"The universe is made of stories, not of atoms."
—Muriel Rukeyser
____________________________
Love Romance? Watch The Lost Valentine ... streaming on Feeln.
During World War II, Navy Lt. Neil Thomas bids Caroline, his pregnant young wife, farewell at Union Station. Unfortunately, Neil's plane goes down in the Pacific and he is declared missing in action. Caroline is devastated. But love never dies, and for the next 65 years Caroline returns to Union Station on the anniversary of her loss, to salute the memory of her handsome and brave husband. Eventually, a TV journalist learns of the touching story and sets out to investigate just what happened to Neil 65 years earlier. As she finds out more about Caroline and her family, she resolves issues in her own life that have kept her from finding love herself. Watch it now!
Eli Roth compares monster movie Meg to Pac-Man
Eli Roth’s cannibal horror The Green Inferno is heading into UK cinemas (finally) on February 12th, and the director took the time out to talk to us about the film (which you will hear on an upcoming episode of the Flickering Myth podcast). Up next for the director, however, is the giant shark movie Meg, and Roth told us about his unusual pitch for the movie.
“When I met with the studio I basically said, ‘You know Pac-Man eating dots? Well the shark is Pac-Man and the dots are people’,” Roth joked with us. “That’s the movie I’m making. Give me five surfers to go in one bite. There’s no fighting, there’s no trashing – it just swallows and keeps moving. You’re a dot in a Pac-Man maze.”
“They loved it,” he continues. “It’s going to be scary and it’s going to be exciting.”
Meg has been in development in some form or another since 1997 when Disney first bought the rights to Steve Alten’s novel MEG: A Novel of Deep Terror. Disney however did not want to compete with Warner Bros.’ Deep Blue Sea, and at one point Speed and Twister director Jan de Bont was attached to direct. Being Roth’s first big budget movie (the rumour is $150 million and his last film, Knock Knock cost just $3 million), he’s excited to jump on board.
“I think one of the reasons it took 20 years was that they never figured out how to get the story right,” Roth told us. “Because no one knew how to do the effects to make them convincing. And now we’re in a place where you can really do a hybrid of practical and digital [effects]. You have to make it look organic, otherwise the movie won’t work. I’m really, really excited about it.”
Read more at Flickering Myth
Guest Post: The screenwriter of My Name is Bill W. on the genesis of his memoir about his father.

Every author I have known or have studied over the years usually had a reason or purpose behind every book they wrote. I am no exception.
In fact, in my case I’ve had very specific reasons and purposes behind all the books and movies I have written over the last two decades: to shine the spotlight on why, how and where to find recovery from the deadly disease of alcoholism. And as a recovered alcoholic myself with 53 years of sobriety, this was especially true for my newest book, How I Became My Father…A Drunk.
How much better can it be than my mother finding in sobriety the husband she always wanted and a son finding a father he could love and respect.When I wrote the movie My Name Is Bill W., starring James Woods, James Garner and JoBeth Williams, my goal was to let the world know how the program of Alcoholics Anonymous has and continues to save millions of lives all over the world. Now that the Bill W. film has become the most watched television movie ever made, it is certainly well on its way to achieving that aim.
When I wrote the book The Lois Wilson Story: When Love Is Not Enough, my goal was to bring the supportive program of Al-Anon Family Groups to the attention of suffering spouses and others affected by the disease of alcoholism. The movie I wrote based on that book When Love Is Not Enough, starring Winona Ryder and Barry Pepper and produced by The Hallmark Hall of Fame, further supported that aim.
Most of the other books and movies I have written, from 1,000 Years of Sobriety to 50 Quiet Miracles That Changed Lives, have also been focused primarily on how those addicted to alcohol or drugs can find or strengthen their recovery.
But my newest book, How I Became My Father…A Drunk, is one I never intended to write for two basic reasons. First, I had finally made peace with my dad and found great love and respect for him when he also got sober. Second, I don’t enjoy thinking about or dwelling upon uncomfortable situations. While I know our past can often be our greatest asset, it can also be our greatest source of pain if we wallow in it.
The reason I finally decided to tackle this difficult task and share openly and honestly about how alcoholism had painfully impacted my relationship with my father, as well as his family and mine, had little to do with me. It had to do mostly with a recovery counselor in Florida, my loving wife Bernadette, and three very close friends whom I trust and love dearly convincing me this story could help people. Like so many others who seek to do the same—help people—I get great joy from this pursuit.
