The early morning crowd that’s gathered in the large conference
room sits in anticipation awaiting the arrival of the Guest of
Honor. He is late, due to “transportation mix-ups.” We’ve already
endured the meandering commentary of one random staff member and
now get to hear from the manager of the Expo, stalling.
The Screenwriting Expo has arranged for there to be several Guests
throughout the conference, those who’ve ‘made it’ to come speak to
those who have not. And with LA traffic and tight schedules,
sometimes things don’t run as smoothly as everyone would like.
After a few answered questions and complaints, the door finally
opens and in he walks. Tan slacks, black button down shirt,
Michael Goldenberg has the classic lazily composed uniform of a
writer. Goldenberg doesn’t walk in with a pompous air, he’s casual
and shyly cool, the high school nerd made good.
room sits in anticipation awaiting the arrival of the Guest of
Honor. He is late, due to “transportation mix-ups.” We’ve already
endured the meandering commentary of one random staff member and
now get to hear from the manager of the Expo, stalling.
The Screenwriting Expo has arranged for there to be several Guests
throughout the conference, those who’ve ‘made it’ to come speak to
those who have not. And with LA traffic and tight schedules,
sometimes things don’t run as smoothly as everyone would like.
After a few answered questions and complaints, the door finally
opens and in he walks. Tan slacks, black button down shirt,
Michael Goldenberg has the classic lazily composed uniform of a
writer. Goldenberg doesn’t walk in with a pompous air, he’s casual
and shyly cool, the high school nerd made good.
On the twenty-sixth morning of October 2007, Rilian had
the opportunity to meet and chat with Michael Goldenberg,
thanks to the Screenwriting Expo organized by Creative
Screenwriting magazine.
Without further ado, here's Rilian's report:
the opportunity to meet and chat with Michael Goldenberg,
thanks to the Screenwriting Expo organized by Creative
Screenwriting magazine.
Without further ado, here's Rilian's report:
|
He speaks about his early career: starting out as a playwright in
off, he exploited a contact he had in Hollywood – the friend of
his aunt. He wrote what is called a spec script, or an original
screenplay. It got him a lot of attention and from there he moved
on to write and direct Bed of Roses with Christian Slater and Mary
Stuart Masterson.
He then received a call asking him to work on Contact, a novel by
Carl Sagan. Contact had been struggling through the Hollywood
circuit for quite sometime trying to become a movie and many
people shifted in and out of the project. Goldenberg even left to
make Bed of Roses and then came back to Contact. By that time,
Robert Zemeckis had come on board and revitalized the project. The
novel drifted around the studios for ten years, and in 6 months
with Goldenberg and Zemeckis it was going into production with
Jodie Foster and Matthew McConaughey set to star.
Goldenberg then took a meeting with David Heyman, producer of the
Harry Potter movies. At the time, Heyman was looking for a writer
for Philosopher’s Stone. Goldenberg felt the first meeting
didn’t go very well, but offered the draft of the opening sequence
he wrote up prior to their meeting. Heyman accepted the pages,
though the final product doesn’t resemble Goldenberg’s draft at
all.
That, he feels, directly led to his next job which was writing the
latest Peter Pan adaptation. Though he has no proof, he believes
Heyman and that “dummy” scene somehow reached the Pan producers:
Douglas Wick, Lucy Fisher and Patrick McCormick.
Goldenberg modestly describes the Pan producers’ desire for him to
write Pan with a sense of wonderment, like he doesn’t quite
understand why they came to him with the project, why he was
suddenly the guy for the job. This is why he believes Heyman had
to have played a role in it.
So thrown by the eagerness and the subject of the project,
Goldenberg even said no...twice! He said no on the grounds that
Pan is a classic story with so many adaptations, we
weren’t in need of another one at the time. Hook had most recently
come out and was a wonderful retelling. However, the more he
thought about it, the more he was able to see the relevancy the
story had to modern times and agreed.
