![]() “I did it because it was Steven Spielberg.” Which would explain why he chose to take on a genre he wasn’t exactly suited for. ![]() Dick’s short story, “Minority Report.” “I didn’t read the material and say ‘boy I have to do this.’ Which is usually how I decide,” admits Frank. The opportunity presented itself in Philip K. It was an experience that convinced him he wanted to work with the director again. I do find that whenever I’m overconfident, I crash and burn in the most spectacular ways.” Scott Frank first worked with Steven Spielberg when he was brought in to do some rewriting on Saving Private Ryan. It’s not a self-imposed kind of thing he says. If you asked him, Frank would tell you that his “inner critic” has always been there. It’s hard to imagine that the screenwriter of films such as Dead Again, Little Man Tate, Get Shorty, Marley & Me, Walk Among the Tombstones, Academy Award nominee for Out of Sight, Steven Spielberg’s Minority Report (with Jon Cohen), Flight of the Phoenix, and The Interpreter, would harbor such demons. Scripts have to be pried from my cold, dead hands before I let anyone read them.” Scott Frank. “I have so many demons and voices telling me what a fraud I am and how my meager talent will be uncovered.
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