Tales from the Script: 50 Hollywood Screenwriters Share Their Stories

by Peter Hanson (Editor), Paul Robert Herman (Editor)

Discover the secrets of Hollywood storytelling in this fascinating collection, in which fifty screenwriters share the inside scoop about how they surmounted incredible odds to break into the business, how they transformed their ideas into box-office blockbusters, how their words helped launch the careers of major stars, and how they earned accolades and Academy Awards.

Entertaining, informative, and sometimes startling, Tales from the Script features exclusive interviews with film's top wordsmiths, including John Carpenter (Halloween), Nora Ephron (Julie & Julia), John August (Charlie and the Chocolate Factory), and David hayter (Watchmen). Read along as:

Frank Darabont explains why he sacrificed his salary to preserve the integrity of his hard-hitting adapta-tion of Stephen King's novella The Mist.

William Goldman reveals why he's never had any interest in directing movies, despite having won Oscars for writing All the President's Men and Butch Cassidy and the Sundance Kid.

Ron Shelton explains why he nearly cut the spectacular speech that helped cement Kevin Costner's stardom in Bull Durham.

Josh Friedman describes the bizarre experience of getting hired by Steven Spielberg to adapt H. G. Wells's classic novel War of the Worlds—even though Spielberg hated Friedman's take on the material.

Paul Schrader (Taxi Driver) analyzes his legendary relationship with Martin Scorsese.

Shane Black (Lethal Weapon) reveals why the unrelenting hype around his multimillion-dollar script sales caused him to retreat from public life for several years.

Tales from the Script is a must for movie buffs who savor behind-the-scenes stories—and a master class for all those who dream of writing the Great American Screenplay, taught by those who made that dream come true.

Genres: Nonfiction, Writing, Film, Media Tie In

343 pages, Paperback

First published January 1, 2010

Reviews

[Seth · Rating 2 out of 5]

I suppose Tales from the Script counts as a book in that it has words printed on pages bound between two covers, but it comprises less writing and editing than a freshman research paper. There's not much more in there than snippets of interviews with screenwriters cut-and-pasted together and loosely categorized by theme in a desperate attempt to make them seem informative. Nothing in Tales from the Script qualifies as a tale and very few of the snippets even rise to the level of anecdote. They're also relentlessly dull, though that's as much a fault of the subject matter as the book itself. Accounts of screenwriting sometimes dish chewy gossip, but if they don't then reading about writing movies is less interesting than reading about refinishing furniture. Add to that the fact that screenwriters are at worst horrible people and at best extremely boring people and that any piece of advice one of them gives will be contradicted by two others, and Tales from the Script suddenly seems close to pointless. Still, I want to thank Hanson and Herman for finally curing me of any desire to read books about screenwriting.

[Bridget LaMonica · Rating 5 out of 5]

Of all the film and writing reference books I've read, I was starting to think I couldn't find one that said anything new.

So Peter Hanson's book came out, filled with 50 screenwriters who set out to prove me wrong.

I enjoyed this book immensely. The wisdom, cynicism, humor and determination filling these pages was just what I needed to start the new year.

It is sometimes equal parts inspiring and terrifying, with many stories about successes and failures and the very personal feeling of being rejected.

It's a more honest look at the supreme difficulty in getting a script read, produced or made at all. The level of detail, the many stories that both echo and yet differ from each other make all the difference. And of course, the stories of rejection are outnumbered by the stories of that fateful moment when a script was bought and produced, so it's equal parts shiny opportunistic hope and bleak reality.

I learned a lot about the business of screenwriting just from this collection of short interviews with these screenwriters. And I've read a few books on screenwriting already, like Save the Cat, Crafty TV Writing and The Movie Business Book, which all of course have their own merits.

Tales from the Script opened my eyes even more to the process behind creating and hopefully selling a screenplay, and the gritty truth about how many drafts can be written, how many screenplays can build up in your repertoire, without even selling one.

I'm glad these interviews were honest and realistic, and delved into the good and the bad. for that reason, and the great advice within, I highly recommend this book to anyone interested in learning more about the screenwriting world.

[Michelle · Rating 3 out of 5]

Solid, no-nonsense book regarding the perils and joys of being a screenwriter. It creates a respect for the required tenacity of being a creative person, in general, while providing truly juicy anecdotes of Hollywood's process, past and present.

