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Jim Taylor, the other half of Hollywood’s top screenwriting team, talks about his work with Alexander Payne


No matter how Alexander Payne’s in-progress film Downsizing is received when released next year, it will be remembered as his first foray into special effects, science fiction, big budget filmmaking and sprawling production extending across three nations. But the most important development it marks is the rejoining of Payne and his longtime screenwriting partner, Jim Taylor, whose contributions to the film’s they’ve collaborated on often get overlooked even though he’s shared an Oscar with Payne and has been nominated for others with him. In truth, Payne and Taylor never broke with each other. Payne did make both The Descendants and Nebraska without Taylor’s writing contribution, but following their last collaboration, Sideways, and during much of the period when Payne was producing other people’s films and then mounting and making the two films he directed following Sideways, these creative partners were busily at work on the Downsizing screenplay. It’s been awhile since I last interviewed Taylor. I am sharing the resulting 2005 story here, It is included in my book Alexander Payne: His Journey in Film. A new edition of the book releases Sept. 1.

As my story makes clear, Payne and Taylor go farther back then Citizen Ruth, the first feature they wrote together and the first feature that Payne directed. Their bond goes all the way back to college and to scuffling along to try to break into features. After Citizen Ruth, they really made waves with their scripts for Election and About Schmidt. And then Sideways confirmed them as perhaps Hollywood’s top screenwriting tandem. They also collaborated on for-hire rewrite jobs on scripts that others directed.

I will soon be doing a new interview with Taylor for my ongoing reporting about Payne and his work. Though Taylor is not a Nebraskan, his important collaboration with Payne makes him an exception to the rule of only focusing on natives for my in-development Nebraska Film Heritage Project. By the way, one of the films that Payne produced during his seven year hiatus from directing features was The Savages, whose writer-director, Tamara Jenkins, is Taylor’s wife. That Payne and Taylor have kept their personal friendship and creative professional relationship intact over 25-plus years, including a production company they shared together, is a remarkable feat in today’s ephemeral culture and society.

NOTE: For you film buffs out there, I will be interviewing Oscar-winning cinematographer Mauro Fiore and showing clips of his work at Kaneko in the Old Market, on Thursday, July 21. The event starts at 7 p.m. and will include a Q & A.

Link to my cover story about Mauro and more info about the event at–

https://leoadambiga.com/…/05/04/master-of-light-mauro-fiore/

 

 

<a gi-track='captionPersonalityLinkClicked' href=/galleries/search?phrase=Jim+Taylor&family=editorial&specificpeople=209181 ng-click='$event.stopPropagation()'>Jim Taylor</a> and <a gi-track='captionPersonalityLinkClicked' href=/galleries/search?phrase=Alexander+Payne&family=editorial&specificpeople=202578 ng-click='$event.stopPropagation()'>Alexander Payne</a>, winners Best Screenplay for “Sideways”

Jim Taylor and Alexander Payne, winners Best Screenplay for “Sideways”

 

Jim Taylor, the other half of Hollywood’s top screenwriting team, talks about his work with Alexander Payne

Published in a fall 2005 issue of The Reader

©by Leo Adam Biga

 

There’s an alchemy to the virtuoso writing partnership of Alexander Payne and Jim Taylor, Oscar winners for Sideways (2004) and previous nominees for Election (1999), that resists pat analysis. The artists themselves are unsure what makes their union work beyond compatibility, mutual regard and an abiding reverence for cinema art.

Together 15 years now, their professional marriage has been a steady ascent amid the starts and stops endemic to filmmaking. As their careers have evolved, they’ve emerged as perhaps the industry’s most respected screenwriting tandem, often drawing comparisons to great pairings of the past. As the director of their scripts, Payne grabs the lion’s share of attention, although their greatest triumph, Sideways, proved “a rite of passage” for each, Taylor said, by virtue of their Oscars.

