This was during one of many major turning points in my life, one between the rebellious independent and the responsible professional. Calls, meetings, and offers were coming in from dozens of other Production Companies at the same time. Some of the more publicly known were Quentin Tarantino and Jodie Foster’s.  The reason is I charged at full force and did everything possible to get a job in Hollywood.

(Actress/Producer Michelle Pfeiffer)

The office was this beach-y, laidback, hardwood floor abode in a discreet, unmarked and unseen office in Santa Monica, California. Most of the time the four of us were barefoot, it was very bohemian. I would lie on the couches reading script after script, writing coverage, and then meeting with one or all of the women to pitch it or discuss. It was a dream to be in that incredible creative environment that gave me the tools necessary to succeed not just in Hollywood, but in life period. It didn’t really dawn on me much where I was. I was just happy to be in a great place to contribute creatively and gain insight by watching an ultimate pro in action. I was at the perfect age for it to be molded before one is older when their ways tend to be set.

Michelle Pfeiffer is considered one of the remaining "movie stars" left in Hollywood today, and ironically she's always been uncomfortable with that title. She just wants to act in films playing rich characters that speak to her in some profound way.  She's never been interested in doing big vechicle hits and Blockbuster movies.  Her Veteran agent would say to her in his proper English diction, “Michelle darling if you think the public wants to see you in another period piece wearing another wig, you are sadly mistaken.” His dream was to see her in some femme fatale blockbuster with a tight red dress. She decided to finally give him his red dress in “What Lies Beneath” years later. 

One of the clauses in Michelle’s contract is that she won’t work more than 12 hours. There was one night after we we’re done shooting, she was in the make-up trailer, wardrobe and artists were stripping things off of her and the Director, Michael Hoffman knocked on the trailer door. He proceeded to talk to her about how the lighting wasn’t right on the last shot, and the blocking was off etc. The whole time he's giving the technical rundown, she’s not saying anything, although people find her intimidating at first meeting, she’s a very quiet and silent person, so all she was doing was just listening and nodding periodically, “Mmm Hmmm. Mmm Hmm.”   He finally got to the punch and asked if she would stay later to run some more shots. Her face went stone cold and her head shook 'no' slowly from side to side.  All this without saying a word. He bowed his head a bit, “Okay. Okay.” The next day he got a little slap on the hand. Her Agent and Lawyer marched onto the set with her contract and an additional clause added that said, “You can’t ask the artist to stay late.” He had to sign it and never utter a breath about it.  We carried on with work and filming. 

When we held a casting call for extras, we expected around a 500 head count, but we were shocked to find 3,000 people show up to serve as extras. The town was so excited about all of the Hollywood hoop-la that was breathing life onto their beautiful land. There were big signs in local mini store windows that said, “Welcome Michelle Pfeiffer!”  It was very endearing and we were this small, friendly invasion.

 (Jessica Lange "Ginny" and Michelle Pfeiffer "Rose" play sisters
confronting the reality of the horrid abuse at the
hands of their Father and determined to fight back)

Jennifer Jason Leigh was a sweetheart, and Jessica Lange was incredible. Jessica just finished another movie in England on a Friday and immediately had to start work for us on the following Monday. She had no idea who her character was and walked around the farm confused and aimless, then realized that that’s the character.

(From Left: Jessica Lange, Michelle Pfeiffer and Jennifer Jason Leigh,

The Deep End of the Ocean - “An American middle class, suburban family is torn apart when the youngest son is kidnapped and raised by a mentally ill woman, until he appears at the front door step of his real mother nine years later asking if he can mow their lawn.” 

I intended to gain as much knowledge on the inner workings of Production, from joining the Producers and Director to viewing dailies in the theater, to standing in for actor, Jonathan Jackson, who played Michelle’s son, Vincent. We all really believed his career would take off after that and were blown away by how similar he and Michelle looked from each other aesthetically along with carrying the same demeanor.  

