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I knew I wanted to be a screenwriter........
when I read T. Coraghessan Boyle and realized I
could never measure up as a novelist.
I know I've succeeded........
when I’ve finished a solid first draft.
Completing a first draft is always a test of faith.
My inspiration to write THE BIG ORANGE.......
My under-grad writing teacher, poet Peter
Cooley, is to this day the most demanding writing teacher I ever had… He
fostered the importance of self-critique in writing.
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FilmMakers
Magazine:
What inspired you to write?
David Harris Kline: My under-grad writing teacher, poet Peter
Cooley, is to this day the most demanding writing teacher I ever had…
He fostered the importance of self-critique in writing.
FilmMakers Magazine: What did you do to prepare yourself to write your first script?
David Harris Kline: My first script was called NEW ORLEANS
ZEPHYR- a love story between a young writer and a much older woman set
in the uptown district of New Orleans. I had written it as novel in
college, so I didn’t do much outlining. I had some good professors in
the UCLA film program who helped me with structure.
FilmMakers Magazine: Is this your first script and how long did it take you to complete?
David Harris Kline:
No, I’ve written several scripts. This script I wrote in three months-
I then threw it in the garbage. It was a nice script, I just didn’t
feel passionate about it. I wrote an entirely new script in about ten
months. That’s about the average time it takes for me to finish a
script.
FilmMakers Magazine: Do you have a set routine, place and time management for writing?
David Harris Kline:
I write six days a week. I sublet an office from an architect on
Beverly Blvd. in LA. I usually work from 9-4… No coffee, just a
thermos of tea and a bag lunch… Beck’s last CD- GUERO- got me through
the rough draft.
FilmMakers Magazine: Do you believe screenplay contests are important for aspiring
screenwriters and why?
David Harris Kline:
An accolade from a contest definitely
helps. Agents and managers are difficult to contact- many of them
don’t have the time to read scripts, unless it’s received awards. On
the flip side, I think contests do promote writers’ passivity- writers
have to do much more than simply sending their scripts off to
contests. They need to connect with people in the industry.
FilmMakers Magazine:
What influenced you to enter the FilmMakers International
Screenwriting Awards?
David Harris Kline: This contest has a great reputation for
recognizing material that is independent in nature- compelling
stories, passionately written…
FilmMakers Magazine: What script would you urge aspiring writers to read and why?
David Harris Kline: Robert Towne’s “Chinatown” is an obvious
favorite- it works on many levels- it’s an ode to private eye fiction
and a love story to Los Angeles as it evolved into a city under the
corruption of water barons.
FilmMakers Magazine: Beside screenwriting what are you passionate about and why?
David Harris Kline: I’m an avid gardener. I obsess over
flowers- in Southern California you can grown anything.
FilmMakers Magazine: Who is your favorite Screenwriter
and Why?
David Harris Kline: Robert Towne wrote modern movie dialogue
that became the gold standard for writers- he could make words sound
informal and slangy, but with a dramatic urgency to propel the
narrative. His credited body of work is impressive, but there were so
many films where his dialogue was spoken but he did not receive
credit, “The Godfather”, “Bonnie and Clyde”, “Marathon Man”, “Reds”.
His article “On Moving Pictures” is a classic study in the economy of
screenwriting.
FilmMakers Magazine: Name the director you would love to work with and why?
David Harris Kline:
Michael Haneke, Richard Linklater
Haneke because he plunges so deeply
into the psychosis of his characters. However, I don’t think he is too
keen on screenwriter collaboration. Richard Linklater. I love his
curiosity and the broad range of his subjects. He’s also a shrewd
writer with a great ear for dialogue.
FilmMakers
Magazine: Name the actor you would love to work with and why?
David Harris Kline: Morgan Freeman- I wrote the script for him-
old black private detective taking one last shot at love- I don’t
think he is sent many love stories. He’s done dozens of movies, and
yet he’s never had a single love scene. His talent is so immense. I
would hope some day he’d get the opportunity to go “method” in the way
Nicholson did in “About Schmidt”. There just aren’t enough
character-driven stories for black actors.
FilmMakers Magazine: Any tips and things learned along the way to pass on to others?
David Harris Kline: The old adage “write what you’re passionate
about” to me is a bit disingenuous. Yes, write something that you’re
passionate about- simply to prove that you can write passionately. But
also write something that is more genre-based as calling card to the
industry. I believe it’s a bit indulgent to think the industry is
going to invest in your dream projects- film is too expensive- $10-15
million passionate projects are rare. Diversify.
FilmMakers Magazine: What's next for you?
David Harris Kline: Two projects- both true story adaptations:
KASSIM THE DREAM- Ugandan child soldier/mercenary Kassim Ouma and his
harrowing escape to the U.S. where he became middle-weight boxing
champion of the world. I’m collaborating with a journalist who wrote
on Kassim for Esquire Magazine.
MAGIC CARPET RIDE- adventure tale of an American pilot who rescued
40,000 refugees in a secret mission during the Arab/Israeli war.
Collaboration with writer/director Chris Gorak, (RIGHT AT YOUR DOOR-
LIONSGATE 2007.)
FilmMakers Magazine: Where will you be five years from now?
David Harris Kline: If I can hold onto my lease, I hope to
still be writing in my office- thermos and brown bag lunch- trying to
get it done… |