Taylor doesn’t mind that Payne, the auteur, has more fame. ”He pays a price for that. I’m not envious of all the interviews he has to do and the fact his face is recognized more. Everywhere he goes people want something from him. That level of celebrity I’m not really interested in,” he said by phone from the New York home he shares with filmmaker wife Tamara Jenkins (The Slums of Beverly Hills).

With the craziness of Sideways now subsided and Payne due to return soon from a month-long sojourn in Paris, where he shot a vignette for the I Love Paris omnibus film, he and Taylor will once again engage their joint muse. So far, they’re being coy about what they’ve fixed as their next project. It may be the political, Altmanesque story they’ve hinted at. Or something entirely else. What is certain is that a much-anticipated new Payne-Taylor creation will be in genesis.

Taylor’s an enigma in the public eye, but he is irreducibly, inescapably one half of a premier writing team that shows no signs of running dry or splitting up. His insights into how they approach the work offer a vital glimpse into their process, which is a kind of literary jam session, game of charades and excuse for hanging out all in one. They say by the time a script’s finished, they’re not even sure who’s done what. That makes sense when you consider how they fashion a screenplay — throwing out ideas over days and weeks at a time in hours-long give-and-take riffs that sometimes have them sharing the same computer monitor hooked up to two keyboards.

Their usual M.O. finds them talking, on and on, about actions, conflicts, motivations and situations, acting out or channeling bits of dialogue and taking turns giving these elements form and life on paper.

”After we’ve talked about something, one of us will say, ‘Let me take a crack at this,’ and then he’ll write a few pages. Looking at it, the other might say, ‘Let me try this.’ Sometimes, the person on the keyboard is not doing the creative work. They’re almost inputting what the other person is saying. It’s probably a lot like the way Alexander works with his editor (Kevin Tent), except we’re switching back and forth being the editor.”

For each writer, the litmus test of any scene is its authenticity. They abhor anything that rings false. Their constant rewrites are all about getting to the truth of what a given character would do next. Avoiding cliches and formulas and feel-good plot points, they serve up multi-shaded figures as unpredictable as real people, which means they’re not always likable.

”I think it’s true of all the characters we write that there’s this mixture of things in people. Straight-ahead heroes are just really boring to us because they don’t really exist,” said Taylor, whose major influences include the humanist Czech films of the 1960s. “I think once we fall in love with the characters, then it’s really just about the characters for us. We have the best time writing when the characters are leading us somewhere and we’re not so much trying to write about some theme.”

Sideways’ uber scene, when Miles and Maya express their longing for each other via their passion for the grape, arose organically.

“We didn’t labor any longer over that scene than others,” he said. “What happened was, in our early drafts we had expanded on a speech Miles has in the book (Rex Pickett’s novel) and in later drafts we realized Maya should have her own speech. At the time we wrote those speeches we had no idea how important they would turn out to be. It was instinctive choice to include them, not something calculated to fill a gap in a schematic design.”

 

Writer/director Tamara Jenkins and writer/producer <a gi-track='captionPersonalityLinkClicked' href=/galleries/search?phrase=Jim+Taylor&family=editorial&specificpeople=209181 ng-click='$event.stopPropagation()'>Jim Taylor</a> attend 'One Flew Over the Cuckoo's Nest' intro at MoMA on February 15, 2008 in New York City.

Writer/director Tamara Jenkins and writer/producer Jim Taylorattend ‘One Flew Over the Cuckoo’s Nest’ intro at MoMA on February 15, 2008 in New York City.

 

He said their scripts are in such “good shape” by the time cameras roll that little or no rewriting is done on set. “Usually we’ll make some minor changes after the table reading that happens right before shooting.” Taylor said Payne asks his advice on casting, locations, various cuts, music, et cetera.

Their process assumes new colors when hired for a script-doctor job (Meet the Parents, Jurassic Park III), the latest being I Now Pronounce You Chuck and Larry.

“With those projects we’re trying to accommodate the needs of a different director and we generally don’t have much time, so we don’t allow problems to linger as long as we would, which is good practice,” said Taylor. “It’s good for us to have to work fast. We’ll power through stuff, where we might let it sit longer and just let ourselves be stuck.”

