Scott Frank ROCKS! I have a new appreciation for him after reading this interview. LOVE his dediciation to nailing the story. What a stud. If I was a girl, I'd SOO after that...

- (a sick) E.C. Henry (I've got a cold) from Bonney Lake, WA

This interview rocked my world, dude.

I remember hearing Scott Frank speak at a conference years ago. Still feeling the same generosity flowing on out.

Here's to the other side of the wall, guys!

"My satisfaction is in the writing, in the solving of the problems while I'm writing.... the process, for me, is the most satisfying aspect of everything."

This is exactly what I needed to read today. He gets it. He really gets it.

Regarding the conceptualization of movies -- that's why I write what I write. I love the kinetic energy of action/adventure films, but have so often lamented the lack of character depth and heart that one day I decided, screw it, I'm going to write some kickass flicks with concepts I've not seen before and deliver something that matters.

"I may spend a year on something and do all the good writing in the last month. But they wouldn't have come in the last month if I hadn't done all of the good work eleven months prior."

That's how I feel about writing -- I stopped entirely for about five years (01-06) to sort through some personal stuff. When I returned, it was with a vengeance, and an improved grasp of story that surprised me. I don't see those years as wasted; if anything, they were vital. Not writing was the best thing that ever happened to my writing, as recent events and my own rediscovered joy of story prove.

I've really got to read this book.

Nice meditation on the famous Scott Myers' "the only way out is through."

What's the distinction between rewrites and official drafts here?

Olive, re "rewrites" and "official drafts": Frank was talking about one of the not-so-secret dirty-secretes in Hwood. In a writer's contract, they are paid for a draft and generally a rewrite. But generally, writers will do numerous drafts in-between what they hand in officially, working with mostly the producers who serve as conduit to studios. Writer only gets paid for official drafts, but it's expected they'll 'work with' the studios (i.e., unofficial drafts) until they get something that can pass as an official draft.

The WGA keeps trying to resolve the problem with every MBA negotiation, but it hasn't changed and likely won't change as long as writers are willing to do it.