William Faulkner first went to Hollywood in 1932 because his income as a novelist was woefully insufficient to maintain his increasing number of dependents. After signing a six-week contract with Metro-Goldwyn-Mayer, with the understanding that his contract could be extended if necessary, Faulkner began his relationship with tinseltown that lasted, off and on, for well over a decade.
Faulkner’s favorite director in Hollywood — and the director with whom he wrote five of his six credited screenplays — was Howard Hawks, who had known Faulkner’s work since the time of his first novel, Soldiers' Pay. His brother, William Hawks, an agent in Hollywood, brought to Howard's attention Faulkner’s World War I short story "Turn About" and both agreed it would make a good movie. Howard bought the screen rights to the story and invited Faulkner to write the screenplay. When Joan Crawford became available and studio bosses wanted her in the film to boost its box office potential, Faulkner invented a role for her. The film, released as Today We Live in 1933, was Faulkner’s first screenwriting credit.
Faulkner was released from MGM in 1933 but returned to Hollywood briefly in 1934 to work with Hawks on Sutter's Gold, a western. Hawks eventually decided against the project but asked Faulkner to collaborate on another war movie, The Road to Glory. In December 1935, Faulkner became a contract writer at Twentieth-Century Fox, where he would work intermittently in 1937. Faulkner’s only screenwriting credit for a non-Hawks film was for Slave Ship in 1937, a project he worked on while at Fox when Hawks had moved to another studio. Faulkner claimed his role in the film was as "a motion picture doctor," reworking parts already written by others. Faulkner returned to Hollywood in 1942 to write for Warner Brothers, a job he would maintain intermittently until 1945. It was at Warner Brothers that he wrote the two films for which his reputation as a screenwriter would be secure: his adaptations of Ernest Hemingway's novel To Have and Have Not and Raymond Chandler's detective novel The Big Sleep, both of which were directed by Hawks. In addition to these credited screenplays, Faulkner also wrote several scenes for Air Force, a film Hawks was directing but whose screenplay had been written by someone else.
In 1944, Faulkner also contributed to United Artists' The Southerner (1945), directed by a French filmmaker Faulkner respected, Jean Renoir (director of Grand Illusion). Faulkner received no screen credit because technically he was under contract to Warner Brothers (thus barring him from working for another studio), but Faulkner later told Malcolm Cowley that The Southerner represented the best work he ever did on a movie script. The film went on to win the Grand Prize at the 1946 Venice Film Festival. The last theatrical film for which Faulkner received screen credit was Howard Hawks's film Land of the Pharaohs, released by Warner Brothers in 1955. In addition to his work for the movies, Faulkner wrote several pieces for television in the early 1950s. He wrote an adaptation of his short story "The Brooch," which was produced as a half-hour segment and broadcast on The Lux Video Theatre on April 2, 1953. Because it was performed live, no film or videotape copy exists today, but by most accounts, it was a less-than-exceptional production, in part because Faulkner replaced his story's downbeat ending with a more positive conclusion to appease the show's sponsors. Other Faulkner television adaptations of his short stories during this time include "Shall Not Perish," broadcast February 11, 1954, also on the The Lux Video Theatre, and "The Tall Men."
The last television production on which Faulkner’s name appeared as screenwriter was The Graduation Dress, a script he co-wrote with Joan Williams (his protégé and lover) in 1952. It was belatedly acquired by The General Electric Theater and broadcast in 1960.
Logging in, please wait...
0 General Document comments
0 Sentence and Paragraph comments
0 Image and Video comments
New Conversation
Hide Thread Detail
William Faulkner was writing poetry at his younger age. He became famous for his novels “The Sound and the Fury,” “As I Lay Dying” and “Light in August”. Faulkner’s income was poor when he went to Hollywood first. He had a six-Week contract with Metro Goldwyn-Mayer and wrote six credited screenplays. Faulkner’s beloved wife Estelle gave birth to Jill and it was woefully insufficient to maintain his dependents in the family. That is why, Faulkner traveled to Hollywood a dozen time and devoted to write countless films and that only for financial gain.
New Conversation
Hide Full Comment Hide Thread Detail
New Conversation
Hide Thread Detail
As Howard Hawks was Faulkner’s favorite director in Hollywood, and through his favorite director he had seen positive possibilities towards his screenwriting carrier in Hollywood. He has written five of his six credited screenplays with Howard Hawks. Besides, Based on my understanding Faulkner screenwriting, Faulkner had got contract with Twenty-Century Fox and also claimed his role in the film was as “a motion picture doctor” as well. He had also wrote for Warner Brothers. Although he was successful in writing screenplay in Hollywood, but sometimes back and forth from Hollywood and not getting credit from some studios, and most importantly up and down in relationships made him wary sometimes.
