Badass Writer of the Week: Debra Hill

Debra Hill

By Sean Tuohy

Despite only having a handful of writing credits to her name, producer/writer Debra Hill did more to change Hollywood than most. During her 30-year career, Hill helped bring some of the most beloved films to the big screen.

Hill started off her filmmaking career as a script supervisor. She found herself on the set of an ultra-low budget film “Assault On Precinct 13,” which was being filmed by first-time director John Carpenter. The two struck up a friendship and partnership that would last till the end of Hill’s career. They ended up working on a script about babysitters being terrorized by a masked serial killer on Halloween.

“Halloween” became a surprise box office smash when it was released. The film’s success transformed John Carpenter into a well respected and sought after director and Hill into a top-level producer. The pair also worked together on cult classics like The Fog”, “Escape from New York,” and “Halloween 2.”

When not working with Carpenter, Hill was busy producing films of her own. “The Dead Zone,” “The Fisher King,” and “World Trade Center” are some of the 30 titles that she helped produce. Her body of work is even more impressive because she came to fame during a time when women in film were mostly relegated to hair and makeup.

Hill also produced films that most people assumed woman would not like, including horror, action, and thrillers. She is also credited with helping to create the booming “teen slasher” subgenre.

In 2004, Hill discovered she was had cancer. At the time of her death in 2005, she was working on “World Trade Center.” We assume she’s twirling a knife somewhere, crafting new, unsuspecting victims for Michael Myers. 

Badass Writers of the Week

Badass Writer of the Week: Screenwriter Robert Towne

By Sean Tuohy

“Until the screenwriter does his job, nobody else has a job. In other words, he is the asshole who keeps everyone else from going to work.”

— Robert Towne

Some writers can set up a small blaze with their words, but very few can ignite an entire decade with their work. Screenwriter Robert Towne spent most of the 1970s blowing up the screen with his jaw dropping scripts including the classic "Chinatown," "Shampoo," "Mission Impossible." Towne's writing fused the classic form of storytelling with an extra punch that Hollywood needed. He mixed the old school with the new school in an intoxicating cocktail that audiences loved to watch.

Born and raised in California, Towne got his start working in film with the master Roger Corman. Towne worked on a script for a B-movie horror film that was never made (the screenplay is sadly lost in time). He eventually moved into television and worked on the "The Outer Limits" and "The Man from U.N.C.L.E" before moving into film full-time. His stylish noir film "Chinatown" starring Jack Nicholson rocked the box office in 1974. Taking a look at the Los Angeles water wars of the 1930s, the film looked and felt like a Chandler film, but with a darkness smoldering in the background.

Towne followed up “Chinatown” with the classic "Shampoo," which, despite its title, has more sex in it than you might think. He was declared the finest screenwriter in town and his films have made millions. He would go on to write scenes for huge films like “Orca,” “The New Centurions,” and “Frantic."

In 1985, Towne was so dissatisfied with the rewrites of his script for “Greystoke: The Legend of Tarzan, Lord of the Apes” that he changed his name to P.H. Vazak (his dog’s name). The film ended up being nominated for an Oscar for Best Adapted Screenplay, and a screenwriting pooch nearly walked away with one of Hollywood's highest honors.

Without Towne's groundbreaking and badass work, we would not the likes of Lawrence Kasden, David Koepp, or James Vanderbilt, and Hollywood would be a less brooding place.

Badass Writer of the Week Archives

Badass Writer of the Week: Fred Dekker

“You never set out to make a cult movie.” Fred Dekker

By Sean Tuohy

It takes true writing ability and a twisted mind to blend together zombies, aliens, and tough noir detectives. This week’s Badass Writer of the Week, filmmaker Fred Dekker, pulls it off with the right amount of style and fanboy glee. Dekker’s stories are filled with classic adventure, monsters, and pop culture. His early films, such as “Night of the Creeps” and “Monster Squad” were forerunners to what would become “nerd culture."

As a child, Dekker made films at home. His passion for storytelling brought him to Los Angeles, where he befriended soon-to-be screenwriter Shane Black. The two struck up a friendship on a shared love monsters, tough guys, and films.

Dekker’s first produced movie was the horror classic “House.” Using the funds from that film, Dekker went on to write and direct his own film, “Night of the Creeps.”

A true gem for any movie buff, “Night of the Creeps” seeps with nerd culture. When an alien toxin infects a college it is up to a timid freshmen and a tough-as-nails detective to save the day. Over the top but fresh, “Night of the Creeps” is a horror film that screams for the cult following it now enjoys.  