The payroll accountant would give me Michelle’s checks for her when we all got paid every Thursday. I remember the first one I received, I saw the amount was $497,000 for Michelle, and I thought, “Is this check real?” The payroll accountant goes, “Yep, she gets that same check every Thursday just like you.” I’d say, “Uh-yeah, but the amounts are different.” She’d respond with, “Don’t I know it. By the time we’re done with Production, it’ll ad up to be about 12 million.” 

(Michelle Pfeiffer and Jonathan Jackson act together in a scene 

as Mother/Son in The Deep End of the Ocean)

Michelle is the most prepared and on target actor I’ve ever seen. You watch her at work up close and you immediately know why she’s a movie star. This woman is so camera ready, it’s frightening. If you act alongside her you better be ready, or she will eat you alive and steal every scene right away from you. 

During this Film, Michelle was pondering quitting the producing business, dissolving her company and focusing only on acting, and even in that department she was considering going into semi-retirement altogether. She wanted to spend more time with her kids and family. She was never a fan of Hollywood to begin with, but that’s the irony of many A-list actors is they never want that kind of attention, they just want to do their work, yet the unknown actors want the fame and never get it. It’s a catch 22. 

Closing her company was found as a less than wise decision, as Michelle has a good head for business and could’ve taken the company far, but her choice was final, and we began to dissolve the company and all its assets. It was the last day of shooting and emotions were high. We had all fallen in love with each other and we knew it was the end for Via Rosa.

(Director, Ulu Grosbard chats with Michelle during a break,

on the sound stage set of "The Deep End of the Ocean")

I was tying up final loose ends in one of the Universal Studios offices, alone in the entire building, with the occasional crew member stopping by urging me to go to the set, because it’s the final hour of Production and I shouldn’t want to miss it. I made my march in the dark through the labyrinth of the empty studio lot, passing First A.D. Frank Capra III, we stopped to briefly chat, and then he handed me his walkie, “Here Kevin I quit, you can run the show.” I told him to be careful what he’s asking of me, because I will take over. 

I pushed open the huge door to the sound stage and crew, lighting and A.D.’s murmured quietly scattered about the dark stage, with the exception of one tiny bedroom set that was lit up. I walked over to talk with the Producers Kate and Jim Dyer with the Director, Ulu Grosbard all quietly sitting on Director’s chairs behind video village. Then Jim said, “Kevin why don’t you call our final shot.” Uh. Okay.  I got into that frame of mode quick.

(FROM LEFT: Director, Ulu Grosbard, D.P. Stephen Goldblatt,
Actors, Michelle Pfeiffer, Treat Williams, First A.D. Frank Capra III,
Video Playback Jay Huntoon gather around Video Village
to watch a scene they just shot on the set of "The Deep End of the Ocean")

I walked up to the lit set, feeling everything around, eyeing the huge camera crane that came down from the ceiling directly onto the bed and I waited. We all waited. Then the A.D.’s began shouting through the walkies, “Quiet! Quiet!” The hushed tones came to a silence as the big stage door opened. Michelle Pfeiffer made her final entrance, her head down, her huge eyes open wide in meditation past video village and equipment through the dark.  I took a step aside as she passed. She climbed into the bed while Ulu walked around with his hand on his hip studying her. Michelle mumbled something low, Ulu said, “Can we get Ronnie?” A.D.’s shouted through the walkies, “Ronnie! Ronnie!” Ronnie Specter, Michelle’s make up artist, a short striking woman, who wore tight leather and huge sharp heels came running, her heels pounding the stage floor in little taps. She lowered her body and bent underneath the camera and sat on Michelle’s stomach, leaning down to touch Michelle's face up, then climbed back out. 

The Director nodded to me, and I lifted my walkie to my mouth, glanced around checking the area, then shouted, “Picture’s up!”  All A.D.’s and P.A.’s in succession and around the perimeters of the stage, “Quiet on the set!” Everyone went completely still and quiet, the A/C shut off, the camera lens opened up, and I shouted, “Roll Sound!”  The Sound Mixer cued me back and said, “Sound speeds.”  I shouted, “Roll camera!”  The D.P., Stephen Goldblatt next to me said, “Speed.” The clapper clapped the clap board, “Marker!”, slapping it shut.. The director shouts, “Action!” Michelle acts her final scene. “And cut! That’s a wrap.” Everyone applauds. 