So the purpose of this new book simply became my reaching out to families still trapped in the malady of addiction to show them through my own personal experience (and that of my father’s) that there is a way out—and a life for them beyond their wildest dreams.
Trying to recall things that happened many years ago, especially painful, life-changing incidents, is a significant challenge to say the least. But perhaps the so-called memory experts are correct when they say that the older you get, the easier it is to remember the long ago than it is to remember what happened yesterday. That was certainly true in my case.
I was able to recall many incidents from my early childhood, especially the terrible arguments, fights and drunken brawls that tore my family apart. My two sisters, my brother and I would be awakened in the middle of the night by loud yelling and screaming and various objects being thrown around the house, crashing into the walls and ceilings. Then, more often than not, our frustrated and usually hysterical mother would drag us out of bed, cover us in coats or blankets and cart us off to our grandmother’s place for a few days until my father sobered up, apologized and things calmed down—until the next time.
Add to all that my mother’s resulting anger and rage, which she often took out on her children, and you’re left with some very painful memories.
Let me share just one of many unforgettable incidents involving my father and me. I was around 11 or 12 at the time. I was playing stickball near my house one day with a bunch of young guys from the neighborhood. Suddenly, a taxicab pulls up and my father falls out into the street so slobbering drunk that the cab driver had to almost carry him into the house.
Most of the guys I was playing with knew my father but still couldn’t help but laugh, some louder than others. I was so filled with shame I just took off running. I didn’t know where I was headed but I just kept on running until I got totally exhausted. Then I sat down on some rocks in a barren field somewhere and cried. That’s why many times during my growing up years I swore I would never become anything like my father. But alcoholism is a cunning, baffling and powerful disease that runs in families. When I started to drink, I not only became like my father, I became even worse.
In writing How I Became My Father…A Drunk, I wanted to share not only the painful experiences alcoholism brought into both families—my father’s and then my own—but also the time period and the atmosphere in which we lived and the historic events, the colorful drama and funny anecdotes that surrounded the ups and downs of our lives. For example:
- What it was like as America struggled its way out of The Great Depression when, despite the Prohibition law, people drank just to feel better.
- The inside story of the derelict’s haven called "The Bowery” which was once one of the most fashionable neighborhoods in New York City.
- The heyday of journalism in New York City when there were 18 daily newspapers and exciting, unbridled competition for exclusive stories.
- Waking up in a smelly, flea-bag hotel on The Bowery where the room cost two bucks a night or three bucks if you wanted a sheet to cover the urine-stained mattress.
- Some of the epic events of the time such as World War II; the Korean conflict; Martin Luther King Jr.'s fight for racial justice; the Soviet’s Sputnik rocket that launched the Space Race, and the last execution in Sing Sing Penitentiary’s electric chair.
- The lowdown on once-famous celebrities like Las Vegas showgirl Zsa Zsa Gabor; actress Diana Barrymore; singer and movie star Dick Haymes; wealthy playboy Mickey Jelke who ran New York City’s biggest call-girl ring, and the shameless international gigolo Porfirio Rubirosa who married two of the world’s richest woman and was writer Ian Fleming’s model for James Bond.
- The excitement of one of the greatest baseball World Series ever played when the Brooklyn Dodgers finally beat the New York Yankees in seven games in 1955.
Norman Stephens, Emmy and Peabody Award-winning producer commented, “This remarkable family drama will touch the minds and hearts of millions of readers whether or not their personal lives have been impacted, maimed or destroyed by alcohol, or they’ve been blessed by recovery.”
Oscar and Grammy Award-winning songwriter and actor Paul Williams added: “You need not be a member of the recovering community to be deeply touched by Bill Borchert’s writing. His new book will both entertain and enlighten many about the terrible disease of alcoholism.”
And Andrew Pucher, President of The National Council on Alcoholism and Drug Dependence, kindly remarked: “Bill Borchert’s dramatic and heart-wrenching new book deftly describes the often crazy, unpredictable and tragic lives of those growing up with an actively alcoholic parent, how the children are impacted and how some may unwittingly follow the same path. Happily in this case Bill also shares the joy of recovery for himself, his dad and their families. This is a great read for anyone impacted in any way by the disease of alcoholism or anyone who simply enjoys a dramatic, somewhat painful yet marvelous story.
