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The Changeling

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  • #31
    Originally posted by Karachi Vyce

    Let's not get ahead of ourselves with the pats to our own backs, JMS. You ain't A-list yet.
    From what I know of Hollywood (which, granted, isn't that much), it strikes me that being A-list in the eyes of the industry is often significantly different to being A-list in the eyes of the fans.

    A perfect example being the aforementioned Akiva Goldsman. I certainly wouldn't go out of my way to see any movie with his name on the screenplay, but he seems to carry quite a bit of weight as a writer.
    The Optimist: The glass is half full
    The Pessimist: The glass is half empty
    The Engineer: The glass is twice as big as it needs to be


    • #32
      It's one script. Once he's sold like 3 or 4 scripts to A-list directors, MAYBE I'll consider him A-list.

      As it is, I remain highly skeptical. One script does not an A-lister make.
      "I don't find myself in the same luxury as you. You grew up in freedom, and you can spit on freedom, because you don't know what it is not to have freedom." ---Ayaan Hirsi Ali


      • #33
        Maybe not in your mind. M. Night Shyamalan became an overnight success with "The Sixth Sense," and as has been mentioned here before, Akiva Goldsman is another who went from being virtually unknown to A-lister overnight. It does happen; still, it'll help if the film actually gets made.


        • #34
          JMS posted this in newsgroup:
          I am living in such strange times right now. So I figured I'd share

          Prior to the announcement of "Changeling," my film agent tried to get
          me to understand what would happen in the aftermath of that
          announcement, even though he said "you really won't get it until you're
          in it."

          I had no idea.

          See, there's a real class structure to this industry. A list directors
          only buy scripts from A list writers. That's kind of the rule, with
          very few exceptions. I've been working in the TV business for over
          twenty years, but in features I'm kind of an unknown equation. Always
          have been, mainly because I really haven't sought it out much; I figure
          films are like going to Vegas, you can invest years in one shot at the
          dice. So I stick to TV. I thus have not been in that class of A list
          writer. Nowhere near.

          When Imagine and Ron Howard bought that script, the effect was
          electric. Suddenly everybody in town wanted to know who the hell was
          this guy they'd never heard of who just sold a script to Howard and, in
          essence, jumped the line from "who?" to A-list without much in-between.
          Twenty years in TV, now suddenly an overnight success.

          Within hours of the announcement, every studio in town was calling my
          agent to get a copy of the script. As it got read, they started
          calling to set up meetings. Not us calling them. Them calling us.

          And then the offers started. Rewrite offers. Original film offers.
          Adaptations. I've had no less than one and in many cases two or three
          studio meetings every day for the last several weeks, and my calendar
          is one big mass of black type for the next four weeks. A big-budget
          feature that Sony wants me to rewrite because it has to go into
          production fast, one that Universal wants developed, on and on and
          on...all I have to do is say yes to whichever ones I want and they're
          mine. Everything I've ever written is suddenly being pored over and

          I have never seen anything like it. I've read about this sort of
          thing, but to experience it personally is...strange, so strange. The
          stuff I've had out there before, the novels and short stories and the
          like, are all exactly what they were before this...the words didn't
          change on the page, the stories didn't alter, but suddenly the
          *context* in which they are being seen has changed radically.

          I'm being very, very careful and very selective in what I say yes to,
          because I want to make sure whatever I take on adds to rather than
          subtracts from the momentum we've now achieved.

          The really odd thing is that I'm not running around, jumping up and
          down, celebrating or hooting or hollaring or any of that. It's moved
          me in the other direction, I've gotten really, really quiet, and
          careful. It's like all of my antennae are up. Everybody around me is
          thrilled, and can't figure out why I'm being so reserved. I'm not
          really sure myself, to be honest. Just a strange sort of wariness,
          like when I'd move to a new neighborhood as a kid and I'd go quiet
          while I sussed out the area.

          Odd. Nothing bad, it's all to the good, lord knows. Just odd. Very



          • #35
            fir pla y( to quote somoene with a similair surname to mine but, thanks the gods, no relation.
            I'm delighted being a JMSophile wo'll buy practically anything with his name on it (MSW being the one exception).
            on the "happy for JMS" ID
            "There are no good wars. War is always the worst possible way to resolve differences. It degenerates and corrupts both sides to ever more sordid levels of existence, in their need to gain an advantage over the enemy. Those actively involved in combat are almost always damaged goods for the rest of their lives. If their bodies don't bear scars, their minds do, ofttimes both. Many have said it before, but it can't be said to enough, war is hell. "