All of the material for The Fine Line was created via improvisation with my partner, but not in front of an audience. We'd continue to refine it in front of an audience based on their responses until it was set and scripted.
I became much happier when I realized I shouldn't depend solely on my career for my sense of self. So I developed other interests and surrounded myself with a small group of friends I could trust.
I know a lot of people in the business recommend the many Story Structure seminars being offered here, but I point to them as the single biggest contributor to lousy scripts.
I love all of Albert Brooks' work from Defending Your Life back to his first film, Real Life, but am sorry that he seems to have lost his edge in his more recent work.
I'm more concerned with getting them to find and strengthen their original voice as writers rather than imposing my own subjective tastes, judgements or sensibility on the project.
Robert Altman's Nashville is my all-time favorite film because it covers all the bases - it's original, moving, and has something to say, but also funny and incredibly entertaining.
That said, I should also add that I learned a great deal from being allowed in these privileged circles and am grateful for the opportunity to have worked closely with some of the most powerful and successful people in the business including Steven Spielberg and Ted Turner.