While writing How I Became My Father…A Drunk was a difficult task, in the end it turned out to be one of the most satisfying experiences of my life. How much better can it be than my mother finding in sobriety the husband she always wanted and a son finding a father he could love and respect. Just another one of those miracles we see all the time in recovery.
Read more at The Fix
Book Pleasures Interviews Writer, Producer, Career Coach, Teacher and Literary Manager, Dr. Ken Atchity
Bookpleasures.com welcomes guest writer, producer, career coach, teacher, and literary manager, responsible for launching hundreds of books and films, Dr. Ken Atchity.
Ken's life passion is finding great storytellers and turning them into bestselling authors and screenwriters.
Ken has produced over 30 films, including “Angels in the Snow” (Kristy Swanson), "Hysteria" (Maggie Gyllenhaal, Hugh Dancy, Informant Media), "Erased" (Aaron Eckhart, Informant), the Emmy-nominated "The Kennedy Detail" (Discovery), "The Lost Valentine" (Betty White; Hallmark Hall of Fame), "Joe Somebody" (Tim Allen; Fox), "Life or Something Like It" (Angelina Jolie; Fox), and "14 Days with Alzheimer's."
Nearly twenty of his clients’ books have been New York Times
bestsellers. His new imprint, Story Merchant Books, has published more than 150 titles in its first three years. Ken’s many books include books for writers atevery stage of their careers, and, recently, three novels, Seven Ways to Die (with the late William Diehl), The Messiah Matrix and Brae Mackenzie.
Norm: Good day Ken and thanks for participating in our interview.
Ken: My pleasure, Norm. My Story Merchant authors love your blogsite.
Norm; Could you tell us a little about people you have met or books you have read that have inspired you to embark on your various career hats that you have worn?
Ken: That’s a great question. I’ve had many inspiring mentors, from whom I’ve learned the fundamentals that have shaped my life.
Saturday Review editor Norman Cousins, who urged me to leave my tenured academic position to challenge my abilities and aspirations in the world of commercial storytelling.
Yale President and Baseball Commissioner A. Bartlett Giamatti, whose course in the Renaissance inspired me to follow his model, and become a practicing “Renaissance man.”
I ran into him in the Yale Club elevator one day. He said, “Atchity, what is this I hear about a professor of comparative literature producing romance movies?” I said: “What is this about the President of Yale becoming the Baseball Commissioner?”
Psychology Today editor Paul Chance, who counter-inspired me by saying, “Find your niche, young man. Find your niche.”
I swore when he said that, in turning down my proposal to publish DreamWorks, a journal exploring the relationship between the arts and dreams, that I would NEVER be a niche-person. And it’s true years later. I found a publisher for the journal, by the way: New York’s Human Sciences Press.
Novelist-professor John Gardner, who urged me to clean my writing of all academic spider webs and write and speak clear English that everyone could understand. He also told me to start a file for crazy letters, critical or otherwise, called “Cranks & Weirdos”—and put letters in it without reading more than enough to determine they belong there. That file is about four inches deep at this point.
Norm: In the last few years have you seen any changes in the way publishers publish and/or distribute books? Are there any emerging trends developing?
Ken: The last few years have seen nothing but change in publishing. To begin with traditional publishers have nearly all been acquired by conglomerate international corporations. The impact of that is to make them focus almost entirely on the bottom line and to take fewer and fewer chances with new voices.
That’s exactly why I founded Story Merchant Books. It was getting discouraging watching promising new writers get nothing but rejection from the traditional publishers and I wanted books in my hand to take to my Hollywood associates. One day I thought, why don’t I make the books? The trend is definitely away from traditional publishing and toward this kind of direct publishing.
Norm: In your opinion, what is the most difficult part of the writing process? As a follow up, what, in your opinion, are the most important elements of good writing?
Ken: The most difficult part, by far, is finding a good story and letting it ruminate long enough to make the writing down of it almost like ‘automatic writing.’ Character is the heart of it, but plot is also important—and action that keeps moving the story along, preferably in unexpected directions.