[Mike Degen · Rating 3 out of 5]

sobering collection of interviews from screenwriters about making it in the industry

[Betty Loven · Rating 3 out of 5]

A good read if you're interested in the industry. I am not, I just thought there would be fun stories and anecdotes of some of my favorite writers. Also I feel like some of the advice goes without saying, like duh, of course everyone's first screenplay wouldn't be backed.

[William Adams · Rating 4 out of 5]

I picked this book up because I enjoy movies and I thought it might help me understand what goes on behind the scenes. It did. The Title is apt: most of these anecdotes fall into the category of “horror stories.” It’s about scripts rejected, discarded, ruined, stolen and rewritten, and screenwriters, the same fate for them, plus doublecrossed, outwitted, betrayed, and and rarely, successful. It’s a mean life, and if I learned one thing from it, it is that I would never, ever want the job of a Hollywood screenwriter.

These short anecdotes come from a huge cross-section of screenwriters and Hollywood insiders but they all express the thrill, the drug-like high, of getting a script made into an actual movie, no matter how crummy it might be. Most of the movies mentioned, I have never heard of, and of the ones I have heard of, 90% are mediocre or ridiculous. There are only a handful of comments from writers of really high quality movies, like The Sting, Ray, and so forth. I found it interesting that getting a script put on the screen is the holy grail, not achievement of artistic quality.

The book reinforces my preconceptions that making movies in Hollywood is all about return on investment and nothing about quality. The process for selection of scripts to be produced is essentially random, or it occurs by personal networking. It is by no means a meritocracy. The same is true, I guess for novels.

No movie has a single screenwriter anymore. Movies are all done by committee, which is usually obvious on the screen, and the reasons for that are fascinating.

The book is entertaining and an easy read. Entries are 100 to 500 words and are personal anecdotes, “war stories,” as it were. One gets a sense of how the movie-making process works, at least from the point of view of the writer. Recommended for any masochist who thinks they might be interested in writing movies.

[Randy Jones · Rating 4 out of 5]

An Excellent Book For Anyone Who Wants To Be A Screenwriter

This is not a how-to book on how to write a screenplay or get started in the movie business, it’s simply screenwriters talking about the profession of screenwriting - the good, the bad, the frustrations, the joys, etc. It doesn’t paint a pretty picture because the writers interviewed are brutally honest about how tough it is to get into the movie business as a writer and then sustain a career once you are in the business. If you want to be a screenwriter, read this book. And if you still want to be a screenwriter, maybe you have what it takes.

[Madeleine McLaughlin · Rating 1 out of 5]

Before you become a scriptwriter in Hollywood, you should read this book.

[Samantha · Rating 4 out of 5]

I haven't read a lot of books about screen writing, but this one was a lot of fun, and pretty inspiring when it comes to writing in general. The message in a nutshell: it's not personal, it's a market, and if you write something the market doesn't want, write something else. It also makes selling a novel seem like a piece of cake in comparison.

Some of the lines I liked:

"Going through no is a way to get to yes. Going through no also means, I think, understanding why people are saying no, and being proactive in getting to the yes, and listening to the feedback, and moving forward so that you're getting rejected by a better class of people as you work your way up." - Michael Wolk

And these wise words from Billy Ray:

"I have no doubt that ageism exists, but I think it's more complicated than people think. Studios are trying to make movies for 14-year-old kids, and so there's the assumption that a 50- or 60-year-old man is less qualified to write something for 14-year-old audiences than a 25-year-old kid is. I don't think that's true. I think either you can write or you can't."

Word.

[Sean Hall · Rating 4 out of 5]

These interview responses are more about the business of screenwriting and what it's like to be a screenwriter than the craft itself. This is an important read for those who are thinking seriously about the screenwriting profession and understanding the industry. I had read this back when I first started pursing my screenwriting interests in earnest and didn't pay much attention to it at the time as I was more interested in developing my craft. Reading this book again stresses the many challenges of pursuing a screenwriting career, and that talent, perseverance, and understanding how the many facets of movie production come together will help prepare a writer for success.