Ego suppression explains in part how they avoid any big blow ups.

”I think it’s because both of us are interested in making a good movie more than having our own ideas validated,” Taylor said. “So we are able to, hopefully, set our egos aside when we’re working and say, ‘Oh, that’s a good idea,’ or, ‘That’s a better idea.’ I think a lot of writing teams split up because they’re too concerned about protecting what they did as opposed to remembering what’s good for the script. We can work out disagreements without having any fallout from it. It’s funny. I mean, sometimes we do act like a married couple. There’s negotiations to be made. But mostly we just get along and enjoy working together.”

As conjurers in the idiom of comedy, he said, “I think our shared sensibilities are similar enough that if I can make him laugh or he can make me laugh, then we feel like we’re on the right track.”

Collaboration is nothing new for Taylor, a Pomona College and New York University Tisch School of the Arts grad, who’s directed a short as well as second unit work on Payne shoots (most of the 16 millimeter footage in Election) and is developing feature scripts for himself to direct.

”For me, I didn’t set out to be a screenwriter, I set out to be a filmmaker,” said Taylor, a former Cannon Films grunt and assistant to director Ivan Passer (Cutter’s Way). So did Alexander. And we kind of think of it all as one process, along with editing…People say everything is writing. Editing is writing and in a strange way acting is writing, and all that. Filmmaking itself is a collaborative medium. People drawn to filmmaking are drawn to working with other people. Sure, a lot of screenwriters do hole up somewhere so they’re not disturbed, but I’m not like that and Alexander’s not like that. I don’t like working on my own. I like to bounce ideas off people. Filmmaking demands it, as opposed to being a novelist or a painter, who work in forms that aren’t necessarily collaborative.”

Simpatico as they are, there’s also a pragmatic reason for pairing up.

”We just don’t like doing it alone and it’s less productive, too. And we sort of have similar ideas, so why not do it together? Even beyond that, it’s like a quantum leap in creativity. You’re just sort of inspired more to come up with something than if you’re just sitting there and hating what you’re doing. At least there’s somebody there going, ‘Oh, that’s good,’ or, ‘How do we do this?’ And you sort of stick with the problem as opposed to going off and cleaning out a drawer or something.”

Payne says scripting with someone else makes the writing process “less hideous.” For Taylor, flying solo is something to be avoided at all costs.

”I hate it. I really hate it. I mean, I do it, but it’s very slow and I don’t think it’s as good,” he said. “I’m getting Alexander’s input on something I’ve been working on for a long, long time on my own, a screenplay called The Lost Cause about a Civil War reenactor, and I expect it to became 50 percent better just because of working with him. We’ll essentially do with it what we do on a production rewrite.”

Lost Cause was part of a “blind deal” Taylor had with Paramount’s Scott Rudin, now at Disney. The fate of Taylor’s deal is unclear.

Writing with his other half, Taylor said, opens a script to new possibilities. “I’ll see it through different eyes when I’m sitting next to Alexander and maybe have ideas I wouldn’t otherwise.”

The pair’s operated like this since their first gig, co-writing short films for cable’s Playboy Inside Out series. The friends and one time roommates have been linked ever since. ”It’s pretty hard to extract the friendship from the partnership or vice versa. It’s all kind of parts of the same thing. We don’t end up seeing each other that much because we live in separate cities, unless we’re working together,” Taylor said. “So our friendship is a little bit dependent on our work life at this point, which is too bad.” However, he added there’s an upside to not being together all the time in the intense way collaborators interact, “It’s important to not get too overdosed on who you’re working with.”

He can’t imagine them going their separate ways unless there’s a serious falling out. ”That would only happen of we had personal problems with each other. Sometimes, people naturally drift apart, and we’re both working against that. We’re trying to make sure that it doesn’t just drift away, because that would be sad.”