Norm: What makes a good story and how do you go about finding great storytellers and turning them into bestselling authors and screenwriters? As a follow up, what is the process in determining if a book has film potential?
Ken: A great story transports the reader or the audience to its world, and you don’t want to leave it. You want to prolong the engagement, or repeat it. It sells you on that world and on its characters. If a story does that, it can be a film as well as a book.
I don’t go finding writers anymore; they come to me from my years of experience, from my books on writing, from my alumni as a professor, and from referrals from publishers, agents, studios, and independent producers.
Norm: Many writers want to be published, but not everyone is cut out for a writer's life. What are some signs that perhaps someone is not cut out to be a writer and should try to do something else for a living?
Ken: You can determine whether a writer is cut out for it or not the minute he starts asking you to help him determine, numerically, his risk-reward ratio. Real writers invest everything they can access, physically, mentally, psychologically, spiritually, and financially--to pursue their careers.
Norm: Do you feel that writers, regardless of genre owe something to readers, if not, why not, if so, why and what would that be?
Ken: Yes, they owe them a good story, thereby repaying them for the time the reader invests in their book. As I learned from Lowry Nelson, Jr., my Yale mentor, there is a “fictive contract” between the reader and the author under the terms of which the author sets expectations and then must fulfill those expectations satisfactorily.
You know you’re reading a good story when you begin by reading it faster and faster, and end up reading it more and more slowly because you don’t want to see it end. When that happens the author has fulfilled his part of the contract. When the reader posts a thoughtful review, he’s fulfilled his.
Norm: Do you ever suffer from writer's block? If so, what do you do about it?
Ken: I’ve never had writer’s block. “It’s a sign,” Norman Mailer said, “of failure of the ego.” I think the key to writing is having something to say, or some story to tell. I’ve never wanted for either.
My book A Writer’s Time (available as an e-Book as Write: Time) gives good advice about dealing with it. One of my points: “Never sit down to write until you know what you’re going to write before you sit down.”
Norm: What is Story Merchant Books all about and what do you look for when accepting to publish a book?
Ken: I started Story Merchant Books to give promising new writers a professional entrĂ©e into the story marketplace, and I’m happy to say that even mid-career writers and several estates have found their way to SMB as well. I almost always base the decision on the strength of the story and the voice behind it—as well as my being able to envision it as a film.
Norm: Could you tell our readers about your two recent novels, The Messiah Matrix and Brae Mackenzie.
Ken: After I was asked to finish the late and much-admired William Diehl’s unfinished thriller, Seven Ways to Die, and discovered I really did have a knack for fiction (most of my previous books were nonfiction).
Messiah Matrix was based on my first lifetime of classical learning and teaching and the childhood comparisons I heard from the Jesuits between Caesar and Jesus.
It got such great response—including outrageous attacks on those who insisted on regarding it as nonfiction—that I revised a novel I’d drafted years ago, and am just publishing it, Brae Mackenzie, about a discontent American woman who investigated her ancestral roots and finds the love of her life in the myths of Scotland, and a man who introduces her to them first-hand.
Norm: Are you working on any books/projects that you would like to share with us? (We would love to hear all about them!)
Ken: Yes, I’m working on my memoirs, A Story Merchant’s Story, which will be in several volumes. I think I’ve learned a lot in my various walks of life and it’s time to pass what I’ve learned on to others.
Norm: Where can our readers find out more about you and your work?
Ken:
My AUTHOR CENTRAL PAGE ON AMAZON
The Messiah Matrix
is a good start. Thanks for asking Norm.
Norm: Thanks once again and good luck with all of your future endeavors.
Norm Goldman,
B.A. LL.L, is the
Publisher & Editor of Bookpleasures, which he created in 2002.'
Practicing law for over 35 years enabled Norm to transfer and apply to
book reviewing his many skills that he had perfected during his career
in
the legal profession and as a result he became a prolific free lance
book reviewer & author interviewer.
To read more about Norm Follow Here
Ken's life passion is finding great storytellers and turning them into bestselling authors and screenwriters.
