This summer's fiction issue is themed around movies—"Hollywood," Clancy Martin says. We shared an intuition that a lot of the most interesting writing being done today is being done for movies and TV. Maybe it would be more accurate to say that we watch a lot of movies. So we made a long list of our favorite movies and looked up the writers who worked on them, and we harassed them and their agents and their publicists for months. We started with a really long pitch letter, but we learned that in LA it's proper etiquette to write three-word-long emails. We tried to romance them by inviting them to dinner at the Chateau Marmont. An interesting thing about the writers in this issue—David Mamet, Michel Gondry, Louis Mellis, Alec Sokolow, John Romano, Merrill Markoe, Kevin McEnroe—is that none of them gave a damn about what we could pay. In fact not one of them even brought it up. So maybe one lesson of this issue is, if you want to be a writer and not have to scramble for every dollar, the old maxim holds true: Go to LA.
But back to movies. Here's what we like about movies: They have stories. They are entertaining. The dialogue is simple. We were watching Searching for Bobby Fisher last night at the hotel in Chennai. William H. Macy says, "It's just a game." He's the father of a seven-year-old chess player talking to another father, and we know that what he means is, "I'd like to rip your head off and s**t down your throat." Similarly, just a few nights ago we were watching The Shining, and the actor who plays the manager of the Overlook Hotel describes the murders to Jack Nicholson during the job interview. He says, "I can't believe it happened here, but it did," and all three of the men in the room somehow already understand that it's going to happen again. Because of the genius of actors and directors, there's so much you can do—as a writer—with a line of dialogue that you just can't do in other forms of writing. But all this is covered in an interview with Robert McKee—Alec Sokolow (Toy Story) makes McKee work through his theories, and Tony Camin, possibly stoned, asks McKee the tough questions, e.g., "Wasn't Who Framed Roger Rabbit the third in the trilogy of Chinatown?" There are also a few pages of Nabokov's screenplay version of Lolita with notes in his hand, masterfully introduced by Blake Bailey, and a story by Thomas Gebremedhin that evokes Santa Monica like no other fiction we've read (and ought to be a movie).
Anyway, we asked Steph Gillies and Debbie Smith to art-direct again, and again they knocked it out of the park, with work by Richard Phillips, Martin Parr, and others. We also have some work by traditional (i.e., non-movie), LA-based writers about LA, and a story about Lindsay Lohan by James Franco, and fiction by Emily McLaughlin and Benjamin Nugent.
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Topics: Fiction, fiction issue, fiction on vice, Amie Barrodale, The Chateau Marmont, Clancy Martin, David Mamet, Robert McKee, Louis Mellis, John Romano, LA, Hollywood, comedy writers, screenwriter, screenwriting, James Franco, story about Lindsay Lohan by James Franco