New Conversation
Hide Full Comment Hide Thread Detail
New Conversation
This dynamic seems especially appropriate in regards to his apparent love of working with Hawks. If there were elements of film that he enjoyed, I would be inclined to say that these were largely personal—Hawks, as an auteur, would be an appealing director to work with for a writer wary of Hollywood; Faulkner’s artistic vision as a writer might be less likely to get lost in the glamour of production.
New Conversation
Hide Full Comment Hide Thread Detail
New Conversation
Faulkner definitely had an interest in the world of film. Someone who just has a slight interest in Hollywood wouldn’t voluntarily choose to work and produce material for multiple media companies. For one of his productions he had claimed his role was a “motion picture doctor”. If you think about it, a doctor is someone reputable in society and someone who is able to fix and produce a better outcome. I guess he is trying to say that he is someone who is able to take Hollywood to another level and is able to fix it for what it was back then.
New Conversation
Hide Full Comment Hide Thread Detail
New Conversation
Hide Thread Detail
Time
New Conversation
Hide Full Comment Hide Thread Detail
New Conversation
New Conversation
New Conversation
Hide Thread Detail
I think while he was talking about writing and screenwriting, he considered them as two entirely different forms of business. As he once replied in an interview in 1956, New York, to the question of “Can working for the movies hurt your own writing?” , he said:. “Nothing can injure a man’s writing if he’s a first-rate writer If a man is not a first- rate writer, there’s not anything can help it much the problem does not apply if he is not first rate because he has already sold his soul for a swimming pool.”
However, while reporter asked about how he felt when he compromise in writing for the movies, he replied: “Always, because a moving picture is by its nature a collaboration, and any collaboration is compromise because that is what the word means-to give and to take.”
Therefore, it might be the reason why he was strict to himself as a writers but accepted compromise as a screenwriter.
New Conversation
Hide Full Comment
I wouldn’t say he sold himself to the devil, after all he had dependents to take care of. Money doesn’t have to be evil,He went from a writer to a screen writer, not such a big difference. I believe Faulkner really enjoyed working as a screenwriter, as he ended up being somewhat successful in the industry.
New Conversation
Hide Full Comment Hide Thread Detail
I think there is relevant difference in a writer and a screen writer. As a screen writer you have to have everything up to the standards for a film. Whereas, as a writer you can basically write with no guidelines.
New Conversation
Hide Full Comment Hide Thread Detail
New Conversation
New Conversation
I don’t think Faulkner sold himself to devil, but here I think money could be a factor, and also he was skilled and famous in writing scripts which have been appreciated by many other elite people in Hollywood. I think he had dedicated himself of compassionate writing more for films because he himself loved screenwriting, films and Hollywood as well.
New Conversation
Hide Full Comment Hide Thread Detail
New Conversation
Hide Thread Detail
Faulkner liked doing it, and also liked that money was also involved.
New Conversation
Hide Full Comment
I think I agree with Braden. I agree that the quality of his writing did not change for the worse after working in Hollywood. But I think he began to work to please the audience and those paying him rather than pleasing himself with his work. This article even mentions how he adapted a screenplay from “Brooch” but changed the ending for a more “positive conclusion to appease the show’s sponsors”
New Conversation
Hide Full Comment Hide Thread Detail
New Conversation
Faulkner moving to Hollywood might initially have been of financial reasons, however he would soon find a career in screenplay writing. His screen-writing debut starts with a war short Story “turn about”. With Howard hawks as the Director attached to the project, Faulkner enters himself into what would be a successful collaboration in movie making. Starting with his own short story, a decade after Faulkner would get himself job security after his popular work on Ernest Hemingway’s novel directed by Hawks.
New Conversation
Hide Full Comment
It appears Faulkner’s main motive for being a screen writer is due to financial reasons. I believe it wasn’t his initial intention to become a screen writer and he would’ve never done so if money wasn’t an issue. As his career in screenwriting progressed, he became more accepting of the career. As stated, Faulkner believed “The Southerner” represented the best work he had ever done on a movie script.
New Conversation
Hide Full Comment Hide Thread Detail
New Conversation
Because Faulkner went into screenwriting because of financial reasons, he was probably more likely to make compromises in his work. Faulkner had to appease higher ups on multiple occasions such as inventing a character for Joan Crawford and changing “The brooch” to have a more positive ending.