Soon after, Dekker teamed up with Shane Black to create “The Monster Squad,” a love letter to Universal’s monster films. When Wolfman, Frankenstein's monster, and other things that go bump in the night team up to control the world a group of kids come together to fight them. Where “The Goonies” featured innocent kids on an adventure, “The Monster Squad” had tough kids toting shotguns and spouting awesome one-liners. Dark and funny, with touch of humanity, “The Monster Squad” was golden.

Dekker’s films flopped during their original releases, not because of the quality but because they had no real niche to fill. They seemed too kiddy for adults and too adult for kids. They were stuck in a weird silver screen limbo. It wasn’t until nerd culture came into vogue that people noticed these films for what they were: a movie fan’s love letter to his youth. Dekker never set out to make a David Lean film. He set out to make his own film with a strong personal voice.

Even “Robocop 3,” which is part of a giant franchise, still featured Dekker’s distinctive voice. Every time a movie buff sits down and watches a Dekker film there is connection, a moment when you say, “This was made for me.”

And it kind of was because of the badassery of writer and filmmaker Fred Dekker.

BADASS WRITERS OF THE WEEK ARCHIVE

Badass Writer of the Week: Leigh Brackett

By Sean Tuohy

Name some of your favorite action hero moments. Han Solo’s cocky and roguish turn in “The Empire Strikes Back” is on that list, right? Why not throw in Philip Marlowe (played by the eternal badass Humphrey Bogart) in “The Big Sleep” and John Wayne in “Rio Bravo” for a dash of wit and swagger.

Well, gentlemen, lace up your jockstraps because you’re about to find out all those characters that stole your hearts with blaster fire were written by a woman. And not just any woman. Badass writer, screenwriter, and sci-fi author Leigh Brackett.

Brackett wrote about tough, wisecracking manly men for decades. She helped George Lucas bring the next chapter in his “Star Wars” story to life by adding a little tough muscle to it. When Hollywood wanted Raymond Chandler’s famed private eye Philip Marlowe to fill a movie screen, they called upon Mrs. Brackett. When John Wayne needed to face off with some nasty villains in a shootout, Brackett was busy typing away. She helped design the modern movie leading man through her words. Hawks was once asked how Brackett was such a great writer and he replied, “She writes like a man.” Sexist? Yes, but it is probably as close to a compliment as a woman was likely to get from a male director in Hollywood at that time.  

Brackett was raised by her mother and grandparents after her father passed away in a flu pandemic. According to io9, Brackett wrote a prolific amount of sci-fi, space adventure novels (check out some of the badass titles on this complete list) and was called the Queen of Space Opera, which the post claims was not always a compliment.

In a 1976 interview with her husband Edmond Hamilton, Brackett explained her approach to fiction:

I think even the most flagrant escapist fiction is not entertaining unless it makes at least an attempt to have real people in it. I mean unless you get into the emotions of the people and try to present it like something that would really happen.

Brackett’s talent eventually caught the eye of director Howard Hawks. After Brackett’s detective novel, No Good from a Corpse, was published in 1944, Hughes hired her to pen his screenplay and the two developed a solid working relationship. It was during this time that Hollywood decided it was time to bring hard-boiled detective Philip Marlow to the screen. Who better to write this noir film than a female sci-fi writer from northern California? Her skillful screenwriting, as well as her passion for Chandler’s work, helped to make the movie a hit.  

Now, let’s teleport to Brackett’s most well known screenwriting credit. She penned the first script for a little caper called “The Empire Strikes Back.” Yes, the movie that made us all want to utter, “I know,” to our lovers in response to, “I love you,” first came to life through Brackett’s imagination. As io9 points out, Lucas didn’t end up using a lot of her script and she died of cancer before she could do any rewrites for him. However, her original script is well worth the read for its originality and earnestness.

Brackett's legend is still strong in Hollywood and in the sci-fi community. The sheriff in “Halloween” was named after her and many authors still hold Brackett’s name above all other writers. We assume she’s in another dimension, wielding a lightsaber and keeping alien civilizations safe from harm.

BADASS WRITERS OF THE WEEK ARCHIVE

Badass Writer of the Week: Tina Fey

Liz Lemon, Tina Fey’s “30 Rock” alter ego, not talking to Oprah.

“Be yourself. No one else can be you.”—Tina Fey

By Sean Tuohy

Tina Fey is our queen. 

We’ve all known it for a while, but now it’s time to accept it in our hearts;  Fey is here to reign over us.

A “Star Wars” nerd, a writer and author, and a hell of a comedian, Fey has proved beyond a doubt she has serious chops. She was the first female head writer on “Saturday Night Live,” she landed her own primetime television series on NBC (which became a beloved classic), starred in blockbuster films, and wrote a best-selling memoir.

