Interview with Brent Maddock
Interviewed by Jenna Glatzer

Brent and his writing partner, S.S. Wilson, have numerous screenwriting credits, including Short Circuit, Short Circuit II, Heart And Souls, Ghost Dad, Tremors, Tremors II, *batteries not included, Wild Wild West, and the upcoming Frankenstein And The Wolf Man.  He is also co-founder of Stampede Entertainment, producers of Tremors and Tremors II.

How did you get started with screenwriting?

I started making 8mm films as a kid with my father's old home movie camera. I went to USC Film School as a grad student (after getting my BA in English from Colgate University). I had always been focused on making movies. Even at film school, I spent most of my time editing films and learning the more technical craft of putting together a film, rather than studying screenwriting. After film school I worked as a freelance film editor in the educational film business. From that I started writing some of those films -- short 16mm films on how to brush your teeth, how to use the dictionary, etc. I met Steve Wilson at USC and we were roommates. Steve and I were always tossing around ideas for film scripts. We wrote one that was perfect proof that, while we had a lot of ideas, we didn't really understand dramatic structure. I finally read Syd Field's book, ""Screenplay," and started to understand the three-act structure. Steve and I were working on an idea based actually on an educational short that Steve had written ("How to Write a Library Report"). That little film had a small robot (built and stop-motion animated by Steve) as its star. We thought we could use the film as a selling tool to raise money to do a low budget feature film about a robot. We wanted our film school buddy, Ron Underwood, who had directed this particular short, to direct the feature if and when we ever got it written and found the funding.

We wrote the script. It turned out to be "Short Circuit" and everybody wanted to buy it. And we sure needed a break and any way into the business. So we sold it and found ourselves in the business. But we still felt we owed Ron. And, of course, we wanted to work with him. A few years later we wrote "Tremors" on spec and insisted the studio (Universal) allow Ron to direct. That was hard because up to that time Ron had done only educational and industrial films (with the exception of the low budget "The Mouse and the Motorcycle" for TV). But, to Universal's credit, they took a chance and "Tremors" turned out great.

How important was the USC film program to your career?

USC Film School (actually, Department of Cinema at that time -- early 70s) was important to me. I met my writing partner there and Ron Underwood. I also had time to learn about the craft of filmmaking, which I think has helped my screenwriting. Steve and I pride ourselves on not writing stuff that isn't shootable. Although, with computer-generated images, almost anything is possible now. Also, film school was a time to get your head together, look at a lot of movies, talk about movies and start to get a sense of what it is you might have to offer. I don't, however, think film school is a necessity. But being in a community of like-minded, enthusiastic film lovers is a great help. If you can do it without paying the tuition fees, great.

What a way to break into feature films-- SHORT CIRCUIT was such a great success. Where did you come up with the ideas for this script?

As I said, the idea of writing a film starring a robot ("Short Circuit" ) came from an educational short. The real struggle (besides the basic structuring of the story which is always the big challenge in screenwriting) was to figure out what to do with the robot. What was going on with him? What was his problem or challenge? We struggled with it until coming up with the idea of Number Five coming to life. Once we got that, the only question we had to keep asking ourselves -- sort of our compass direction to keep following -- was, simply, if this robot really did come to life, what would really happen?

Did you have any fear that it might be a tough act to follow?

We had a lot of fear that our first feature (even though there were things about the film we did not like ) would be a hard act to follow. What we didn't realize then (fifteen years ago) was that we'd feel that way after completing each project we worked on. Or, more specifically, I think any creative person is always going to worry that whatever mysterious skill he or she has is just as mysteriously going to abandon him or her.

You regularly work with writing and producing partner S.S. Wilson. How did that partnership come about, and why do you choose to collaborate?

My writing partner Steve Wilson (S.S. Wilson because it sounds a lot more interesting) were, as I said, classmates at USC. We ended up successfully collaborating for two reasons: we enjoy each others' company and we complement each other, i.e. I'm good at what Steve is weak in and vice versa. A writing partnership isn't going to be too useful if both partners are great with character and dialogue but struggle with structure, for example. We prefer to collaborate not only because it's nice to be helped in areas where help is needed, but also because writing is a lonely business.

I think that writing partnerships fail so often or, at least, are trying because the partners don't completely trust the talent and instinct of each other. When push comes to shove, when you and your partner have completely different ideas on a certain point (I think the gag is funny, for example, and Steve doesn't remotely get it) then you need that kind of trust in the other guy's sensibilities that will allow you to step back and let him have it his way. You often find out that you were wrong. Steve and I will sit at a screening of something we've written and wait for a certain line of dialogue or bit of action we argued over months or years earlier to come up just to see who was right.

Of all of your films, can you choose a favorite? 

"Tremors" is my favorite because it works. It is the closest thing we've done to what we actually imagined. The reason: we produced it. The vision of it wasn't altered or destroyed by a lot of other people trying, essentially, to make a different film. Screenwriters are a frustrated lot precisely because the film that results from their writing is usually turned into the director's or the producer's idea of a good film. Often, the director or producer isn't qualified or talented enough to be acting as an original creator, a visionary, the way a writer must.

How have you made your sales-- specs, pitches, assignments, etc.?

Most of what Steve and I have done has been on assignment from a studio. They ask us if we're interested in something (a notion they've got, a simple story idea, etc.) they've got. If we get excited about it, we may go ahead and do it. Sometimes we do an idea from scratch ("Short Circuit," "Tremors") and, usually the film that results is better. Steve and I also pitch ideas to studios or producers but we'd rather write something than put on a show and that's what a lot of pitches become. Can you keep the bored studio exec from falling asleep?

