A Note of Appreciation to William Goldman While He's Still Alive

A movie made in 1969 and a recent round of emails and Facebook comments are responsible for this posting. It's rather traditional to wait until someone dies before saying all those good things you meant to say before, but then you find out you're too late.

That's why I'm writing about William Goldman now. Not his bio or a tribute, but just what he has meant to me with his ideas and stories and characters, both on the printed page and on the screen (movie, not TV or iPad). 

I watched "Butch Cassidy and the Sundance Kid" recently, screenplay by Goldman, and posted a short comment on FB about a particular scene (the card game near the beginning). One of my favorite all-time scenes, a model of perfection.

Card Player #2:  Well, looks like you just about cleaned everybody out, fella. You haven't lost a hand since you got to deal. What's the secret of your success?
 Sundance Kid:  Prayer.

Jeb Schary, who has movies in his veins, commented about Goldman's writing, may just be his favorite writer.
Bill Wine commented with 3 words: "Is it safe?" An unforgettable phrase, frequently repeated in Goldman's movie and novel, "Marathon Man."
Chris Snyder came up with, "Think you used enough dynamite there, Butch?"

Over the past few days, I've thought about how many books by Goldman I've enjoyed and how many of his movies have kept me glued to the screen, all with characters and stories that remain alive in my mind long after the book is closed and the film has ended. 

Here, in no particular order, are my favorites. 
It starts off with the first book I read by him, in 1973. (egads, that was 40 years ago!). "The Princess Bride" is still one of my all-time favorite novels. It's ingeniously structured and a delight to read... and re-read. Others are "Marathon Man," (I gave a copy to my dentist to read the part about drilling the tooth). Other novels are "Tinsel," Magic," and "The Color of Light." 

My non-fiction favorites (Hollywood and Theater observations, with sharp-edged humor and criticism) are "Adventures in the Screen Trade," ""Which Lie Did I Tell?", and "The Season: A Candid Look at Broadway." The last one was written in 1969 and examines why some shows are hits and some flop. Of course Broadway has gone through upheavals since then. Still, it reflects Goldman's love of theater.

As a screenwriter, Goldman is responsible for some of my lasting favorites: "The Princess Bride," the aforementioned "Butch Cassidy and the Sundance Kid," "Marathon Man," "Misery," "All the President's Men," "A Bridge Too Far," "No Way to Treat a Lady," and "Harper." I urge you see them all, twice. The first time to enjoy the movie. The second time to listen to the words, the silences, the storyline, the relationships between characters

If you'd like to see and hear Goldman talk about screenwriting, about his books and movies, and what he thinks about Hollywood, I urge you to check out this 90 minute video from The Writers Guild. It's all fascinating, especially the last half hour, when he talks about things more personal for him. It took place in 2010. Actually, it's all relaxed and personal and totally void of ego. 
William Goldman talks about writing

To close out this note of appreciation, here is what Goldman said about his own writing in 2000. 

"Someone pointed out to me that the most sympathetic characters in my books always died miserably. I didn't consciously know I was doing that. I didn't. I mean, I didn't wake up each morning and think, today I think I'll make a really terrific guy so I can kill him. It just worked out that way. I haven't written a novel in over a decade... and someone very wise suggested that I might have stopped writing novels because my rage was gone. It's possible. All this doesn't mean a helluva lot, except probably there is a reason I was the guy who gave Babe over to Szell in the "Is it safe?" scene and that I was the guy who put Westley into The Machine. I think I have a way with pain. When I come to that kind of sequence I have a certain confidence that I can make it play. Because I come from such a dark corner."

Goldman has also said of his work: "I [don’t] like my writing. I wrote a movie called Butch Cassidy and the Sundance Kid and I wrote a novel called The Princess Bride and those are the only two things I’ve ever written, not that I’m proud of, but that I can look at without humiliation."

I'm still hoping for one more novel or screenplay from him. In the meantime, Thanks, Mr. Goldman. You've enriched my life with your words.

The Final Frontier: e-books

MAJOR LITERARY ANNOUNCEMENT: With the help of an excellent book designer, Cathy Wood, I am happy to say my novel is available as an e-book. Which means my words can now be carried in a Kindle or iPad or Droid or wherever the hell these things end up. And think of all the trees that will be saved. The title, as you probably know by now, is "Shadow and Substance: My Time with Charlie Chaplin." 

  

http://www.smashwords.com/books/view/47143

Chapter One of "Shadow and Substance: My Time with Charlie Chaplin"

In case you have a few minutes and feel like reading something new, here is the first chapter (or the first part of it anyway) of my novel. The book is due from the printer next week, and then I head for a Chaplin conference in Ohio end of the week. I hope you enjoy this.

An artist's only concern is to shoot for some kind of perfection, and on his own terms, not anyone else’s.

- J. D. Salinger

Creativity takes courage.

- Henri Matisse

CHAPTER 1

“You like Charlie Chaplin?”

The guy in the next seat obviously had noticed the book I was reading. From the tone of his voice, I knew he wasn’t a Chaplin fan.

“Yeah, I think he’s pretty funny.” I wasn’t really interested in getting into a conversation with him, not with a four-hour flight ahead of me.