Keeping the alliance alive is complicated by living on opposite coasts and the demands of individual lives/careers. But when Taylor talks about going off one day to make his own movies, he means temporarily. He knows Payne has his back. “He’s supportive of my wanting to direct. But I’m so happy working with him that if that were all my career was, I’d be a very lucky person.”

Hot Movie Takes: READ ALL ABOUT IT EXCLUSIVE – Alexander Payne’s “Downsizing” starring Matt Damon

February 27, 2016 2 comments

UPDATE: It turns out that Alec Baldwin did not participate in “Downsizing” after all. Insstead, his part of a real estate magnate was played by another name actor with a similar vibe and facility for playing smarmy – Bruce Willis.

Here is your first and only exclusive insider’s look at Oscar-winner Alexander Payne’s jusst under production new film, “Downsizing,” starring Matt Damon, Kristen Wiig, Christoph Waltz and other stars. From yours truly, Leo Adam Biga, the chronicler of this important writer-director since 1997 and the author of “Alexander Payne: His Journey in Film” – soon to be re-released with a new design, plus updated and expanded content.

UPDATE In its original version this story reported that Reese Witherspoon would co-star alongside Matt Damon, but only days before the April 1 production start it was announced she was no longer attached to the project and that Kristin Wiig had replaced her.

Since this story was first published in early March, Oscar-winning actor Christoph Waltz, along with Udo Kier, Paul Mabon and Warren Belle were officially added to the cast.

 

Hot Movie Takes:

READ ALL ABOUT IT EXCLUSIVE – Alexander Payne’s “Downsizing” starring Matt Damon

Film about miniaturized human life tackles big themes

“Downsizing” finally going before the cameras April 1

©by Leo Adam Biga, Your A.P. Expert and Author of Soon to Reboot “Alexander Payne: His Journey in Film”

Original story appeared in the March 2016 issue of The Reader (www.thereader.com)

 

The high concept behind Alexander Payne’s soon to shoot new feature, Downsizing, unfolds in a near future world where humans can opt to be miniaturized. Everything about the story, from the title to the characters to the plot-lines, gives Payne and co-scriptwriter Jim Taylor ample metaphorical opportunities.

The big budgeted Paramount picture starring Matt Damon, Kristen Wiig, Christoph Waltz, Neil Patrick Harris, Jason Sudeikis, Alec Baldwin, Paul Wabon, Warren Belle and Hong Chau endured a long gestation. A different cast was attached in 2008-2009 before the road to financing collapsed with the economy. The pieces almost came together again in 2014. All the while, the script, begun in 2006, got reworked and pared down to meet the budget cap Hollywood placed on this risky project marking Payne’s first foray into science fiction and visual effects..

The production is based at Pinewood Studios in Toronto, Ontario, Canada, where Payne will work for the first time on sound stages and with green screens, CGI and motion capture. Little or no forced perspective will be used.

The sprawling, three-month shoot rolls out April 1 for a week in Los Angeles, then comes to Omaha for a few days. The whole works heads off to Norway for more shooting but the bulk will occur across the border in Canada, where post-production will also happen.

Arch satirists Payne and Taylor use the downsizing premise to skewer the small-mindedness of persons, policies. constructs. In this new work the veteran scenarists, whose previous credits together include the Payne-directed Citizen Ruth, Election, About Schmidt and Sideways, suggest not only are Earth’s physical resources at risk but its intellectual-moral capital, too.

Downsizing’s all too real musings on diminishing returns and bankrupt values posits a redemptive protagonist in Paul, a South Omaha Everyman whom Matt Damon will play. Although the story has a fatalistic, end-of-world backdrop, it dangles hope that humankind, in whatever size survives, will muddle through somehow.

That Payne should use science fiction’s expansive prism to consider world crisis issues and explore the nature of humanity may seem at odds with his intimate dramedies about neurosis, infidelity, promiscuity, loneliness, yearning. Then again, all his work has churned the existential wheel with mundane characters bogged down by the weight of their own mess. Just think of the angst that Ruth (Citizen Ruth), Jim (Election), Warren (Schmidt), Miles and Jack (Sideways), Matt (The Descendants) and Woody (Nebraska) confront. For all its fantastic elements this new narrative is anchored in that same morass of folks dealing with adult dilemmas, conflicts and flaws. Problems dog them wherever they go, even the would-be miniature haven, Leisureland.

