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Author Topic: Larry McMurtry and Diana Ossana  (Read 6202 times)

Offline Melisande

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Larry McMurtry and Diana Ossana
« on: December 26, 2005, 09:55:25 PM »
Here's the place to talk about LM and DO's work. 
let be, let be

Offline jmf

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Re: Larry McMurtry and Diana Ossana
« Reply #1 on: December 27, 2005, 06:52:26 PM »
Not sure if this was ever posted or not, but the link below is an audio interview with Diana Ossana and Larry McMurtry by NPR's Bob Mondello and Melissa Block. 

...writers Diana Ossana and Larry McMurtry discuss adapting Annie Proulx's 11-page short story into a two-hour film.  They compare adapting the story to hiking a mountain: a challenge, but well worth it. McMurtry says it's the best material he's ever worked with as a screenwriter

http://www.npr.org/templates/story/story.php?storyId=5046849

Offline Wayman Wong

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Re: Larry McMurtry and Diana Ossana
« Reply #2 on: December 31, 2005, 11:23:02 PM »
Here's a transcript for an interview that Larry McMurtry and Diana Ossana did with ''Studio 360'' on Public Radio ...

http://www.wnyc.org/studio360/transcript120805.html

Offline canmark

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Re: Larry McMurtry and Diana Ossana
« Reply #3 on: January 13, 2006, 07:20:58 PM »
Very interesting piece by Diana Ossana from The Advocate.
http://www.advocate.com/exclusive_detail_ektid24445.asp

Quote
In the story, I see the fear of two obviously gay people too afraid to actually commit to their love, so they run off and marry women and live a life unfulfilled out of fear.
* * *
I see the fear in two major stars of actually admitting they played gay, as they downplay in the press their characters’ sexuality.
* * *
I see the fear of movie studios too afraid to make the movie with Gus Van Sant years ago.
* * *
I see the fear of countless Hollywood actors who wouldn’t take the parts.
* * *
I see the fear of a still-homophobic corporate press, which grabs onto the stars’ sexuality instead of the script’s quality.
* * *
I see the fear in filmmakers like Lee who make "gay" movies without the "gay," meaning gay people are deluged with images of heterosexual lovemaking everywhere, but should a gay couple show it on-screen—oh, no, we must hide the sex.
* * *
I see the fear of the critics, who say things like New York Daily News critic Jack Mathews did when he predicted that it may be “too much for red-state audiences, but it gives the liberal-leaning Academy a great chance to stick its thumb in conservatives’ eyes.”
* * *
Yes, I see a lot of fear around Brokeback Mountain.
... yet he is suffused with a sense of pleasure because Jack Twist was in his dream.

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Re: Larry McMurtry and Diana Ossana
« Reply #4 on: January 13, 2006, 07:38:22 PM »
Canmark - Yes a very interesting and powerful letter indeed.  I certainly would have liked to be on the crew of the movie to see how things actually went.  Very interesting!

Offline wjp58

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Re: Larry McMurtry and Diana Ossana
« Reply #5 on: January 16, 2006, 09:45:14 AM »
I've been a McMurtry fan for years.  Nobody does Texas like Larry.  But can anybody give me some background on Diana Ossana?
"There was some open space between what he knew and what he tried to believe..."

Offline wjp58

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Re: Larry McMurtry and Diana Ossana
« Reply #6 on: January 16, 2006, 01:04:13 PM »
Some background on the great McMurtry (from TX State U website):

"Novelist, essayist, and screenwriter Larry McMurtry was born June 3, 1936 in Wichita Falls, Texas. He grew up on a ranch just outside of Archer City, graduating from Archer City High School in 1954. He attended North Texas State University (B.A. 1958), then Rice University (1954, 1958-60, M.A. 1960), and studied for one semester outside of Texas, at Stanford University, as a Stegner Fellow, (1960-61). McMurtry published his first novels while working as an English instructor at Texas Christian University (1961-62), Rice University (1963-65), George Mason College (1970), and American University, (1970-71). In 1962, he won the Texas Institute of Letters Jesse M. Jones award, and in 1964, he won a Guggenheim grant. In 1970, he bought a rare-book store in Washington D.C.'s Georgetown neighborhood, named it Booked Up, and relocated to run the store. A second Booked Up was opened in Archer City, Texas, in 1988.

His first seven novels were all set in Texas, some in the country, some in urban settings. The first three were made into movies. Despite the critical and popular success of "Hud" (Horseman Pass By) and "The Last Picture Show", for which McMurtry wrote the Academy award winning screenplay (1972), McMurtry perceived a lack of appropriate recognition for his work in general. In the late 1960s and early 1970s, he wore a t-shirt which read "Minor Regional Novelist", to help make this point.