He had to, as he says, “get in touch with his inner Wendy.” He
looked at the story as Wendy’s and wrote the screenplay with her
as the central figure. Though, director PJ Hogan had a different
view of how the story should play and eventually rewrote the
script, he did keep Wendy as the character through which we view
the world of Pan.
By that time, Steve Kloves was going off to do his own thing and
Heyman was once again looking for a writer. He turned to
Goldenberg.
Goldenberg admits with a bashful, self-conscious laugh, that his
first thought was “this’ll be the first thing on my obituary.”
It’s a line stolen from the brilliant William Goldman, writer of
Butch Cassidy and the Sundance Kid and The Princess Bride, among
others. Goldman jested about winning an Oscar that it’s the only
thing for which you will be remembered. Goldenberg knows that no
matter what he moves on to do, in his credits Order will always be
listed first.
off, he exploited a contact he had in Hollywood – the friend of
his aunt. He wrote what is called a spec script, or an original
screenplay. It got him a lot of attention and from there he moved
on to write and direct Bed of Roses with Christian Slater and Mary
Stuart Masterson.
He then received a call asking him to work on Contact, a novel by
Carl Sagan. Contact had been struggling through the Hollywood
circuit for quite sometime trying to become a movie and many
people shifted in and out of the project. Goldenberg even left to
make Bed of Roses and then came back to Contact. By that time,
Robert Zemeckis had come on board and revitalized the project. The
novel drifted around the studios for ten years, and in 6 months
with Goldenberg and Zemeckis it was going into production with
Jodie Foster and Matthew McConaughey set to star.
Goldenberg then took a meeting with David Heyman, producer of the
Harry Potter movies. At the time, Heyman was looking for a writer
for Philosopher’s Stone. Goldenberg felt the first meeting
didn’t go very well, but offered the draft of the opening sequence
he wrote up prior to their meeting. Heyman accepted the pages,
though the final product doesn’t resemble Goldenberg’s draft at
all.
That, he feels, directly led to his next job which was writing the
latest Peter Pan adaptation. Though he has no proof, he believes
Heyman and that “dummy” scene somehow reached the Pan producers:
Douglas Wick, Lucy Fisher and Patrick McCormick.
Goldenberg modestly describes the Pan producers’ desire for him to
write Pan with a sense of wonderment, like he doesn’t quite
understand why they came to him with the project, why he was
suddenly the guy for the job. This is why he believes Heyman had
to have played a role in it.
So thrown by the eagerness and the subject of the project,
Goldenberg even said no...twice! He said no on the grounds that
Pan is a classic story with so many adaptations, we
weren’t in need of another one at the time. Hook had most recently
come out and was a wonderful retelling. However, the more he
thought about it, the more he was able to see the relevancy the
story had to modern times and agreed.
He had to, as he says, “get in touch with his inner Wendy.” He
looked at the story as Wendy’s and wrote the screenplay with her
as the central figure. Though, director PJ Hogan had a different
view of how the story should play and eventually rewrote the
script, he did keep Wendy as the character through which we view
the world of Pan.
By that time, Steve Kloves was going off to do his own thing and
Heyman was once again looking for a writer. He turned to
Goldenberg.
Goldenberg admits with a bashful, self-conscious laugh, that his
first thought was “this’ll be the first thing on my obituary.”
It’s a line stolen from the brilliant William Goldman, writer of
Butch Cassidy and the Sundance Kid and The Princess Bride, among
others. Goldman jested about winning an Oscar that it’s the only
thing for which you will be remembered. Goldenberg knows that no
matter what he moves on to do, in his credits Order will always be
listed first.
|
Receiving the call from Heyman, Goldenberg rushed to catch up with
the story. He ran out to the theaters to see Prisoner of Azkaban
and reluctantly bought the hardcover edition of Order. He laments
over having to carry the heavy book back and forth to London to
make his notes while he was having those first meetings with
everyone.
He visited the set while the Goblet of Fire was still in
production describes them all as “lovely people.” Rowling herself
he found to be “agreeable and supportive” to his proposed
changes.
