A Quote by Allan Loeb
I decided to write [Collateral Beauty] on my own which made it the first spec script I wrote in 11 years.
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I wrote [Collateral Beauty] on my own. I didn't get paid to write it. I didn't sell it as a pitch. It was an idea I had that I really, really felt needed to be in script form before showing it to anyone in the industry because of the uniqueness of the idea, and the weirdness of the idea, to be frank.
You write a spec, and you pour your heart and soul and life into a spec, and you think that spec is the movie that's going to sell and get made... I've never heard of anybody that happened to. What happens is, you write a spec, people get it, they see your writing, they see you're good, they bring you into their office and they say, "Boy, that spec was really good - we'll never make that in a million years. We have rights to the board game of Monopoly. What do you think about a Monopoly movie?".
You write a spec, and you pour your heart and soul and life into a spec, and you think that spec is the movie that's going to sell and get made... I've never heard of anybody that happened to.
I wrote a couple of scripts on spec that didn't get made but got some attention, and I then got offers to write professionally.
First, you need to write the script, re-work on lots of things. First draft, second draft, once the final script is ready then you visualize which actors fits the role in that the particular script they've written.
I wrote three stories on spec because I didn't have the patience to convince people I could write.
I'm not Akira Kurosawa. He used to write...He used to write a completely new spec script over a couple of nights. I'm not like that. It takes me a long time to put a film together that I want to make.
What happens is, you write a spec, people get it, they see your writing, they see you're good, they bring you into their office, and they say, 'Boy, that spec was really good - we'll never make that in a million years. We have rights to the board game of Monopoly. What do you think about a Monopoly movie?'
I got it into my head that I was going to be starring in movies that I wrote, so that's what I did. I stopped acting in all things, and I wrote my first script, which was optioned a week after I finished it.
There came [a script called] “Dracula Sucks.” Now, I liked “Dracula Sucks,” but we gotta change [the title]. They said, “If you like that, you’re going to like this: ‘Zorro the Gay Blade.’” I decided I was going to go out and raise the money and develop my own projects. And that’s what I did. I made “Love at First Bite” and I made “Zorro the Gay Blade.” [Script rewriter Hal Dresner] and I put together “Zorro” in about eight weeks.
I wrote my first two long novels and an anthology of short narratives, when I was a manager of my own jazz bar. There was not enough time to write and I didn't know how to write novels. Therefore, I made written collages of aphorisms and rags.
When I wrote my first film and then directed it and I looked at it for the first time on what's called an assembly, you look at this movie which is every scene you wrote, every line of dialogue you wrote and you want to kill yourself the minute you see it. It's like, 'How did I write something so horrible?'
At 31, I decided to learn how to read and, at 32, read my first book: Lee Iacocca's autobiography. Ten years later, with my friend Larry 'Smokey' Genta, I wrote my first book, which was my proudest accomplishment.
Most of the things I write, I write on spec. And because I write them on spec, there's less interference. Because there's less interference, they tend to be better.
I remember when I first started, the first movie I wrote that didn't get made I was aghast. 'Wait a minute, that's not how this is supposed to work. You write a move and it gets made!'
I remember the first script I wrote after 'Swingers' was a Western, and I just couldn't get it made.
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