Michelle climbs off the bed pulls her robe off to reveal her handy man overalls. She makes her way to the stage door slowly saying goodbye. We hug. She’s melancholy while she says thank you softly. I put my hand on her shoulder, “We’re not done yet! We still have next week for digital effects…then we can cry!” She gestures a bit of a smile and nods I know, not an easy woman to make laugh. The wardrobe clan giggles poking fun at her overalls amazed that she dressed herself. Michelle leans against the heavy stage door watching them poke at her, with a smirk, and then quietly she says, “Fuck you.” She forces a thin smile and pushes the door open with her back.

(Actor, Treat Williams and Michelle Pfeiffer play Husband and Wife in "The Deep End of the Ocean")

While we were liquefying Via Rosa and wrapping up, “The Deep End of the Ocean”. I made the decision to join the Producer, Jim Dyer and go into Production on another film that would mark the Directorial Debut of Antonio Banderas for, “Crazy in Alabama”.

 

Crazy in Alabama - “An abused wife heads to California to become a movie star while her nephew back in Alabama has to deal with a racially-motivated murder involving a corrupt sheriff.” 

I completed wrap for “The Deep End of the Ocean” on a Friday, and then started “Crazy in Alabama” on Monday for Tri-Star, which was their final film before it became legally part of Sony Pictures. The tone was much different than the prior film I worked on. Because Antonio is from Spain, half his crew was from there as well, and I was bombarded by this lively, outgoing, warm, affectionate group of people, something I’m not used to, as I’m pretty low-key and guarded myself, but I soon began to strip that away. 

This film was especially poignant to me because of the subject matter and the time it took place. 1965. It featured the Civil Rights Movement and the racism and prejudice that plagued the Southern States in the 60's.  "I've never understood why any white person thought they were better than any black person.  In my deepest soul, I don't understand how any human being can think they're better than anyone else," Melanie Griffith said, "I feel so much for any person held down and abused and not allowed to follow their dream."

Antonio had an incredible eye and was always very exuberant and passionate and intense, which is my favorite aspect of Europeans. They’re so much more real when it comes to art and living than most of us Americans. 

We had to shoot in Houma, Louisiana, because we couldn’t go to shoot in Alabama as half the crew was of Spanish descent and it would be too dangerous. They’re still quite backwards in that state. The rest of the shoot was on sound stages at Culver Studios, part of Sony. 

    

want to throw them away.  He had said, "I want to marry every single person on this movie."  He had indelible passion for the story.  

 

(LEFT: Melanie Griffith and Antonio Banderas (love muffins)

RIGHT:  Antonio directs Melanie on the set of 

"Crazy in Alabama")                                               

Antonio originally wanted Madonna for the role of Joan Blake, but unfortunately her schedule was jammed tight she had to turn it down. The role went to Elizabeth Perkins who did an incredible comedic turn to the character that she would get constant applause from the crew after her takes.

(Director, Antonio Banderas gives direction to actor, Lucas Black)

While wrapping “Crazy in Alabama”, “The Deep End of the Ocean” was originally supposed to be released in the fall of 1998, but Michelle Pfeiffer screened it beforehand, and seemed pleased with it, she left for Hawaii for a couple days with her family, then came back and after pondering it during that time she said she was unhappy with the movie’s ending and wanted to re-shoot it. 

The Director was not happy with that idea at all, he said she was crazy, her performance is fantastic, don’t touch it, just leave it alone, 'you could be nominated for an Oscar for this if we get it out now'. She didn’t care about that, but rather wanted a more realistic ending and proceeded to push for a re-shoot. She marched onto the Sony studio lot with her Agent and Lawyer, barged into the Co-Vice Chariman's office, Gareth Wigan, and demanded a million dollars to set up a re-shoot. Of course the older gentleman was just stunned by who was standing in his office, and was like, “I-I-I-I-okay."