The Bossypants scribe was born to be a comedy writer. At an early age, she soaked in late night sketch television, “Ghostbusters,” and cartoons. After college, Fey made her way out to Chicago to become part of The Second City comedy troupe. Making it to that comedy club is like being tapped to lead SEAL Team Six. Fey then moved on to the mecca of sketch comedy: “Saturday Night Live.”

Fey started out as a behind-the-scenes writer, never planning to make her way on screen. Producers quickly saw that Fey was meant for the camera and she became a regular player.  In 2004, she became the first female head writer of “SNL” and wrote and produced the iconic “Mean Girls.” Fey also created backstories for all of the characters in the movie, none of which were presented to audiences, just in case an actor had a question. 

Let’s be honest who doesn’t love “Mean Girls?” Right, Dan? Dan… (Daniel Ford: I’ve sadly never seen it, but I date someone that can recite lines from the film with ease.)

Two years later, Fey gifted“30 Rock” to the world. A show within a show! Fey played overworked Liz Lemon who tried each week to produce a live sketch show while trying to have a love life and be a nerd at the same time.

She also gave us tools something to say whenever we want to quit whatever soul-sucking job we're suffer through in order to pay rent, buy food, etc.: #shutitdown

Fey also wrote a hilarious memoir titled Bossypants in 2011. The book dominated The New York Times best-seller list for weeks and has sold more than one million copies in the United States. Her childhood was scarring, but charming and filled with angst, confusion, bad haircuts, and sweating, proving yet again that there is hope for us mere mortals.

After “30 Rock” ended, Fey starred in several blockbuster comedies including “Admission,” ”Muppets Most Wanted,” and “This Is Where I Leave You.” However, she returned to the small screen in 2015 as writer and producer of “The Unbreakable Kimmy Schmit,” which has garnered high ratings and much love from critics and viewers alike. The show has also burrowed its theme song deep into our brains.    

There appears to be no limit to what Fey can do, but I’m really hoping she ends up starring as a Jedi in the new “Star Wars” films. 

BADASS WRITERS OF THE WEEK ARCHIVE

Badass Writer of the Week: Michael France

Michael France

By Sean Tuohy

The Name is France. Michael France.

You may have never seen his name before, but you know his work. James Bond fan boy-turned- Hollywood screenwriter Michael France penned films that have grossed nearly a billion dollars. Yes, you read that correctly, billion with a big ole “b.” France brought James Bond back to life on the big screen, unleashed The Punisher, and hung Sly Stallone off a cliff.

As a movie nerd growing up in South Florida, I was thrilled to discover that France was not only from Florida, but lived in the Sunshine State while writing Hollywood blockbusters. It’s no surprise that he was one of my idols. France started out in Saint Petersburg, Fla., where in school he was the president of a magazine devoted to James Bond (for our younger readers, a magazine has glossy pages filled with pictures and words). France went off to University of Florida and then moved on to Columbia to finish his degree.

He caught the limelight early with his spec script sale to a major Hollywood studio in 1991. Within the next year, the film had a major star, a big name director, and the green light to start filming. “Cliffhanger” ended up as one of the biggest hits of the year.

France then began pumping out screenplays for major Hollywood studios. He penned the first drafts of “The Punisher” and “Hulk.” His early insight on the scripts made those films pop, but it was his next project that really cemented his legacy.

In 1994, James Bond was a relic of the Cold War. The last film had been produced in 1987 and the franchise had been in limbo ever since. France was hired to pen the draft the newest installment of the saga. He obviously knew Bond well from his schoolboy days, so he gleefully took the assignment. France attacked the script as if it was his version of War and Peace. His research for the film included traveling to the former Soviet Union in order to tour army bases, KGB stations, and a even a casino! To write a worthy James Bond film, France became Bond.

“GoldenEye” was a smash hit and one of the highest grossing films in the series. France also penned a good chunk of “The World Is Not Enough,” but did not get a credit.

A guy with salt air and sunshine in his veins stayed close to home and eventually bought a movie theater in Saint Pete for $800,000 cash that for many years ran classic films.

In 2013, Michael France passed away at the young age of 51, likely from throwing a martini in someone’s face and instigating an epic gunfight.

BADASS WRITERS OF THE WEEK ARCHIVE

Badass Writer of the Week: Stephen King

Stephen King

By Sean Tuohy

Boo! Are you scared?

No?

Then go read a Stephen King story because for the past 40 years, the Maine-born writer has been causing readers to wet their beds out of fear. King's works can also regularly be found being turned into a movie, television show, or mini series. The man pumps out books like Babe Ruth hitting homers.

We couldn't summarize King's massive and impressive career. We'd have to shut down Writer's Bone for a year to do that. In the spirit of Halloween, we're going to share a couple of key frighting moments from some of King's adapted works. However, the selected scenes do appear in the original work.

