Characteristics of Eminent Screenwriters: Who <span class='italic'>Are</span> Those Guys?

doi:10.1017/CBO9780511627101.006

4 - Characteristics of Eminent Screenwriters: Who Are Those Guys?

Published online by Cambridge University Press: 25 January 2010

Steven R. Pritzker and

David Jung McGarva

Edited by

Scott Barry Kaufman and

James C. Kaufman

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Scott Barry Kaufman: Affiliation:
Yale University, Connecticut
James C. Kaufman: Affiliation:
California State University, San Bernardino

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Summary

“Who are those guys?” was a line spoken repeatedly by Paul Newman in Butch Cassidy and the Sundance Kid (Goldman, 1969, p. 80) as a posse followed them. It is an apt description of the notoriety of screenwriters who have, for the most part, remained out of the limelight with no posses or paparazzi following them.

There is a considerable amount of research investigating the characteristics of eminent writers, including poets, fiction writers, and nonfiction writers. However, we were able to locate very little research employing a psychological perspective regarding the characteristics of screenwriters.

This chapter reviews information concerning Academy Award winning screenwriters from 1927–2007, from both a quantitative and qualitative approach. We compiled statistics on screenwriters regarding age of winning the award, longevity, gender, and nationality. By reviewing interviews with Oscar-writing screenwriters, we gathered information on qualitative themes, including experiences growing up, work experience before becoming screenwriters, motivation, work habits, writing, rewriting, collaboration, and experiences in the film business.

A BRIEF HISTORY OF SCREENWRITERS

It is important to look at screenwriters from a historical perspective because the film industry is a unique environment. A brief three-word description of the general attitude toward movie writers is provided by the title of an old movie: They Were Expendable.

This attitude dates to the early days of silent films when Mack Sennett gained fame by locking his writers in a room until they came up with acceptable stories. A few screenwriters earned substantial sums, but they were the exceptions.

Type: Chapter
Information: The Psychology of Creative Writing , pp. 57 - 79

DOI: https://doi.org/10.1017/CBO9780511627101.006 [Opens in a new window]

Publisher: Cambridge University Press

Print publication year: 2009

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