(Director, Ulu Grosbard and Michelle Pfeiffer chat before cameras roll another take)

I wrapped “Crazy in Alabama” and moved offices on the Sony Pictures lot to set up for the long re-shoot of “The Deep End of the Ocean”. We went to prep for a 3 month shoot of the proposed alternate ending, as well as adding some filler scenes throughout the movie to assist in blending. It was a slim crew and Michelle even did her own make up, wardrobe and hair. 

Unfortunately, in the end she didn’t win that battle of her more real conclusion, the movie was screened to audiences with both endings and Michelle’s ending, although realistic, didn’t leave the audience much hope in a film that was already heavy enough. American audiences need that ray of hope at the end, not something ambiguous. 

Via Rosa closed its final doors, Michelle handed her partner, Kate the script adaptation for the book, “Waltz Into Darkness” to make as the final Via Rosa picture. Kate gave it to Director friend, Michael Cristoffer who directed Angelina Jolie in “Gia“, and so he gave her the script, she loved it, then Antonio Banderas, and then he was in, and that was that. I completed wrap on the re-shoot of “The Deep End of the Ocean” and went to work for Kate Guinzburg once more as well as Antonio Banderas in front of the camera this time. Thus began the shooting of the script that would later be changed to “Original Sin”.

Original Sin - “Set in turn-of-the-century Cuba, the story traces a tailspin of amorous obsession when coffee plantation owner Luis discovers that his American mail-order bride is not the plain wife he'd expected, but a beautiful, scheming thief who's after his fortune.” 

Angelina Jolie received her Academy Award for “Girl Interrupted” during the shoot, hence the gothic black hair and garb that the media attacked. She was simply still in character for our movie was all. When she flew back to Mexico after the Oscars to finish filming, Antonio surprised her with a serenading Mariachi Band and began handing her bouquets of flowers as congratulations. She was moved to tears naturally.

 

Before shooting the nude/sex scenes, which is a closed set, except for those that have a particular job to do like holding the camera, Angelina went to the Director and said she felt more comfortable doing the scene completely nude and to let Antonio know so to make sure it’s okay, and that he won’t feel uncomfortable. The Director told Antonio and Antonio said, “Oh. Okay well then I’ll be nude to.” 

(Angelina Jolie and Antonio Banderas chat with Director, Michael Cristoffer

waiting for the next set up of the nude scene)

Kate Guinzburg went into isolation during the same period after a personal tragedy involving her husband.  I was simultaneously offered a movie that would prove as the biggest one I had ever done, “The Perfect Storm” on the Warner Bros. studio lot.

The Perfect Storm -“Based on a True Story - In the Fall of 1991, the "Andrea Gail" fishing boat left Gloucester, Mass. and headed for the fishing grounds of the North Atlantic.  Two weeks later, an event took place that had never occurred in recorded history." 

It was the best time I had ever had on a movie and it went on for an entire year.  Not a single Fish was harmed or killed during the filming.  Every fish you see is either an animatronic or made out of rubber, but life-like, and you wouldn't think so!  As Roger Ebert said, “I do not mind admitting I was enthralled by this movie.”

 

Clooney’s role went through many hands, from Nicholas Cage to Mel Gibson, before landing on his lap. Mel Gibson had refused to read the screenplay until the Good Friday and Easter season was over, and then when he finally did get to it, he demanded double the money being offered for that role.  He wanted 20 million.  The Pre-Production phase was blessed by the Gods when George Clooney whose production company was also on the Warner Bros. lot came around.  I couldn't have been more stoked when George came on, to get to work with him once again would prove the shooting would be fun and inspiring!  He suggested Mark Wahlberg as his co-star as they had just completed, “Three Kings”, and when Diane Lane came aboard we assumed a natural easygoing friendship that carried us throughout the duration of Production.  Diane called me up panicked that her first day of shooting was going to consist of her and Mark Wahlberg making out, "...and I haven't even met the guy yet!"

(TO THE RIGHT: Director, Wolfgang Petersen chats with Actor, George Clooney between set ups.  

BELOW:  Diane Lane hanging outside of the sound stages at Warner Bros.)