Enjoy!

They All Float Down Here

Best Bartender From Portland, Maine to Portland, Ore.

Not Going Anywhere

That Bathroom One

Pay Back

BADASS WRITERS OF THE WEEK ARCHIVE

Badass Writer of the Week: David Ayer

David Ayer

By Jonathan Merrick

From street kid to one of Hollywood’s elite screenwriters, David Ayer has had one hell of a ride.

Ayer, a former submariner in the U.S. Navy, had his newest film, “Fury” starring Brad Pitt, hit theaters this past weekend to rave reviews and took the top spot at the box office. He’s made his stamp in Hollywood for writing gritty, character-driven movies that audiences can’t get enough of. In a world of play-it-safe writers, he makes it a point to write on the edge, earning his status as our Badass Writer of the Week.

Ayer spent most of his early life as a street kid in South Central Los Angeles (in later years, the city would become the backdrop for many of his films). He dropped out of college and found himself in the U.S. Navy. After he left the service, Ayer lived in a tough area of Los Angeles, struggling to break into Hollywood and dealing stress from his time in the military. He comitted petty crimes and spent his days adrift with his friends. Ayer eventually channeled his energy into screenwriting and wrote “Harsh Times,” which he would later go on to direct.

Following the success of the movie, Ayer was able to get away from the streets and become a script doctor. He worked on “The Fast and Furious”, “U-571”, “S.W.A.T,” and other high-end action films. On a personal note, I should mention that his commentary track on the “S.W.A.T” DVD is one of the most useful writer’s commentaries of all time. He’s brutally honest and speaks freely about his style and work ethic. Anyone who wants to pen screenplays has to check it out immediately.

Ayer’s big break came with “Training Day,” the film that Denzel Washington would win an Oscar for. Form here, Ayer began making his own films, including “Street Kings” and “Sabotage.” From what I’ve seen and heard, “Fury” could end up being his masterpiece.

For all of the above reasons, Ayer is a true badass in Hollywood. He stays true to the craft of writing by writing what he knows.

Oh yeah, go see “Fury.”

BADASS WRITERS OF THE WEEK ARCHIVE

Badass Writer Of The Week: Kevin Smith

Kevin Smith

By Sean Tuohy

"Don't be afraid to do weird stuff, so long as you do it cheaply and cover everyone's bets. Be bold. Be stupid. People have been telling me I'm a failure and that I'm doing it all wrong for 20 years now. Never trust anybody when they tell you how your story goes. You know your story. You write your own story." Kevin Smith

The above quote should be tattooed on the arm of every struggling writer in the world. Translate it to another language if you have to. Kevin Smith sums up what every writer in the world should be doing: Writing their own stories.

And who knows better then Smith, director of award-winning films such as "Clerks" and "Chasing Amy." His newest film "Tusk", based on an episode of his own podcast SMODCAST, is in theaters now. Smith has always stood out in Hollywood for his voice, original story telling, and the fact that he always made movies that were close to his heart.

Smith, a comic book and movie fan boy from the Garden State, decided that he wanted to make his own movie that showed what his life was like. That movie became the cult classic "Clerks." Twenty years later, Smith has created an empire that includes movies, television shows like "Comic Book Men" (coming back to AMC Oct. 12 after "The Walking Dead"), books, comic books, and podcasts. Despite his critical acclaim and legions of fans, Smith has always stayed grounded in the real world and has always told the stories he wanted to tell.

I always recommend people watch "Snowball Effect: The Making Of Clerks," which covers Smith's early years and rise to fame with his small black and white film. The movie captures how a dreamer was able to make his dreams come true with hard work and by never giving up.

Listening to one of Smith's podcasts is a great way to charge your creative battery. Smith is a beacon of creative hope in a waste land of failed dreams. He is a reminder that as long as you believe in what you write and you put in the hard work you will fulfill your desires.

How badass is that?

Sean is on the left, we mean right, we mean left, right, left....

BADASS WRITERS OF THE WEEK ARCHIVE

Badass Writer Of The Week: Troy Duffy

Troy Duffy

By Sean Tuohy

There are few writers that have the ability to change the pop-culture landscape with one story and there are even fewer who can keep their original storytelling skills after becoming successful. Writer-director Troy Duffy has been not only able to keep his own voice, but he has also grown as a storyteller. Duffy hit the landscape hard with his first film "The Boondock Saints" and has been hitting harder ever since. Duffy followed up with "The Boondock Saints 2" in 2009 and he is currently working on the third (and possibly the final) installment of "The Boondock Saints" saga.