And why shouldn’t Payne dip his toes in the sci-fi pool when filmmakers equally identified with humanistic storytelling have done the same? John Sayles (The Brother from Another Planet) and Barry Levinson (Sphere) come to mind.

Besides, sci-fi is a liberating and therefore attractive gateway for artists to tackle large, serious subjects free of constraints. The genre invites storytellers to ponder endless what ifs. In that spirit Payne and Taylor lay out an imagined scenario and burrow down that rabbit hole of speculation to follow what they deem the inevitable consequences.

Downsizing hinges on a hero sensitively responding to a world around him transformed. The implications and stakes are deeply personal and global. At least on the page Payne and Taylor manage to make us care about the micro and macro. Paul’s journey pulls us along this upheaval of life as he knew it. Expectations, definitions and limitations are threatened or overturned. Ultimately, everything is on the line.

 

 

Matt Damon Picture  Kristen Wiig Picture  Christoph Waltz Picture

 

 

Unavoidably, the story echoes other speculative tales, including any dealing with miniature humans. It also resonates with themes from such disparate sources as Dr. Strangelove, 2001: A Space Odyssey, The Truman Show, Children of Men and The Hobbit. Payne and Taylor concoct a fable-like framework to hold the narrative together.

The most obvious if unintentional resonance – to The Incredible Shrinking Man – happens at the end, when our hero-pioneer once more enters the great unknown. As with Payne’s previous films, the story concludes with a feeling more than an event or a resolution.

Payne, now married to a native of Greece and coming off his stark tone poem Nebraska, recently spoke about Downsizing with The Reader.

“We always knew it would take a while, first to get the script right, then to secure the financing, and 10 years is a long time. Fortunately I was able to squeeze in two other features and a pilot during that time. But it feels right now. You know, it’s interesting that in life, not just film, you try to do something and you run into obstacles. You try again and you run into more obstacles, and you think, This is never going to happen. And then finally when it does it unfolds elegantly and without obstructions and you say, Wow, I guess this was the time it was supposed to happen. That has been my experience with Downsizing.”

As the 125-page script sits now, he says, “the story hums along with a good filmic rhythm.” Achieving that flow was challenging for the.”big idea” at its core. “So big,” he says, “it was difficult during our writing process to always discern where it breaks off because every idea you come up with for this idea has a very long series of chain reactions. So you just kind of drive yourself crazy with possibilities. The script goes in very unpredictable directions. I’m not saying they’re good because they’re unpredictable. They were unpredictable to us as we were writing. So to corral this story and to get it happening as efficiently and we hope elegantly from point to point to point took a while. Right now it looks good on paper. I hope it will lend itself to a good movie. I won’t know that until I’m in post-production.”

He says the big idea that propels the piece is rife with “social-political overtones” but that it’s the “human aspects of the story that most interest us.” Thus, he’s not getting hung up on its sci-fi pedigree. He just enjoys the unlimited canvas he has to work on.

Payne also isn’t stressing the visual effects world he’s entered though he acknowledges he’s a fish out of water.

“It’s a whole new focus for me and everything. I’m not worried but I’m curious to see how they’re going to work. There’ll be a certain amount of tedium involved because you have to shoot the same scene two, sometimes three times to get the different aspects and elements.

“I want to make sure the actors who are acting in a vacuum on a stage against green screen feel as comfortable and normal as possible.  That’s my job. The acting style should not suffer because of the means of production. But it’ll be fine. You know, who cares, it’s just a movie.”

One whose budget is reportedly double any of his previous pics.

“If they don’t spend it on that, they’re just going to spend it on something else.” he says by way of classic Hollywood reasoning.

