Interview With Tony
Urban
Interviewed by Jenna Glatzer
Tony is the writer of POOR WHITE TRASH with director Michael Addis,
starring Sean Young, William Devane, and Jason London. He has also penned R.I.P.
for Thunderbay Productions, scheduled to shoots this year, and is preparing to shoot
his script HIGH POINT this Fall.
Why screenwriting?
We'll, I've loved movies forever. Literally. Forget about the typical kid stuff. Sports, video games, friends. My
life was movies and reading. As I moved through junior high and high school, it was obvious that writing
was what I wanted to do. At first, I'd considered journalism or magazine writing. I even landed my first job as a
monthly magazine columnist when I was 15. I was a junior in high school when I bought Syd Field's
"Screenplay." It sat around, collecting dust for a year.
I was writing for the school paper, still planning on becoming a lowly paid and
little-appreciated journalist for one of the local rags (I'm from PA). Then, I saw
"Braveheart." I know a lot of people loathe the film, but I loved it. I must've watched it 6 times that
summer ('95) and enjoyed it more and more every time. It was easily the best movie I'd ever seen. So, I
thought "Huh. Writing movies sounds fun, and it can't be that hard."
I put it off until I graduated, then started writing. I finished my first script in 2 weeks. It was awful. I didn't write
anything else for almost a year, then wrote another. It was a little better, but not much. Then I
bought Skip Press's great book. I emailed some companies, thinking my
script was the best thing since sliced bread. No one wanted to read it. But, I did meet
Michael Addis that way, and that leads us to the next question.
How did you get your work into the hands of director Michael Addis?
I'd found Mike's email address in Press's book. He didn't care to read that script, but said he was looking
for comedies. I'd just started work on this outrageous, wild script called "Poor White
Trash." I told Mike about it and he wanted to read a treatment. So I searched the web to find out
what a treatment was. :-) After figuring that out, I wrote one up, sent it to him and
he fell in love with it. He asked if I'd ever considered co-writing. I thought about it for about two seconds.
Remember, I was some 19 year-old kid in the middle of nowhere.
You two co-wrote POOR WHITE TRASH. How did you accomplish this?
Entirely, 100% via email. We batted the treatment around for a while, until it really became a detailed, 40+
page outline. Then we wrote the script in 3 days, literally.
How was he instrumental in getting the script produced?
Mike had a hot shot agent at William Morris. He sent the script wide. We expected a huge sale that would
make us both rich and famous. Well, it didn't work out quite that way. In the end, we went with Kingsize
Entertainment, an indie company whose producers, Lorena David and Mark Roberts, Michael was friends
with. They gave Mike the opportunity to direct, promised to make the movie, and we jumped! It never
would have come to fruition without Michael's connections.
Once the script was finished, did you remain involved in the production?
Being on the East coast, my role consisted of calling and emailing every day to see what was happening. I
couldn't do much out here, but once they'd cast the movie and were prepping to shoot, I drove out to
Benton, Illinois and met everyone. The day before shooting, Mike and I did a minor
rewrite, and then I spent the next few days watching them make a movie about this little idea I'd had 2 years earlier. It was
amazing.
This film has been to many festivals, and is in negotiations with
distributors. How did it wind up at so many festivals, and how important is
this to getting a distribution deal?
Kingsize submitted to a few, and has been invited to many more. The audience just loves the movie. They've
had standing ovations at each of the festivals it's played. I know that got the distributor's interest
going, and it shows that the film strikes a chord with people.
You also often collaborate with writer Genie Davis. How did you meet
her? What are the good and bad points of collaborating?
I met Genie on the Scrnwrit mailing list. We were friends for a while, and one day she asked if I'd like to
co-write a family script with her. I hadn't written in that genre before, but thought it sounded fun and decided
to go for it. We've written 8 or 9 more since then. She's the sweetest, kindest, most talented lady I've ever
worked with and I thank the Lord every day for letting me meet her. I've never had problems with a
collaboration, but I've been kind of lucky. I've heard stories, people stealing ideas, money, not working, etc.
It's good to know the person before you "jump into bed" with them.
You were hired to write R.I.P. for Thunderbay Films. How did this come about, and what's happening with it now?
Bill Ciaccia had posted that he was looking for a horror script on Margo Prescott's "Screenwriting" email list. I
responded, pitched him a few scripts. He needed something for a smaller budget and asked if I was
interested. I, of course, was, and punched out the script in a week. We've since cast it, added a director, and
are prepping to shoot later this year. I'm associate producing the film, basically that means I do a lot of
busy work. All of the pieces (actors, directors, crew, writer, producer) came together via the net. Truly a film born in cyberspace.
Have you ever had an agent or manager?
No! :-) Much to my chagrin. I've talked with a few, but most want you to write what they want you to write. I
love horror and historical dramas, two polar opposites, and two genres that turn off most agents. I don't see
any use in signing with someone who's just going to bitch that I don't write what the market wants.
You're now gearing up to direct your first film-- HIGH POINT, a script
you also wrote. Why have you decided to do this one yourself?
It just sounds like so much fun. Plus, I'm very interested in moving into production, and this is a nice jumping off
point. We've gathered our investors, I've cast the film, hired a crew, and we're ready to become the
next "Blair Witch Project." :-) Of course, I don't expect that kind of success, but we're working on a small budget,
so there isn't much of a risk involved. I can't wait.
How have you gone about seeking financing?
I wrote up a business plan and sent it to every single person I've ever known, and some I haven't. It trickled
in, a few thousand here and there. After a month or so of knocking on doors, I had everything I needed.
What are your hopes for this film?
I expect a direct-to-video release. I know we have a great script with interesting characters, so I'm confident
we'll get some attention. With the advent of the net, you can market a film at virtually no cost.
Basically, it's a learning experience that will hopefully have the added bonus of putting a few dollars in everyone's pockets.
What's one thing you wish you'd learned earlier about the film business?
Write your ass off before you ever try to sell anything. I made the mistake of marketing a few first drafts. Big
no-no! Someone needs to write a real "how to" book on the art and biz of screenwriting. Maybe I
will. I can see the title now... "She slept with the screenwriter: How the blonde tried to break into show
business."
Anything further you wish to add?
I'm sorry for insulting pale-headed men and women everywhere. :-) I'm a nice guy, really. Good luck with
your writing and don't give up, no matter how many rejections you receive.
Visit Tony's website here: http://www6.50megs.com/tonyurban