As a die hard fan of the MacManus brothers exploits, it was an honor to talk to the man who brought the characters to life. Duffy has been honest and true to his word, which comes through in his writing. He does not shy away from hot button topics and has no problem conforting issues, usually using his brand of wit and humor. Because of his honesty and his original storytelling, Duffy is a true Badass Writer.

Duffy sat down with this giddy fan boy to about writing, the future of "The Boondock Saints," and to give some sage advice to writers.

Sean Tuohy: When did you start writing films?

Troy Duffy: Mid-1996. I wrote “The Boondock Saints” as my first script.

ST: What type of films influenced you early on?

TD: Godfather. “Apocalypse Now.” “Jaws.” “Deliverance.” “Highlander.” “Reservoir Dogs.” “Ghost Busters.” “Man Bites Dog.” “Nil By Mouth.” A bunch more...

ST: “The Boondock Saints” became a cult hit that is quoted left and right. What does it feel like to hear people quote your writing?

TD: Having people quote your film is better than winning an award of some kind. It simultaneously infers that they paid attention and were emotionally affected at the same time. It means something to them. It can also make you feel like some subversive cult leader at times which is thrilling.

ST: “The Boondock Saints” is heavily connected to the city of Boston. What attracted you to Beantown so much?

TD: I am from that area. A New Englander through and through. It is also a very unique community filled with unique people. And let's face it, the place just looks cool.

ST: Besides screenwriting you also write music, do you approach these two art forms differently?

TD: Music is more focused. Spectral inspirations that must be snatched from the sky while it is within arm's reach for a fleeting moment or two. Writing scripts is a much more organizational process for me. Cutting and pasting and making “magic” mistakes here and there.

ST: One of the things that stands out about your writing is your dialog, it is very strong, snappy, and fitting to the characters. How do you write your dialogue? Do you say it out loud while typing or act it out?

TD: Just comes. One of the holes writers can fall into is that every character starts to sound like them. I try to separate. What would a guy like this say not what would I say. I act stuff out all the time. I talk to myself constantly even in public. It's very embarrassing for my wife. She'll tap me on the shoulder and say, "You're doing it again. People think you're crazy."

ST: What is your writing process like?

TD: It can be many things. Some scripts are a long slog. Some come right away. For instance, there is a television show that I am writing called “Kingdom Come.” It is based on the French pirate Jean Lafitte out of New Orleans at the turn of the 19th Century. Much research into that time and place had to be done and then it all started to take shape. So, that one was a longer process but very exciting. Conversely, “The Good King” (black comedy), which my friend Gordon Clark and I wrote together poured out virtually instantaneously.

ST: Are there any updates regarding the next “Boondock Saints" movie?

TD: Yes. The script is coming along. It will be called “Boondock III, Legion.” I will be doing an in depth video presentation on the script and things surrounding this movie on my site in the coming weeks.

ST: What does the future hold for Troy Duffy?

TD: Being a daddy for one. My little Gracie is 10 months old and holds my unruly heart in her little baby fat hand. “Kingdom Come.” “Good King.” “BDS3.” A new artist I recently directed a music video for featuring my buddy Slash called “Bang Bang.” I love this girl. Gonna put some of her tunes in the third “Boondock Saints” movie. A group of friends and I are going to manage her as an artist. Should be interesting. She's a handful...maybe two.

ST: What advice do you give to up-and-coming writers?

TD: Read. Know the difference between shit writing and average writing. Know the difference between average and good. Know the difference between good and great. Know the difference between great and brilliant...then never say anything is brilliant.

ST: Can you tell us one random fact about yourself?

TD: Through my research into Lafitte, I recently got into Absinthe. Great night cap. Fucking delicious.

To learn more about Troy Duffy, follow him on Twitter @troyduffy.

BADASS WRITERS OF THE WEEK ARCHIVE

Badass Writer of the Week: Ponyboy Curtis

Ponyboy. 

Yeah, he's not real.

By Sean Tuohy

We know. You don't have to say, "Hey, Writer's Bone, Ponyboy is not a real person!" Duh. He's a beloved fictional character from The Outsiders, a book most of us had to read in school and a movie that features the Karate Kid getting burnt to a crisp. When we started Badass Writer of the Week, we never said that the writer we choose had to be, you know, an actual person.

So...

Now that we got that our of the way, we can get back to Ponyboy. The well-meaning young greaser who reads Gone With The Wind to his buddy Johnny, and gets in rumbles with the Socs is a badass writer in our book.

How is he a writer? In the book, Ponyboy talks about doing well in English class and talks about how he likes to write. Also, in the movie, he is shown writing "The Outsiders" story down. Ponyboy is a natural storyteller and it shows throughout the book and movie.

