Friends and Writers

In response to D. P. Harrison’s Counterpunch, “Writers Are There if Studios Only Look” (Dec. 2):

For the record, “Thelma & Louise” was written by the then-unknown Callie Khouri and given to a friend within the broadest scope of the industry, who gave it to Ridley Scott’s producing partner, who gave it to her development executive, who gave it to this literary agent on Friday afternoon. By Monday, the script was read, a meeting was set to sign the writer (who had no previous screenplays, no deals and no studio recognition) and this agent vigorously joined the collective cause in getting the screenplay set up and made.

Further, when “Thelma & Louise” was finally given back to the studios for consideration, the script was handed to Becky Pollack and Alan Ladd Jr., also on a Friday. By Monday, the script was read by the entire development staff, and firm offers of sizable proportions were made to the writer and Ridley’s production company, which virtually guaranteed Ladd’s commitment to make the picture.

After 12 years in the literary agency business, I find the majority of fellow literary agents reluctant to ignore the reader, story editor, development executive or friend of a friend, available to all young writers, when they call saying, “I have just read the most fantastic screenplay, and this writer doesn’t have an agent.”

Likewise, I have yet to have a studio executive be anything less than diligent when I’ve called to say, “There’s a script I’d like to send to you that I’m just crazy about, written by someone you’ve never heard of before.” Great scripts are that rare. If someone has the goods, believe me, we all stand at attention.

Within industry circles, Alan Ladd has been, and continues to be, revered for his exemplary respect for all levels of filmmaking talent. As someone intimately involved with “Thelma & Louise,” let me assure you that he was no less deserving in this instance. The facts show that he, and all others who worked on this project, couldn’t have acted more swiftly, effectively and, when the tough “green-lighting” issues came, more courageously. For that, Ladd deserves all the credit in the world.

DIANE CAIRNS

Motion Picture Literary Agent

International Creative Management