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Show Screenwriter Tries to Make Every Man a Poet By Jerry Oster New York News Writer NEW YORK I liked The Missouri Break,' so much that I called up Thomas McGuane, who wrote the screenplay, to tell him so 1 probably liked it less than you did," S3id McGuane, who had jurt come m out of the ra,n o i his A writer ranch ill Livingston, Mont inevitably shoots the picture in his head while he s writing it and when you see the final evolution of how somebody else shot it, youre kind of stunned Despite my reservations, McGuane said later on in our long tonversation about movies, books and baseball, I had to admit Id never seen a Western like it McGuane, who is 3fi, and according to a publicity biography, big," has written two other novels ' Rancho Deluxe" and 92 in the Shade, which he also directed and they're not like anything else, ether Talky to the point of garruJousness, evasive of one line descriptions ( Rancho is about modern day cattle rustlers, sort of, 92" is about fishing guides, sort of), literate to a degree one rarely encounters in movies, its a wonder given Hollywoods megalomamacal credo that its easier to make a $10 million picture than a $1 million picture that they ever got made Kastners Savvy McGuane credits the savvy of Elliott Kastner, who produced all three of his scripts (and who is, with more than 30 films to his credit in the last 10 years, a maior force in the American movie industry) Hes street smart and street powerful," McGuane said Hes about three beats ahead of everybody else and hes perfect for me because hes even more impatient than 1 am " Kastner got in touch with McGuane after reading the novel of 02" (McGuanes other novels arc The Sporting Club and The Bushwhacked Piano") and sa j that while he didnt think it would make a mov le, he wanted McGuane to write some other projects for him "I told him I thought it was a movie," McGuane said, and, he said, You do and thought about it for a while and bought it After hed read the script of Rancho Deluxe" Kastner, according to McGuane, said, "Lets do it " After he d read the script of The Missouri Breaks" (' He came up to the lanch and looked around and said, Is this the Great Lakes9 "), Kastner, according to McGuane, said, llmmm The si rij t for Breaks" had been turned down all over the lot for two years before Kastner bought it by, among others, those who eventually collaborated on if United Artists, director Arthur Penn and actors Marion Brando and Jack Nicholson The Salt Lake Tribune, May 27, Hit) Mans' Sequel Coining in '78 Iv e been criticised for w riting lines that were too Critics have said it ruins the good, McGuane said work That obviates the whole idea that liteiatuie escalates reality and holds that everything has to bo banal " absolutely McGuane is two years and a half way into a novel, is polishing a screenplay an espionage, terror movie" that David Merrick will produce, and is working on a script, set in the Civil Mar era fot Kastner Movies wall never be all consuming," he said I love novels too much Reuters News Agency CHIC - GO MCA In corporated expects to re lease a sequel to its Jaws" motion picture in the summer of 1978 pres ident Sidney Sheinberg told the annual meeting Production is cxpec ted to start late next spring he added The girtis12. The guy is a taxi driver. What happens to both of them will shock you. TONIGHT 6:55, 9:10 More Conventional The story of a deadly gavotte between a hired toiler (Brando) and a rustler (Nicholson) sort of, Breaks is more conventional in structure than McGuanes other scripts and therein lies some discontent with the picture t V l The development of narrative in movies is way behind the novel There are some wonderful Beat the Devil, McCabe and Mrs exceptions Miller but by and large the pressures are such that scripts turn out to be routinely linear Still, McGuane was able to exercise his love of list-- . and place names and nomenclature (Shop talk was always ly rc," he wrote ui the novel of 92") and to continue his democratic effort to make every man k Co Hit STRAWD0GS" I frnjfi - t Jrtr HU URs presents ifiiitftfir CCRUMBIA ROBERT DEN1RO Some of the best moments in the film belong to Hairy Dean Stanton, the wonderful character actor who speaks McGuanose (he was also in Rancho and 92), as if born to it so CO-HI- T 'iyi ramrig a poet JJ0 AS DEATH WISH Tan 8 00 Wish 6 15, 10 00 INDM& Stroke of Luck Sells Banjoman By Clarence Zaitz United Press International While they were subsisting on DIEGO peanut butti r sandwiches a year ago, two young film producers would have sold their partially-completepicture about banjo virtuoso Earl Scruggs for $75,000 Today they expect their film, Bar inman, to gross somewhat over $4 million, and theyre alieady film planning another Richard Abramson, 29, and Michael Varhol, 27, were in town recently for the west coast premiere of their film They meandered around town with a flatbed truck full of banjo players competing in a marathon The two soer army buddies, where they both savored their gained most of their film experience status now' of being sought out by investors w'ho a year ago wouldnt talk to them The film was launched in Washington, D C , last November at a gala that Sen Howard Baker, R Teen , helped arrange That was an incredible SN d full-leng- th All the happiness and heartbreak of being Americas 1 stroke of luck," recalls Abramson It was a new status m Washington for the two who had left there m virtual poverty in Apnl, 1971, with an unfinished film and a dream They had shipped most ot fheir belongings, in luding a photo collection, to Los Angeles But by the time they arrived in California they couldn t pay the shipping charges The freight company returned the items to an Ohio office for public sale Only recently the two filmmakers hired a detective to track down their belongings and have already recovered some photos in Georgia When the film on Earl Scruggs was 85 percent complete, the two had to go to Los Angeles to raise the money to finish it We thought wed need only about another $50,000 but ultimately we Varhol recalls, or $00,000, learned we needed $250,000 The film finally cost the young producers, and some associates, $400,000 hometown hero. 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