We believe in what Ponyboy Curtis believes in here at the Bone. We believe that good things come out of bad things. We believe that teenagers need to go through a lot of shit to mold them into valuable adults. We believe that Pony left his poor Midwestern town for the East Coast and became a brooding, dark writer like Cormac McCarthy.

Oh, you need more reasons for his badassey, Judgy McJudgerson? How about the fact that he always sticks by his friends and family no matter what? Or that he  loves his brothers more than anything else? Or that he runs into a burning school to save children? He put himself in danger to rescue his best friend and a group of scared kids he didn't even know.

And again, he's a teenager. Fictional or not, that's an impressive badass resume.

We should note that S.E. Hinton struggled so much with the fame and pressure from the success of The Outsiders that she lapsed into a three-year writer's block. Ponyboy's awesomeness was too much for even his creator to handle (According to her website, Hinton eventually started writing again after her husband got sick of her being depressed. He demanded she write two pages a day).

What other fictional characters would you add to our Badass Writers of the Week? Let us know in the comments section or tweet us @WritersBone.

BADASS WRITERS OF THE WEEK ARCHIVE

Badass Writer of the Week: John Milius

John Milius

By Sean Tuohy

Rebel. Maverick. Basis for Coen Brothers' characters. Badass writer.

These words define John Milius, the gun-toting, cigar-chewing filmmaker, who for the past 40 years has been bringing movie goers character-driven action films.

From penning the classic “Apocalypse Now” to directing the Cold War-era war movie “Red Dawn,” Milius has always written and directed films his way with little concern for the rest of the world. A brilliant, inspiring, and tear-inducing documentary about Milius' career was recently released. Milius declares himself a “Zen anarchist.” He approaches movie making the same way a big game hunter approaches a hunt; a wicked smile painted to his face just before he steps into the dark and wild jungle ready to conquer all.

Before becoming a writer and filmmaker, Milius attempted to join the military during the Vietnam War. He was not accepted for medical reasons. He was pretty bummed about this. You read that right. Milius felt he was letting his country down by not serving in a war that was slaughtering his peers and dividing the United States. Not many people volunteered cheerfully to get in that war. Milius did.

Feeling deflated, Milius went to USC Film School where his classmates were George Lucas, Steven Spielberg, and some other filmmaker wannabes including Basil Poledouris (won an Emmy for his score of the mini-series “Lonesome Dove”), Randal Kleiser (directed a relatively unknown film named “Grease”), and Don Glut (wrote the novelization for “Star Wars Episode V: The Empire Strikes Back”). It was during this time that Milius began to craft and shaped his wilder-than-life personality. Milius was a rare breed who loved reading about war heroes and firing guns, but at the same time loved the peaceful world of surfing.

Milius penned a low-budget film before selling his script for the Robert Redford film “Jeremiah Johnson,” where it is said that Milius gave up half his paycheck so he could keep some of the guns from the movie set.

He began cranking out work left and right and worked on high profile films such as “Dirty Harry.” Yup, the most badass Magnum-toting cop in America got some of his badass-ness from Hollywood wild man Milius. You want to know which line Milius is best remembered for writing in that movie? “Do you feel lucky? Well, do ya, punk?” Yeah, you’re right, no one really remembers that one. Daniel Ford only says it 576 times a day. He wrote the USS Indianapolis scene in “Jaws” for his buddy Spielberg. According to the recent documentary, Richard Dreyfuss wasn’t doing a whole lot of acting as he sat there bugged eyed and slack-jawed listening to Robert Shaw nail Milius’ dialogue.

Milius adapted every high school kid’s worst nightmare, Heart of Darkness, but switched out the deep, dark Congo for war-torn Vietnam. The film proved to be a giant hit and is now a classic. The film is the reason the Writer’s Bone crew loves the smell of napalm in the morning. We enjoy the smell of victory.

Milius soon moved behind the camera himself working on cult classics like the surfer film “Big Wednesday.” He also helped bring Arnold Schwarzenegger into the main stream by casting him in “Conan the Barbarian.” Schwarzenegger, himself one of the more well-known cigar chewing tough guys, so trusted Milius that he said, “Tell me exactly what to say, when to say it, and how to say it.” We’re pretty sure that was the last time anyone told The Governator what to do.

Milius then upset a lot of people off with 1980s “Red Dawn.” The Cold War film, that featured American teenagers fighting off invading Russians, was one of the highest grossing films of its time. It was topical and raised a lot of scary questions, so logically, people hated it and Milius was somewhat. His later career would include work on “The Hunt for Red October” and HBO show “Rome.”

Look, despite everything I’ve told you, I cannot do this man justice. He is too wild and too much of a legend for me to capture in one blog post. Milius was a true storyteller; a man who is driven by that unknown force within to tell a story—and to tell it well. Milius is himself, nothing more or less. He is the embodiment of walking with a big stick; a man who walks into the room and pulls you in with his a great hook and a big swell of fear.

