February 2, 1997
Novelist (Playland) and journalist Dunne makes much of his living by writing screenplays, and this journal covers the eight years it took between the time he and his wife, Joan Didion, were approached to write a screenplay based on Golden Girl, a biography of newswoman Jessica Savitch, and the 1996 appearance of Up Close and Personal, a rather different movie that made no mention of Savitch. The "monster," this veteran of Hollywood knows, is the producers' money, which always takes precedence over creative ego. This account-written while Dunne had much other work but also money worries-is often digressive and undigested, as if it were written to satisfy Dunne's own money monster. Even so, Dunne can be a deft and amusing reporter both of the tricks of the screenwriting trade and of the foibles of the "industry," as Hollywood is known. He explains why studio execs like screenplays with explanatory exposition while good actors don't, and he uncovers the dynamic of a script reading, in which stars need less dialogue than others to establish their characters. He tells of the youthful "creative executives" who give screenwriters critiques laden with peculiar jargon, and he reports on working with a series of charismatic executives-first producers Don Simpson and Jerry Bruckheimer, then producer Scott Rudin and director Jon Avnet. In the end, the film made a nice profit and Dunne not only had a good time but wrung a book out of the experience.