Cine jobs

REMAKE AGENT 1 (NEW MOVIE): "PACO NEVER FAILS"

Andres Laszlo Sr. co-wrote the script with Didier Haudepin, who subsequently directed the film. Due to contractual disputes, the movie was never screened outside of Spain. Twice (2000 & 2002), Gallimard offered me contracts with producers for remakes, but I declined both times. As my agent, your task is simply to locate one of the previously interested producers (or a new one), persuade them to increase their bid by 25%, and claim your 20% of €600,000. This role is only suitable for a GB/US, French, or Spanish agent with relevant experience in the field. There are contractual issues, which is why the price is so low; however, if these could be resolved…

REMAKE AGENT 2 (NEW MOVIE): "MY UNCLE JACINTO"

Andres Laszlo Sr. wrote My Uncle Jacinto/Mi Tio Jacinto in 1955, and it quickly became a blockbuster film (produced by Ladislao Vajda and starring Pablito Calvo). Today, the film is a regular contender for the Spanish or Hispanic number one (or top-five or top-ten) spot of all time in film festivals. Considering how popular it was and remains, it’s odd that nobody has asked me to permit them to adapt it into an animated film. I regard it as one of the most popular children’s books or films that has yet to be animated. I would like an agent to find someone to adapt My Uncle Jacinto into an animated film.

REMAKE AGENT 3 (NEW MOVIE): "SIN UNIFORME"

I do not know whether Senior wrote this from scratch or based it on someone else’s text that has now been lost (Senior was a passionate pacifist and anti-uniform individual, so I believe there may have been an underlying text that originated with him), but he is credited as the scriptwriter (excluding dialogue); Ladislao Vajda directed, and Warner Brothers produced. I have finally managed to watch the film at Filmoteca Española in Madrid. Casablanca profoundly inspires it, and therefore, it should have a place in ‘fringe festivals.’

REMAKE AGENT 4 (NEW THEATER): "DOÑA JUANA"

Doña Juana must have once been a theater script, but the original score has been lost. What was published in Spanish instead was "a script dressed up as a novella" (Senior's Spanish publishers probably didn't publish theater scripts). Senior worked as an actor and a theater director in his youth, but I don't think Doña Juana was ever staged; if it was, it must have been back in the 1930s. However, it was performed as a mime by Marcel Marceau in the 1960s. I have had this text transformed back into a theater script (it should have music added or even become a musical). The script is well-developed, hilarious, and ‘feminist’. Senior’s friend, Simone de Beauvoir, was said to have influenced it, but I can't ‘see’ that. As my Doña Juana agent, I'd like you to assist in staging it, perhaps initially on a small scale, so that I can develop it myself.

SCRIPT TO MOVIE 1: "THE CHALLENGE"

The Challenge is my adaptation of my father’s bestselling blockbuster My Uncle Jacinto. In my adaptation, bullfighting becomes boxing; Madrid/La Quinta, Cape Town/Mandela Park, and white faces become coloured or black. The script has been submitted to IFFR/International Film Festival Rotterdam, where I applied for production grants to produce the film in Cape Town with Tim Spring (Raw Target, Reason to Die, etc.) as director. They called it “a near miss”. The script is currently available in English, Spanish, and Swedish.

SCRIPT TO MOVIE 2: "DOÑA JUANA"

Senior likely wrote it as a theatre script in the 1930s. The script has been lost, but only after it was adapted into a novella. Senior was advised by his publishers, Gallimard, to present this novella to the Spanish film industry, something I do not believe he ever did (but Marcel Marceau performed it as a mime-drama as Dom Juan). Although I have recast this novella back into a theatre script, it now requires adaptation from a theatre script to a film script.

