Printmaker Lev Moross suggested to me that the paper scripts be photographed with a large format (8 x 10) camera to display this detail to its best advantage. It became clear to me that the actual "shot" scripts with their shredded, exploding words on the smashed, fibrous paper stock riding through the intense gashes of the exit wounds held their own striking visual power. I found a firing range willing to allow me to provide my own targets.Īs I "shot" the scripts for bronze casting, I was amazed by the dramatic effect of the bullets.
The owner of my gym, John MacLaren, a former Navy Seal, offered to teach me to shoot a gun. The cover pages would be re-created on a letterpress. I would cast the screenplays in bronze using the ancient lost wax method. All shelved, encumbered by dropped rights, some rewritten repeatedly by others. 22 motion picture screenplay writing assignments locked in at all the studios - rewrites of the original work of others, adaptations of books, my own original scripts sold as pitches and written under contract. Then I fell on this title: "SHOT BY THE WRITER - Works on Paper: 1983-2004." All the works I did not own, did not control, could never have back. I kept imagining an un-produced script riddled with bullet holes, then bronzed like a baby shoe, for a shelf in my office. (And the brilliant.) I briefly considered shredding everything by hand with a table saw and building a ceremonial fire.
I needed to consolidate but could not start that process until I'd found a means to commemorate all that work.
#SUNBELT LETTERPRESS PLUS#
One hundred plus file boxes unmanageably squeezed into shelves in my garage, the drafts and notes and research materials under my keep from the 34 writing jobs I've had over the last 20 years.
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