A Quote by Geoffrey S. Fletcher

I was always writing scripts, and I had made several shorts, before and after film school. But I worked a variety of temp positions over the years. — © Geoffrey S. Fletcher
I was always writing scripts, and I had made several shorts, before and after film school. But I worked a variety of temp positions over the years.
I went to film school, worked as an assistant, and wrote several scripts that haven't gotten made.
As an actor, especially one who's worked in casting, you read so many scripts, and some of them are terrible. They're terrible and they're getting made, and some of them are good but the female role is just painful or underwritten. So after years of that, I had this idea kicking around in my head for two years, and I thought, I'm just going to start writing.
In the case of my second film The Fish Child (El Niño Pez), I had written the novel about 5 years before I made into a film. In the case of The German Doctor I had published the novel a year before I started writing the script, I even had another project to shoot. But I had this idea of the powerful cinematic language from the novel that I couldn't let go of.
I started writing because I wanted to write scripts, but I wasn't very good at it. Then I started writing short stories, sort of as treatments for the film scripts, and I found I enjoyed writing short stories far more than I enjoyed writing film scripts. Then the short stories got longer and longer and suddenly, I had novels.
'The Glass Menagerie' by Tennessee Williams is a great play. I had to read it for school when I was younger, but I started writing scripts after that. That's what got me into writing.
So I never had trouble getting work or working or doing - I always worked. I worked when I went to college. I worked after school.
I naively thought I was making a low-budget movie. But, when the film came out, the Daily Variety reviewer at that time who was named Art Murphy described it as an exploitation film. I had never heard that term before. Roger never used it. So that's how I learned that I had made an exploitation film.
I went to film school at Columbia and did that for a couple years and really thought I was going to be a filmmaker, and then I kind of drifted over to the acting side after that. I'd been an actor in high school, and when I got to college, it was all about film.
After I left school at 16 I had three jobs: I worked in a ceramics factory, where I made toilet handles, I repaired cars for people and in the evenings and weekends I worked in a bar. I had to do them all to make ends meet.
I've already made several friends-for-life from the latest movies I've worked on, and I know I'll make several more in the years to come.
I had an advantage over a lot of people who had gone to school and earned degrees in writing and had learned the rules for writing, so to speak. My style was just to tell a story but to tell it well, and that has worked out for me so far.
Several years ago, as I was transitioning from film finance to film production and writing again, someone asked me how long I would try to get back into filmmaking before I gave up? My response was "giving up" was not an option.
We can't make movies without scripts, and there's no cost to writing a script, so my advice to newcomers is do it yourself: Write your own script, shoot your shorts, edit your shorts.
Before MS moved in on me, I'd worked for seven years as a city lawyer, as the editor of a literary magazine, and before the age of 20, I'd also worked as a cadet journalist and as an assistant director in both film and TV. And then, after the lesions of MS, both on my spine and in my brain, I was the opposite of bionic.
In writing scripts now, having made a film, I'm much more conscious of what it means to shoot and edit a movie, and that affects the writing.
I don't know if the scripts are changing so much. I mean, I've been working for almost 25 years and made over 40 films and I worked with my first female director, on a feature, "Planetarium". And it's still the only one.
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