We took up about 6 Sound Stages at Warner Bros. and filmed for six months, and an 800 man crew. It was the biggest shoot I worked on. We shot the majority of it all on the sound stages, and only 3 weeks actually shot in Gloucestor, Massachusetts at the tail end of a real storm! 

George Clooney liked to go out on occasion and have some drinks, have some fun, and I said, “How are you able to do that and come in bright and early, I’d be dead.”  He laughed and said, “The water hits me and wakes me up.  It's the best cure for a hangover.” Hundreds of thousands of gallons of water would come flying at the actors on a daily basis from all angles. It was a rough shoot on them to the point that Mark Wahlberg would be in tears between takes, or throwing up every time he spit out a line.  There were some days with Mark that were so bad that we thought we might have to shut down early.  If the actor keeps getting so sick, it's too dangerous to continue, and then of course the Producers are panicked cause you lose lots and lots of money.  To be on moving water day in and day out for six months is rougher than many think it might be.  It was extremely realistic, the feeling, the sounds, the rough turbulence.  There were accidents and even ambulances brought in on certain days.

 

(Water is dumped on actors in a tank on infamous Stage 16

 at Warner Bros. on "the Perfect Storm")

When I walked down to the sound stage around the first week of shooting, I saw the biggest tank ever built on a sound stage at the time. There was the Andrea Gail boat in the center hooked to a gimble in the center of it, that moves underneath it. Dozens of camera’s were placed all around the tank on remote cranes up high and on the stage floor behind each other. I walked through the cameras as the cast and crew began taking their marks. I went up to the foot of the tank and turned to the First A.D., “Can I sit up here and watch?” He said, “Of course, but you will get wet if you’re right there.” He pointed to an obstruction behind the cameras, “Right about there is as far as it goes.” I kinda went, “Pppff yeah right.”, and refused to move from the center of the cameras. 

All the camera operators and loaders went to their marks and proceeded to put rain jackets on. I thought, “huh?” Made a face, I hate when I’m wrong, and started taking some steps back behind me. A.D.’s began their chant of calling the equipment cues. And one by one in a brilliant symphony I saw the rollers move, beginning to make small waves, then the produced rain cued in, huge water shooting from all angles of the tank, the cameras rolled in and around the boat. The boat rocked then dropped into the tank and the actors started screaming, and I lit up, “Holy shit!” It was like a real live storm ride that is completely indescribable.

(FROM LEFT: Actors, Diane Lane, George Clooney, Mark Wahlberg 

and Mary Elizabeth Mastrantonio at the L.A. screening of "the Perfect Storm)

By this time, films and offers were lining up for me, as if I were some kind of A-list star. I realized I had done it, I had worked hard and it was paying off, but now I was thinking about getting out of it.  Go figure I hadn’t had a break in a few years, nor had I taken a vacation. I was a certifiable back to back work-a-holic, and I still wasn’t done. I wanted to circle back around to writing again, and doing something about it.  Yet, I had already agreed to work on “Harry Potter and the Sorcerer’s Stone”, running things for the Director and Producers during prep before the big move to England, something I did not want to do, work on endless Harry Potter movies in another country, I would still be there today!  I eventually backed out and decided to do a film that many thought I was crazy to do as a replacement, but it was super close to home and I was burned out and I wanted my bed to be close! And so as I wrapped up “Harry Potter” in the states, I took the weekend off and began work on “Dr. Dolittle 2” at 20th Century Fox.

Dr. Dolittle 2 -
“Dolittle plays Cupid to bumbling circus bear to help a group of forest creatures save their habitat.” 

Although I had never seen the first one, I thought I better catch up and rent the movie and read the script.  By this time I was doing Production work with my hands tied behind my back. I was a pro with an encyclopedia of Hollywood contacts that had producers calling my cell phone to get a hold of.

Eddie Murphy is remarkably comedic and more demure than people think. He would do every take differently and was completely on the ball. He’s also extremely generous as well, hiring people like his cousin to be his costumer and brother in law as his driver…the list is endless. Plus I really loved shooting up at Big Bear, as there is no better place than I’d rather be than in nature and in quiet, plus they have one of the best Brewery's you can find in California. 

