The Bucket List stars Jack Nicholson and Morgan Freeman as two terminally ill men who escape from a cancer ward determined to complete everything on their "Bucket List" -- a list of things to do before they "kick the bucket." The film, directed by Rob Reiner, was just named one of the Ten Best of the Year by the National Board of Review. Cinematical spoke with the film's screenwriter, Justin Zackham.

Cinematical: You sit down to write The Bucket List, do you ever dream that you're going to get Rob Reiner to direct, Jack Nicholson and Morgan Freeman to star...

JZ: Of course not! I'd have to be an idiot! Not even close. I wrote it with Morgan Freeman's voice in mind, somehow thinking maybe I'd find a way to get it to him. But no, nothing like this.

Cinematical: And how did you get it to these huge names? What were the steps that brought this movie to the screen?

JZ: I went to film school at NYU. I did a TV pilot that I wrote and executive produced in New York with Paul Sorvino years ago. And then I came out here (Los Angeles) and was dicking around for a while. I made Going Greek, which was a very sort of crappy fraternity comedy that I did back in 2000. I wrote, produced, and directed, and that took so much out of me that I spent another couple years dicking around. And then I just sat down one day and wrote my own "Bucket List" just to kind of get my head organized. On that list was like "Get a movie made by a major studio, marry the perfect woman," all that kind of stuff. A lot of the stuff on there wound up in the movie. I had always fantasized about going to the Pyramids, the Great Wall, I've always been sort of obsessed with the whole notion of Everest. All those things were on it, and I just stuck it on a bulletin board.

About a year later, I just came up with this quote one day, a line that's actually in the film -- "You measure yourself by the people who measure themselves by you." Stuck that up on the bulletin board. And then another year went by before I had the idea "What about making this into a script?" And I thought if it were about me, at the time I was about 34, it wouldn't be that interesting. So I decided to make it about two guys who had lived a full life, and they only have a few months left, and suddenly there's a ticking clock, and the things that do have real importance, at least in their minds. The story really became about the one thing neither of these guys puts on their list but is the thing they most want. And that's a best friend. I have this ridiculous process, and I wrote the actual script really quickly, in about two weeks.

Well friends, the WGA strike rages on. And on. And like the old Christmas song says: "It doesn't show signs of stopping." The Broadway strike briefly crippled New York City's economy, but it was over in nineteen days. The WGA Strike is on day #38. That's week #6. That's month #2. And there's no end in sight. We're reaching the point where people are going to start losing homes, if they haven't already.

Do you know the old joke about the aspiring actress who was so naive she slept with the screenwriter to get ahead? There's a lot of truth there. Screenwriters don't get near enough respect. That may be coming to light more now that the strike is on, but it's been going on for decades. It's gotten so bad that a lot of the huge blockbusters start filming without a completed script! Like, a lot of them.

Can you name me five screenwriters? OK, five screenwriters who don't also direct? In movie reviews, your average critic will gush about how great Brad Pitt's performance was for five paragraphs, then mention the screenplay in passing, if at all. Guess what? All those pretty words coming out of Mr. Pitt's pretty mouth originated somewhere. Directors and actors tend to get all the credit for a movie's success. Unless a movie sucks, then it's -- "Who wrote this garbage?" Where is the love?

If a movie is a salad, then the screenplay is the lettuce. You can throw all the bacon and cheese and croutons in a bowl that you want, but if you don't have a strong, solid base of high-quality lettuce? My friend, you don't have a salad. With me throwing out razor-sharp analogies like that, I think you can tell that you've come to the right place for writing advice.

Welcome back to The Write Stuff, where I've been attempting to answer a question that dates back to the beginning of time:

How do writers get jobs on TV writing staffs? Do they have to write spec scripts?

For Part One of this answer, please refer to last week's Write Stuff, where we talked about putting together a portfolio of writing samples. Once you have a good mix of spec scripts and original material, that's the time to start the process of getting an agent. I've covered agent hunting in this column before, so I won't get too deeply into the specifics, but the key is not to give up. If you think you've got talent, stick to your guns. The people who make it in this business are the ones who face countless rejections, but don't throw in the towel. Just the fact that you have completed scripts will make you more enticing to agencies. So many people in Los Angeles walk around telling everyone "I'm a writer, I'm hilarious, look at me, love me!" but they've never finished a script! So many people! People out here think they're so wonderful and talented that big cheeses should be begging for their services. That attitude will get you into trouble. Perfect your material before you even consider heading out. You want to be rich and famous immediately, you're excited, but don't start selling yourself until you've got the genuine goods to sell.

When you do have your portfolio together and land that agent, the agent will send your material to network executives and development people. If these execs like your stuff, they will call you in for a general staffing meeting. These meetings are to make sure that they like you as a person, and that you would fit in on the writing staff of one of the network's programs. If an executive digs your writing and likes you as a human being, he or she may send your material to a show runner. The show runner reads your stuff, and if he or she likes the material, he or she will call you in for a...show runner meeting. These are very exciting, because they're generally the last step before you find out if you landed on a show or if it's back to turning tricks on Santa Monica Boulevard.

