Sotheby's He also tells us what not to like. Yet he equally knows that less is not always best. He even advocates the expressive subtlety of the subjunctive. Moran is a thoroughly sane, thoughtful commentator.
With his adaptation of Marvel's homegrown antihero The Punisherscreenwriter Jonathan Hensleigh makes his directorial debut. As a writer, Hensleigh's credits include Die Hard: How many years of being a writer in Hollywood did it take you to decide that what you really wanted to do was direct?
Yeah, I mean, that's what I really wanted to do. I wasn't really happy, at least recently, with the directorial effort of a lot of the screenplays that I wrote.
I just thought that, if I was going to put my whole life into a screenplay, then I was going to want to see it to the screen.
How do you, as a writer, view the adaptation process necessary for you as a director? No, it was easier for me. And everyone kept urging me to direct. When you say that you approach a script from a directorial point of view, how do you define that? In other words, I was probably a little bit more heavy-handed in building an action sequence, in describing cut by cut, visual by visual, what the sequence should look like.
And a lot of directors really like that, because they could board the sequence very easily. But I was also taking part in the storyboard process as well. How much is that level of involvement a function of the collaborators you had on those projects?
Oh, I was never told to go away. Every single project, I was on the set and integrally involved. I was on the set every day. How much protection does that position afford you as a writer?
I mean, those pictures I was brought in by Disney to rewrite the script and then to executive produce and work with the director, and Jerry Bruckheimer. I was sort of his point person on the set.
Again, everybody in town has expected me to do this for several years now. Was there a reticence on your part, or no opportunity was presenting itself? Everything I brought to the studios, they didn't like, and everything the studios offered me, I didn't like. Or they've been told that that's the ultimate power in Hollywood, so they think that's where their career should naturally go.
And I just don't see it that way, and I didn't want to make a bad film.
That I felt was compromised from the incipience, you know? So I just waited. And I'm very glad I did. I dodged a lot of bullets, I think.Jonathan Blair Hensleigh: Height: 6' 3" ( m) He re-wrote the whole script for The Rock () without credit, which he tried desperately to achieve via WGA arbitration.
He did uncredited re-writes on Con Air () and the remake of Gone in Sixty Seconds () . Con Air is a highly entertaining action film starring Nicolas Cage in the main role of Cameron Poe. Poe, a recently returned stateside Army Ranger, is ready to make up for lost time withe his wife and soon to be born baby girl.
A sentence is what you hold in your head, whether it be Ernest Hemingway or Marcel Proust. A sentence is where you make sense of the world. A sentence is where you make sense of the world. Jonathan Blair Hensleigh (born February ) is an American screenwriter and film director, working primarily in the action-adventure genre, best known for writing films such as Jumanji, Die Hard with a Vengeance, and Armageddon, as well as making his own directorial debut with the comic book action film The leslutinsduphoenix.com(s): Gale Anne Hurd (m.
). The rule is that the credited writing team must contribute 50% of the final script (effectively limiting credits to the screenplay's initial authors, plus one re-write team).
Despite their work on the script, neither Hensleigh nor Aaron Sorkin was credited in the film. Mar 05, · HENSLEIGH: Everything that I have credit on, I saw through all the way.
I've rewritten a couple of things where I've moved on. I've rewritten a couple of things where I've moved on.