Ken has produced over 30 films, including “Angels in the Snow” (Kristy Swanson), "Hysteria" (Maggie Gyllenhaal, Hugh Dancy, Informant Media), "Erased" (Aaron Eckhart, Informant), the Emmy-nominated "The Kennedy Detail" (Discovery), "The Lost Valentine" (Betty White; Hallmark Hall of Fame), "Joe Somebody" (Tim Allen; Fox), "Life or Something Like It" (Angelina Jolie; Fox), and "14 Days with Alzheimer's."
Nearly twenty of his clients’ books have been New York Times
bestsellers. His new imprint, Story Merchant Books, has published more than 150 titles in its first three years. Ken’s many books include books for writers atevery stage of their careers, and, recently, three novels, Seven Ways to Die (with the late William Diehl), The Messiah Matrix and Brae Mackenzie.Norm: Good day Ken and thanks for participating in our interview.
Ken: My pleasure, Norm. My Story Merchant authors love your blogsite.
Norm; Could you tell us a little about people you have met or books you have read that have inspired you to embark on your various career hats that you have worn?
Ken: That’s a great question. I’ve had many inspiring mentors, from whom I’ve learned the fundamentals that have shaped my life.
Saturday Review editor Norman Cousins, who urged me to leave my tenured academic position to challenge my abilities and aspirations in the world of commercial storytelling.
Yale President and Baseball Commissioner A. Bartlett Giamatti, whose course in the Renaissance inspired me to follow his model, and become a practicing “Renaissance man.”
I ran into him in the Yale Club elevator one day. He said, “Atchity, what is this I hear about a professor of comparative literature producing romance movies?” I said: “What is this about the President of Yale becoming the Baseball Commissioner?”
Psychology Today editor Paul Chance, who counter-inspired me by saying, “Find your niche, young man. Find your niche.”
I swore when he said that, in turning down my proposal to publish DreamWorks, a journal exploring the relationship between the arts and dreams, that I would NEVER be a niche-person. And it’s true years later. I found a publisher for the journal, by the way: New York’s Human Sciences Press.
Novelist-professor John Gardner, who urged me to clean my writing of all academic spider webs and write and speak clear English that everyone could understand. He also told me to start a file for crazy letters, critical or otherwise, called “Cranks & Weirdos”—and put letters in it without reading more than enough to determine they belong there. That file is about four inches deep at this point.
Norm: In the last few years have you seen any changes in the way publishers publish and/or distribute books? Are there any emerging trends developing?
Ken: The last few years have seen nothing but change in publishing. To begin with traditional publishers have nearly all been acquired by conglomerate international corporations. The impact of that is to make them focus almost entirely on the bottom line and to take fewer and fewer chances with new voices.
That’s exactly why I founded Story Merchant Books. It was getting discouraging watching promising new writers get nothing but rejection from the traditional publishers and I wanted books in my hand to take to my Hollywood associates. One day I thought, why don’t I make the books? The trend is definitely away from traditional publishing and toward this kind of direct publishing.Norm: In your opinion, what is the most difficult part of the writing process? As a follow up, what, in your opinion, are the most important elements of good writing?
Ken: The most difficult part, by far, is finding a good story and letting it ruminate long enough to make the writing down of it almost like ‘automatic writing.’ Character is the heart of it, but plot is also important—and action that keeps moving the story along, preferably in unexpected directions.
Norm: What makes a good story and how do you go about finding great storytellers and turning them into bestselling authors and screenwriters? As a follow up, what is the process in determining if a book has film potential?
Ken: A great story transports the reader or the audience to its world, and you don’t want to leave it. You want to prolong the engagement, or repeat it. It sells you on that world and on its characters. If a story does that, it can be a film as well as a book.
I don’t go finding writers anymore; they come to me from my years of experience, from my books on writing, from my alumni as a professor, and from referrals from publishers, agents, studios, and independent producers.
Norm: Many writers want to be published, but not everyone is cut out for a writer's life. What are some signs that perhaps someone is not cut out to be a writer and should try to do something else for a living?
Ken: You can determine whether a writer is cut out for it or not the minute he starts asking you to help him determine, numerically, his risk-reward ratio. Real writers invest everything they can access, physically, mentally, psychologically, spiritually, and financially--to pursue their careers.
Norm: Do you feel that writers, regardless of genre owe something to readers, if not, why not, if so, why and what would that be?
