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Here [in Wonder Boys] I had this group of characters where you didn't know which were the important ones or what direction they were heading.

Curtis Hanson

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Curtis Hanson
Age: 71 †
Born: 1945
Born: March 24
Died: 2016
Died: September 20
Comedian
Film Actor
Film Director
Film Producer
Screenwriter
Reno
Nevada
Curtis Lee Hanson
Wonder
Heading
Didn
Headings
Character
Direction
Important
Group
Characters
Groups
Ones
Boys

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What you care about [movie] is whether it's moving you, or whether you're caught up in it.
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I stopped doing that [photojournalism] and wrote some screenplays on speculation, because even though I wanted to direct, to direct you need a lot of money. Even for a cheap movie, you need film stock and equipment and actors.
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Put simply, there are many people who want to make movies and very few opportunities for them to do it.
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I had written the script a few years earlier for Paramount, then later got hired with Sam [Fuller] to write an entirely new script that he was going to direct. And that was one of the great thrills of my professional life.
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Whereas to write, all you need is paper and an idea, so I felt that writing might be my stepping stone.
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I don't think of the marketplace as teen-oriented or teen-dominated. I think of it as dominated by high-concept, in marketing especially.
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It was a unique experience in several ways, because I don't think Sam [Fuller] had ever collaborated with another writer over his whole career.
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As ridiculous as it is for anybody who knows how movies are made, there were people who actually wrote in reviews that this picture [Bad Influence] had been put out to capitalize on the scandal. Which, of course, would have been impossible.
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In L.A. Confidential, it was great to surprise the audience with Guy Pearce and Russell Crowe - two Australian actors that they didn't know at all - and let people discover them through the course of the film.
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I wrote a couple of scripts on spec that didn't get made but got some attention, and I then got offers to write professionally.
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That love of movies is very much alive in me.
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When I first went to Pittsburgh, I had never been there before, and we hadn't even decided to shoot there yet. I just went to see the location of Michael Chabon's novel. Once there, I became aware that Pittsburgh is a wonder boy, in the narrow sense of the term, just as the human characters are.
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I didn't look at it as a transition so much, because I never intended to have a career as a journalist, writing about people who make movies.
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I make that distinction only because I came to it strictly as someone who was just a lover of storytellers and cinematic storytellers.
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So it's discouraging and, yet, when you make a movie like Wonder Boys, in a sense it's its own reward, because it does move people, it gets great reviews, and it becomes part of that library of movies that exist out there. As time goes by, it will find its audience.
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I can't speak to how Michael [Douglas] approached it in terms of his process.
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Self-awareness and self-esteem. Those aren't female issues, those are human issues.
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I approach the movies I make as a movie-lover as much as a movie-maker.
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First of all, Sam Fuller left a group of extraordinary movies that are unique, that are Fuller-esque, as one might say, which makes them stand apart from any other director's films.
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I thought, If I could bring these characters [Wonder Boys] to life and lead the audience to react the same way I did, this could be a really special picture. Then I read Michael's [Chabon] novel and got even more enthusiastic about it.
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