SCRIPT TO MOVIE 3: "PACO NEVER FAILS"

While the original book text of Paco Never Fails emphasised the anthropological aspect and was presented as a historical drama, the film concentrated on a strong, dark comedic element. The original text had crime undertones, and one can sense how Senior contemplated incorporating a murder-mystery dimension, a genre that was not particularly popular at the time. Although new producers seeking to acquire the adaptation rights could be on the horizon, I have started, albeit in very early stages, to re-adapt the original text into the murder-suicide mystery it nearly became. I have some ideas about setting the action in Goa, India; not only because I spend the winters there, but also because it, particularly "Portuguese Goa," would provide a far better backdrop than even the original: Madrid. With or without an Indian setting, the format should be a 5 – 9 episode television series, as (even if Didier Haudepin persuaded me into agreeing to it) a film could never capture the most essential elements of Paco Never Fails: the peña, the wetnurses, the relationship to Paco’s manager, the wealthy upper-class ladies, and the murder angle. 

NOVEL TO SCRIPT 1: "MOTHER UNKNOWN"

Karl, a sculptor and the protagonist, escapes World War II to Tangiers, Morocco. One day, he finds what is clearly his 3- to 4-year-old son on his doorstep along with a letter: "You always wanted a son without a mother: here he is. Do not try to find out who I am. XXX." As the war comes to a close, the boy asks his father to find his mother. There are three possible women, and Kurt sets off to locate the right one: Naples, Paris, and Avila. This is the first of my father’s three major novels and the only one that has not been adapted into a film. It has been significantly improved, which is easy, considering that no content editing had been provided. As it was translated into English for the first time, it was also adapted for cinema. A straightforward, traditional timeline is not an option, and I am looking for something "a la Tarantino" (see below). Despite being ‘untranslated’ and 'unedited,’ and with a timeline that was impossible at the time, Mother Unknown was on the verge of becoming a film at Senior's demise. However, the script was lost, although I still retain Senior's synopsis. I am considering adapting this book into a synopsis or scenario myself, but I require ideas regarding its structure, which will have to be somewhat unconventional.

NOVEL TO SCRIPT 2: "THE SEAL CASTLE"

Before leaving his homeland (Austro-Hungary), Senior, in a bid to save on rent, alleges that he took up residence in the famous Turkish Baths of Budapest (the "castle"). This novel, primarily a dark romantic comedy, follows the protagonist, a handsome actor, as an upper-class girl falls in love with him, set against the backdrop of the girl's life, the other "seals" of the Turkish Baths, and their survival scams. Although I am not particularly good at love stories, I can see that there is ample potential, but I require assistance to make it work cinematically. The Seal Castle is now available in English for the first time.

NOVEL TO SCRIPT 3: "THE CASPIAN CONNECTION"

This is a massive project—encompassing Odin, Vikings, adventures, detective work, terrorism, Islam, Swedish feminism, and more—and its two initial, presentable book drafts are now ready to be published (in English and Swedish). These texts are intended to become films eventually, but as I have foolishly been working in two languages simultaneously (resulting in more headaches than high-quality finished text), the most pressing questions are, “Shall I proceed in English or Swedish?” and “Should I keep home base as Sweden/Birka and the 830s, or should I change it to Norway or Denmark?” I cannot develop these books to the script standard I desire without the assistance of a director, a more suitable writer, or a production company.

SHORT STORY TO SCRIPT 1: "THE LITTLE WOODEN HORSE"

The story revolves around a wooden horse at an amusement park that escapes from the merry-go-round late at night while everyone is asleep. He then sets off for the continent where he believes all horses roam free: America. As he gallops into the night, we follow him on his adventures and get to know his (pretty shallow, quite human-like, and easy-to-identify-with) personality through his reflections on the nature of the world, his fellow animals on the merry-go-round, us bipeds, and the slavery that has been imposed upon him and his fellow animals. Yes, of course, he ends up going in a circle. I love the story, which could become a “deep” animated family/children’s movie, and I would be happy to provide it with a pre-discussed treatment to serve as the foundation for further talks, treatments, and scripts. Senior has only written one children’s story other than this: My Uncle Jacinto, which regularly competes for ‘Best Hispanic Movie of All Times’ at festivals; this is better.