I want to say this piece sums up Milius’ spirit but it’s not even close. It barely scratched the surface. Milius had a stroke recently which left him without the ability to communicate easily. Yet, at the end of the documentary, he delivers Dirty Harry’s famous catch phrase and bursts out into a giggle. There’s nothing wrong with his spirit, so there’s nothing wrong with ours.

Ford and I have been writing ever since we saw that documentary. Go watch it, go watch all his movies, and then tell your own badass story.

BADASS WRITERS OF THE WEEK ARCHIVE

Badass Writer of the Week: Charles Willeford

Charles Willeford

By Sean Tuohy

It takes a tough guy to know how to write a tough guy novel and Charles Willeford was the definition of tough guy.

How tough was good old Charles Willeford? When you Google Image search his name it is impossible to not find a picture of him smoking and looking ultra cool. During his career as a writer Willeford penned a dozen hardboiled noir age novels and the genre-bending Hoke Molsey series. Willeford has been praised by James lee Bruke, Elmore Leonard, and Quentin Tarantino as the best crime writer of all time.

But before he became a tough guy writer, Willeford lived the tough guy life.

Born in 1919, Willeford had a rough start. He lost both parents before he was a teenager and came of age during the Great Depression. At 13 years old, when most of us were getting bitch slapped by puberty, Willeford assumed an identity and jumped on a freight train. He was barely a teenager and he essentially became Jason Bourne.

Willeford lied about his age, joined the Army, and fought in World War II as a tank commander. While still in Europe, Willeford wrote and published his first book that was the toughest, meanest collection of…poetry. Wait a minute. Really? You mean the guy who fought in WWII and also worked as a fireman, cook, and gas truck driver before he was 20 years old, wrote poetry? Then again, who are we to judge? Even tough guys have a soft side.

After 1950 Willeford was all over the place. He joined the Air Force for a while, he was a boxer, actor, radio host, and in between all that went to college and got his M.A. in English. During this time, Willeford published several highly praised, but low grossing novels, High Priest of California and Cockfighter among them.

Charles Willeford

While working as a professor at Miami Dade College, and nine years after his last published novel, Willeford printed his most successful novel Miami Blues. The cop drama took place in Miami during the wild drug days in the 1980's and features hard-nose, no-nonsense police detective Hoke Molsey.

Miami Blues was later turned in to a film starring Alec Baldwin. Willeford, now in his sixties, was finally making a living as a full-time writer.

He pumped out a total of four Hoke novels before his death in 1987. We assume that when he died Willeford was puffing a smoke and coming up with one final great tough line.

BADASS WRITERS OF THE WEEK ARCHIVE

Badass Writer of the Week: Nora Ephron

"Above all, be the heroine of your life, not the victim." Nora Ephron 1941-2012

By Stephanie Schaefer

Yes, you read that headline right. If you think all badasses have to shoot guns, frequent boot camps, and stab people in prison, think again. Feminist, humorist, and the first lady of romantic comedies Nora Ephron didn't need to do any of that to be legendary—all she had to do was smash through a few glass ceilings with her high heels.

What makes Nora Ephron badass, you ask? For starters, without her men wouldn’t know what it sounds like when women fake an orgasm, Tom Hanks may have never been such a successful actor, and, most of all, countless hopeless romantics worldwide wouldn’t believe in happily ever afters. Not to mention, when she was an intern for the White House during the Kennedy Era, Ephron once saved Speaker of the House Sam Rayburn from a men’s room in which he had accidentally locked himself in. Now that’s badass (and so anti “damsel-in-distress”)!

Fresh off her stint in D.C., Wellesley-educated Ephron began her longstanding career in New York City in the 1960s. Although her first job was as a mail girl at Newsweek, she eventually rose to become a literary Renaissance woman, finding success in journalism, screenwriting, directing, producing and beyond, in spite of the fact these realms were male-dominated. After publishing a series of well-read essays, Ephron gained fame with her Academy Award-nominated screenplays “Silkwood” and the legendary romantic comedy “When Harry Met Sally.”

In the early 90’s Ephron stepped up to the director’s chair for the hit romance “Sleepless in Seattle,” which garnered $120 million at the box office and once again proved her feminine power. Success continued later in the decade when she reunited Meg Ryan and Tom Hanks for my personal favorite chick-flick, “You’ve Got Mail,” a heartwarming take on dating in the digital age (Ask Daniel Ford about how much he loves this movie. He’ll talk your ear off and do lousy Tom Hanks impressions). Even in her late 60s she continued to produce high-quality work, writing and directing "Julie & Julia,” a light-hearted film that depicts the life of another fierce female: culinary master Julia Child.