New Conversation
Hide Full Comment
Since he was unable to maintain his family. He decided to do screenwriting of his novels. The screenwriting was successful, especially in 1932 because the production companies of Hollywood started to include sounds in its films. In fact that is why Hollywood did not suffer the great depression as a result of the innovation of films with sound. Faulkner knew that this will be the perfect way of success. Everybody is going to be able not just to read his books but also see his written stories produced on the screen.
New Conversation
Hide Full Comment
New Conversation
Hide Thread Detail
New Conversation
Faulkner was so skilled and had a gift of adapting the works of others to create famous movies. Filming was a new exciting form of storytelling back then. Which of course can draw in huge amount of popularity and money. Faulkner as a screenwriter became a mix relationship of ups and downs between passion and easy access to gain finance
New Conversation
Hide Full Comment Hide Thread Detail
I agree that he had a complicated relationship with screenwriting; he showed some distaste and wariness for aspects of the industry, but continued to work as a screenwriter (on and off) for decades afterward.
New Conversation
Hide Full Comment Hide Thread Detail
New Conversation
New Conversation
Hide Thread Detail
To me, sometimes it is tough to make an order because Studio bosses determine Producers, director, writers and so forth. But sometimes producers act as writers or they hire writers. And they have to take care of locations, cameras, and in charge of anything the production needs for making films. Likewise, director select actors base on the ability and performance of the characters roles. Also, directors may changes the scripts if its needed base on characters role. The actors have to have ability to succeed the role of characters scripts. So what I think that the sequence should be studios bosses, writers and actors accordingly.
New Conversation
Hide Full Comment Hide Thread Detail
I would respectfully disagree with your sequence of studio bosses, writers, then actors. Without a doubt studio bosses are at the top of this list due to their ability to control everyone under them through contracts. I would argue that actors are higher than writers on this list simply due to the fact that they are more noticeable, especially due to their appearance. Today the lists of celebrities far outnumber the ones of back then, so having a top star in a movie would be very influential in terms of the ability to bring viewers to the theater. The public would recognize the face of the star, but the writer is just a name and does not have facial recognition in the eyes of the public.
New Conversation
Hide Full Comment Hide Thread Detail
In general, the sequence should be studio bosses, actors and writers, but what my perception is here, when studio bosses play role as a screenwriter or scripts then we can think of the sequence other way around. William Faulkner was screenwriter, but he owned a studio and had a role as an actor in the film as “a motion picture doctor” as well. Nothing is impossible, so the order could be any order.
New Conversation
Hide Full Comment
New Conversation
Hide Thread Detail
Professor do you know how often the actors wanted the script changed from what Faulkner originally wrote? I think it would be interesting to know how often the actors did not want to play the part as he intended it to be. How many agreed or maybe disagreed with his writing and how he portrayed the characters within the story?
New Conversation
Hide Full Comment Hide Thread Detail
New Conversation
New Conversation
Hide Thread Detail
A shooting schedule is the calendar that contents the specific time, place and date where the scene is going to be shoot. Unfortunately the shooting schedule is always changing usually because of the director since the director check the quality of the scenes he will be asking to repeat the shoot until he approves it, that takes time and if the scene needs to be set up in the afternoon with a sunshine or in specific occasions and the director does not agree to the captured scene it will be have to be done another day.
New Conversation
Hide Full Comment
I figure this specific order might be the production of Hollywood star system in the early 20th century, which is an evolving system putting more attentions on big actors rather than other supplemented elements (like writers) in film making and promoting process because they are more straightforward accepted by the audiences at that time. Therefore, in order to attract more viewer, stars were treated as the commercial center of the process creating and promoting films. And I think that is why we got the rank of actors ahead of screenwriter at that time. But I also believed we do not have the exact same order like that in today’s film industry because the actors were no longer the only essential factors dominating the market.
New Conversation
Hide Full Comment Hide Thread Detail
I agree Guang Xing Li, obviously the Studios had to make money, and the stars were the cash-cows of the business at that time, also we should take into account technology. Today you have 100s of review websites that can kill a movie before it even plays in the cinemas. Back in the day you didn’t have that, People just trusted previous work of Actors
New Conversation
Hide Full Comment Hide Thread Detail
New Conversation
Hide Thread Detail
This happens because the Studios bosses have the money to own many theaters so viewers can watch the movie. In addition, the bosses pay off the actors and writers so it would make movie for them to be first rank. The next one would be actors because they are famous and they will play in the movie when people watch them. Lastly would be the writer because the studios bosses take part of the script and redesign it also giving credit to the writer but has a contract to make the movie how the bosses please even if it doesn’t relate to the novel much.