Ken: Yes, they owe them a good story, thereby repaying them for the time the reader invests in their book. As I learned from Lowry Nelson, Jr., my Yale mentor, there is a “fictive contract” between the reader and the author under the terms of which the author sets expectations and then must fulfill those expectations satisfactorily.
You know you’re reading a good story when you begin by reading it faster and faster, and end up reading it more and more slowly because you don’t want to see it end. When that happens the author has fulfilled his part of the contract. When the reader posts a thoughtful review, he’s fulfilled his.
Norm: Do you ever suffer from writer's block? If so, what do you do about it?
Ken: I’ve never had writer’s block. “It’s a sign,” Norman Mailer said, “of failure of the ego.” I think the key to writing is having something to say, or some story to tell. I’ve never wanted for either.
My book A Writer’s Time (available as an e-Book as Write: Time) gives good advice about dealing with it. One of my points: “Never sit down to write until you know what you’re going to write before you sit down.”
Norm: What is Story Merchant Books all about and what do you look for when accepting to publish a book?
Ken: I started Story Merchant Books to give promising new writers a professional entrĂ©e into the story marketplace, and I’m happy to say that even mid-career writers and several estates have found their way to SMB as well. I almost always base the decision on the strength of the story and the voice behind it—as well as my being able to envision it as a film.
Norm: Could you tell our readers about your two recent novels, The Messiah Matrix and Brae Mackenzie.
Ken: After I was asked to finish the late and much-admired William Diehl’s unfinished thriller, Seven Ways to Die, and discovered I really did have a knack for fiction (most of my previous books were nonfiction).
Messiah Matrix was based on my first lifetime of classical learning and teaching and the childhood comparisons I heard from the Jesuits between Caesar and Jesus.
It got such great response—including outrageous attacks on those who insisted on regarding it as nonfiction—that I revised a novel I’d drafted years ago, and am just publishing it, Brae Mackenzie, about a discontent American woman who investigated her ancestral roots and finds the love of her life in the myths of Scotland, and a man who introduces her to them first-hand.
Norm: Are you working on any books/projects that you would like to share with us? (We would love to hear all about them!)
Ken: Yes, I’m working on my memoirs, A Story Merchant’s Story, which will be in several volumes. I think I’ve learned a lot in my various walks of life and it’s time to pass what I’ve learned on to others.
Norm: Where can our readers find out more about you and your work?
Ken:
My AUTHOR CENTRAL PAGE ON AMAZON
The Messiah Matrix
is a good start. Thanks for asking Norm.
Norm: Thanks once again and good luck with all of your future endeavors.
To read more about Norm Follow Here
Check out this powerful broadcast with Mr. William G. Borchert Author of "How I Became My Father ... A Drunk!"
The Monty'man welcomes back William G. Borchert author of the most watched movie ever broadcast on television, "My Name is Bill W."
Bill shares an extremely personal look into his own life in his new book, "How I Became My Father... A Drunk". This is the story of one of the world's most beloved authors of our time. His ability to share his story with a heart for those suffering from alcoholism as well as those who love the alcoholic is remarkable.
Bill shares an extremely personal look into his own life in his new book, "How I Became My Father... A Drunk". This is the story of one of the world's most beloved authors of our time. His ability to share his story with a heart for those suffering from alcoholism as well as those who love the alcoholic is remarkable.
Melanie Neilan Featured in Classic Chicago Magazine
Women to Watch
With a key role in “Domesticated” (now playing at Steppenwolf Theatre), two films currently screening on the festival circuit, and an audition for a Tracy Letts play, Melanie Neilan has 2016 at her feet.
“In "Domesticated," a drama with a ton of comedy, I play an Ă¼ber-smart, extremely acidic, sarcastic teenager. One of my favorite scenes is when I impulsively throw a bowl of oranges off the table to express my anger at my dad,” she said. “I have learned so much from writer/director Bruce Norris.
![]() |
Melanie Neilan in "Domesticated," by Joel Moorman. |
“I am currently attached to three film projects, one, a short film that deals with a hard-hitting and relevant social issue that the filmmakers want to develop into a full-length feature. My manager, Nancy Scanlon, is developing, under the banner of her company Au Courant, a biopic set in the Victorian era, and I will play a starlet. My current films include My First Love, in which my character transfers her love notes on Hostess Cup Cakes.”