McMurtry's urban trilogy, set in contemporary Houston, Moving On (1970), All My Friends Are Going to Be Strangers (1972), and Terms of Endearment (1975), all deal with love and marriage, and are examples of McMurtry's ability to consistently create a strong sense of place, characters, and dialogue. "
"There was some open space between what he knew and what he tried to believe..."

Offline lightsrays05

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Re: Larry McMurtry and Diana Ossana
« Reply #7 on: January 16, 2006, 07:19:13 PM »

"Novelist, essayist, and screenwriter Larry McMurtry was born June 3, 1936 in Wichita Falls, Texas.



"The day you were born bears great significance in understanding who you are and where your talents lie. The day of birth indicates some special talent you possess. It is a gift to you that will help you along your Life's Path. Your day of birth is one of your four core numbers -- the Life Path, Expression, Heart's Desire being the other three. It is the least significant of the four core numbers, but perhaps the most finite, in that it reveals a specific ability you possess in a marked degree.

 

You have a highly-developed creative talent.

You are an artist at heart. You could excel in writing, visual, or performing arts. If you are not professionally involved in one of these areas, you should consider taking up art as a hobby.
You are highly-imaginative, quick-witted, and possess the gift of gab. You have great enthusiasm. Others find you inspiring and charming. You are a wonderful salesman.
You are friendly and sociable, affectionate and loving. You possess a good deal of charisma. You can also be moody and subject to rapid ups and downs.
You have a fine sense of harmony and art in everything that you do -- from your dress to the way you decorate your home. You have a gift with plants and flower arranging.
Be careful not to waste time and energy on trivial matters. Keep your long-term priorities in perspective."
[/color]



 

Offline Lance

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Re: Larry McMurtry and Diana Ossana
« Reply #8 on: January 17, 2006, 03:01:09 AM »
after seeing McMurtry on the Golden Globe awards, i can now report that there is one resemblance between us, we both own a Hermes 3000 mechanical typewriter. but he uses his. big difference. :)
May the bridges I burn light the way forward.

Offline bbbmedia

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Re: Larry McMurtry and Diana Ossana
« Reply #9 on: January 17, 2006, 04:35:58 PM »
I thought Diana Ossana gave the best acceptance speech at the Golden Globes last nite

Her white evening gown was absolutely sensational, and made her look really glam

And also very tastefull, something you don't see too often on awards shows

I hope her acceptance speech gets reprinted somewhere, or maybe posted on these boards by some one who taped the show

Diana Ossana--a class act all the way
What Jack remembered and craved in a way he could neither help nor understand was the time that distant summer on Brokeback when Ennis had come up behind him and pulled him close, the silent embrace satisfying some shared and sexless hunger.

Offline Radha

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Re: Larry McMurtry and Diana Ossana
« Reply #10 on: January 19, 2006, 02:46:44 PM »
Diana actually looks like Judith Light (From Who's the Boss) - a prettier version...

Offline felicia

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Re: Larry McMurtry and Diana Ossana
« Reply #11 on: January 21, 2006, 09:40:37 AM »
Nice commentary from Diana Ossana on Advocate.com

http://www.advocate.com/exclusive_detail_ektid24445.asp

My time on Brokeback Mountain
One of the two co-screenwriters of the critically acclaimed “gay cowboy” movie responds to the Advocate.com commentary by Karel about the film

By Diana Ossana

An Advocate.com exclusive posted, January 13, 2006

The following letter was written by Diana Ossana in response to “It’s Very Brave of Them,”  an Advocate.com exclusive commentary by regular contributor Karel. Ossana, who granted Advocate.com permission to reprint her letter unedited and in its entirety, cowrote the screenplay for Brokeback Mountain with her writing partner, Larry McMurtry.

Dear Karel,

Your article regarding fear in moviemaking is cogent, timely, relevant, and impassioned. It is an honest journalistic piece and extremely well-written. As the cowriter of the screenplay and a producer on the film Brokeback Mountain, I hope my responses might serve to restore some of your faith in the creative process of screenwriting and filmmaking.

I read Annie Proulx’s short story in October 1997 when it appeared in The New Yorker magazine. I was deeply moved by her telling of a doomed love between two unremarkable men, young ranch hands in 1963 Wyoming. Larry McMurtry and I acted immediately to option the short story with our own money, and I felt exhilarated at the opportunity to be actively involved with getting Brokeback Mountain out into the world in a major, major way from the very beginning. Never once did fear enter my mind, not until nearly a year after the screenplay was finished and young Matthew Shepard was found not five minutes from my daughter’s apartment in Laramie, Wyo. (She was attending the university there on a basketball scholarship. My fear then was for the safety of my child.) But we remained determined to get our screenplay made into a fine and honest film.

A close friend of mine said to me once that people are mainly motivated by two emotions: fear and love. Brokeback Mountain was not a labor of love for most of us; it was a labor of great passion and belief.

Karel: Bravery? No. When I look at Brokeback Mountain all I see is fear. In the story, I see the fear of two obviously gay people too afraid to actually commit to their love, so they run off and marry women and live a life unfulfilled out of fear.

