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David Coleman's Endless Descent

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Our online poll attracted the notice of a certain Web visitor in the know. Here's what he told us:
"I searched your site and particularly enjoyed the Curse of Jack Scalia. I wrote Endless Descent, an aliens-underwater-flick Jack did back in the late 80s.... Here's a short memoir... Every word is true."
We checked, and the IMDB lists David Coleman as the credited screenwriter! We get a lot of requests for info on the actor, but this is the first submission, and it's way surreal:

One day I get a call. Dino De Laurentiis's develop exec Mike Petzold is on the other end. They have an "aliens underwater picture" that they need re-written. Would I look at it and give them some feedback?

Are you kidding? A year out of film school and being offered a chance to rewrite a grade z schlocker? Life didn't get any better than that.

So they messenger the script over. I read it and call them right back, as requested and pitch them my take. They say, "Yeah, good ideas. Want to do it?" I say, "Well, yeah." They say, "Okay, do you have a passport?"

Because in one week, I had to be on the set in Madrid, Spain, to rewrite the script!

It gets better. I soon discover the director -- a true gentleman by the name of Juan Piquer Simon -- is the auteur behind such classics as Pieces (The poster's tag line: "It's Exactly What You Think It Is"), Slugs: The Movie, and many, many more direct-to-video fare.

Alas, Mr. Simon, though as congenial a host as one could desire, does not speak a word of English. And so, everything I write has to be loosely translated by an interpreter, and then back from him to me, etc. In fact, every conversation has to be this way. It proves to be a very strange working environment, but the company is delightful (the Spanish film industry is so underfunded that everyone involved is just happy to be getting a check) and Madrid -- when I could sneak away for a few hours at a time -- was beautiful.

A final note: I rewrite the script in about two and a half to three weeks, which includes the extensive outline we have to make pass "the Dino test" (which is, basically, having the Spanish-language version the director Mr. Simon has rewritten of my outline translated into Italian for Dino, his preferred "reading language," I am told). I am also told -- after I have delivered the outline -- that it is good Dino is so enthusiastic about the results. Because they have already spent, they tell me, $750,000 on the sets, and Dino has been threatening to pull the plug unless the script improves.

Since I cannot read what Dino is reading because it is a translation of a translation, I can only assume they did an okay job translating. Who knows, maybe they improved it. It wouldn't have been difficult given the vagaries of the process involved.


David Coleman is with Kudzunet, a Website design outfit that has a few film-related customers already, and is looking for new ones!
Last updated Apr. 7, 1998.

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