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In Hollywood there is an order for Beijing that determines which actors and executives get the first crack of the hottest material in the city. When agents and managers (relying on the perspective of their under -paid assistants and readers), they encounter a script that can be a billion -dollar franchise pad or a prize -winning season, they release this drink on their top client (even if they are not true). This is how you get Tom Cruise is ashamed of "Far and Far" With the worst Irish accent you will ever hear outside the theater production of the Community of "Plug and Starsvales" (even then).

But every A-Disposer screenwriter must start somewhere, and if you find yourself in a fruitful creative environment that is not completely overcome by the predators of the Apex industry, you may discover a project that is not only with potential, but also an accurate type of film you were desperate to do.

This happened to producer Amy Robinson in the mid-1980s, when she served as a mentor in the still new Sundance lab in Utah. She made two extraordinary films ("The Cold Scenes of the Winter" by Anoan Micklin Silver and "Baby, You") with her producer Griffin Dan, but while the couple had other scripts at different stages of development, they had nothing on the front burner. This has changed when Robinson read a dark comedy titled "Dorothy" by Jo Minion in Sundance. She sent it expressly to Dan with an affectionate note: "This is the one. Also, the part seems to be written for you."

The minion was still a student of a graduate film in Colombia and, thus unknown to Hollywood's power players. He would be the discovery of Dan and Robinson. And the minion's script was So Strongly that Robinson wanted to send to Martin Scorsese, who directed her a decade before "Medium Streets". Since Dan and Robinson shared a lawyer with the director, the only thing to double executing Scorsese was that His latest film, "The King of Comedy", It was a dark comedy and, for nothing, a significant boxing bomb.

The great request of Dan and Robinson was answered with empathetic "no" because Scorsese was preparing to record "the last temptation of Christ". However, what could feel like a gut blow proved to be a gift in masking. Dan and Robinson have recently seen a brilliant animated film by the talent Sui Generis, who was destined to be, if nothing else, an important artist in the image industry. So, as soon as Scorsese has passed, the duo has set a lunch meeting with a young man named Tim Burton to see if he will be interested in the film that will eventually be titled "After Hours".

As Dan is told in his memoirs that he must read "The Club on Friday afternoon", "" He and Robinson were kicked out of Burton's classic stop-moving Vincent. Told by Vincent Price, the short was filled with humorous macarbar paintings, which felt as if they were gathering with a late -night Soho Helskype, made by a minion. When they met Burton on a lot of Disney (where he was still employed as an animator), they were blown away by how the director absorbed the minion's script and turned it into Burton's unique vision. After Dan:

"A team has previously read the script, many times it seemed, because he presented us with stories illustrated in the style he would be known for: Haunted characters with weak hands were walking around nasty corridors that scattered with bats. Imagine, endangered, to imagine, endangered, to imagine, endangered, to imagine, to imagine, to imagine, the endangered from the beginning.

He felt like Dan, Robinson, Burton and Minion were on the verge of making a masterpiece on the field. It would be a boon for everyone involved, but no one may need this film more than Dan, who still worked through the sadness of his sister Dominique's brutal murder in 1982. The only thing against them was that the names Dan, Robinson, Burton and Minion could not cause more than $ 100,000 in funding. When Dan and Robinson failed to raise enough money to make a budget movie that could allow Burton to realize their vision, their lawyer gave them "yes" to them for many months ago. Paramount has canceled "the last temptation of Christ", so Scorsese, eager to prove that he can deliver a film on time and to budget, wanted to do "after hours".

Dan and Robinson were initially not thrilled.

When their lawyer, Jayej Jululien (who continued to produce the sensational "King of the King of Yorkyork" by Abel Ferrara), told Dunn and Robinson that they would make a film by Martin Scorsese, their enthusiasm was stifled by the realization that he would have to say to his six months.

They delivered Burton's bad news to Commissioner Disney, where they arrived with a lyus -detailed model of one of the film sets. After a few short beauties, Dan and Robinson lowered the boom: they first offered the Scorsese script and now he wanted to make the film. Burton jumped right and said, "Wait, do you tell me that Martin Scorsese wants to make this script?" After the producers made it clear that it was the case, Burton replied: "If Mr Scorsese wants to make this film, I am respecting the project.

No one but Burton could tell us how he feels at this point, but I can't imagine a classic learning response that you are fired from your first feature.

Stunningly, Burton booked his first feature immediately after losing "after hours". The film, "The Great Adventure of PI" opened at the same time with "After Hours" and exceeded the second for over $ 30 million (though it must be noted that Dan has given it The performance of his life in Scorsese's savage masterpiece). Since both films were distributed by Warner Bros., Dan and Burton were often considered to be ships passing overnight. One day, Dunn entered a limousine that had just missed Burton at the airport, and he found "a slightly hand -drawn picture of a child with bugs waving healthy from the cemetery, on a card that read" Happy Paths, Griffin ".