So, I had this time where I wasn’t doing anything for 8 months, and just like everyone else, I had bills to pay. We had a star in Tom Berenger, but he had like two other movies he had to make before mine.
#KEVIN MURPHY SCREENWRITER MOVIE#
So, it was easy for me to continue to say “No” for that reason.īut, as these things happened, I ended up getting my movie financed. I wanted to write adult dramas, adventures, this and that, more along the lines of what I was nominated for and the movie I was trying to get made. But I still looked at them as kids’ movies and I didn’t want to write kids’ movies. So the Renaissance of Disney 90s animation was just getting started. This was right when Little Mermaid had come out and Beauty and the Beast had yet to come out. Not only was I busy trying to get a movie made that I wanted to direct, but I also wasn’t interested in sort of writing what I thought were just cartoons in those days. I guess you can say that in my sort of naivety. He and some of the other producers kept trying to get me to come in and see what they were working on and see if there was something we could do together. At the same time some of the executives that I had worked with at Paramount had shifted over to Disney and one of them was Jeffery Katzenberg, and he was heading up the animation division. I had a producer and we were trying to get meetings. I had written the script and I wanted to direct it. I had already gotten an Oscar nomination for Gorillas in the Mist and there was a script I wrote called Last of the Dogmen that I was trying to get off the ground as a director. Tab: So, what sort of lead me to working for Disney at all was another kind of story. Interviewer: So what lead to you writing for the Hunchback of Notre Dame? Why not me?” and that’s what kept me going. I kept saying in my mind when I felt low “Somebody’s gotta write these f*cking movies. It’s a process and you have to be patient and determined. But, even with that introduction and sitting down at Paramount, it was still about a year before I got hired and paid to write something.
I wrote a script and someone in the group had a contact or friend at Paramount back in those days, and he showed it to him, and that’s how I got my first meeting. I eventually met other like minded guys that were also trying to be screenwriters at that time and so we sorta formed a little wolf pack and would meet for burgers and beer every week and discuss projects and go to movies etc. So I dropped out and went to work at a Seven Eleven and I started writing screenplays in my spare time.
I did a screenwriting class and I realized that was probably the best chance for me to break in without knowing anybody or knowing anything about the business at that point. If you ask any writer or director in Hollywood they’ll say “you’ll see there’s certain similarities but you see everybody’s path is different.” So mine was that I simply went to USC Film School, I dropped out because I couldn’t afford to go to school beyond a couple of years. Tab: I get asked that a lot from people looking for some magic formula but there is no magic formula. Interviewer: What would you say was your “big break” when getting into the industry? It wasn’t until my first year of collage that it all sorta came together for me and I recognized that getting into storytelling and film making was something that I wanted to pursue.
#KEVIN MURPHY SCREENWRITER TV#
My parents were big movie and TV watchers, “go to the theater watchers” and “go to the drive through at summertime” watchers so I think there were a couple of influences on me. I had a lot of access to movies growing up because I grew up in a big family. Tab: I had an interest with creative writing from a very early age, that combined with the fact that I loved movies growing up. Interviewer: So first question is what made you want to get into filmmaking? He is none other than the talented and charismatic Tab Murphy. We talked about the films he wrote, how he came to being attached to them and how all these years later people still love the work he’s done. Adapting classic literature from Victor Hugo and Edgar Rice Burroughs to all new adventures discovering lost cities and what it means to be a “Brother”. I recently got to sit down for an hour with a very talented man, someone who worked multiple Disney films released in the mid-late 90s to the early 2000s.
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