Tag: writers

Husbands are unreliable narrators. Sarah Y. Mason wrote with her husband Victor Herman who later became a director of the Marx Brothers comedies. They won an Oscar for adapting Little Women and they wrote it twice right? They wrote the original version and they wrote the Katherine Hepburn version. They won to oscar together. When he did his oral history he said that he was the better writer than his wife. She was already dead. She didn’t get to say how much work he really did but if you look them up on IMDb, she has about 20 credits before she marries him and about 20 or 30 credits after they stop writing together because he becomes a director. He has about seven credits and half of those are writing with her. So who’s the real writer in that team. I don’t know but I think I can tell you. Clara Behringer’s husband did pretty much the same thing and Clara helped found the writing department at USC. She wrote one of these earliest books on how to write for the screen –– which is very difficult to use because it costs about $600 online right now –– because it’s like there’s few copies left but she wrote 85 different films. Her name is not particularly brought up often at USC even though she helped found the school and her husband was William DeMille who wrote about his career and not about hers.

Francis Marion. So female writers are their own unreliable narrators. She was throwing away all her papers at the end of her career. She felt nobody would care. Her secretary dragged them out of the trash and gave them to Carrie Beauchamp who ended up writing “Without Lying Down”, right? This is one of the most wonderful books about the history of Francis Marion which wouldn’t have existed because the female writer herself threw away her work. She did not think that it was worth keeping. She didn’t think anybody would care. Likewise, Carrie worked on “Anita Loos Rediscovered” I don’t think Anita Loos needed rediscovering because Anita was very good at taking care of herself. So I apologize to Mr. Stemple for having to say his book didn’t tell us what it should but I’m not going to apologize to Mark Norman because he knew better. His book came out after Carrie’s book did and he actually interviewed Carrie and he refused to use the information from her book in his. So there.

Screenwriters who write textbooks are unreliable narrators. When Mark Norman wrote What Happens Next he has about six women mentioned in the entire book and he declares that their work wasn’t very worth studying. So this is not a textbook that I use after two years of trying it and my students pretty much having a fit. Now I love Tom Stempel. Tom gave us the first book on screenwriting history but he didn’t know anything about Francis Marion at the time. He didn’t have much to say about her and I’ll tell you why in a second. For McPherson, he listened to what Cecil B DeMille had to say and that’s what ends up in his book. Now i’ve been lucky enough to have him come to speak to my students and he has apologized because he’s learned more in the days since he wrote that book and he asked the publishing company could he do a rewrite but they didn’t think that the ratio of new pages would make the higher price worth it and they didn’t give that to him but he has a column you can read in Script Magazine and he tries to cover for the things he missed originally.

Joan Harrison as we think about Alfred Hitchcock and we’re gonna hear all more about her later. So I won’t go into it but let’s remember that we call them Hitchcock films but they were written by other people. Hitchcock is not a writer all right. she wrote Rebecca which got the academy award nomination and there’s also in the corner here just a little bit on John Michael Hayes who wrote several other Hitchcock films. I really hate the fact that directors get authorship but that’s another story. Look at this picture. Almost everybody can name Cecil B. DeMille whether you recognize him or not. If I say his name you’ve heard it a million times in film history. So you know Jeannie Mcpherson? Jeannie Mcpherson wrote almost all of the films that Cecil B. DeMille made that made money and when they stopped working together his films stopped making money but when he was giving an oral history later in life, she had already died. He said “She was not a good writer. She would bring in wonderful ideas but she could not carry a story all the way through. I carried the story” and his word is the last word we have on her career because she died too young for people to start doing oral histories and by the way she was a pilot too. That’s not from her acting. She was actually a pilot. She was his private pilot.

I don’t teach the history of film. I teach the history of screenwriting because the history of film equals the history of directors which becomes a history of great men and great men are very unreliable narrators. They just are right? So let’s start with directors. Directors are terrible narrators. Alfred Hitchcock in his biographies has said that he learned everything he knew about making movies from a middle-aged American woman. He did not even name her, all right? He did not even name her which means she disappears in history but she was, in fact, Eve Unsell. Eve Unsell had been discovered by Beatrice DeMille, more than the mother to Cecil B. DeMille. She was, in fact, a screenwriter and a playwright and she helped many women get started in the business. Eve became a writer for Famous Players Laskey. She had her own production company – one of the earliest women to have her own production company – and she was so beloved by Famous Players Laskey – they sent her to England to right the mixed up studio they had started there and while in England she trained this young kid named Alfred what’s his name again. She told him everything she knew about making films and he can’t even remember to put her name in a book about him. That makes me crazy.