SHORT STORY TO SCRIPT 2: "MY FRIEND IN THE PHOTO"

This is a vampire story that I would like to see developed into a film. It is set in a traditional "vampire territory" and in “a proper vampire setting." Senior had some dubious branches on his ancestral tree (ok, so I have them as well, but I am presently symptom-free), and in this story, his disbelief in the supernatural becomes severely questioned. This is a vampire story from the 1930s, and there’s nothing to say that it is not 100% true.

SHORT STORY TO SCRIPT 3: "A BEAUTIFUL GIRL"

This is a love story with an amazing and modern yet undecidable twist that could be adapted for either cinema or theatre. It is set in post-war Germany, where it delves deeply into the nature of "the beautiful feminine's" psyche—something I am not particularly skilled at, so do not look to me for assistance in developing this.

SHORT STORY TO SCRIPT 4: "THE MAN IN THE BLUE TUXEDO"

This is primarily about a casino heist and could be adapted into a compelling film. Additionally, it features a character who, with proper development, could become ‘worthy of his own TV series (as in a wicked version of The Persuaders). Furthermore, while the story can stand on its own, there is a casino scam element that could enhance any action movie in which the "I've-given-up-hero" discovers a clever way to earn a significant income in a casino (and stage a comeback from being ‘down and out’). Although the situation might be somewhat challenging to set up, the quality would be excellent.

SHORT STORY TO SCRIPT 5: "THE SPY"

Here we follow a day in the life of a US spy in Italy during the late 1940s. His girlfriend is also a spy (though he doesn't know that), and in this short story—which offers great insight into the day-to-day drudgery of spies' lives at the time—we (well, the most astute among us) witness how our hero is set up to be framed for murder, although he remains oblivious to it. This could be developed into a full-length mystery-thriller. 

SHORT STORY TO SCRIPT 6: "THE DOMINANT MALE"

I have a fascination with man-eating tigers, and this is one of several short tiger stories (where we see things from the tiger's point of view) set in the Sundarbans (an Indian/Bangladeshi beach jungle). The stories are all quite entertaining, somewhat continuous, and reasonably well-researched. I’m not entirely sure what to do with them cinematically, unless someone wants to make a movie starring a man-eating tiger, with events seen from the tiger's perspective. Actually, that might not be a bad idea...

SHORT STORY TO SCRIPT 7: "SAHARA 2"

Imagine a giant of a man hitchhiking through the Sahara because it's on his bucket list, while a small, feminine man, filled with hatred, raises a stone at midnight to crush the sleeping giant's skull. The giant awakens just in time to raise his hands to protect himself, and the small man throws the stone beside him. "Scorpion!" he exclaims, sitting down atop the stone so the big man cannot lift it to check. There they sit: the hitchhiker desperately trying not to fall asleep (and thereby be killed), and the small man refusing to budge because he believes that remaining on the stone until dawn is his only way to survive. We follow their somewhat strained discussion, with additional insights and murder attempts that could be introduced. Perhaps this story could evolve into theatre; it contains amazing possibilities, especially if one could just get the discussion right (or if I could remember it).

CINE BOLLYWOOD 1: "PACO NEVER FAILS" SET IN GOA

Paco Never Fails is set in Madrid in the early 1940s, just after the Spanish Civil War. Here we meet Paco Garcia, who earns his living by mating with young girls from the countryside: girls who have come to Madrid to forge better lives for themselves as wet nurses (following unwanted pregnancies) and, sooner or later, need to boost their milk flow. Though this necessary impregnation is an occupation that seldom gets discussed, it was a very real profession at that time (and allegedly still was in 2011), and the impregnator most likely to succeed—i.e., ‘who never failed’—was the one in highest demand. However, Paco has failed once, so when his wife finally becomes pregnant, this father of thousands realises... This impregnation was also an occupation in India, and since I reside in and around Mumbai (mainly in Goa, which, with its Portuguese influence, is probably a better setting than Mumbai to make the story more dramatic, contrasting, and believable)... I would like to develop/adapt a Goa script for Bollywood, and I need expert assistance both anthropologically (for a reality check) and "Bollywood style dramatisation."

