![]() ![]() ![]() He didn’t buy the book, for which I can’t blame him, but he liked the dialogue and I was put under contract to him. I did The Vampire’s Ghost there, and just out of the clear blue sky this other thing happened, purely on the strength of a hard-boiled mystery novel I had published. They decided to cash in on the Universal monster school, and I had been doing science fiction, and to them it all looked the same - “bug-eyed monsters.” It made no difference. ![]() My agent, Hugh King, had been with Myron Selznick, my agency at that time, and he had gone over to Republic as story editor and had sort of managed to shoehorn me in because they were doing this horror film. ON HOW SHE GOT HER START AS A SCREENWRITER Here are some notable excerpts from the book “Backstory 2: Interviews with Screenwriters of the 1940s and 1950s”, edited by Patrick McGilligan: Brackett, whose career spanned four decades, demonstrated incredible breadth in terms of genres with writing credits on movies as diverse as The Big Sleep (1946), Rio Bravo (1959), Hatari! (1962), Rio Lobo (1970), The Long Goodbye (1973), and ending with a posthumous co-writer credit on Star Wars: Episode V - The Empire Strikes Back (1980), shared with Larry Kasdan. The “she” to whom Hawks was referring was screenwriter Leigh Brackett. She writes good.” - Howard Hawks, quoted in “Hawks on Hawks”. ![]()
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