A big chunk of the shoot was on stages all over 20th Century Fox. Eddie doesn’t work with animals. Yep, it’s true. Every time you see him on screen with an animal, on the soundstage he was acting to nothing, the guy is brilliant, I love him. The animals were being shot on another sound stage. It was a Zoo, really, and when we were shooting Tank the Bear, you couldn’t be on the soundstage if you had any distinct smells, like deodorant or cologne, and if a woman was menstruating, she couldn’t be there as well. The bear is very sensitive to all that and does know, and he was huge, you don’t want him confronting you! A journalist said, “Eddie Murphy cakewalks through his title role with the confident professionalism of a comedian who knows when to share the spotlight--especially when he's being upstaged by a bunch of animals who steal all the punch lines”


(ABOVE: Eddie Murphy "John Dolittle" scolds  his daughter, "Cherisse", played by Raven Symone in "Dr. Dolittle 2")

(TO THE LEFT: Director, Steve Carr, in black, explains a scene to the crew with Eddie Murphy looking on up at Big Bear, California)

(BELOW: Lynne Seus, Animal Trainer with "Tank the Bear) 

Reviewers shouted from the rooftops that part 2 blows the first one out of the water.  One Journalist said, "Eddie Murphy gives one of his better performances in recent years with "Dr. Dolittle 2". He seems looser, more interested in the role, and gives fleeting glimpses of that energetic and sharp humor that made him so famous in the ‘80s."



Having remained friends with the women at Via Rosa, Kate Guinzburg, asked when I was done with “Dr. Dolittle 2” as she had just began a new Production Company teaming up with Veteran Hollywood Producer, Martin Bregman who is notoriously known for managing Al Pacino as well as casting Michelle Pfeiffer in "Scarface".  See how things come full circle decades later.  True to the years past, I finished up on a Friday and then started up with Kate and Marty on a Monday to go back to development and my one true love, writing, stories and character.









(Producer, Martin Bregman of "Carolina" with
Michelle Pfeiffer at the "Scarface 20th anniversary") 



We geared up to go into Production on the little engine that could, “Carolina”, a small romantic/comedy with Julia Stiles, Shirely MacLaine and Alessandro Nivola.

 Carolina - “A young woman trying to escape the eccentric ways of her wacky Southern family and meet the man of her dreams -- a nice, normal available guy.” 

Shirley MacLaine had a lot of Producerial demands and insisted on a soft lens, and wanted the D.P. fired when she realized he didn’t use that type of lens for the Camera M/U hair test. She’s also the only actor I had ever seen interupt a scene to talk to the Director if she didn’t understand why her character would say something or be a certain way.  Yet she is Old Hollywood and she knows best.  When I went to visit her at her house in Malibu, she went out of her way to cater to her guest, giving me a tour of ideas on renovating and reselling property to calling the local movie theater when I said I was going into town for a few hours, and she didn't have to do that.  




(Shirley MacLaine, left, chats with Director, Marleen Gorris between set ups)

Julia Stiles was 21 when I met her and she was wearing a suit, so I’ll give her that, but for her age she was on the game, the most professional and as serious of a young actress as you can get and that I've ever met to date. It’s a shame her career hasn’t improved, as she can create real tears for any dramatic scene on cue. Alessandro Nivola is simply the nicest guy on the planet that I’ve ever met. 

 

This film was wracked with legal and financial issues all throughout. Originally attached was Reese Witherspoon who left to do “Sweet Home Alabama”, which wasn’t as good by the way, then we had Kate Hudson, who also left, then Julia Stiles stuck with us, even gave up a semester of college to wait for our constant shooting delays that lasted four months.
Kathy Bates was originally attached, went through hair and make up testing, then backed out when we shut down production the first time, later suing us for a million.








