HAIRY SITUATION: An interview with Human Nature writer Charlie Kaufman By Warren Curry 4/9/02 Part 2 of 2

What are some of your influences? Where do your stories come from?

I don't where it comes from. I read a lot and watched a lot of movies and made movies when I was kid -- Super 8 things. I was always interested in, what I thought of in junior high school, as subversive comedy, which to me at the time was National Lampoon and Monty Python; stuff that made me feel like there were kindred spirits in the world.

What are some of your favorite movies?

I really like a movie called What Happened Was..., which is by Tom Noonan; it's one of my favorite movies. I like Naked by Mike Leigh, Eraserhead, most of the Coen Brothers and David Lynch things. Ladybird, Ladybird by Ken Loach is a movie I like; Safe is a movie I like. I like a lot of movies.

As a screenwriter, how do you feel about websites that review screenplays far in advance (this question is specifically in reference to a site that reviewed Kaufman's script Adaptation)?

It was a flattering review. The problem that I had, in all honesty, was that it was a first draft that was reviewed, and fortunately it was reviewed favorably, so I could continue my work on it. After that happened, I was working on this other script that Michel was going to direct and I was petrified. I was like, "I can't turn this in, because as soon as I turn it in to a studio, it's going to be on the Internet." It's nice that it was a good review and that makes me happy, but, at the same time, it made me nervous. These things are works in progress and, until it's done, I need to be able to think of it that way.

Do you think there is too much information out there for people to see? Such as screenplays being reviewed in advance or just the fact that people know so much about a movie before they go into it.

That's a separate issue, and I'm not crazy about that, but that's more of a "how do you market a movie" issue. The other issue is personal and about how I work. If I didn't read the review and, of course, I will -- it's there -- then it probably wouldn't be a problem. I guess I have to sell my computer or something.

From your own experience do you have any advice for writers trying to get a start in TV and film?

The only advice I have, and it's really stupid and simple, but it was something that I didn't understand for a long time, is you need an agent. I didn't know that for years. You know, I worked at a place that had Steven Spielberg's address on a Rolodex, so I sent him my script and then you never hear anything or you get back some lawyer letter. When I decided to get into TV, I was very pragmatic about it. I wrote spec scripts to try and get an agent, I got an agent and then I came out here and got a job. I think that once I got a foot in the door, everything became a lot easier.

And you needed an agent to do that?

I don't know how to do without an agent. I sort of hate to say that, because philosophically it doesn't sit well with me, but it seems to be true.

Your two movies have featured good, but misguided characters (Craig in Malkovich and Nathan in Human Nature) that get comeuppances, and two mean characters who don't (Maxine in Malkovich and Gabrielle in Human Nature). Is that intentional?

The original ending to Malkovich is different, and I don't think Craig fared any better in that one, but Maxine didn't do well. I don't consciously think about that. I kind of bristle at happy endings in general, because they seem to be very seductive, but not very true. If I do that, it's not a conscious decision. There's very little conscious going on. (laughs)

It seems all of your characters have some sort of desperation. Do you approach all the characters in a way so you don't create any villains?

I don't think of anyone as villains. I try to think about, as you said, what they're desperate about and what their needs are. To me, it makes it more interesting. I like everybody in my movies.

What made you decide on Michel to direct Human Nature?

Spike (Jonze) introduced us -- Michel was interested in my work and I loved Michel's videos when I saw them. We started working together on this other project, which now he is going to be doing. Because I had to write Adaptation first, there was going to be this long delay in writing the project we are going to do together. He wanted to direct something, so he read the script and asked if he could (direct it) and I said he could. I guess it's based on the fact that there is mutual admiration.

You studied film at NYU. Was that a worthwhile experience?

I wouldn't do it again. It wasn't terrible, but I'm not sure that it helped me. It didn't help me in any sort of practical way. It's not like I got a job for 35 years after that or anything. At the time I didn't think so, but looking back, I think getting a liberal arts education (would have been more beneficial).

Were there other directors interested in doing Human Nature before Michel?

Steven Soderbergh was going to do it at one point. He actually signed on to do it, but he got Out of Sight. He optioned it and then I bought back the option. I was going to do it at one time, so I guess it interested me (laughs).

How close is this finished product to what you would have done with it?

It's different. It's definitely got a Michel feel to it. There are some similarities, but he's got his style and I was supportive of that.

As someone who knows how to direct, has it been difficult to give your scripts to other directors?

You assume I know how to direct because I went to film school? (laughs) I want to direct and I want to see what it feels like to take something from conception to completion. I know it will look different than either of the films that are out.

Do you generally feel that screenwriters are an under appreciated part of the movie making process?

Oh, yes. (laughs) Like I said before, I think it's ridiculous for a director not to think of the person who wrote the material as the collaborator. There's definitely a hierarchy, so that's frustrating. I've been fine, my situation has been good, but I know for a lot of people it isn't.

Can you talk about the story of the film you're working on with Michel?

It's about this guy, who finds out that his girlfriend of two years has had a surgical procedure, which has erased him from her memory. He's freaked out and tries to figure out how he can live with this, and he realizes that he can't, so he decides to have this same procedure. Most of the movie takes place inside his brain as she's being erased. You see their relationship moment-by-moment, backwards, from the bad end to the better beginning. About halfway through, when the memories start getting better, he decides he doesn't want to (go through with the procedure) anymore and fights to get her back. It starts shooting in November, so it'll come out in 2003.

Click here to read Ryan Kugler's review of Human Nature

What do you think? Let us know in the Forums

Home

Reviews

More Articles

IndieSpeak