New Conversation
Hide Full Comment
Studio reputation also plays a large role in current times. Think about Pixar Studios. They’ve consistently put out successful movies from just animations. Although voice acting plays a role in the experience and portrayal of the movie, it doesn’t appear to be as condemning as the scenes with real actors.
New Conversation
Hide Full Comment
New Conversation
As I have learned recently, the history of film itself is a broad one. Don’t get me wrong, I love it. I love everything about the moviegoing experience. But the business side to movies that is always important, is the money aspect to it. Box office results ,etc. These components are predetermined depending on studio bosses and the actors. Studio bosses are highly important due to the power they possess on and off the set. Through their involvement studio bosses bring in producers and directors which are critical in any film making process regardless. Personally an argument can be made that actors can rank just as high of importance as studio bosses. I say this mainly due to the marketing and promotion that goes into the film. They are the faces and stars of the film that is being released. In the time that we live it is common for studio’s to promote the film just on the iconic actors and actresses alone. At the same time I say this due to the strength that an actor can produce on screen. Yes I am aware that a good script and good story are always important in any film. But even an actor depending on their level of performance can evoke the emotions that the story is supposed to provide and have it resonate well with it’s intended target audience. Even if the story itself is good or bad.
New Conversation
Hide Full Comment Hide Thread Detail
I agree with you that actors play a huge role in the success of a movie but a bad script will wreck a movie’s success. There are huge budget films that flop every year. One that recently happened was the remake of Ghostbusters. This film was filled with stars. Melissa McCarthy, Kristin Wiig, Chris Hemsworth just to name a few and this movie was a complete bust. It has been estimated that Ghostbusters will lose around 70 million dollars. Not only that but the trailer was the most disliked trailer in YouTube history. So personally I think the writers are just as important as the actors if not more.
New Conversation
Hide Full Comment Hide Thread Detail
I agree with you regarding the Ghostbusters Reboot situation that occurred over the summer. In a way that can apply to recent DC Warner Brother Films such as Batman V Superman Dawn of Justice and Suicide Squad due to the heavy negative reception that was received by both films. As a result both films suffered from a 67-69% drop at the box office within their second weekend. Which looking back I can better see as to why writers are important in any film. Rare examples include Marvel Studios due to their expert management and leadership from Kevin Feige, excellent list of well known and praised actors and a phenomenal team of screen writers. In the era that we all live in now it all truly comes down to one thing….money. How much the film makes and what it spends heavily influence any of the three categories whether it be studio bosses, actors or writers.
New Conversation
Hide Full Comment Hide Thread Detail
New Conversation
New Conversation
New Conversation
Hide Thread Detail
If the movie “Hail, Caesar!” directed by the Coen brothers has any historical accuracy I think that the studios had too much responsibilities for their actors. Each studio seemed to be creating personas for the actors and actresses they had employed under contract. If any actor or actress stepped out of line and their public image was damaged by something they did the studio would do their best to cover it up, because if an actor looked bad the studio looked bad. If actors and actresses are not under contract then the studio is not represented by them and the studio no longer needs to hire so much public relations staff to clean up the messes actors could make.
New Conversation
Hide Full Comment Hide Thread Detail
New Conversation
Just play devils advocate but animation movies have been immensely popular the past century or so. And having a popular actor/actress as a voice actor does not determine the popularity. In this case it’s actually a good script and story that compels people to come watch said movie. Very controversial comparison in my opinion.
New Conversation
Hide Full Comment Hide Thread Detail
New Conversation
One thing that really stood out to me while reading about Faulkner being a screenwriter is how he wasn’t credited for his work on the film The Southerner. He even goes as far to say it was some of the best work he has ever done. Personally I wouldn’t be able to handle not being credited for something I was that proud of. The reason for not being credited was due to him being under contact with Warner brothers. That right there tells me all I need to know about how the order worked back then. Studios bosses were definitely the top dogs. I personally do not agree with this but that’s how it was.
New Conversation
Hide Full Comment Hide Thread Detail
New Conversation
New Conversation
Hide Thread Detail
My thoughts about it are similar to yours. So many years after, the industry is not all that different. Nowadays you still have plenty of blockbusters films with terrible writing making huge profit just because of its fan base. Back then you had actors with large fan base.