CINE BOLLYWOOD 2: GOA 1930s/40s WET-NURSE INFO

In Goa, during the 1930s and 40s, girls from the countryside with unwanted pregnancies became wet nurses. These women needed to be re-impregnated when their milk flow stopped. There were (if not, let's invent one) men specialising in this impregnation; I am seeking assistance to understand the mindset of such a man and to learn everything about him: his life, his background, his socio-economic position, his peers, his values, his issues, his pride, and so forth. I need to grasp what his life would have been like so that I can write from his perspective, taking all three religions (Catholicism, Hinduism and Islam) into account. Additionally, I need to explore how to do this in a way that will make the story captivating for the Bollywood audience.

CINE BOLLYWOOD 3:  BOLLYWOOD/GOA CONTACTS

I am a writer who has just finished sorting out (digitalising, improving, adapting, translating, and completing) my and my father's (who was once considered top European) fictional texts. Now, I am about to start adapting these texts into treatments and scripts. As an Indiophile (and Sinophile), and as I spend much of my winters in Mumbai/Goa, I am seeking all sorts of text-to-script contacts, including advisors, co-writers, agents, and producers.

SUNDRY CINE 1: TANGIERS PREP

Andres Laszlo Sr. wrote Mother Unknown/Mere Inconnue, and at his death in 1984, this book (just as his other two major novels had been) was poised to be adapted into a film. Today, this book has been translated into English, and Sr. wrote a synopsis (as well as a script, which has unfortunately been lost). I am considering producing a treatment, perhaps even a script, and I am looking for someone local from Tangiers to get involved. Specifically, I am seeking someone to conduct preliminary location scouting. Identifying suitable locations or helping me find local interest in the project would also be appreciated. If you're interested, I'll send you the book, and then I'll drop by for a cup of mint tea (I live just across the Strait of Gibraltar in Malaga).

SUNDRY CINE 2: TARANTINO-STYLE SCRIPT STRUCTURING

Year 0: Kurt grows up, becomes weird, falls in love, and becomes a prodigy sculptor. Year 1 (1936-37). Kurt makes three women happy, Y3. Kurt escapes World War II and settles in Tangiers for the duration of the war, 1944. A young boy (3-4) with a letter appears at Kurt's door: "You always wanted a son without a mother: here he is; don't try to find me. XXX" Y4-Y9 Kurt and the boy live and bond in Tangiers. Y9 As the war ends, the boy asks Kurt to find his mother, but does not know who she is or where to look. Y10 Kurt goes in search of the mother. Woman 1 in Naples - no, Woman 2 in Paris - no, and Woman 3 in Avila - ... Obviously, a straight timeline would be rather unengaging, and something Tarantino-esque springs to mind. I envision that a Pulp Fiction-like structure could be effective; structural tutoring is needed.

SUNDRY CINE 3: FRENCH OR SPANISH FILM AGENT(S).

My father’s films (3), un-filmed script (1), and theatre (1) are all produced by or directed towards the French or Spanish film industry (in the case of My Uncle Jacinto, also the Italian). French Gallimard had French (I think) producer-customers to make a new Paco Never Fails twice. Senior negotiated to make a film out of Mother Unknown with a French producer at his demise, and Doña Juana has great theatre as well as film potential in either Spain or France. My portfolio should therefore be not only interesting to an ‘English language’ cinematic agent but also to a French or Spanish agent.

SUNDRY CINE 4: FILM-DISTRIBUTION AGENT & ROYALTY COLLECTOR

There are film distribution companies that are unwilling to pay for films they have shown (and should have paid a royalty for) in Luxembourg and Madrid. I believe I own the so-far-unexplored viewing and showing rights of Paco Never Fails for the Scandinavian countries, and I need assistance. 

SUNDRY CINE 5: ANY COOPERATION

If you have read about my project and understand my situation—a top European writer and father, with one art book to set myself up for life (?), a drug-policy researcher, twenty years of adventures, ten years of text work, now transitioning from books to film—you might feel that you can assist me or utilize my skills in a way not mentioned here. If so, please don't hesitate to reach out.