Post ScriptPost Script is a department that opens windows into the lives and experiences of your fellow <strong>Milton</strong> alumni.Graduates may author the pieces, or they may react to our interview questions. Opinions, memories,explorations, reactions to political or educational issues are all fair game. We believe you will find your<strong>Milton</strong> peers informative, provocative and entertaining. Please email us with your reactions and yourideas—cathy_everett@milton.edu.<strong>Milton</strong> is far from Hollywood:The making of a screenwriterHadley Davis Rierson ’89<strong>Milton</strong> is far from Hollywood. I know this becauseI have traveled from Logan to LAX with my infant son intow (six hours, 19 minutes). Los Angeles, however, is notjust far in the literal sense. People look different here. OnRodeo Drive, I have yet to spot an authentically rumpledoxford shirt—the I-just-rolled-out-of-bed-and-picked-thisup-off-the-floortimeless fashion statement that <strong>Milton</strong>ianshave long and effortlessly sported crossing Centre Street.Furthermore, last I checked, most <strong>Milton</strong> teachers can stillmove their eyebrows. But what struck me most when Imoved to Southern California and went to work in theentertainment business—and what still strikes me today—is the flagrant disregard for the correct use of the object ofthe preposition. “Between you and I” (as they say), variouswho-and-whom violations are as rampant as car chases onthe 10 o’clock news. To be a bit more blunt: what counts isnot how well you are educated (or if you are educated atall), but rather whether the movie or television programyou have acted in, directed, written or produced is a success.As I said before, <strong>Milton</strong> is far from Hollywood. Howis it then that I attribute my screenwriting career to<strong>Milton</strong>?For one, you can’t be a Hollywood screenwriter if you can’tpitch your movie, and in order to pitch your movie youhave to be able to communicate well. That DreamWorksexecutive may have just returned from a languorous lunchat the Palm. He may have chomped one too many bites offilet mignon and he may have downed one too many martinisat the Tom Cruise premiere the night before. Not tomention he may have more than a touch of “SesameStreet” generation ADD. You must grab him—immediately.You must help him focus by giving him an overview ofyour movie. And then you must, for 10 minutes, tell himyour story. Your story has to be thoughtfully structured; ithas to have a beginning, a middle and an end; that endneeds to leave an impression (big finish) and you, thescreenwriter, have to be animated (remember the languorouslunch) and convincing (notice the Harvard diplomaon his wall). Yes, it helps to be poised and to appearconfident. This is, after all, a performance. Sound familiar?It should. The Hollywood Pitch is, essentially, the <strong>Milton</strong><strong>Academy</strong> Fourth Class Talk.Every time I pitch I think of my Fourth Class Talk—because every time I pitch I am scared. I was especiallyscared when I had to pitch my first movie, Ice Princess, tothe president of Walt Disney Pictures. The stakes werehigh. If I impressed her, I would officially become a workingscreenwriter. If not, it would be back to square one.But, scared as I was, I was not—and could never be—asterrified as I was at age 14, in braces, standing sweatypalmedbefore the boy I prayed would ask me to “slowdance” and the rest of the Fourth Class. This is the geniusof the Fourth Class Talk. You are made to speak publicly atyour most awkward and at your most insecure. Public48 <strong>Milton</strong> Magazine
Hadley Davis Rierson ’89speaking is difficult for many people but it will never beas difficult as it was when you were in ninth grade. In caseyou are curious, my talk was about smiling (I believe itbegan “smile and the whole world smiles with you”) andI grinned and bore it and received an A–.As you have surmised from the talk of the boy and theslow dancing, I did not have an overabundance of socialconfidence at <strong>Milton</strong>. I was not a sophisticated New YorkCity–bred boarding student. I was not an athlete with muscularcalves and a field hockey stick in hand. I was notblonde (I am now). I had (and still have) what I consider tobe an imperfect nose. Thanks to my <strong>Milton</strong> teachers, however,there was one arena where I had plenty of confidence:the classroom.My <strong>Milton</strong> English teachers nurtured confidence in mywriting. This is not to say J. C. Smith or Mr. Zilliax werenurturing. They were tough critics. When I had not livedup to my potential, their disappointment alone was crushing.But when I met or exceeded their impossibly highexpectations, like the time Mr. Zilliax read my paper onThe Turn of the Screw (ending with my analysis that “the governess’sscrew was, in fact, ‘loose’”) aloud, I felt, well, brilliant.Now, on days when writer’s block takes hold and Icannot write a sentence, I think of Mr. Zilliax. I was goodenough for John Zilliax for God’s sake! He read a paperaloud for God’s sake! I have to be good enough for somerun-of-the-mill Hollywood executive.Knowing you can write and knowing how to sit down andwrite are not the same, however. <strong>Milton</strong> taught me to dothe work. Each time I stare at 120 blank pages (the lengthof a screenplay), I get the <strong>Milton</strong> exam pit in my stomach.People are counting on me to write 120 pages of wordsfrom my own imagination! No, wait, they are not justcounting on me; they’re paying me! The reason I stopshort of a full-blown anxiety attack is that thanks to <strong>Milton</strong>,and all those blue books, I know how to manage my time.I outline my scripts much like I outlined my U.S. historyterm paper for Alan Proctor. I map out how many scenesI need to tackle each day to meet my deadline and trudgeforward until 120 blank pages become 120 completedpages and I get to type the wonderful words “The End.”This brings me to the end of my essay. As I said before,I attribute my Hollywood writing career to <strong>Milton</strong>. Incidentally,between you and me, my characters never confusewho and whom.Hadley Davis Rierson has written for the television shows “Dawson’sCreek” and “Spin City” and is the author of a book: DevelopmentGirl: The Hollywood Virgin’s Guide to Making It in the MovieBusiness (Doubleday). Ice Princess, her first feature film, wasreleased by Walt Disney Pictures in March <strong>2005</strong>. She is currentlyworking on a movie for Warner Bros.49 <strong>Milton</strong> Magazine
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