Leslie Dixon is screenwriter and producer of Limitless, based on the novel The Dark Fields by Alan Glynn. (Click here for Alan Glynn interview.) Her other credits include: The Heartbreak Kid (STO)*; Hairspray (MUS / MOV); Freaky Friday (NOV / MOV); The Thomas Crown Affair (MOV); Mrs. Doubtfire (NOV); Outrageous Fortune and other films. Limitless earned over $150M at the box office. (Watch the Limitless trailer here.)
JRM: How did you come to be a screenwriter?
Leslie Dixon: I was just a narcissistic little fantasizing nobody that actually had the temerity to think that I could move to Los Angeles, totally on my own, and break into the entertainment business.
It was very difficult for me to leave San Francisco, because I was living with this really great guitar player. Not a rocker. This guy could finger pick ragtime. And any song off the top of his head with a moving bass line, and get it rolling.
But I did want to make a living and I did want to be involved with the movie business, which I loved. But I loved film probably more than I loved bluegrass, so I worked up the guts to leave. It was hard for any San Franciscan to leave and go to L.A. period, much less try to break into a notoriously tough business.
JRM: Did you know how tough it would be at the time?
Leslie Dixon: No. And if I had, I wouldn’t have tried. I had been on my own since I was 18, and couldn’t afford to go to college. Read more at Make Your Story A Movie .com…
Screenwriter Terry Rossio (Extreme Interview)
Interviewed by John Robert Marlow
TERRY ROSSIO is the second-highest grossing screenwriter in the history of the medium. He prefers to write with a partner, which is almost invariably Ted Elliott. Together, they’ve written the screenplay and/or story for films such as: Aladdin; Godzilla; Shrek; the Pirates of the Caribbean, Zorro, and National Treasure movies; and far too many others to mention here. Terry also co-wrote (with Bill Marsilii) the record-breaking Deja Vu spec script—which sold for $5.6 million.
Q & A by John Robert Marlow
JRM: How did you break in, and how did you come to be where you are now?
Terry Rossio: I’m going to try to not give the usual boilerplate answers in this interview, and that means not going along with false presumptions, no matter how seemingly benign. The question about breaking in seems perfectly legit, but really it’s not. A writer must create compelling work, and then try to sell it. Once sold, the writer has to do the same thing again. It’s really not true that the writer ‘breaks in’—that’s an artifact of the belief that the person is being judged, not the work, and also of the belief that there is an inside and an outside, which I don’t think exists. There are too many screenwriters out there with only a single credit for there to be an inside, and too many writers on the outside making sales, to too many markets which are either new, changing, or undefined.
In truth buyers are just not that organized, your buyer is not my buyer, or in some cases, you can become your own buyer. Read more…