(Julia Stiles with actress, Jennifer Coolidge in Culver City, California
-location for "Carolina")

The screenwriter of "Carolina" had left the script in front of Shirley MacLaine's home door with a note begging her to take the part, and then we got a call from Shirley that she'll do it.  Thus saving us and prompting Miramax Films to give us an additional two million plus domestic distribution.  Harvey Weinstein screened it and said, “You have a hit movie on your hands, we’re going to blast it all over MTV during Super Bowl Weekend.” That never happened and they did nothing with it. At a Premiere for another Julia Stiles movie a reporter asked her, “What happened with “Carolina”, why wasn’t that in U.S. theaters?” Her response was, “I don’t know, you’d have to ask Miramax that question.” The Producers were in the dark and everyone from cast and crew had no idea what Miramax Film’s plans were to distribute the movie. Eventually it was quietly released on DVD.

 
(Alessandro Nivola plays "Albert", best friend to Julia Stiles' "Carolina". 
She keeps going out with the wrong guys and he's secretly in love with her,
and she has no idea.  Ain't love grand.)

Years went by working with Kate and she gave me the keys and tools to find more time to finally write and create completely for myself. I began developing and writing my own projects. I was in my mid to late 20’s at this point and the bug was biting me fast. Thus began the outlining of what would be my first book project, an in-depth look into the online dating craze that was suddenly booming, “Navy Blue Eyes”.

Development on the book began simultaneously while working with Kate in 2001 and then when we closed her company years later and Michelle went into semi-retirement and moved to Northern California, that was the end for me in that part of Entertainment for awhile. I suppose in a sense, I had entered semi-retirement in the film production aspect of Entertainment as well. I finally took the year 2003 off to write. It was the first break I had had since I was 18. I went through an entire metamorphosis and dragged myself through the mud emotionally. It was a hard book to do because of its feeling content and because it was my first. And although it’s a book I’d prefer to forget and trash, it was still pivotal being the first. It finally saw the light of day in book form in November of 2004. 

Some of the movies and projects I turned down for various reasons, either I was working on another project, or was simply just plain over Film Production:

 

My civil and human rights activism was also progressing and I wanted to be and work in that world while I write. I wanted to be surrounded by it and get to know it. Hollywood suddenly seemed trivial and unimportant to me. The movie offers were not only pouring in, but in abundance more than ever before from Talent to Producers to Studio Execs, but I just did not want to do it.  My drive and focus was moving elsewhere.  Producers that knew me were telling head hunters, “You’d be lucky to get him, but he might not do it.” From Tim Burton films like “Big Fish” and “Planet of the Apes" to Oliver Stone films like “World Trade Center” and Warner Bros., “Superman” and Ben Stiller produced movies like “Blades of Glory”. I had lost complete interest. I was burned out and my focus was on bigger human interests.  I had already begun the outlining  in 2005 of what would be my second book, “Jagger’s Revolution”.

This time I wanted to show my world at the beach. I wanted to create and tell a story that was lighter and get as far into the GLBT world as possible and understand it. My goal was to create real people that I know, and stay as far away from the media version.  I continued on my search for someone that would be perfect in pulling me into that world, and then I came face to face with Matt Skallerud.  A dream.  He is one of the Kings in GLBT community marketing, from advertising, networking and creating a platform for all those large or small looking to increase the efficiency and performance of their online marketing endeavors.  I joined him and we have assumed a friendship ever since. 

"Matt Skallerud - GLBT Entrepreneur & GLBT Internet Marketing"

Simultaneously while at the company, the completed manuscript of what would be my second book went into a lengthy Production process.  “Jagger’s Revolution” which was released in November of 2006 garnering all kinds of attention and talk that would open the door to continue doing what I love, writing my own stories. 

"Jagger's Revolution" - A dark peek into the modern day dating life of Jagger, an aristocratic beach thug, handsome tough writer, who suffers blows loudly while wrestling with a hard biting crush on the hot "Aussie" lifeguard he keeps running into, who might just be his ideal mate.