[Michelle Miller · Rating 5 out of 5]

I really loved this book. It is a great depiction of any Artist's plight and how we are all not alone. I related to the screenwriter who wrote and who's stories never got made, the successful writers who wrote our most beloved films, the ones who were rewritten, the ones who worked for years without success only to get one film made. All of it. I highly recommend this specifically to anyone who writes, but also to any artist pursuing a dream.

[Malcolm Frawley · Rating 3 out of 5]

Although only published in 2010 there is something about this collection of interviews that seems a little out of date. Not that the 50 screen writers sharing their thoughts don't have useful information & fascinating tales to share. Having been around this block a little there wasn't a whole lot I hadn't previously been aware of but, for any writer starting out, this may well be a treasure trove.

[Daniel · Rating 4 out of 5]

I liked the book because it has so many different perspectives. What else can I say. It was fun learning a little about the lives of screenwriters and how Hollywood works. It makes me want to be a screen writer even though it sounds as if its a tough job.

[Vincent Eaton · Rating 3 out of 5]

For someone starting off in Hollywood for a possible screenwriting career, this book would be of immeasurable help. If not, it is still a fun read of what a screenwriter's life and career in Hollywood is like, the ups and the many downs.

[Jonathan · Rating 5 out of 5]

This full of fascinating anecdotes, information, and stories regarding the pursuit of a screenwriting career. It's covering material from respected and award winning writers who have worked across a variety of genres. It also covers advice for all points of a screenwriterly career.

[J · Rating 3 out of 5]

"You can write a script a day, every day, for your whole life, if you're that motivated."

Invaluable information about Hollywood procedures from the people who lived it: major motion-picture screenwriters. I often felt like I was having coffee with the writers while reading their take on industry elements like arbitration. If you try to internalize the lessons they're imparting here, this is what you should remember:

* Your first screenplay will not sell, but it may work as your calling card;
* structure: start as late as possible (every scene) and it comes out of what your character wants;
* It's normal to get rejected a million times, rewritten a billion times, never take it personally and move on to the next project;
* "Nobody knows anything."
* Read a screenplay a week for a while and write it down BEAT-BY-BEAT and you'll learn A LOT;
* Most people never finish a screenplay;
* Your vision will be compromised and your words butchered;
* If your movie can attract an actor, a director and be marketed, it's complete;
* You have to think your screenplay is the best thing since sliced bread or you're not done;
* PAGE ONE MATTERS;
* Great gatekeepers want to find a masterpiece;
* "What do I have that no one else has?" (write what you can nail);
* Pitch it including cost, location, marketing, audience;
* Think about: the stakes, tension, emotional resonance, relevance of theme and commercial potential;
* Don't put out the script until it's ready;
* Screenwriters have to have a good personality,very strong visions, but be able to play ball creatively and have multiple scripts and outlines;
* Start with a small agent who will have time for you;
* Cold-call people who take submissions;
* The prize is screen credit on a movie that gets made;
* Look for reasons why the people you're working with are smart;
* They're hiring you because they need advice, so don't be too passive;
* You have to say "I know what the movie is.";
* A role for a star is one where they affect every scene and are the center;
* Lead can be good or bad, but has to be interesting and good at what he does;
* Write something original but that is also similar to something that made money before;
* Be persistent and whatever happens, keep going back;

[Bill · Rating 4 out of 5]

Horror Stories from Hollywood

Hanson, Peter, & Herman, Paul Robert (Eds.) (2010) Tales From the Script: 50 Hollywood Screenwriters Share Their Stories. New York: Harper Collins.

The Title is apt: These are anecdotal reports from scriptwriters falling into the category of “horror stories.” It’s about scripts rejected, discarded, ruined, stolen, savaged; and screenwriters themselves doublecrossed, outwitted, betrayed, and and rarely, successful. It’s a mean life, and if I learned one thing from this book, it is that I would never want that job.

These short anecdotes come from a huge cross-section of screenwriters and Hollywood insiders and they all express the thrill, the drug-like high, of getting a script made into an movie, no matter how crummy it might be. And three-quarters of the movies mentioned are very crummy or I had never heard of them (and I watch a lot of movies). Among the ones I had heard of, 90% ranged from blah to ridiculous. A small handful of anecdotes are from writers of high quality movies, like The Sting, and Ray. Getting a script made is the holy grail, not achievement of artistic quality.

