Man, what huge differences between my younger and older writer selves! If this deal falls through, as I've had deals fall through in the past, I think I'll be fine because in my view the best has already happened: a seasoned, experienced producer has responded so positively to the script that he wants to direct it. Of course, I want this to happen, and I'll completely welcome the money, but if it doesn't, I won't go into depression like my younger self did after "done deals" fell through, wallowing in self-destructive behavior. The best has happened already, which is to say, my faith in the quality of the script has been justified. Already. The offer speaks to the quality. You don't choose a questionable script with which to make your directorial debut in a field in which you're already known as a successful producer. THE BRAZEN WING is a good script.
But I already knew that. Even if no one else did. But now someone with fine credentials agrees with me, and this is a real high, good strokes.
I feel like when Harold Prince wrote to tell me my play about Moliere was "first rate work." Admiration by giants in your field is very satisfying. (Then Prince added he was too busy with a new project, Phantom of the Opera, to do my play, which had been recommended to him by a NY actress/friend who had seen it. She had gotten a script and sent it to him with a note, "you should do this." Networking is everything.)
Of course, in this case even better strokes would be a nice bank deposit. We'll see.
Notice I've mentioned fortune more than fame. When Yeats was told he'd won the Nobel, his first words were, "How much?"
Subscribe to:
Post Comments (Atom)
No comments:
Post a Comment