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and characters with a language of their
own and a code of their own.
In Solitary Man, you have a character
who, when he was young, walked with
a kind of swagger and a confidence and
an authority. Growing up on Long Is-
land and then spending time in the city,
we'd been around a lot of these "great
men" -- really successful businessmen
who had an outside sense of influence
based on their success, people who were
listened to and looked up to.
We watched these guys over time.
Some aged gracefully, but many others
self-destructed in a business sense.
Some of them went to jail; some of
them went bankrupt. Others made mis-
takes with their appetites and ruined
their family relationships. I wrote a
book that featured one of these types of
guys. Then Brian witnessed an event
that inspired Solitary Man.
KOPPELMAN: I saw one of these men
walking with his daughter who was in
her thirties. This was a guy in his sixties
who had been a titan of industry and had
made some bad career decisions, putting
a lot of stuff in jeopardy. He was one of
these guys who always wore black because
he thought it was both cool and slim-
ming. He had become recently divorced
from his wife and he turned to his daugh-
ter and said, "Don't call me Dad in public
because it will make it harder for me to
pick up women."
I thought it was both mortifying and hi-
larious at the same time. Fueled by that sort
of anger, I began writing. A real sign of the
constructive nature of our partnership is
that I showed these pages to Dave and he
encouraged me to finish it on my own. So
I went off, finished it, showed it to Dave
again, and we decided to make the film.
Still, the writing never gets easier. It's
hard, but if you're willing to just show up,
do it and keep writing, then all this other
stuff can happen -- like writing and di-
recting amazing actors. But none of it can
happen if you don't write.
May/June 2010 creativescreenwriting
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David Levien and Brian Koppelman