The book reinforces my suspicion that making movies in Hollywood is all about money and nothing about quality; and that the process for selection of scripts to be produced is random or crony-based; never a meritocracy. I guess the same is true for most popular and literary fiction, though I harbor delusions that quality still matters in that domain. Also, almost no movie has a single screenwriter anymore. It is all done by committee, which is usually obvious on the screen, and the reasons for that are fascinating.

The book is entertaining and an easy read. Entries are 100 to 500 words, “war stories,” as it were. Reading it, one gets a sense of how the moviemaking process works, at least from the point of view of the writer. Recommended for any masochist who thinks they might be interested in writing movies.

[CC · Rating 3 out of 5]

While I admire Peter Hanson and Paul Robert Herman greatly for gathering the staggering amount of participating scribes, the book's strength is also its weakness. With so many screenwriters, nothing is explored deeply. The anecdotes told are just that, anecdotes -- it's not done in an interview style, so there's no follow up questions, or, at times, clarity to the writers' original statements.

When Shane Black (pg. 111) says he felt cursed by the money he made after the Leathal Weapon movies, and that it took him "out" for a few years... um, that requires follow up. How did he overcome it? What does he think about today's paychecks or lack of them in current spec sales? How did it change the way he approached his next screenplay, or did it? I've got a million questions, and no answers.

When Frank Darabont (pg. 217) talks about how he did specific work on Saving Private Ryan but wasn't bothered that he didn't end up with screen credit -- well, hell, tell us what you did, what others did. How did what was already written inform what you wrote and vice versa? How do you specifically approach a script coming in as the second writer as opposed to being the first?

Likewise, there was zero curiosity as to process, which wasn't talked about at all. Do you prefer assingnments or writing on spec? What's the first thing you do when you've got an idea? Do you outline? What's your revision process like? How long does it take you to finish a spec as opposed to an assignment? Are the pressures different? The same?

Because there were no specifics, the book lacked substance. I would rather delve into a book that concentrated on five writers and feel like I understood their process and trials than to read (the often) vague and politically correct anecdotes of fifty screenwriters.

[John · Rating 5 out of 5]

Fantastic! The authors interviewed, as the title indicates, fifty Hollywood screenwriters from veterans to newbies, and arranged the results into chapters which feature snippets from those interviews. The chapters start at the beginning — their breaking-in stories — and move to topics like: what it's like to work with the "power players" like executives and directors; the "slings and arrows" screenwriters have to put up with; turning director; what it takes to go the distance. Through it all, you get a full range of perspectives on what the industry's really like, from people who tell it like they see it. I highly recommend it for anyone interested in working in or for Hollywood, not just screenwriters.

A few of the many great quotes in this book:
"It's a privilege to be permitted to suffer in this business"; "Writers get paid for what other people get scolded for: daydreaming." -- Richard Walter

"There was this experience on 'Air Force One', where I'd written this little speech. Harrison [Ford:] came up to me and he said, "It's a great speech." I said, "Oh, thank you." He said, "I'm not gonna do it. All this, I can do with a look." And he could." -- Andrew Marlowe

[Christopher · Rating 3 out of 5]

This is a great collection of interviews with screenwriters (and writer-directors) from Hollywood past and present (or present as of 2008, when the hardcover version was published), including Allison Anders ("Gas, Food Lodging"), Shane Black ("Lethal Weapon"), John Carpenter ("Halloween"), Frank Darabont ("The Shawshank Redemption"), Nora Ephron ("When Harry Met Sally"), William Goldman ("Butch Cassidy and the Sundance Kid"), Paul Mazursky ("Bob & Carol & Ted & Alice"), Billy Ray ("Shattered Glass"), Bruce Joel Rubin ("Ghost"), Paul Schrader ("Taxi Driver"), Ron Shelton ("Bull Durham"), Guinevere Turner ("Go Fish") and James L. White ("Ray"), among others. Filled with wonderful, insightful anecdotes about life and work in Tinseltown, the book suffers a bit from lack of structure (in spite of the chapter organization, a lot of the same points are made over and over again, in random order), but is still a worthy read.

[Catherine Howard · Rating 3 out of 5]

Yay! It's nearly the end of February and I've read my first book of 2014. Shameful but then I am trying to finish writing my own...