“To state the obvious, romantic comedies have to be funny and they have to be romantic,” Ephron said in an interview. “But one of the most important things, for me anyway, is that they be about two strong people finding their way to love.”

We can credit Ephron with transforming the way females are portrayed on film. During her reign, attractive women were no longer confined to play the quintessential over-sexed “Bond Girl,” but grew into multi-dimensional characters attempting to navigate their careers and love lives with honesty and humor. Essentially, her works challenged industry executives who, according to Cate Blanchett’s recent Academy Award acceptance speech, “foolishly cling to the idea that female films with women at the center are niche experiences.”

Her films were romantic, but Ephron stayed away from clichés and depicted heroines who were not only independent and hardworking but also sensitive and capable of expressing an array of emotions—anger, love, sensuality, and everything in between. “I try to write parts for women that are as complicated and interesting as women actually are,” she said. Ultimately, she proved that women don’t have to abandon their true selves to be “badass.”

From “I’ll have what she’s having,” to “I wanted it to be you,” Ephron’s famous lines remain etched in pop-culture stone, unable to be erased with each passing year and every male-dominated superhero blockbuster that has followed her 2012 death. Although female screenwriters that walk in her footsteps may have big shoes to fill, Ephron’s legacy proves that you can still be successful—in Hollywood and beyond—even if your footwear choice is high heels.

BADASS WRITERS OF THE WEEK ARCHIVE

Badass Writer of the Week: Eric L. Haney

Eric L. Haney

By Sean Tuohy

Have you seen a movie where a group of people is being held hostage by some machine gun-toting bad guys and then all of sudden…boom! The door is blown to smithereens and black-clad commandos storm the room with guns blazing and mow down the bag guys, leaving the hostages scared shitless but unharmed?

Yeah, well this week's badass writer is the guy who trained those commandos. Before he became a best-selling author and screenwriter, Eric L. Haney dropped in and out of war zones with the U.S. Army Rangers and then became one of the first members of the U.S. Government's most deadly and secretive units: Delta Force.

We don’t recommend trying anything shady around this guy because he’s a “master trainer” of some serious shit. Consider this list from his website:

• Close quarter combat
• Counter-terrorist and counter-guerilla actions
• Development/implementation of security programs
• Executive protection
• Guard force management
• Hostage/ransom negotiation
• Master sniper
• Small arms/long guns (all classes)
• Standard/improvised explosives
• Surgical explosive breaching

Umm...yeah, this guy could handle a behind the lines operation the same way Daniel and Sean handle an all you can eat buffet: with skill.

Haney joined the U.S. Army right out of high school in 1970, and quickly joined the famed 75 Ranger Regiment. The Rangers are one of the oldest and most skilled infantry units within the U.S. Army. After doing this for a while, Haney got bored. Jumping out of airplanes? Yawn. The next unit that he joined was brand new and offered one of the most difficult selection process tests in the U.S. military. For 19 months, Haney trained and became an expect in...well… being a badass(did you read the fucking list above???) before he joined Delta Force.

Haney with several other badass members of Delta Force.

For those of you that don't know what Delta Force is (or never saw the Chuck Norris film) let us give you a little background. First of all, the U.S. Government does not officially state that Delta Force exists. They are such badasses that Uncle Sam won't admit that these guys work for us. These highly trained soldiers are sent to the worst spots in the world to do who knows what and they do it without ever being noticed. Haney was one of the first members of this elite group. While in Delta Force, Haney was part of Operation Eagle Claw, the failed rescue attempt of the American hostages at the American Embassy in Iran, as well as dozens of other operations throughout the Middle East and Latin America.

Haney retired from the U.S. Army and moved to a small farm and relaxed. Yeah, right. He actually went around the world just being a badass as a freelance security consultant. As Badass for Hire—seriously, why hasn’t this movie been made???—he helped protect royal families, save kidnapped children, and train police forces all over the world.

It was during this time that Haney got the idea to write a book about his life in the U.S. Army. We assume he came up with the idea while jumping out of a helicopter just before it blew up. His tell-all book Inside Delta Force gave his firsthand account of his time with the secretive unit.

The book proved to be so thrilling that foul mouth master writer David Mamet turned the book in to a movie called “Spartan” and in to a hit television show called “The Unit.”

Finally, after a life time of jumping out of planes, saving hostages from gunmen, and just being an all-around tough guy, Haney decided to write full time. The Writer's Bone team is still trying to figure out what is tougher for Haney: jumping in to a war zone or outlining the first chapter of his novel?

BADASS WRITERS OF THE WEEK ARCHIVE