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People have been talking about Queen& #39;s Gambit a lot this past month, so I thought I& #39;d share the story of the first time I got a call from Scott Frank. [1/7]
I had just delivered the draft of THE THING (2011) that got greenlit, and was thrilled to get into production rewriting with such a talented cast. I was then notified Universal was not keeping me on anymore.
While this is typical for studios with writers who aren& #39;t at a certain level, it still broke my heart. I was worried the next writer on would undo so much of what I& #39;d spent the last year-plus carefully building.
That& #39;s when Scott Frank called.
That& #39;s when Scott Frank called.
He said at the top, "Eric, I& #39;ve just been brought in to do a pass on your script, to make some adjustments and mostly make the studio feel good." He went on to compliment the things he loved, had some thoughts on what could be dialed in more, etc.
He asked me what the lay of the land was, politically. Was any producer a problem? How& #39;s the director? Any advice to share? Anything I loved from an early draft that got cut -- he might be able to reinstate, so send his way to read.
What he said next floored me.
What he said next floored me.
"I& #39;m on a tight schedule, but if I have the time at the end of my pass, I& #39;d like to send to you for review first, just in case you have any red flags. We can talk it through together. Okay?"
I& #39;d never been treated that way before.
I& #39;d never been treated that way before.
I asked him if this is how rewriting is done among pro screenwriters.
Scott chuckled and replied, "It should be."
From then on I& #39;ve committed to the Scott Frank school of rewriting. And I encourage my peers to do the same.
Scott chuckled and replied, "It should be."
From then on I& #39;ve committed to the Scott Frank school of rewriting. And I encourage my peers to do the same.