He had conversations with her about adapting novels which he has
done several times now. The adaptation of a novel is always about
compression, he says. The process now is “practically intuitive”
to him. He goes to find the spine of the story and then everything
that supports that and chops out the rest, more or less. It may be
a lovely part of the book but if it’s not necessary to the spine,
it shouldn’t go into the movie. He says it’s about “being ruthless
when translating it to a different medium.”
He spoke with Rowling, whom he calls Jo, about using a “different
muscle set” for going between writing a novel and a script. They
both thought it was like “different ends of the telescope.” For
the script, the process “distills it down” to the basic story.
When he looked at Order he found that though it was much thicker
than its predecessors, there wasn’t necessarily more narrative. He
actually found it much easier than other adaptations he’s done in
the past. The choices were “obvious,” there was a “strong
storyline with strong, established characters and a great
villain.” He laughingly describes it as “cherry picking.”
However, the first read through of the script with the entire cast
was a giant reality check for him. The process finally went from
abstract to reality. He got his first taste of how enormous an
enterprise Harry Potter actually is in sitting down with the cast,
directors and producers. This was larger than anything he had done
before. “It’s a global phenomenon and you have to subordinate
yourself to that.”
Goldenberg gives credit to Heyman for his casting. He did a great
job casting Goldenberg himself and David Yates, the director. The
two hit it off immediately. They both wanted to do a good job and
prove themselves to Rowling. He connected with the themes of
alienation and anger so he feels he was well-suited to the story.
He wanted to convey to Rowling how seriously he took it. He and
Yates were earnest in their desire to produce a good product.
the story. He ran out to the theaters to see Prisoner of Azkaban
and reluctantly bought the hardcover edition of Order. He laments
over having to carry the heavy book back and forth to London to
make his notes while he was having those first meetings with
everyone.
He visited the set while the Goblet of Fire was still in
production describes them all as “lovely people.” Rowling herself
he found to be “agreeable and supportive” to his proposed
changes.
He had conversations with her about adapting novels which he has
done several times now. The adaptation of a novel is always about
compression, he says. The process now is “practically intuitive”
to him. He goes to find the spine of the story and then everything
that supports that and chops out the rest, more or less. It may be
a lovely part of the book but if it’s not necessary to the spine,
it shouldn’t go into the movie. He says it’s about “being ruthless
when translating it to a different medium.”
He spoke with Rowling, whom he calls Jo, about using a “different
muscle set” for going between writing a novel and a script. They
both thought it was like “different ends of the telescope.” For
the script, the process “distills it down” to the basic story.
When he looked at Order he found that though it was much thicker
than its predecessors, there wasn’t necessarily more narrative. He
actually found it much easier than other adaptations he’s done in
the past. The choices were “obvious,” there was a “strong
storyline with strong, established characters and a great
villain.” He laughingly describes it as “cherry picking.”
However, the first read through of the script with the entire cast
was a giant reality check for him. The process finally went from
abstract to reality. He got his first taste of how enormous an
enterprise Harry Potter actually is in sitting down with the cast,
directors and producers. This was larger than anything he had done
before. “It’s a global phenomenon and you have to subordinate
yourself to that.”
Goldenberg gives credit to Heyman for his casting. He did a great
job casting Goldenberg himself and David Yates, the director. The
two hit it off immediately. They both wanted to do a good job and
prove themselves to Rowling. He connected with the themes of
alienation and anger so he feels he was well-suited to the story.
He wanted to convey to Rowling how seriously he took it. He and
Yates were earnest in their desire to produce a good product.
|
When he finally met with Rowling, he expected her to be jaded and
cynical, he expected it of Heyman as well, with Order being the
fifth in the franchise, but neither was like that at all. He
reveals that she wanted to take a step back from the story. She
trusted them to make a good movie. She did read several drafts and
was always available for questions, but in large part, left them
to it. For this, they felt even more strongly the desire to make
good for her.