A purple belt in karate, Melanie has studied since childhood at the Irina Makkai Classical Ballet & Dance School in Highland Park. Dividing her time between Chicago and Los Angeles, she trains in ballet in Santa Monica. Melanie was a founding ensemble member of A Red Orchid Youth Ensemble. “I look up to Michael Shannon, who is a founding father of A Red Orchid Theatre, as he has always been one of my longtime acting heroes, and I admire so much his current work in ‘Boardwalk Empire,’” she shared.
Her greatest hero of all and lifelong mentor, however, is her grandmother Merle Reskin, beloved Chicago arts patron, actress, and singer. Merle, an actress and singer who, along with her husband Harold, saved the historic Blackstone Theatre, which is now a part of DePaul University and bears her name.
She was in attendance at the opening night of “Domesticated,” with her daughter, Melanie’s mother Leslie Neilan.
![]() |
Leslie, Melanie, and Merle by Joshua Aaron Weinstein. |
“Merle played the role of Ensign Janet MacGregor in the original Broadway cast of ‘South Pacific.’” This wasn’t a road show either; it was the real deal,” Leslie said. “I remember when Melanie was five, my mom was being presented with an award for philanthropy and she brought Melanie up onstage, too. Melanie looked at the audience and gave a royal wave. I knew then that she loved being in front of audiences.”
Melanie says there’s something particularly terrific about this strong bond between the women in her family. She cites her grandmother as “the potent force driving my love of the craft; without her stories and passion for the arts, I would not have discovered the world of theatre in quite the same way. And her humor always keeps me laughing.”
She is similarly influenced by mom, Leslie: “My mother’s turn headlong into the field of producing is one of the most inspirational things I have ever seen. She has a real gift for storytelling and [is] unbelievably insightful. I hope to be a part of a horror film she and my agent Nancy Scanlon hope to produce.”
Leslie Neilan will be producing her first feature film this year based on a story she has written called The Book of Leah. She and Alan Roth, recipient of an Academy of Motion Picture Arts and Sciences fellowship, are the screenwriters. She has two other children, Sean and Spencer, who are both engineers.
Looking forward to 2016, Melanie hopes to spend more time in Los Angeles, particularly during pilot season. “I want to continue to work in theatre and film, and break into television. I’d love to find more ways to express my love for languages, singing, dancing, unicycling and yodeling.” Yodeling? “Most of my friends know I yodel, so if I see them across the street, I yodel, and they know it could be no one else but me,” Melanie said. “Yodeling is a random and surprising thing. When I do it, it gives me great joy.”
Read more at Classic Chicago Magazine
Battle of New Orleans script lands on Black List, as one of Hollywood's top unproduced screenplays
Call it the battle of the "Battle of New Orleans" movies. Another screenplay based on the legendary 1815 skirmish that played out at Chalmette battlefield -- and in which Andrew Jackson's ragtag band of U.S. Army regulars, militia, free people of color, American Indians and pirates routed the more numerous British forces -- is turning heads in Hollywood.
The script for "The Battle of New Orleans," penned by screenwriter Dan Kunka -- whose "12 Rounds" was shot in New Orleans in 2008 -- landed this week on the 2015 Black List, an annual accounting of the most liked unproduced screenplays in Hollywood. Kunka's script earned 10 votes, tying it for 20th most on this year's list, which is based on a survey of more than 250 studio and production company executives.
It is unrelated to the independently produced "Andrew Jackson and the Battle of New Orleans," an action drama announced in January by filmmaking siblings Fred and Ken Atchity. Producers of that project, based on a book by historian Ron Drez, hope to begin production by June, according to Ken Atchity.
Kunka's 119-page "Battle of New Orleans" script, based on the book "Patriotic Fire" by "Forrest Gump" author Winston Groom, opens with the sacking of the White House by the British in August 1814. Continuing through to the end of the titular battle in January 1815, it focuses on the unlikely alliance between U.S. Gen. Andrew Jackson and the pirate Jean Lafitte, a partnership seen as key to the British defeat.
The Battle of New Orleans is something of a historical curiosity, fought as it was after the Treaty of Ghent had been signed in December 1814 to end the war. Word of the signing of that treaty, however, never got to British Gen. Edward Packenham, who had been dispatched with his army to take the strategic city of New Orleans; or to Jackson, tasked with defending the city. And so, on Jan. 8, 1815, they met on the battlefield, the British were defeated and New Orleans stayed in American hands.
