Interview With Brad
Schreiber
Interviewed by Jenna Glatzer
Brad works as a writer,
executive and critic. He has sold and optioned screenplays and was nominated for
the Kingman Films Award for his script "The Couch." His books include Weird
Wonders and Bizarre Blunders (Simon and Schuster) and Death
in Paradise: An Illustrated History of the Los Angeles County Department of
Coroner (General Publishing Group). He has written for Entertainment
Today, Back Stage West, Script and Ross Reports, worked as a writer and
development exec for L.A.'s KCET-TV, served as director of development for
TV/Film director Jonathan Kaplan, and teaches at the American Film Institute and
UCLA Extension.
Why do you write?
Because I do it better than anything I do, with the possible exception of teaching writing. Because I love it.
Because, at the risk of not sounding humble, I believe and have had confirmation in my career that I have a gift for
it and to not do it would be wasting my life to a certain extent. Because I learn more about myself and the world,
the more I do it. Because it is the only profession I know that allows you to go to work unshaven, still
wearing sweat pants and a tee shirt.
You write in many different forms-- books, articles, scripts, etc.
What are some of the pleasures and pitfalls of each medium?
This could be an entire dissertation. Short and sweet: scripts pay more but have less creative control. Articles are fast and
and regular and teach writing discipline, economy of language, etc. but pay diddly-squat. Books provide a certain status
and authenticity of voice but the book industry is getting more like the film business all the time,
decisions based on marketing, not content. Plays are richly rewarding for hearing
the audience reaction. Expect little else. End of mini- dissertation. Except--expect both quality people and
incompetents and cheats in ALL writing endeavors. Just like in real life.
How did you start writing for trade and entertainment magazines?
A pathetic L.A. weekly started maybe eight years ago-- SINGLES VOICE--a truly lamentable attempt at a paper addressing
issues and entertainment for singles. I started writing theatre reviews, then film. It led to the next theatre
and film criticism gig, and has continued to today, with my media/politics column DEVELOPMENT HELL in
ENTERTAINMENT TODAY and my theatre criticism in BACK STAGE WEST.
As a consultant, you've had a wide range of clients, from production
companies to individual writers. What are some of the differences you see between most 'professional' scripts versus scripts from unproduced writers?
This should encourage neophyte writers somewhat. I have read absolutely atrocrious writing, even with incorrect formatting,
from scripts Creative Artists Agency has submitted to my former boss, director Jonathan Kaplan. Do your best work and work hard to
get representation. Anyone can--and does--write screenplays.
How did you hook up with Chris Vogler (author of The Writers
Journey)?
I knew and respected THE WRITERS JOURNEY, when I met him at the second wedding of his ex-wife. Then, a producer optioned
a comedy screenplay of mine and hired Chris to analyze it. We had a series of lunches over the years and just put up
the Storytech website less than a month ago.
You teach a UCLA extension course in writing humorous fiction and
non-fiction. Is humor something a writer can really learn, or does it have to be (at least partially) "natural?"
This is a smart, global, hard-to-answer question, like "Are humans born good?" or "If God exists, why does He/She allow cute puppies
to be run over by cement trucks?" But I love tough questions. A person without an inherent sense of humor can learn principles
to create funnier writing. My last UCLA class featured a former Emergency Medical
Technician who started out writing dark, warped, pain-filled prose. By the end, his tone was lighter,
goofier and the risks he took and succeeded in taking astounded his fellow students--and his instructor.
Why is it a good idea for a writer to use a script consultant?
Because most people, including those who work in the film industry, are not trained and don't have the specific skills to
pinpoint writing weaknesses and explain how to improve those weaknesses. It is about being creative,
clear and honoring what the writer essentially wanted to do in the first place.
Writing columns and articles about the film industry seems like a great extension of screenwriting. How can a writer find an original angle to pitch to a market like Backstage or Script?
Actually, journalism is more a preparation for writing non-fiction or fiction. Screenwriting is a very particular
kind of writing, which requires a visual sense. I recommend querying magazines and papers with clips, via snail mail or
e-mail, if the publication allows. Interviews of timely events or personages seems a good way to get in the door.
How important is structure in screenwriting?
How important are the materials we use to create buildings?
Any advice for keeping a reader's attention in the second act?
Strong oppositional forces for the protagonist(s.) A solid mix of both action and character development. A crisis
leading to the third act, which begins to address the greatest challenge to the protagonist in the story.
What would you do if a writer sent you a script that was so
lousy you wished you could set it on fire and forget its existence? Would you ever advise a writer to quit?
I have already read plenty of scripts which I wished to set on fire. Some were so bad, I wanted to mail the ashes to the writer, postage
due. I would never advise ANYONE to quit. What makes success? Is it ability? Is it drive? Is it luck? Focus? A blend of all these?
I have received so much criticism and discouragement in my writing career that I will never presume to know what a writer,
with proper instruction and encouragement, is capable of achieving.
What's your favorite film and why?
ONE FILM? Stop torturing me. One of my favorites is NETWORK
by Paddy Chayevsky. Funny, tragic, real characters in a world gone insane, yet recognizable. Perfect casting
and directing. It addressed issues before they happened in this country. And the dialogue is rich, complex,
beautiful to listen to and yet not unbelievable. Most anyone can write:
"EXT. OFFICE BUILDING - DAY
The entire building explodes into a million hot, whirling
fragments, spinning in countless directions."
Not everyone can create dialogue and characters which are memorable and fascinating, viewing after viewing.
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Visit Brad's sites here: STORYTECH
and www.pcmagic.net/brashcyber