Goldenberg admits to practically begging her for notes. Rowling
was happy with what he’d done, but eventually emailed him. He says
it was “little stuff.” She never ripped him apart, her notes were
more on things like wording and phrasing, and “how the characters
speak.” He even asked Heyman about how little she criticized.
Heyman said that was typical Rowling. Heyman conveyed to him that
she has an ear for the characters’ diction and that’s basically
all she comments on. Goldenberg said after a while of writing the
characters, he too could work out the characters’ speech without
thinking much about it.
The one major correction was when he’d cut Kreacher from the film.
He figured since we hadn’t seen much of House-Elves since the
second book, they weren’t relevant. When he received that note, he
admitted to coming up with the Kreacher scene we have in the film
in about five minutes.
When asked about how he was able to pull of the torture scene with
Umbridge’s quill, he replies that they were able to “use the
capital of [Rowling’s] popularity to push how far you could go” in
a ‘children’s film’. There was more freedom because Potter is so
established and since it came from the book, there wasn’t much of
a fight over what was appropriate to show.
cynical, he expected it of Heyman as well, with Order being the
fifth in the franchise, but neither was like that at all. He
reveals that she wanted to take a step back from the story. She
trusted them to make a good movie. She did read several drafts and
was always available for questions, but in large part, left them
to it. For this, they felt even more strongly the desire to make
good for her.
Goldenberg admits to practically begging her for notes. Rowling
was happy with what he’d done, but eventually emailed him. He says
it was “little stuff.” She never ripped him apart, her notes were
more on things like wording and phrasing, and “how the characters
speak.” He even asked Heyman about how little she criticized.
Heyman said that was typical Rowling. Heyman conveyed to him that
she has an ear for the characters’ diction and that’s basically
all she comments on. Goldenberg said after a while of writing the
characters, he too could work out the characters’ speech without
thinking much about it.
The one major correction was when he’d cut Kreacher from the film.
He figured since we hadn’t seen much of House-Elves since the
second book, they weren’t relevant. When he received that note, he
admitted to coming up with the Kreacher scene we have in the film
in about five minutes.
When asked about how he was able to pull of the torture scene with
Umbridge’s quill, he replies that they were able to “use the
capital of [Rowling’s] popularity to push how far you could go” in
a ‘children’s film’. There was more freedom because Potter is so
established and since it came from the book, there wasn’t much of
a fight over what was appropriate to show.
Goldenberg describes the minefield of working with different
directors and the strains that can have on the final product as
really unnecessary. It’s the job of the writer to serve the story
in the best way possible, while also trying to please the
director, the studios and the public.
It’s also about navigating the creative gap between the writer and
the director. In reality, there shouldn’t be a gap as they are
both different aspects of the same job of storytelling, but in
effect, since there are so many pressures in filmmaking there can
be clashes and even brutal separations. Sometimes these conflicts
can ultimately damage the story.
Each director has a different style. The director on Contact
before Zemeckis came on board always asked the question “what
would really happen.” Zemeckis thought more about how things would
work/look cinematically. In that sense, Goldenberg felt he had to
guard the story to keep it real. With Hogan, since he had a very
clear image of how the story should look and feel, Goldenberg felt
it was best to give Peter Pan over to him.
He and Yates were inducted into this new universe together; both
were the new kids on the block. Since they both felt they had
something to prove and they both took Potter seriously, they
formed a quick bond.
David Yates started his career in Britain working for the BBC. “He
comes from a culture that respects the writer.” He was eager for
Goldenberg’s input. Goldenberg was always invited to set and
viewed several rough cuts of the film. This is not usually the
case in moviemaking. The writer is generally thought to be
intrusive and annoying; often, he or she is quickly separated from
the project.
Goldenberg felt the difference immediately and appreciated it.
Their relationship was “less adversarial,” Goldenberg didn’t feel
he had to protect the story. He felt free to write openly and
experiment. He admits to writing scenes that Yates was
uncomfortable with, so they reworked them and produced a better
scene with which everyone was pleased.