Screenwriters often have a turbulent relationship with agents and managers. You seem to have a much more positive story, since your agent (Nancy Roberts) is now one of your partners in Stampede Entertainment, as is director Ron Underwood. How did this evolve?

Our manager, formerly our agent, Nancy Roberts has the skills of a good movie producer. She helped us a lot when we produced "Tremors" even though she received no credit. She also produced (credited this time) "Heart & Souls" and "Tremors 2." Along with Ron Underwood, we formed Stampede Entertainment so that we could have more power than single writers for hire. We wanted to produce films not only from our own writing but from the work of other good screenwriters. There's also strength in unity. In this business, you've got to stick together with your friends.

What is one thing you wish you'd learned about this business earlier?

What I wish I knew about this business earlier is the need to have a number of projects (in whatever stage of development) being worked on simultaneously -- or nearly so. No matter how much effort you've put into something, it can all go up in smoke for the silliest of reasons and you'd better have something else ready to go.

You also produce films-- TREMORS, TREMORS 2: AFTERSHOCKS, and upcoming projects with Stampede. Why did you decide to produce, and has it affected the way you write?

As I said earlier, producing is about control so that you can at least fight for your vision so that it has a better chance of actually making it to the screen. Producing, as with any experience in the other aspects of filmmaking, makes you a better, more practical writer. When you write a script, it's more likely that it won't need to be reworked to make it shootable within the limits of budget and physical reality. If you know what these limits are, you can wrestle with them while you're writing and, therefore, keep your vision alive. Otherwise, stuff gets changed for the most pragmatic reasons when a film is being made and the decision to change things is usually done by a producer or assistant director or special effects guy or whomever and they often don't care a lot about the writer's vision.

Pre-pro writers are often told this business is about "who you know." How true is that statement? Any advice for writers who live far from Hollywood?

It's not necessary to move to LA to help your screenwriting career, but it does help. The reason: human contacts are important. But what do you do if you live in Skaneatles, New York or Bainbridge, Washington and you ain't leaving? First, of course, with the internet, you can instantly become part of a screenwriter community. Not a bad idea. Secondly, there are lots of magazines and publications on screenwriting that you can read. Thirdly, I'd take my best script and submit it to film festivals and other screenwriting competitions. Steve and I have a friend who moved to Costa Rica a number of years ago and he just won the Slamdance Festival screenwriting contest. This will help his career.

You write excellent, off-beat characters. Any advice about fleshing out characters and making dialogue ring true to life?

Writing good characters comes from observation. The truth is the world is filled with them but we usually ignore them. People are fascinating. They're full of great wisdom, contradictions and big surprises. I like to take a character who seems pretty obvious to the audience and then show some aspect of him that you'd never expect. Sure, he's a big, bad biker, for example, but he knows the names of all the flowers and trees, or he reads poetry. Give a character that depth by finding what isn't obvious about him or her. Sure, she's a bitch, but she always holds the door for people. Another thing to do with dialogue is to have someone read it after you've written it and see if the character comes through in that person's reading. Presumably they don't really know the characters and will be reading every line of dialogue with the same inflection. If you can see the character in the dialogue itself, without any help from performance, you've written good, actor and director-proof dialogue.

Would you advise unproduced writers to write spec scripts that are remarkably original, or to pattern their writing after other films/subjects with proven track records?

Unproduced writers actually should do both things: write original work and write within a proven commercial genre. So, go ahead and write that script about your wonderful high school science teacher who happened to be blind, but, also, write something that the heads of marketing at the studios will feel confident they can sell to the public. Give yourself a chance to at least get your foot in the door. The truth is, often, the first really good script you write will help open doors but, for some reason (usually they deem it great but not commercial enough) nobody ever makes it into a movie. Kind of crazy but it reminds you it is a business. Some times, if a writer attains enough success, he or she can go back and take that early, more personal or quirky script and make it as a film. It needs to be said, however, that lots of writers in the film business have lost their souls precisely because what they're doing is all about making money and there is nothing of themselves in what they write. That's not a happy life for anyone and, regardless of your level of success, will come to haunt you at some point in your life. You are here to contribute that which only you can contribute. Simple.

What are your upcoming writing, directing, and producing projects?

Steve and I are working on a spec script at he moment and we are developing some TV series ideas as well. I can't be specific about them but they all seem to involve big adventure with a healthy dose of comedy.

Anything else you'd like to add for pre-pro screenwriters?

Advice is a tricky thing, even coming from an established writer because I'm where I am for a number of reasons, the biggest of which being I was in the right place at the right time. In other words, pure luck. I'm constantly impressed by and a bit jealous of the talent that's out there. They always say that no matter who or where you are, a good script will rise to the top. But first you have to be committed to yourself. So, persistence is required. But, before that, you really need to get good, unbiased, coldly realistic advice on your writing. This may be why your husband or wife is not going to be as helpful as someone else. I'd also suggest getting into a local writers group or screenwriting extension course (I did one at UCLA and got a lot out of it). You need people's help and you need not to be writing away inside a cozy little bubble where no one challenges or questions what you're doing.

Sponsored links

Ring binders

 

Make a Real Living as a Freelance Writer!

How to find a book publisher

Home

Text on this site Copyright © 1998-2007 Absolute Write, all rights reserved.
Please contact the authors if you'd like to reprint articles on this site.  All copyrights are retained by original authors.  And plagiarizers will be rounded up, handcuffed, and stuck into a very small and humid room wherein they must listen to Barney sing the "I Love You, You Love Me" song over and over again.

writers writing software