New Conversation
Hide Full Comment Hide Thread Detail
New Conversation
New Conversation
The reason i would give for that order is simply because studios have to primarily make profit from all their films if possible. It also appears profit came from that order, First you had the studio bosses making decisions, then you had big star actors attracting a large amount of viewers, and lastly writers
New Conversation
Hide Full Comment Hide Thread Detail
New Conversation
My belief is that actors would top the list followed by studio bosses then writers. It has certainly been true in present days. Many major anticipated blockbusters ended up being disappointing because actors were unable to portray the character as well as in the novel. Another reason movies in present day fails is because the movie strays away from the original novel. This is closely related to how studio bosses direct the movie and determine the scenes. Although writers is the last in my list, they also play a crucial role. A popular novel would greatly increase the anticipation for the movie yet I believe the quantity of good writers surpass the amount of good actors which influences the order in my list.
New Conversation
Hide Full Comment Hide Thread Detail
New Conversation
It is in that order because ultimately, the studio bosses pays the writers to make a movie out of their work. Once they pay and sign terms, the writer has no write to make objections to it. As for actors before writers, actors are paid by studio bosses and not by the writers. Actors would care more about whom is paying for their work than who originally wrote the story.
New Conversation
Hide Full Comment Hide Thread Detail
New Conversation
New Conversation
This is a rather negative view of screenwriting, and one that is appropriately allocated to the single film that he worked on without Hawks. As an author, it is understandable that he would have a distaste for work that did not feel like his own. One thing that screenwriting did not grant much of at this time was agency, and it is telling that he did not return to Hollywood for five years after working on this film.
New Conversation
Hide Full Comment Hide Thread Detail
I disagree. I do not think that its a negative view of screenwriting I think this quote shows Faulkner’s understanding of his own talent. He improved upon a movie he didn’t want to do but still improved upon i as the “doctor”.
New Conversation
Hide Full Comment Hide Thread Detail
New Conversation
Undoubtedly, William Faulkner was popular and successful in writing scripts or screenwriter. What I believe is no matter what the writers are popular or successful in their carriers or not, they should be credited for their works if it is still minimal work. Based on the fourth paragraph Faulkner has not been credited for the “The Southerner”, because he was not under contract, where the film has won grand prize at Venice Film Festival. It was Faulkner’s one of the best scripts ever, but I think the studio bosses should have some rules and regulations so that writers could be benefited for their each endeavors.
New Conversation
Hide Full Comment Hide Thread Detail
New Conversation
Hide Thread Detail
I believe even til today, contracts plays a huge role on the actors present in a movie. Although I currently can’t recall anything in particular, there have been many actors who were essentially forced to act in a movie which they disliked and don’t fit their style.
New Conversation
Hide Full Comment
If studio popularity was brought by actors, directors and writers I would think that having Faulker’s name credited and written on the posters could have helped “The Southerner” become more popular even more so than it was at the Film Festival as Waliour mentioned. I don’t understand why the studio would let Faulkner even write it if he was on contract with another studio.
New Conversation
Hide Full Comment Hide Thread Detail
New Conversation
I believe that Studios wouldn’t want to make the writer successful because they as on the lower rank, such as Studios Bosses, actors and writers. Studios bosses would also be greedy so they can keep maximum profit for themselves. Therefore, it’s unfair to the writer. If the writer isn’t has famous the bosses can pay for the script on the lower end of the cost rather than paying an high expense.
New Conversation
Hide Full Comment
Did Faulkner ever try to retaliate for not being credited for contributing to The Southerner? From what you’ve mentioned in class he seems like a prideful man. After all he did pretend to have a limp after the war he never actually fought in. I can’t imagine that not being credited sat well with him.
New Conversation
Hide Full Comment Hide Thread Detail
New Conversation
An incidence like this explains why Faulkner’s relationship with Hollywood was so intermittent. To change the ending of his story to appease sponsors must have been difficult, especially considering the writer’s inclination toward unconventional narrative and experimentation with his writing. In this sense, Faulkner as screenwriter seems almost in complete opposition to Faulkner as author.
New Conversation
Hide Full Comment Hide Thread Detail
New Conversation
Hide Thread Detail
Many famous authors who did their turns in Hollywood, but Faulkner seemed had gift for film. He was skilled which was observed by fellow novelist Stephen Longstreet that Faulkner was one of the few real geniuses who ever wrote for the cinematic movies. Also, he became favorite to director Howard Hawks for the productive completion of four story treatments in four weeks. He got eventually many scripts writing contract in Hollywood.
New Conversation
Hide Full Comment Hide Thread Detail
New Conversation
Hide Thread Detail
Why was he not as highly paid as the other writers or if not more?
New Conversation
Hide Full Comment Hide Thread Detail
New Conversation
General Document Comments 0