Because it was fought after the war was technically over, the battle over the years has become considered by many to be a largely needless one. There are those who speculate, however, that, had the British won the war and taken New Orleans, the treaty might have been immediately nullified by the British.
The story was previously told on film in Cecil B. DeMille's heavily romanticized 1938 epic "The Buccaneer," which starred Fredric March as Lafitte and Hugh Sothern as Jackson. "The Buccaneer" was remade in 1958, directed by Anthony Quinn and starring Charlton Heston as Jackson and Yul Brenner as Lafitte.
Read more at NOLA.com
The script for "The Battle of New Orleans," penned by screenwriter Dan Kunka -- whose "12 Rounds" was shot in New Orleans in 2008 -- landed this week on the 2015 Black List, an annual accounting of the most liked unproduced screenplays in Hollywood. Kunka's script earned 10 votes, tying it for 20th most on this year's list, which is based on a survey of more than 250 studio and production company executives.
It is unrelated to the independently produced "Andrew Jackson and the Battle of New Orleans," an action drama announced in January by filmmaking siblings Fred and Ken Atchity. Producers of that project, based on a book by historian Ron Drez, hope to begin production by June, according to Ken Atchity.
Kunka's 119-page "Battle of New Orleans" script, based on the book "Patriotic Fire" by "Forrest Gump" author Winston Groom, opens with the sacking of the White House by the British in August 1814. Continuing through to the end of the titular battle in January 1815, it focuses on the unlikely alliance between U.S. Gen. Andrew Jackson and the pirate Jean Lafitte, a partnership seen as key to the British defeat.
The Battle of New Orleans is something of a historical curiosity, fought as it was after the Treaty of Ghent had been signed in December 1814 to end the war. Word of the signing of that treaty, however, never got to British Gen. Edward Packenham, who had been dispatched with his army to take the strategic city of New Orleans; or to Jackson, tasked with defending the city. And so, on Jan. 8, 1815, they met on the battlefield, the British were defeated and New Orleans stayed in American hands.
Because it was fought after the war was technically over, the battle over the years has become considered by many to be a largely needless one. There are those who speculate, however, that, had the British won the war and taken New Orleans, the treaty might have been immediately nullified by the British.
The story was previously told on film in Cecil B. DeMille's heavily romanticized 1938 epic "The Buccaneer," which starred Fredric March as Lafitte and Hugh Sothern as Jackson. "The Buccaneer" was remade in 1958, directed by Anthony Quinn and starring Charlton Heston as Jackson and Yul Brenner as Lafitte.
Read more at NOLA.com
Gary Kurtz, Producer of Star Wars, Comments on Dennis Stanfill
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| Gary Kurtz and George Lucas on the set of Star Wars |
"Eventually the Fox board decided they wanted to see a rough cut of the movie — at the worst possible time.
The board [including Princess Grace of Monaco] came to the mix one night. We could only work at night because the mixing theater was busy during the day. We were supposed to mix at Warner Brothers and their big stage, and we got preempted by Clint Eastwood and his film [The Gauntlet]; he was a much bigger name at Warner Brothers than we were. Goldwyn didn’t have any time either, but the head of Goldwyn said, “Well, I could let you work at night, and we’ll pull in another crew.” So, we worked from 8 p.m. to 8 a.m. every day.
The board came in when we were just finishing up the [very unusual at the time] Dolby stereo mix. They came at the beginning of our session, at 8 p.m. I don’t think we had any titles then. No end titles or anything.
The board sat there and watched the film, and at the end they got up and left, not a word. No applause, not even a smile. They just got up and left. We were really depressed. Stanfill came up to me right at the very end, he was the last one to leave. He said, “Don’t worry about them. They don’t know anything about movies.”
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| Terry Stanfill, Princess Grace, Dennis Stanfill |
Terry Stanfill comments: "We remember the Sunday night Dennis called us into his office when he signed the go-ahead payment to begin Star Wars. Francesca has what we still call the :Star Wars desk. He thought it was important enough to call us in to watch--but who could have possibly imagined that it would have come to this!"
Read More at Mashable
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