 He feels in good hands with his visual effects supervisor, James Price, with whom he’s been in discussions since 2008-2009.

“He is my effects czar. He knows how to explain things to me to make things easy for me and how to teach me how these things are achieved – what I need to know, what I don’t need to know. It’s really exciting. The best thing those guys do is to free the director up to say, ‘I want a shot like this, can we do this?’ and they say, ‘Yeah, we can do that,’ and I say, ‘How?’ and they say, ‘Don’t worry about how, but we can do it.’ Between the visual effects supervisor, the DP, the production designer,  they have to trick the director as much as possible into thinking that he or she is just shooting a regular movie so that I don’t censor my imagination, or what I have left of it.”

Payne says Price is on the same page as he and cinematographer Phedon Papamichael in terms of the desired visual palette.

“James knows the aesthetic we want and he’s an avid film watcher and film guy and so that makes me feel good. What I aspire to from the visual effects for this movie is not how eye-popping they are but rather how banal they are. I don’t want the seams to show.”

Payne also hopes to keep the effects to a minimum and to “try to do things in camera as much as possible.”

In addition to Price and his visual effects team Payne is working with a new production designer, Stefania Cella. But he’s mainly surrounded by trusted old friends and collaborators in producer Jim Burke, casting director John Jackson, Papamichael and costume designer Wendy Chuck. His longtime editor, Kevin Tent, is on board as well.

After the seven year gulf between Sideways and Descendants, Payne’s happy to be making films in short order. His last, Nebraska, was received warmly in Greece, where he met his wife while vacationing with his mother (Payne’s father passed away in 2014.).

“I showed the film in Greece a couple times and people were only too quick to tell me they thought it was a Greek film, which surprised me. I said, ‘Why do you think it’s a Greek film?’ and they said, ‘Well. it has the elements of going back to the village where your people are from.’ ‘Okay,’ I said. And they connected with the part of dutifully ‘taking care of the parents who drive you crazy,’ and I said, ‘Well, I’m sure that’s not just Greek.’ I think that’s pretty universal.”

On the eve of finally making Downsizing after so long a wait and “jettisoning” subplots he admittedly “misses,” he’s content. “A movie is a movie is a movie and we have enough to make this movie, so it’ll be fine. And if the gods decree there might be a Downsizing 2, than we have other ideas that we’ve been collecting.”

Read more of Leo Adam Biga’s work at leoadambiga.com.

 

FINAL FRONT COVER 6-28-16

YOU CAN READ THE REST IN THE NEW EDITION OF MY BOOK-

Alexander Payne: His Journey in Film

(The new edition encompasses the Oscar-winning filmmaker’s work from the mid-1990s through Nebraska in 2013 and his new film Downsizing releasing in 2017 )

Now available  at Barnes & Noble and other fine booktores nationwide as well as on Amazon and for Kindle. In Nebraska, you can find it at all Barnes & Noble stores, The Bookworm and Our Bookstore in Omaha, Indigo Bridge Books in Lincoln and in select gift shops statewide. You can also order signed copies through the author’s blog leoadambiga.com or via http://www.facebook.com/LeoAdamBiga or by emailing leo32158@cox,net. 

For more information. visit– https://www.facebook.com/pg/AlexanderPayneExpert/about/?ref=page_internal

Jim Taylor, the other half of Hollywood’s top screenwriting team, talks about working with Alexander Payne

November 20, 2011 11 comments

Jim Taylor

 

 

Jim Taylor, the other half of Hollywood’s top screenwriting team, talks about working with Alexander Payne

©by Leo Adam Biga

Originally published in The Reader (www.thereader.com)

 

There’s an alchemy to the virtuoso writing partnership of Alexander Payne and Jim Taylor, Oscar winners for Sideways (2004) and previous nominees for Election (1999), that resists pat analysis. The artists themselves are unsure what makes their union work beyond compatibility, mutual regard and an abiding reverence for cinema art.