Must...block out...painful memories...

Kenny asks:

How do writers get jobs on TV writing staffs? Do they have to write spec scripts? And what about talk shows? (The Daily Show, Conan) Are they recruited? How does it work? Thanks.

That's my goal right now, Kenny. I worked on the upcoming season of MTV's Rob & Big, I'm in a writing program at NBC, and I'm looking to use those credits and the connections I've made to get staffed on a network television program this year. It's a big process, so I'm dividing it into two parts. This week and next week's editions of The Write Stuff will tackle the television business.

Basically, to get a job on a television writing staff, you need to have at least one piece of original material and one or more spec scripts. A spec script is a sample script for a show that is currently on the air. You're not writing it in the hopes that the program will purchase your script. They won't, and it likely won't get to the show you wrote it for anyway. You're writing your spec to show that you can capture the feel of the writing and the character voices of any show. Every program has a show runner, and every show runner will want to read something different, so it's good to give him or her a lot of choices.

How to go about choosing which show to spec?

It's Write Stuff time again, and what a crazy time to be a writer! As I'm sure you've heard, on Cinematical and everywhere else, the Writers Guild of America has officially gone on strike. There's not much I can say on the subject that hasn't been better said already-- check out great statements from writers Judd Apatow (Knocked Up), Joss Whedon (Buffy the Vampire Slayer) and Shawn Ryan (The Shield) -- but I am in complete and total support of the strike.

This isn't rich people trying to get richer, as it may seem to a casual observer. Only a handful of writers command the incredible salaries you read about on sites like this one. This strike is about writers wanting only what is fair, now and into the future. Writers get no respect these days. Even a casual film fan can name hundreds of actors and 20 or 30 directors with ease, but how many screenwriters can they name? Plain and simple, without screenwriters those actors have nothing to say. Those directors have nothing to direct. Movies and television would cease to exist, unless The Bachelor 38 is your idea of quality entertainment. These are working people just like anyone else, a Hollywood area code doesn't change that. Their demands are far from outrageous, and it's time to give these talented men and women the respect they deserve. You can find me on the picket lines this week.

Moving on to less stressful matters, let me pop open the old mail bag for three questions from commenter Jim...

I've accumulated a huge backlog of questions in the few weeks I've been doing The Write Stuff. Today, I open up the old mailbag and start dishing out some answers.

Jen asks:

Looking forward to reading the column! Here are a couple of topics about which I'd be interested in hearing your thoughts:

-screenwriting/film school and how useful and necessary it is
-writing for TV versus the big screen, and the pros and cons

To answer your first question, the value of film school sort of depends on the individual. I majored in Film Production and took some screenwriting classes. The screenwriting classes were incredibly useful, and are a great way to find out if writing is something you really want to do and can do well. If I had gotten crappy grades on my scripts, I'd probably be doing something else right now. As for my Film Production major, I haven't used the knowledge I gained there much, but should I ever want to make the leap to directing, you better believe those skills will come in handy. I can tell you that for a screenwriter, a Film Studies major would probably be more useful than Production. Watching the great films and discussing what makes them great is only going to make you a stronger writer. Of course, a Netflix membership is a lot cheaper...

Note: This is the premiere entry in a new, weekly Cinematical feature focusing on the art of screenwriting. Welcome!



"That movie sucked! I could write something better than that!"

How many times have you walked out of a film saying those very words? Well, why don't you put your money where your mouth is, Buster Brown? If you can write something better, then by all means -- write! Writing is one of the few professions you can just do. You don't need lots of fancy equipment, you don't need lots of money, you just need a computer (heck, pen and paper will do) and an imagination. It's fun, it's free, and if you're really good at it, you could make a ton of money and get to sit in your underwear while you work. And really, isn't that the American dream?

"But Patrick," you're probably asking. "Where do I start? How do I know what to write about? How will I know if my stuff is good? And who the hell are you, anyway?"

Friends, I'm here to answer all of those questions and much, much more. "The Write Stuff" is a brand new column here at Cinematical devoted to the art of screenwriting. Every other Wednesday, I'll be giving writing advice and tips, answering your questions -- talking shop. On alternate Wednesdays, I'll be interviewing major Hollywood screenwriters about their craft (next Wednesday the interview series kicks off with Adam F. Goldberg, co-writer of the highly anticipated Fanboys, and the upcoming film adaptation of classic cartoon The Jetsons). Ideally, this dual approach will give you two valid perspectives -- one from the writer trying to make it, and one from the writer who's already made it.

If you just casually glanced through Kevin Kelly's superlative coverage of the San Diego Comic Con Marvel event, then you may have overlooked a tidbit from Edward Norton that will have the Incredible Hulk producers wringing their hands while screenwriter Zak Penn politely asks the Writers Guild for a friendly arbitration. What was it that Mr. Norton said?

