Hello &

Hello &

Wentworth Earl Miller III

Wentworth Earl Miller III



Thursday, July 7, 2016

His Words!!!

Went shared his amazing Interview with all of us on this facebook page. !!!


The following questions were asked and answered via email.

* * * * * *

Q: Did you start off as a writer who happened to act, or vice versa? Has that evolved throughout your career?

A: I was an actor first. And only an actor. For a long time. I didn't get around to writing - and I mean working up the nerve to even try it - until the third season of PRISON BREAK. We were on location, in Dallas, and I was looking for things to do on my days off, and I had a copy of a script for a Miramax movie I'd auditioned for a couple years back. A romantic comedy set in the world of competitive Scrabble. Really cute. But I had some ideas. Things I'd change. So I thought, "Why don't I rewrite it? I can fill the hours, teach myself something about writing screenplays... It'll be like taking a car apart and putting it back together." That was the first thing I wrote. Or rewrote. The beginning of my education.

Q: What were you writing before Stoker? (Screenplays? Short stories?)

A: Not much. A poem or two. Very long, very detailed emails. I remember I was corresponding with a friend of mine, hot and heavy, like every day. Finally she emailed me back and she was like, "I love you. But I can't keep this up."

Q: How do you look back on that material now?

A: I think, obviously, that some part of me was trying to express itself through writing. Had been for some time. That's how it felt when I finally gave myself permission to write STOKER. The whole thing just flowed out of me. Like it was waiting to manifest. I wrote eight to ten hours a day for four weeks and when it was finished, it felt like I did and didn't write it, you know? Like I channeled it. Someone close to me, who has some really singular gifts, she always says, "I'm just the straw." Like it passes through her from somewhere else. It was like that for me too.

Q: Did writing Stoker feel different than previous pieces you’d written? Was there a sense that this was going to be the one? (If it was the first one you sold. If not, what was that?)

A: I didn't have a strong feeling either way. As far as whether it was salable or not. I did think, "Well, it's kind of left of center... Not really a drama, not really a thriller..." But I knew it was ready. Ready to be put out there to the world. And that's what we sold to Fox Searchlight. That first draft.

Q: What was the process of selling it like? How did your experience in the business help?

A: It happened really quickly. And organically. I was a working actor and I had representation and I had access, and that helped enormously. No question. I wrote the script, we found a producer - Scott Free - and then we sold it within... I think it was six months? And it got made within a year or so. I don't remember exactly. But everyone kept telling me, "It doesn't usually happen like this." And I believed them. But I didn't have anything else to compare it to.

Q: Any unforeseen challenges during production? Last-minute rewrites?

A: I've addressed this before... I had no involvement with the movie beyond that first draft. When they were looking for directors they brought me in to meet Director Park and he spent three hours pitching a very different version of the film. And somewhere in that meeting I realized that yes, Fox was excited to produce my script but they were also excited to work with Director Park. And if he wanted to take the movie in a different direction they were going to support him in that. So I made what I thought was a very practical decision. Bottom line, I wanted the movie to get made. So I signed off on his involvement and absented myself from the process. I didn't want to be that guy on set advocating for some version of the movie that was no longer relevant. And it was a hard call. A really hard call. Because it was my first script. And I was very attached to it. But in the end it was like, "Here. Take the baby. I'll see you at graduation."

Q: Is The Disappointments Room the next thing you wrote after Stoker? If not, what was?

A: The next thing I wrote was UNCLE CHARLIE, the prequel to STOKER. Actually, I started writing it while we were still in the middle of selling STOKER to Fox. And I finished it before we closed the deal. Then we had to call Fox and say, "Oh by the way - you're actually negotiating for two pieces of material." They didn't end up buying the prequel but when they bought STOKER they bought the "creative." The characters and the universe and so on. So they're the only ones who can make UNCLE CHARLIE. Which they won't. I don't think. It was never going to get made unless STOKER earned a gazillion dollars.

Q: Did having a produced screenplay change the way you process inspiration at all? What I mean is did it affect the way you decide whether an idea is worth outlining and breaking the story on?

A: No. I've written four original scripts total, and with the exception of THE DISAPPOINTMENTS ROOM maybe, I didn't write them with an eye to sell. I used to like to wait and write when I could feel it - the script and the story - itching beneath my skin. When I couldn't not write. And I wrote for selfish reasons. Reasons that went far above and beyond professional ambitions and getting somewhere in this business... I wrote because it made me happy. Because I didn't need other people's participation or blessing or say so. Because it was therapeutic. Self-expression - through writing or whatever - can be life-saving. Transformative. And it was. I never worried about whether or not a script would sell. I just wrote it. Which I recognize is an extremely privileged position to take. I feel fortunate that I was able to sit in that place. But writing has meant the world to me during some dark times. Challenging times.

Q: Was there anything about writing that you learned from your experience on Stoker that you applied to either the first draft or subsequent drafts of The Disappointments Room?

A: I didn't do much outlining for STOKER and it was kind of a scary-slash-thrilling experience, writing by the seat of your pants, never knowing when or if the train was going to jump the tracks. It required a real leap of faith. On a daily basis. This trust in whatever was guiding me. And I did the same thing with THE DISAPPOINTMENTS ROOM. The difference is that there were some actual real-life details I knew I wanted to build into the story. It's inspired by something that actually happened. Or could have happened. So those bits and pieces were like stepping stones across the unknown. This large, empty space that needed filling in. One word at a time.

Q: You are at the point now where both acting and writing projects are being brought to you, I believe from looking at IMDBPro. What attracts you to a project—either to write or to act?

A: I love writing but I don't love the business of writing. Like the actual business around the writing. I've sat in those rooms, with those people, the ones in charge of hiring you for rewrites and remakes and adaptations. Hollywood's "creative class." And I didn't speak their language. I didn't want to learn either. Not my vibe, not my tribe. So the for-hire gigs... that's not my focus anymore. These days when I write - if I have the time, if I have the motivation - it's usually for personal reasons. Like an essay I'll post on social media. I enjoy being able to reach an audience directly and immediately without some kind of middleman. That's where it's at for me. For now.

Thank you Went!


 I Love You!!!

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