Together 15 years now, their professional marriage has been a steady ascent amid the starts and stops endemic to filmmaking. As their careers have evolved, they’ve emerged as perhaps the industry’s most respected screenwriting tandem, often drawing comparisons to great pairings of the past. As the director of their scripts, Payne grabs the lion’s share of attention, although their greatest triumph, Sideways, proved “a rite of passage” for each, Taylor said, by virtue of their Oscars.

Taylor doesn’t mind that Payne, the auteur, has more fame. ”He pays a price for that. I’m not envious of all the interviews he has to do and the fact his face is recognized more. Everywhere he goes people want something from him. That level of celebrity I’m not really interested in,” he said by phone from the New York home he shares with filmmaker wife Tamara Jenkins (The Slums of Beverly Hills).

With the craziness of Sideways now subsided and Payne due to return soon from a month-long sojourn in Paris, where he shot a vignette for the Paris, I Love You omnibus film, he and Taylor will once again engage their joint muse. So far, they’re being coy about what they’ve fixed as their next project. It may be the political, Altmanesque story they’ve hinted at. Or something entirely else. What is certain is that a much-anticipated new Payne-Taylor creation will be in genesis.

Taylor’s an enigma in the public eye, but he is irreducibly, inescapably one half of a premier writing team that shows no signs of running dry or splitting up. His insights into how they approach the work offer a vital glimpse into their process, which is a kind of literary jam session, game of charades and excuse for hanging out all in one. They say by the time a script’s finished, they’re not even sure who’s done what. That makes sense when you consider how they fashion a screenplay — throwing out ideas over days and weeks at a time in hours-long give-and-take riffs that sometimes have them sharing the same computer monitor hooked up to two keyboards.

Their usual M.O. finds them talking, on and on, about actions, conflicts, motivations and situations, acting out or channeling bits of dialogue and taking turns giving these elements form and life on paper.

”After we’ve talked about something, one of us will say, ‘Let me take a crack at this,’ and then he’ll write a few pages. Looking at it, the other might say, ‘Let me try this.’ Sometimes, the person on the keyboard is not doing the creative work. They’re almost inputting what the other person is saying. It’s probably a lot like the way Alexander works with his editor (Kevin Tent), except we’re switching back and forth being the editor.”

For each writer, the litmus test of any scene is its authenticity. They abhor anything that rings false. Their constant rewrites are all about getting to the truth of what a given character would do next. Avoiding cliches and formulas and feel-good plot points, they serve up multi-shaded figures as unpredictable as real people, which means they’re not always likable.

”I think it’s true of all the characters we write that there’s this mixture of things in people. Straight-ahead heroes are just really boring to us because they don’t really exist,” said Taylor, whose major influences include the humanist Czech films of the 1960s. “I think once we fall in love with the characters, then it’s really just about the characters for us. We have the best time writing when the characters are leading us somewhere and we’re not so much trying to write about some theme.”

Sideways’ uber scene, when Miles and Maya express their longing for each other via their passion for the grape, arose organically.

“We didn’t labor any longer over that scene than others,” he said. “What happened was, in our early drafts we had expanded on a speech Miles has in the book (Rex Pickett’s novel) and in later drafts we realized Maya should have her own speech. At the time we wrote those speeches we had no idea how important they would turn out to be. It was instinctive choice to include them, not something calculated to fill a gap in a schematic design.”

He said their scripts are in such “good shape” by the time cameras roll that little or no rewriting is done on set. “Usually we’ll make some minor changes after the table reading that happens right before shooting.” Taylor said Payne asks his advice on casting, locations, various cuts, music, et cetera.

Their process assumes new colors when hired for a script-doctor job (Meet the ParentsJurassic Park III), the latest being I Now Pronounce You Chuck and Larry.

YOU CAN READ THE REST OF THE STORY IN MY NEW BOOK-

Alexander Payne: His Journey in Film, A Reporter’s Perspective 1998-2012

A compilation of my articles about Payne and his work.  Available this fall as an ebook and in select bookstores.

Jim Taylor and Alexander Payne with their Sideways Oscars

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