Goldenberg found ways to find a solution to help whatever problem
the story was presenting to Yates. He feels that “being that
included and involved in the process made a better movie.” The two
filmmakers respected each other and worked together to make as
great a finished product as possible.
He was even able to invite his niece to the set. At that time, she
was nine-years old and an avid Potter fan, she had even dressed as
Hermione for Halloween. Goldenberg smiles with obvious affection
at the memory. He admits to being a Star Warsgeek when he was
younger so seeing his niece experience Potter like that, with such
awe, brought everything home to him.
directors and the strains that can have on the final product as
really unnecessary. It’s the job of the writer to serve the story
in the best way possible, while also trying to please the
director, the studios and the public.
It’s also about navigating the creative gap between the writer and
the director. In reality, there shouldn’t be a gap as they are
both different aspects of the same job of storytelling, but in
effect, since there are so many pressures in filmmaking there can
be clashes and even brutal separations. Sometimes these conflicts
can ultimately damage the story.
Each director has a different style. The director on Contact
before Zemeckis came on board always asked the question “what
would really happen.” Zemeckis thought more about how things would
work/look cinematically. In that sense, Goldenberg felt he had to
guard the story to keep it real. With Hogan, since he had a very
clear image of how the story should look and feel, Goldenberg felt
it was best to give Peter Pan over to him.
He and Yates were inducted into this new universe together; both
were the new kids on the block. Since they both felt they had
something to prove and they both took Potter seriously, they
formed a quick bond.
David Yates started his career in Britain working for the BBC. “He
comes from a culture that respects the writer.” He was eager for
Goldenberg’s input. Goldenberg was always invited to set and
viewed several rough cuts of the film. This is not usually the
case in moviemaking. The writer is generally thought to be
intrusive and annoying; often, he or she is quickly separated from
the project.
Goldenberg felt the difference immediately and appreciated it.
Their relationship was “less adversarial,” Goldenberg didn’t feel
he had to protect the story. He felt free to write openly and
experiment. He admits to writing scenes that Yates was
uncomfortable with, so they reworked them and produced a better
scene with which everyone was pleased.
Goldenberg found ways to find a solution to help whatever problem
the story was presenting to Yates. He feels that “being that
included and involved in the process made a better movie.” The two
filmmakers respected each other and worked together to make as
great a finished product as possible.
He was even able to invite his niece to the set. At that time, she
was nine-years old and an avid Potter fan, she had even dressed as
Hermione for Halloween. Goldenberg smiles with obvious affection
at the memory. He admits to being a Star Warsgeek when he was
younger so seeing his niece experience Potter like that, with such
awe, brought everything home to him.
|
|
Being a writing convention, the conversation pretty much revolves
around writing and technique. So the topic moves to individual
scenes from Order. The moderator, who clearly has not read the
book, asks how Goldenberg came up with the memorable scene of Luna
standing barefoot in the woods. He admits that it was that image
that stuck with him as a viewer.
Goldenberg recalls the part of Order where it is mentioned that
Luna’s things were being stolen. He wanted to embed a scene where
Harry and Luna bond into the film, but he was afraid that if he
kept the scene straight from the book it would get cut. A similar
scene had already been cast to the cutting room floor. So he
included the characters sharing information that bonded them
together, their visions of death, set it in the forest with the
Thestrals and somehow the image came to him of Luna barefoot. He
made it so her shoes were the objects stolen and he got the scene
of Luna and Harry connecting into the film.
He reveals that the scene he wanted to see most in the film the
most was a St. Mungo’s scene. He admits that while reading it he
was entranced by St. Mungo’s and immediately began imagining it on
film. Originally, it started out as a 6 page scene. He tried to
anchor it by having the scene between Harry and Sirius take place
in the waiting room. He kept making it shorter hoping it could
make it in the final film. It ended up being compressed to a 90
second fly through just enough for us to see it, but it was
eventually cut. That’s the scene he misses most and still wishes
could have been included.
