05
Jun
09

Terrible Writing Habits, Napping, And Michael Moore’s Bush Family Patron

Cover of "Roger & Me [Region 2]"

While spelunking last night in the forums at Celtx.com (tremendous open-source screenwriting software) I stumbled across a link to the golden podcast cache of Creative Screenwriting Magazine’s Editor Jeff Goldsmith.  In this trove, Jeff’s microphone is summarily shoved under the noses of writers and directors of some quality work, including Joel and Ethan Cohen, David Chase, creator of the Sopranos,  Michael Moore and dozens of others I haven’t cracked open yet.

From David Chase, we learn of the role less-than-Calvinist work habits have played in his output.  From Joel and Ethan Cohen, we are illuminated as to the reliance upon naps in their working arrangement.

Michael Moore’s stories are particularly hilarious and eye-opening.  Especially his revelation in 1989 that the principal benefactor for Moore’s first film Roger And Me was documentary filmmaker Kevin Rafferty (Atomic Cafe).  Moore and Rafferty met when Rafferty came through Moore’s hometown of Flint, Michigan shooting a documentary about the rise of neo-nazi groups in the wake of economic devastsation.  Moore, recently fired as editor of the San Francisco “church of the left” organ Mother Jones (for the dire offense of placing a grubby United Auto Worker on its cover) learned all his first filmmaking chops from Rafferty, who generously supported Moore with film reels, supplies, editing support and tutoring.

As Moore tells it, while finishing editing of the film in Washington DC, January ’89,  he decided to attend the inauguration of George H.W. Bush, only to find seated on the stage, behind the President-elect, one Kevin Rafferty.  Afterward, Moore contacted the documentarian for the story explaining his onstage seat and found out that that Kevin was none other than the nephew by marriage of the President.  Michael Moore had gotten his start thanks to the generosity of a filmmaking Bush scion.

Which says that philanthropy and artistic patronage, in a country as rich as ours, ensures that there will always be true stories of the largesse of the few finding its way into the hands of those who are most vocal in decrying the uneven distribution of that largesse.  That Rafferty had already made Atomic Cafe means the institutions and aristocracy of any country as inundated with wealth as ours must  inevitably fuel some of its own indictments.  And that Rafferty was generous with Moore reminds us that those institutions will even spark careers of its high-profile populists.  Let’s not pretend it doesn’t happen.  And let’s also not pretend that it shouldn’t.

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