"Jagger's Revolution" cover is a
painting by artist, Joshua Shotwell (below)

www.myspace.com/thejoshuagallery

During this time, Matt sold his company to what is considered the biggest gay entertainment company in the world now and continues to grow even during the ever-waning Economy.  I unfortunately, will not say it on here for not only personal safety and security reasons for myself and the company, but also due to confidentiality disclosures between myself and the company. I’m still there today and because of me being “there”, along with that comes the price of, you know the occasional hate mail and death threat, which do and have come in. The less people know where I am, the better.  Matt continues on his path assisting companies big and small reach GLBT consumers online.

Still no stranger to the Film Business and constantly in contact with many friends and collegues and relationships from that world and the current, many who had picked up “Jagger’s Revolution” and suggested I not only adapt it into a screenplay, but also consider writing screenplays on top of what I write now. This began the adaptation process for “Jagger’s Revolution” where my publisher and I thought, “hell, you know what, let’s sell it.”

The paperback for “Jagger’s Revolution: A Screenplay” was released in March of 2008, surprisingly to great critical praise. I knew that once it was released that I was going to take my time to focus on developing and writing more projects on my own pace. I now work for one of the greatest and biggest gay companies in the world which allows me the opportunity to be in on the things that I care about. I’m having the best time I’ve ever had now. 

There are lots of projects that have been in the writing and development process for some time that will see the light of day. They include the sequel to “Jagger’s Revolution” tentatively titled, “Dude Habits”, a horror screenplay set in New Orleans, “Paint the Silence”, as well as a non-fiction Historical/Political/Spiritual piece, currently untitled.

Today I write when I’m in bed. I write when I’m half asleep and half awake in the middle of the night. I write in my head which contributes to my struggle with sleep. If I take a calm tablet I still write, but then I just can’t move my hand over to a notepad. I write all day and all night long, even when I’m not holding a pen, I’m writing. Because I’m constantly thinking to the point of mental wear down, I can be writing and then suddenly get blocked. I have to get up and walk around the block or I begin pacing back and forth like a cougar which triggers my mind and the thoughts begin to flow out again and write, so I quickly run back to the page before it goes away. This is a daily occurrence. And no I don’t smoke, nor rarely have a drink. I jog. I run. I bike. I use my body physically in some ways. 

Haldane Morris, Grandson of the elite and top Entertainment Agency in the world, William Morris Agency wrote this piece as I close this out. Thanks for reading!

Kevin Hunter (born March 5, 1973 in Arcadia, California) is an American author, philosopher, screenwriter and short story, essay, dramatist based in Southern California. He pens under his middle name "Hunter", while using his last name on film credits. He is best known as a writer of what he calls Dude Literature, (Dude lit), the brother counterpart to the chick lit genre, but geared towards young men in their teens, twenties and thirties, who wrestle with independent streaks, loner fighter qualities, and same sex attractions. His work tends to have a radical and aggressive point of view often counteracting the interwoven story with a narrator who comments on social issues that revolve around the severity of the human condition. His style tends to be dark and direct encompassing the many facets and complexities of human sexuality and relationships in general. In time his work may be considered significant due to his unique modern exploration of human psychology told in a way that a teenager can follow and model after. As Hunter's protagonists tend to be strong, if not unconventional, yet exceptional men, they do have underneath an extreme look at society's affirmative and at times unconstructive influences and contributions to human existence. Although not particularly considered a political advocate, there are distinctive political philosophies that have been an underlying common thread in his stories, adopting an Independent viewpoint with a clear admiration for the first Founding Fathers, who did not belong to any political party, but rather hoped they would never be formed, for fear that the country would be unable to work together and fail to progress. The kind of mentality that the United States would not tolerate bigotry of any kind is evident. This kind of anti-bias mentality coupled with an acute, rigid code of broadminded behavioral ethics abounds in Hunter's work, seamlessly incorporating it underneath the initial stories and presenting a possible consequence should one reveal a sliver of intolerance. Kevin Hunter's books include, "Jagger's Revolution" and "Jagger's Revolution: A Screenplay", as well as the upcoming dark, horror play piece set in New Orleans, "Paint the Silence" and a sequel to the "Jagger's Revolution" book currently, "Dude Habits".

Article Source:  Haldane_Morris

“Revelations of Hollywood” by Kevin Hunter.

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