And the scene he most connected with? Snape’s worst memory
provides the theme that struck a chord with Goldenberg. The
Pensieve memory is the classic coming of age moment where Harry
realizes James isn’t the hero he always imagined him to be. It’s
this loss of innocence theme that Goldenberg connected with and
was concerned would get cut. He feels it was thematically
important but not necessarily essential to the Order storyline. He
is proud he managed to squeeze it into the film.
This scene is also the one that resonated with Daniel Radcliffe.
Connecting with the loss of innocence and coming of age theme in
the memory Harry witnesses, D. Rad shared the same concern of it
being cut. He even asked Goldenberg about it during that first
table reading. He really felt the scene held a lot of significance
to Harry’s character and wanted to see it in the film.
Goldenberg is pleased with the finished product and, though he
would still like to visit St. Mungo’s, thinks all the major points
of the story were covered. He may be sad that some things got cut,
but in the end, he assures that is just proof of those scenes not
being vital.
around writing and technique. So the topic moves to individual
scenes from Order. The moderator, who clearly has not read the
book, asks how Goldenberg came up with the memorable scene of Luna
standing barefoot in the woods. He admits that it was that image
that stuck with him as a viewer.
Goldenberg recalls the part of Order where it is mentioned that
Luna’s things were being stolen. He wanted to embed a scene where
Harry and Luna bond into the film, but he was afraid that if he
kept the scene straight from the book it would get cut. A similar
scene had already been cast to the cutting room floor. So he
included the characters sharing information that bonded them
together, their visions of death, set it in the forest with the
Thestrals and somehow the image came to him of Luna barefoot. He
made it so her shoes were the objects stolen and he got the scene
of Luna and Harry connecting into the film.
He reveals that the scene he wanted to see most in the film the
most was a St. Mungo’s scene. He admits that while reading it he
was entranced by St. Mungo’s and immediately began imagining it on
film. Originally, it started out as a 6 page scene. He tried to
anchor it by having the scene between Harry and Sirius take place
in the waiting room. He kept making it shorter hoping it could
make it in the final film. It ended up being compressed to a 90
second fly through just enough for us to see it, but it was
eventually cut. That’s the scene he misses most and still wishes
could have been included.
And the scene he most connected with? Snape’s worst memory
provides the theme that struck a chord with Goldenberg. The
Pensieve memory is the classic coming of age moment where Harry
realizes James isn’t the hero he always imagined him to be. It’s
this loss of innocence theme that Goldenberg connected with and
was concerned would get cut. He feels it was thematically
important but not necessarily essential to the Order storyline. He
is proud he managed to squeeze it into the film.
This scene is also the one that resonated with Daniel Radcliffe.
Connecting with the loss of innocence and coming of age theme in
the memory Harry witnesses, D. Rad shared the same concern of it
being cut. He even asked Goldenberg about it during that first
table reading. He really felt the scene held a lot of significance
to Harry’s character and wanted to see it in the film.
Goldenberg is pleased with the finished product and, though he
would still like to visit St. Mungo’s, thinks all the major points
of the story were covered. He may be sad that some things got cut,
but in the end, he assures that is just proof of those scenes not
being vital.
|
After the main interview concludes, the moderator opens it up to
some Q&A from the audience. Many questions mimic those already
asked, but one person manages to stump Goldenberg. It was a
specific Bed of Roses question. Goldenberg admits, somewhat
sheepishly, that it’s been a long time since he’s looked at it so
he couldn’t answer the question properly.
Our time with Goldenberg is through, but he sticks around a bit to
meet with people as everyone makes their way out of the large
conference room. Approachable and kind, Goldenberg smiles at the
visitors who have come out to see him as they pass.
He smiles as I approach him and asks about the website when I
mention that I run one. We talk about how warm and loving everyone
who works on Harry Potter is and he admits to me that now he’s
afraid he’s spoiled. He spent three wonderful years working on
Order and now he must move on to other projects.
He gives credit to Heyman who works so hard to keep “Hollywood”
out. Heyman strives to keep the set and those who work on it “down
to earth.” Goldenberg describes it as living in a “little bubble,”
separated and protected from the pressures of big studios with
high demands for their investments.
Though it is a global phenomenon, you couldn’t tell on set or by
working with the people. They do not have problems with attitudes
or other influences poking their noses into the making of the
film. It is secluded from that sort of thing and surrounded only
by those who believe in it and are serious about producing a good
product.
The people were great and he had a great time making the film. He
knows this has been a singular experience. It is rare when such a
great film with a dedicated group of collaborators come around,
and he realizes it’s unlikely he shall come across it again. He’s
honored to have been a part of it, that much is evident in the
grin on his face and the slight broadening of his shoulders as he
speaks about his time on Potter.
He was a fan of Harry Potter before being asked to come on board.
He’s read all the books and feels he was best suited to adapt
Order. He connected most with the subject and themes in Order and,
if he had been given the choice, it would have been this fifth
installment. And though he’s been completely ruined by the
indulgence of his working environment on Potter he wouldn’t change
a thing.
He finds it fulfilling to help other writers tell their stories,
but looks forward to getting back to some of his own original work.
some Q&A from the audience. Many questions mimic those already
asked, but one person manages to stump Goldenberg. It was a
specific Bed of Roses question. Goldenberg admits, somewhat
sheepishly, that it’s been a long time since he’s looked at it so
he couldn’t answer the question properly.
Our time with Goldenberg is through, but he sticks around a bit to
meet with people as everyone makes their way out of the large
conference room. Approachable and kind, Goldenberg smiles at the
visitors who have come out to see him as they pass.
He smiles as I approach him and asks about the website when I
mention that I run one. We talk about how warm and loving everyone
who works on Harry Potter is and he admits to me that now he’s
afraid he’s spoiled. He spent three wonderful years working on
Order and now he must move on to other projects.
He gives credit to Heyman who works so hard to keep “Hollywood”
out. Heyman strives to keep the set and those who work on it “down
to earth.” Goldenberg describes it as living in a “little bubble,”
separated and protected from the pressures of big studios with
high demands for their investments.
Though it is a global phenomenon, you couldn’t tell on set or by
working with the people. They do not have problems with attitudes
or other influences poking their noses into the making of the
film. It is secluded from that sort of thing and surrounded only
by those who believe in it and are serious about producing a good
product.
The people were great and he had a great time making the film. He
knows this has been a singular experience. It is rare when such a
great film with a dedicated group of collaborators come around,
and he realizes it’s unlikely he shall come across it again. He’s
honored to have been a part of it, that much is evident in the
grin on his face and the slight broadening of his shoulders as he
speaks about his time on Potter.
He was a fan of Harry Potter before being asked to come on board.
He’s read all the books and feels he was best suited to adapt
Order. He connected most with the subject and themes in Order and,
if he had been given the choice, it would have been this fifth
installment. And though he’s been completely ruined by the
indulgence of his working environment on Potter he wouldn’t change
a thing.
He finds it fulfilling to help other writers tell their stories,
but looks forward to getting back to some of his own original work.
| The Butcher of the Order |
| Copyright © 2007 | www.booksandwands.com | All Rights Reserved No copyright infringement intended of any and all source material. Harry Potter belongs to JK Rowling, Bloomsbury, Scholastic and Warner Brothers Entertainment. |
It is important to note that the Holden cousin, Heathcliff,
thankfully had the presence of mind to practice ancient Zen
breathing techniques to calm Rilian down...which was the only
reason they weren't arrested for assault at the convention. For
the record, however, Rilian was ten seconds away from throttling
the Butcher...as any true fan would.
thankfully had the presence of mind to practice ancient Zen
breathing techniques to calm Rilian down...which was the only
reason they weren't arrested for assault at the convention. For
the record, however, Rilian was ten seconds away from throttling
the Butcher...as any true fan would.
And after reassuring Heathy and me of his love of the books and
that he actually read them, he departs.
that he actually read them, he departs.
| The Ultimate Harry Potter Analysis Source |
| Choosing what is Right over what is Easy |
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