Ennis and Jack may be obviously gay to the reader/viewer, but in 1963 and even beyond, gays within the working classes barely had a context within which to operate, let alone identify themselves. The character of Jack is much more open to his sexuality and to the possibilities of life than Ennis, and has little fear. Ennis, on the other hand, comes from a place of deep homophobia--not unlike some gays today, sadly enough.

I see the fear in two major stars of actually admitting they played gay, as they downplay in the press their characters’ sexuality.

Heath Ledger actively pursued the role of Ennis once he read the script. The script itself, and we feel the film too, are unabashed and straightforward regarding the sex and affection between these two men.

I see the fear of movie studios too afraid to make the movie with Gus Van Sant years ago.

Columbia Studios and Scott Rudin came on board as soon as Gus Van Sant committed to direct. Once their options ran, however, it was extremely difficult to find funding for our screenplay/film. However, we would not have compromised our screenplay by removing or altering integral scenes in the story line.

I see the fear of countless Hollywood actors who wouldn’t take the parts.

It is our strong belief that the actors who read our screenplay and ultimately did not take the parts were dissuaded by their various representatives, in the mistaken belief that it would be "career suicide" to take on the roles. As we’ve said before, Heath Ledger actively pursued his role. Even after Heath and Jake committed to their roles, rumors floated around Hollywood, triggered by noncreative types, that they were committing "career suicide," which is eye-rolling ridiculous.

I see the fear of a still-homophobic corporate press, which grabs onto the stars’ sexuality instead of the script’s quality. A press that gives these stars an outlet to gauge their "comfort level" with playing these roles. A press that throws around words like bravery and courage when referring to pampered stars playing well-scripted roles.

I agree with you regarding much of the press; however, none of us were "pampered" on the set of Brokeback. This was a low-budget film. We worked 16-hour days, often seven days a week, while in production. More than 80% of our story takes place outside, and the weather in Alberta tends to the extreme year-round. The reason Ang Lee and the actors came on board this project had very much to do with the quality and potency of our screenplay. It would be refreshing if the media knew and actually printed that.

I see the fear in filmmakers like Lee who make "gay" movies without the "gay," meaning gay people are deluged with images of heterosexual lovemaking everywhere, but should a gay couple show it on-screen—oh, no, we must hide the sex.

None of us—including the actors—ever expressed fear regarding the sex in our screenplay/film. We all felt it was integral to telling our story and felt it was very straightforward and honest in its portrayal of these men and their passion for one another.

I see the fear of the critics, who say things like New York Daily News critic Jack Mathews did when he predicted that it may be “too much for red-state audiences, but it gives the liberal-leaning Academy a great chance to stick its thumb in conservatives’ eyes.”

Red state/blue state—people are people. People between the coasts are a lot more intelligent and compassionate than the media give them credit for.

Yes, I see a lot of fear around Brokeback Mountain.

Heath was asked by an interviewer recently if he felt brave taking on the role of Ennis. He replied, "Brave? Firefighters and policemen are brave. I’m just an actor, getting paid to act. I feel lucky to be involved with this project.”

Karel, we never once felt fear regarding the subject matter of our screenplay. What we feared was the possibility of losing the essence of our landscape and our dialogue, and of watering down the unsentimental nature of our script. When anyone sets out on a creative endeavor of any kind, they run the risk of failure. That’s what makes “creating” challenging and exciting—because the euphoria of success is so potent.

I, for one, never doubted the power of Annie Proulx’s story or our screenplay. That is why we optioned the short story with our own money and why Larry and I have been relentless in getting it up on-screen. That is why I am a producer on the film, and that is why we have insisted upon getting it made in an honest and truthful manner.

Thank you, Karel, for your thoughtful consideration of Brokeback Mountain. We hope you see—and are moved—by our little film.

All best,

Diana Ossana

~VSK~

Offline sunspot

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Re: Larry McMurtry and Diana Ossana
« Reply #12 on: January 23, 2006, 01:04:39 AM »
Diana Ossana kicks ass.  Love, love, love her reply to the sanctimonious would-be keepers of gay culture.
"We are all hopelessly oppressed cowards
Of some duality
And restless multiplicity"
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Offline Alex

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Brokeback wins PGA Award
« Reply #13 on: January 23, 2006, 01:32:49 AM »


'Brokeback Mountain' producers: Diana Ossana and James Schamus hold up their Producers Guild award for best theatrical motion picture.
There was some open space between what he knew and what he tried to believe, but nothing could be done about it, and if you can't fix it you've got to stand it.

Offline Lance

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Re: Larry McMurtry and Diana Ossana
« Reply #14 on: January 23, 2006, 11:23:51 AM »
YAAAAAAAAAAYYYY! [claps really loud!]
May the bridges I burn light the way forward.