PHOTOS HOLLYWOOD 2

MY LIFE IN PHOTOS - HOLLYWOOD 2

I spent eight years working on THE LAST MIMZY. I was hired by Bob Shaye, president of New Line Cinema and a fellow classmate at Mumford High School in Detroit, to re-write the script. We bonded over that. Bob also directed the film. Toby Emmerich wrote the first draft. He later became president of Warner Bros.

This is me with producer Michael Phillips. Michael produced many great films including, TAXI DRIVER, THE STING, and CLOSE ENCOUNTERS. I was honored to work with him. We shared a love for Buddhist art and it was because of my Tibetan take on the story that Michael pushed for me to write the script.

Me posing outside the theater for the premiere of THE LAST MIMZY. Bob Shay turned out to be a terrific director and the film makes me proud. I also got to work with Rainn Wilson, Timothy Hutton, and the film had a breakout performance by Kathryn Hahn. It was a very special experience.

I wrote DEEP IMPACT for Steven Spielberg. It was remarkable to work with him. In the end we had underlying disagreements about the story but most of my central characters and ideas are the core of the film.

Researching DEEP IMPACT was one of the best perks of working on the movie. I had direct access to anyone or anywhere I wanted to visit. You just needed to say Steven Spielberg. This is me in the press room in the White House.

I rewrote a script that became DECEIVED. I was a gun for hire and did not use my screen name on the film. Instead I used a name I came up with as a kid, Derek Saunders. I thought it sounded professional and better than Bruce Rubin.

I wrote STUART LITTLE 2 because I wanted to infuse it with a spiritual undertone that would speak to kids. I liked the idea of teaching the difference between effortful flying and the experience of soaring. It never quite made it into the film.

This is me at the premiere of STUART LITTLE 2. It remains a bit of an anomaly in my list of credits.

THE TIME TRAVELER’S WIFE spoke to me as a novel. I knew that Bob Shaye had the rights to it and begged him to let me adapt it. He said no. Years later the film’s director, Robert Schwentke called and asked me to rewrite the script. I was delighted to do it. It was a hard disordered movie to structure. And then it dawned on me, follow the love story. Suddenly the script worked.

Turning the movie GHOST into a musical became one of the true highlights and joys of my life. It was the path to my childhood dream, having a play on Broadway. It completed me.

GHOST THE MUSICAL opened at the Opera House in Manchester, England on March 28, 2001. The audience screamed with joy at the end. It felt like a massive hit. I was wrong. But it was solid enough to play all over the world for many years.

Seeing signs for the musical on the busses in London made me feel that I had arrived in a magical space.

GHOST THE MUSICAL opened on July 19 at the Picadilly Theater in London to good but not rave reviews. It ran almost 2 years.

Me with the core people for GHOST THE MUSICAL just outside the recording studio at Abby Road. I am in the middle, Composer Dave Steward is in the lead. I am followed by Glen Ballard (our other composer) and Colin Ingram and David Garfinkle, our producers.

Me with the cast and composers for GHOST THE MUSICAL on the steps of Abby Road Studios. From left to right, Andrew Langtree, David Stewart, Richard Fleeshman, Cassie Levy, