
You talkin' to me?
Two summers ago, Irwin Winkler became interested in my screenplay, Sugar Mountain. Over a six week period, he gave me notes and expected me to turn them around in a week, which I dutifully did, gleefully did. I didn’t agree with all the notes, and when I bravely objected once or twice he disarmingly replied, “Give it a try.” It was impossible to refute. I was old enough to appreciate what I came to feel was a master class in screenwriting. Irwin, in essence, taught me action.
At the end of the six weeks, his assistant called and asked if I could meet Irwin, now back from Capri, at this apartment in the Pierre. Okay. We spent one hour together going over the script. As he thumbed through it, he suggested a few more tweaks. One or twice he said something like, nice job. I would send in the cleaned up draft and he would send it to the actor for whom he had it in mind. Someone, by the way, who I always felt was wrong for the part, but if Irwin wanted Charlie the Tuna to play my lead male, that would have been hunky dory with moi.
When I left the apartment that night, Irwin shook my hand. “One question,” he said, “Sugar Mountain, what does it mean?”
Obviously it didn’t go anywhere. I sent it to a bunch of other producers. One nibble, enough to start crafting my academy award speech once again. Then, silence. This post is dedicated to close calls. Do they kill you or make you stronger?
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