformed into integrationist stories, alienated characters and pre-feminist heroines, anti-war and anti-establishment themes.


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The accepted frontiers of sex, violence, and language changed swiftly, continuously, and radically. Even the most "far out" of s films may look tasteful by today's standards. Because of censorship and outdated taboos, the vast majority of s' films remained unaffected by the social upheaval going on around Hollywood. The Production Code and Legion of Decency to name two bastions managed to withstand repeated assault before finally withering away in the period from the late s to the early s.

The s brought the real youthquake, a delayed reaction to the s Films such as Easy Rider and its many imitations opened the floodgates to the first wave of post-film school, pre-MTV filmmaking. In a Hollywood that prized youth more than ever, the changing marketplace was mirrored by ever younger people in charge, behind-the-scenes and behind-the-camera, including though still at the bottom of the totem pole a new generation of up-and-climbing, hard-charging screenwriters and another new species of "hyphenates," the screenwriter-directors.

These came out of film schools, the first generation to take film self-consciously and sometimes pretentiously as art. For American film and scriptwriting, the s was a decade of sharp contrasts and distinctions, of highpoints as well as of flash-in-the-pan excitement and overall blandness. It was a decade of doddering old genres star-laden disaster movies, inflated in expense and importance; a last hurrah of musicals and westerns and invigorated, startlingly revamped ones some stellar gangster films, action-adventure, and science fiction.

Talented newcomers made show-offy moves, while venerable figures of the s and s, those handful still in the game, notched final credits. Veteran screenwriters came under pressure, like everyone else. Many abdicated. After the s, screen credits spread out. They were more likely than ever to be shared, often with a youthful writer added at the end of a process begun by a veteran. Another passing of the torch. By , the majority of the people featured in Backstory 3 had been squeezed out of the profession.

The new management style, the youth orientation and generation gap, the radical shift in screen values—as well as personal problems and ambivalences—made careers tenuous. People moved farther and farther away, not just back to New York City. The few in this volume who continue to write screenplays are the exception, exemplars tilting against the odds.

Too often there are strikingly. The Legion of Decency was a similar organization, independently operated by the Catholic Church. For additional background on their history, see Leonard J. Leff and Jerold L. If there is a continuing theme of the Backstory series, it is that Hollywood extracts a price, a piece of the soul, from the writer.

Screenwriting is fraught with anecdotes about the studio system, but some of the worst horror stories for screenwriters come in the s and the s. In these interviews, the s appear almost idyllic, a dreamland by contrast.

Backstory 3

But the highhandedness and vacillation, job uncertainty, the arrogant director and meddling producer, were constants. Only the most resolute screenwriters stuck it out with any integrity and self-esteem.