First, he had to wait for the Queen Mum to die; he had asked the royal matriarch for her blessing to tell her husband's story, and she had requested that he wait until after her passing, since the memories of that time were still too painful. And then, the 73-year-old Seidler explains, there was another, possibly even more significant hurdle: "It was the subject matter.
Seidler has a point. For years now, the notoriously risk-averse Hollywood studios have been spending their money on the safest bets possible, big-budget projects and potential franchise properties that usually are based on a book, a video game, a toy or even an amusement park ride. It's a trend that shows no signs of abatement, with Universal working to bring Stretch Armstrong to the screen, while Paramount develops a Magic 8 Ball movie among many other projects that have been co-opted from the toy aisle.
"We used to make toys based on our movies, and now we are making movies based on toys," said Nina Jacobson, former head of production at Disney who's now an independent producer. "We used to be the generators of intellectual property, not just recyclers of it."
It's a fact that's helped drive many of the industry's most highly acclaimed screenwriters — people such as Steven Zaillian ("Schindler's List") and Akiva Goldsman ("A Beautiful Mind") — to devote more of their time to plum writing assignments such as Zaillian's current work on "The Girl With the Dragon Tattoo" and Goldsman's adaptation of Stephen King's "The Dark Tower," rather than develop their own ideas.
And it paints a grim picture for many screenwriters hoping to tell original tales, even ones drawn from the lives of compelling people. Among the nominees who will be competing for the original screenplay Oscar when the Academy Awards are handed out Feb. 27, writer-director Christopher Nolan spent 10 years on his mind-bending dream heist thriller "Inception" before the film made it to the screen. Stuart Blumberg and Lisa Cholodenko went through countless drafts in the five years they labored on the script for the Annette Bening-starrer "The Kids Are All Right." And Scott Silver and Paul Tamsay & Eric Johnson, among others, worked on "The Fighter" for five years before cameras rolled on the Boston-based drama in July 2009. (Mike Leigh, the fifth nominee in the category, stands apart from the group; his script for the low-budget indie "Another Year," like many of his films, was workshopped extensively with his actors during a long rehearsals process but was made fairly quickly.)
The other four contenders, though very different, have one thing in common: a long, difficult path to the big screen.
"An adaptation often has an easier road," says Seidler, whose credits also include 1988's "Tucker: The Man and His Dream" and 1999's animated telling of "The King and I." "[The studio] has a security blanket with a book. [They say], 'We've optioned a book, it was a successful book.... Now, if the script doesn't turn out well, or the film doesn't turn out brilliantly, then that's not my fault. That's the writer's fault.'"
Harder times for originality
At one point not so long ago, a well-known writer could pitch an idea to a movie studio, and if it had potential, he could reasonably expect interest — and often cash to turn it into a screenplay. But things really began to change after the writers strike in 2007-08. The appetite for original material markedly diminished as studios took the opportunity to cut a lot of the expensive development deals in place at the time.
"The era of the middle-class writer who makes $250,000 a script and people like them, they don't necessarily deliver movies but they do a good job and they are pleasant to work with, that's done," said an agent who represents screenwriters and directors but asked for anonymity. "That was the staple writer business 10 years ago."
As a result, producers are forced to take on a greater role in advocating for original scripts. "Several years ago, you could walk into a studio with a one-liner and a writer who's written some scripts and sell it in the room if it was commercial enough," says Todd Lieberman, a producer on "The Fighter." "Now you have to prove that there is a movie there, and the best way to prove that is to have the writer write the script."
Nowadays, those scribes must complete a screenplay and often must land an actor — in the case of Seidler, Geoffrey Rush was the crucial lynchpin that moved "The King's Speech" closer to a greenlight — or a director before bringing it to the studio. Blumberg and Cholodenko worked closely with Julianne Moore for years before Bening came on board and financing finally came together on "The Kids Are All Right."
But in the case of "The Fighter," not even a movie star helped. The story of boxer Micky Ward, his struggle for success and his tempestuous relationship with his half brother, Dicky Eklund, was hindered because it would likely carry an R rating, it was a drama targeted to adults, and it was expensive. In one iteration of the film, its budget hovered around $70 million, with Brad Pitt set to star opposite Mark Wahlberg, also a producer on the film, and Darren Aronofsky directing.
"At the point when Brad Pitt wants to do a movie and you still can't get it made, it made me think, 'I've got to start doing something else,'" joked Silver, one of three credited writers on "Fighter." "But a $70-million film about two guys in Lowell, Mass. — one of whom is a crack head — is a huge risk."
It wasn't until the project was retooled as a $25-million production — an initial first act that took place at the time of Eklund's famous fight against Sugar Ray Leonard was cut to reduce costs, Christian Bale was cast as Eklund, and director David O. Russell took the helm — that it found a home. But even then it wasn't financed by a studio; Ryan Kavanaugh's Relativity Media put up the money for the film.
Lieberman says being required to deliver a complete package to a studio — a great script with a star and/or filmmaker attached — actually can be empowering.
"We're doing that right now with something that's been exposed to no one," Lieberman said. "It's a spec script with a director involved, and we're creating a visual plan, a physical effects plan, and we're going to the studios and saying: 'Here's the movie, here's what it will look like and here's what it will cost you. Are you in or are you out?'