“You look like an intelligent guy. Let me ask you a question.” He rolled up his Sports Illustrated and jammed it into the magazine pocket. “How can you find running around in circles and poking people with a cane and throwing pies funny?”

I kept my book open. “Chaplin did more than that. He wasn’t big with pies either. Other comics did pies.” I couldn’t believe we were discussing pies at thirty-thousand feet. I felt trapped in my seat, there wasn’t enough leg room, my sneakers looked dumb.

“Anything in that book about him being a Commie?” he said.

The captain’s voice interrupted with information about altitude, cruising

speed, and the approximate time we’d be landing in LA Even though I didn’t want to go any further with this guy, the Commie remark bothered me.

“That actually was never a fair accusation,” I said. “He wasn’t a Communist. Maybe if you’d read a little about him, you’d know what that was all about.”

“I know they kicked him out of this country. I don’t have to read more than that. And what about all those little girls he was messing around with? You saying that didn’t happen?” With each accusation, his voice grew louder.

I didn’t answer. Confrontation makes me uneasy. Given a different situation I might have launched into a stout defense of Chaplin and his personal life. Like when you stick up for a friend who’s not there. Not this time, though. I just wanted to be left alone, read my book, prepare for the opportunity ahead in Los Angeles.

“I guess there’re some people who don’t like him,” I said. “I just think he’s funny, that’s all.”

I missed Lauren. I still felt the need to reach over and hold her hand on takeoffs and landings. That’s when I get nervous. Lauren was always there, reassuring me with her warmth and strength. But Costa Rica had ended that. I hadn’t flown since then, nor gone bike riding, our favorite sport.

“Now Bob Hope...he was funny,” he said and returned to his Sports Illustrated.

I picked up my laptop, briefcase and book, and moved to an empty seat further back. I was still trying to get a handle on my interview tomorrow. Their consideration of hiring a freelancer from Columbus, Ohio, to write a documentary about Charlie Chaplin, still baffled me. Sure, I had good credentials on Chaplin, and writing for film had been my goal for the last several years. My shelves were stacked with scripts, treatments, and concepts, none of which had aroused much interest. Sometimes luck follows persistence. Still, why me?

The rest of the flight was smooth. I didn’t know it at the time, but it would be the last smooth period in my life for awhile.

******

The following day in LA shaped up as relatively predictable. I’d grab breakfast in the coffee shop at nine, spend a couple of hours in my room reviewing notes, take a walk to put my thoughts in order, eat a light lunch, then be at the production house a little before one for the interview. By late afternoon I’d be on a plane headed back to Columbus, either to continue my gradual decay there or pack for the return trip to LA That was the only part I couldn’t predict. Or so I thought.

The phone rang after breakfast.

“Mr. Thiery, this is the front desk. We have a package for you.”

“A package? For me?”

“Yes, sir. A large manila envelope. Shall I send it up, or would you prefer to fetch it?” The clerk with a British accent seemed to be the hotel’s attempt to add some class to a pleasant but otherwise undistinguished Hollywood establishment.

“I’ll come down.” I hadn’t expected a package, not even mail or messages. I was here for only the one day. Maybe it had something to do with my pending interview. I “fetched” the envelope, opened it on the elevator and a book slid out, one that was appropriate for the day’s events: David Robinson’s acclaimed biography, Chaplin: His Life and Art. I flipped through it and saw no note, no explanation for its presence, no name or address. I already owned the book, had read it more than once, referred to it dozens of times. This was, in my opinion, one of the best books ever written about Chaplin. My copy was sitting on a shelf back home, along with another hundred or so books about him.

I called the front desk. “Where did this package come from?”

“A gentleman left it here, Mr. Thiery, just minutes before I called you.”

“What did he look like?”

“Rather short, looked to be in his fifties, white hair. Steel-rimmed glasses, I believe.”

“Did he leave a name? Or a message?”

“No, sir. All he said was, ‘I think Mr. Thiery needs this.’ Something like that. He was a cheerful sort, pleasant smile. Is there anything wrong, sir?”

I told him no and hung up. The book was obviously used, the dust-jacket well worn, the black and white cover photo of Chaplin slightly faded, the edges of the pages stained. My sense of order began to unravel as I looked through the book. Notes had been written in the margins, words and phrases underlined or circled, large “X’s” scrawled, seemingly at random, with comments such as “rubbish” and “not so” and “Yes.” Not an abundance of comments, but enough to hold my interest. The previous owner, it seemed, had either possessed a keen insight into Chaplin or a willingness to question the author. Why it had been passed on to me, and who had delivered it, puzzled me. I worked my way through the book, paying closer attention to the markings, balancing them with my knowledge of Chaplin’s life. I didn’t know if the comments were accurate. They were, however, within the realm of possibility, with some intriguing speculation about his life and art.

I forgot about my walk, about lunch, and spent the rest of the time engrossed in the book. If I got the job, I would spend my next three months focused on my favorite personality of all time, attempting to define the line between an artist’s work and his private life. One other line would become significant, a line that would test my sense of reality, a line that I had previously believed to be impossible to cross.