TALES FROM THE SCRIPT has been on my To Read list for a while, and it while it wasn't as gleefully entertaining as I hoped (like SAVE THE CAT or TALES FROM DEVELOPMENT HELL are) it was still an intriguing insight into the life of a Hollywood screenwriter. I would say though that's it about 60:40 on Advice: Anecdotes, and it's the anecdotes I prefer. Still, definitely worth a read if you're into the subject. Consider me surprised about the genesis of some of my favourite movies and convinced, more than ever, that writers are undervalued in Hollywood. Without them, there would be no movies at all... Or at least no good ones.

[Joshua Pruett · Rating 4 out of 5]

Forget the screenwriting gurus and "how to write a screenplay in eight days" books, this is right from the horse's mouth - real advice from the writers who write, NOT the talkers who talk. Great stuff in easily digestible anecdotal bites; highlights include John Carpenter, Paul Schrader, Shane Black and Frank Darabont and some real zingers from Melville Shavelson that ends the book on a high note. All the best advice is proved out by repetition - don't be a dick, take the note, complaining is for light-weights and focusing on the work will save you time, effort, ulcers, alcoholism and gray hair. Read it, then get to work writing.

[David · Rating 3 out of 5]

It's an interesting look at screenwriting from the perspective of a number of established screenwriters. However, each snippet from a writer lasts only a paragraph or two, so it sort of all ends up blending together into one overall story about screenwriting without letting us see the personality of any particular writer. Which is a shame, because one of the main reasons I was interested in the book in the first place was to get to know some writers better. Still, the main theme throughout the book is persistence in the face of constant rejection and the book does a great job of delivering that message.

[George Shubin · Rating 4 out of 5]

By interviewing over 50 established screenwriters, this book provides a broad-spectrum look behind the scenes of an industry that fascinates so many people. We learn of all the struggles, frustration, disappointment, joy, and satisfaction that a screenwriter experiences in his dealings with agents, producers, studio executives, directors, and actors.

If you are the least bit interested in learning how the hamburger that is a movie comes to be, then this book is both a cautionary tale and an inspiration.

[Dan · Rating 4 out of 5]

Not so much a screenwriting manual, but lessons in what to expect within the film industry as a writer told in the form of cautionary tales, harsh realities and inspiration.

The books strong point is the great cross section of writers they interview: Shane Black, John August, William Goldman, Frank Darabont, Paul Schrader, David Hayter (Snake! Snaaaaaake!),John Carpenter and these are just the ones off the top of my head.

There are also some great "behind the scenes" stories in the book (the chapter on arbitration was fascinating) that will please movie buffs.

Recommended.

[Rick Barry · Rating 4 out of 5]

A screenwriter recommended this book as a fascinating inside look into the stories of the screenwriters behind today's film industry. My friend was right. I had no idea how brutal this industry could be. Movie scripts getting rewritten THIRTY to FIFTY times. Writers who toil and slave away to develop their story--only to have it yanked away from him and given to other writers to rework and get credit for it. If you have any inclination toward writing for the film industry, you might want to start here for a sobering introduction.

[Michael January · Rating 5 out of 5]

Fascinasting look into the real world of screenwriting. From the people who do it. Go past all the hype about the whole movie glamour thing and look at the process of what it takes to thrive...and survive. No sugar coating here. It's oddly inspiring, presenting the challenge of the business in raw terms, but making you realize that if this is something you want to pursue, you have to view it with clear eyes and a steel spirit.

[Raj · Rating 4 out of 5]

This book will not teach you rules but it will teach experiences. It will give you a clear picture of what writing is in reality from getting an idea to finishing the script and finding a buyer. Real life screenwriters, talk about their experiences on various topics guiding you from step to step. Very good book. Will recommend it.

[Oscarito Martiruiz · Rating 3 out of 5]

Interesting stories from screenwriters. Good advise and insight from Hollywood, considering the current state of the movie industry, it would be valuable in future editions to include more content on experiences working with online platforms such as Netflix, Hulu, etc when it comes to original content.

[Jessie · Rating 4 out of 5]

The book is a cold bucket of water about the realities of being a screenwriter. It gives a quick snapshot of many experiences from successful screenwriters, the good, the bad and everything in-between.