"Well, you're making me be immodest ... I came into this and I wrote the screenplay. I was a Marvel kid growing up, and I used to subscribe to a lot of the books. Remember when they used to come in plastic with the little piece of scotch tape on the back? This story has almost limitless potential in it to be remade and redone. It's a really classic modern mythology."

Hmm. Now, I know full well that Mr. Norton is a multi-talented guy. In addition to being Oscar-nominated two times in three years (for Primal Fear and American History X), he's been consistently strong in The People vs. Larry Flynt, Rounders, Fight Club, 25th Hour, The Italian Job, The Illusionist, etc. He directed the romantic comedy Keeping the Faith, and his second directorial effort (Motherless Brooklyn) will mark his "official" screenwriting debut. He also produced The Painted Veil, edited Down in the Valley, contributed an amusing cameo to Kingdom of Heaven, and recorded music for Everyone Says I Love You ... and, um, Death to Smoochy.

But I thought Zak Penn was the one who wrote the screenplay for The Incredible Hulk. Penn, the comics expert who is credited on X-Men 2, (ahem) Elektra, X-Men 3, AND the Fantastic Four video game! (How does one receive credit for the game but not the movie??) Could it be that Mr. Norton signed on for the role of Bruce Banner under the arrangement that he could script-fiddle? Heck, maybe Mr. Penn knows all about it, couldn't care less, and is already knee-deep on his Spy Hunter and Avengers projects.

I just found it interesting is all. All I know is that if Norton's writing contributions make for a more entertaining flick, go for it. As I've mentioned only 455 times by now, The Hulk is definitely my favorite Marvel character. And frankly I'm pretty thrilled with the way the new flick is coming together.

The last time we spoke with Don Payne, it was just before his screenwriting debut (My Super Ex-Girlfriend) hit the multiplexes. Since that time he's been hard at work as a writer/producer on The Simpsons, finishing up his screenplay for Fantastic Four: Rise of the Silver Surfer, and bracing himself for a powerful barrage of fanboy nitpickery. So when I spoke with Mr. Payne about spilling some Fantastic beans for the Cinematical readers, he said "Hey, why not open the floor to some questions from everyone?" And so we did. Several readers followed the instructions carefully and sent in some very solid questions. So here they are!


Q: Will Victor Von Doom / Doctor Doom be more like the comic book version this time? Two major shortcomings of the movie version was the tepid romantic triangle with Sue (which never occurs in the comics) and the business mogul backstory that was almost exactly like Norman Osborn's from the first Spider-Man movie. Will Latveria at least be mentioned?

A: Doom is going to be less like the Norman Osborn-esque billionaire and more like the Dr. Doom we all know and love -- with a scientific mind that rivals Reed's. While you can't just ignore how the character was set up in the first film, I think we're getting much closer here to the Doom in the comics. Personally, I would love to see him stride into the U.N. in full armor as ruler of Latveria in a future film.

I don't want to spoil anything Latverian, but we DID see his body being shipped there at the end of the first film. As far as the romantic triangle from the first film goes, that storyline is over. There is no reference to it in this movie.

Q: The trailer seems to indicate Galactus' energies were responsible for the storm that gave the Four their powers. Is this the case? Was this inspired by the Heroes Reborn run, or just something that seemed natural?

A: In my mind, there is mysterious, matter-altering, cosmic "stuff" in the universe which was present in both the storm which hit the FF in the first film and the energy that Galactus wields. However, that's not explicitly stated in the movie -- other than a line where Reed says the cosmic radiation causing anomalies around the world is "not unlike" that which gave the FF their powers. But the cosmic event in the first film and Galactus are otherwise completely unrelated. It was not inspired by the Heroes Reborn run. (But that was a fun run.)

2006 was a pretty excellent year for newcomer screenwriter Mark Fergus: He helped to bring the phenomenal Children of Men to the big screen (earning himself an Oscar nomination in the process), he got to make his directorial debut (with the upcoming First Snow), and (along with his writing partner Hawk Ostby) he snagged himself a sweet gig writing Jon Favreau's Iron Man. Not too shabby for a guy who's only other screen credit is a obscure Armand Assante thriller known as Consequence.

Amusingly-named website JewReview.net had a brief sitdown with Mr. Fergus in preparation for the release of First Snow, but of course the topic of conversation managed to focus on Iron Man for a at least a few minutes. The screenwriter seems genuinely thrilled with the choice of Robert Downey Jr. as Tony "Iron Man" Stark, and he spends a lot of time assuring us that Stark will be based in a very "human" place -- despite the fact that the character is actually a billionaire playboy who becomes a superhero after creating an indestructible suit of armor. Expect to hear more from the team of Fergus and Ostby some time soon; they're presently working on the long-awaited adaptation of John Carter of Mars over at Disney.

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