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Born in New York, Naomi Foner received her B.A. in English at Barnard and her M.A. in Developmental Psychology at Columbia University. She wrote for the highly acclaimed PBS VISIONS series. Her first produced screenplay was the motion picture VIOLETS ARE BLUE, starring Sissy Spacek and Kevin Kline.
Her original screenplay RUNNING ON EMPTY, directed by Sidney Lumet and starring Judd Hirsch, River Phoenix and Christine Lahti was nominated for an Academy Award for Best Original Screenplay and a Golden Globe. Naomi wrote and produced A DANGEROUS WOMAN, starring Debra Winger, Barbara Hershey and Gabriel Byrne.
LOSING ISAIAH, which she wrote and produced, was Directed by her husband, Stephen Gyllenhaal and starred Jessica Lange, Halle Berry, David Strathairn and Samuel Jackson.
Foner is currently writing PILGRIM'S PROGRESS, which she is set to direct for Paramount.
It is with great pleasure that I introduce
Screenwriter Online's Artist of the Month, Naomi
Foner.
Insider:
Welcome Naomi!
Naomi Foner :
Hello
Insider :
We have a lot of questions, so as soon as Naomi is ready,
we'll delve right in!...
Naomi Foner :
I'm sitting here in formal clothes, in preparation for going
to a dinner honoring Martin Scorsese....and I feel kind of
foolish But I'm excited about this and ready for
questions.
Question:
First question...Naomi what do you consider your first big
break?
Naomi Foner :
I had it pretty easy. I was a producer in public television
for many years and I was encouraged to write by many very
wonderful people. Barbara Schultz of the PBS Visions series
practically made me write my first screenplay and then
produced it! It was about the blackout in NYC and of,
course, it was filmed in LA!
Question:
Could you tell us what it was like working with Jim
Henson?
Naomi Foner :
He was just like you might imagine. A lot like Kermit. Frank
Oz is a lot like Bert. I loved them both.
Question:
Ms. Foner, what practical advice do you have for young
would-be screenwriters?
Naomi Foner :
Write about something you know and care about. Know why you
are writing a script. Stay true to your intentions.
Question:
Did You find it hard getting you and your work recognized
with LA execs????
Naomi Foner
The first time I met an exec, they usually said "That's
interesting but we don't know if you can execute it." The
second time I met the same exec, they thought they know me
and were willing to take a chance. Once I had some success,
everyone was willing to take a chance.
Question:
Running was one of my favorite films. Was it an original
idea of yours, do you have any novels you'd like to
write.
Naomi Foner :
I want to write a novel. My kids are getting old enough now
so I might consider taking that on. Running was an original
screenplay.
Question:
How hard is it for screenwriters outside the LA group to
gain acceptance and work with studios/producers???
Naomi Foner :
Everyone is looking for good scripts. Write it and they will
come.
Question:
I have a script being negotiated right now, and it deals
with a very complex human problem-Multiple Personality
Disorder, but set in a sci-fi mode-"they" want it to be a
DIEHARD MEETS SPECIES sort of thing. At what point does a
new writer sell out?
Naomi Foner :
I don't think you should ever sell out. What about your idea
is being compromised? Are they paying you?
Question:
Naomi, tell us about women screenwriters. We're all proud of
Emma Thompson...And you too....You were also nominated for
an Oscar, right?
Naomi Foner :
I wish there were more of them. Emma's success makes me very
proud. The film made me feel like it is possible for a
woman's sensibility to be translated to the screen. Yes, I
was nominated. My son said that "Sense and Sensibility" made
him feel "clean". I thought that was a very interesting.
Insider :
Its a wonderful movie!
Naomi Foner :
response. So much of what's on the screen today is not about
feeling hopeful. Or doing the right thing. That film was
about both. And it made you laugh and cry.
Question:
How much of your screenplay for Running on Empty differs
from the movie cut?
Naomi Foner :
The film and screen play are quite close. Sidney Lumet is
very respectful of writers. We did take out some scenes that
slowed the pace down as the film came to it's conclusion.
The most important one was between Gus and Judd's character
in which Judd Hirsch explains why he can't help his old
friend and the Gus character understands and wishes he had
something to care about. But by then, everyone wanted to
know what was happening to Danny and even a slight
digression didn't work.
Question:
Which software do you use to write, if any?
Naomi Foner :
I use Stephanie Warrens Script Wizard. She designed
something like it for me years ago. I'm glad it's available
for everyone now. The Writer's Computer Store is my
lifeline. I was computer illiterate when I began and they
walked me through learning the computer like a baby. It
really changed my writing. Made it fluid and more
adventurous.
Question:
Naomi, did you feel any political pressure on the ending of
LOSING ISAIAH?
Naomi Foner :
I hope not. The idea was that there was no answer. Only a
beginning of a dialogue.
Naomi Foner :
Okay
Question:
Pilgrim's Progress is listed on many lists as one of the
world's most boring...I happen to be a fan of the book but
how on earth did you pick it for a project?
Naomi Foner :
Let me stop you right here. My screenplay has nothing to do
with the book. The title is ironic.
Question:
Did you explicitly think a lot about the psychology of the
characters in Running on Empty-I'm a psychoanalyst & think
it was one of the emotionally most perceptive films I've
seen.
Naomi Foner :
I thank you for that. I did think a lot about it. I saw the
film as a more intense version of something we all go
through. Parent and child is one of the only love stories
that end successfully in separation. But you don't know that
going in I was trying to deal with that in an exaggerated
more dramatic situation.
Question:
I am re-sending my question for Naomi. Does she understand
the political and ideological questions of which she wrote
in "Running on Empty". The film deeply touched me for its
intensity and social relevance.
Naomi Foner :
Thank you. I did know many people who worked in the
political arena of that time. Several of my friends were
underground for a period. I think I was formed by that time
in all of our lives.
Question :
You stated earlier that screenwriters should stay true to
their intentions. But how does one pierce the Hollywood
veil?
Naomi Foner :
By staying really clear about why I was writing each
screenplay and compromising only until that reason was
threatened. You have to be driven by some kind of passion to
get through all that's between you and a produced movie.
Question
Did you have an agent right off the bat? How important is
the right agent?
Naomi Foner :
Yes, I had a most marvelous agent. Judy Scott Fox, who died
last year. She was like the great book editors were years
ago. She signed me right after I wrote Blackout I was very
lucky.
Insider :
Okay...some very good questions tonight...I'd like to allow
Naomi to say a few words to us...before we break for the
evening...Naomi...please go ahead!
Naomi Foner :
Thank you for asking such good questions. I hope there are
people out there who share my feeling that films need to be
used to communicate with each other about important things.
I like to say that I believe in the "trickle up" theory.
Make people care...feel strongly about something...and maybe
they will go home and think about it. So I look for stories
that are little microcosms of more important things...The
way Anne Frank make people feel for holocaust victims more
than the numbers did. Thanks.
Insider :
Well put, Naomi!
Insider :
Thank you everyone, for joining us!
Insider :
Thank you Naomi...
Insider :
Goodnight Everyone! And thanks again for coming!
Insider :
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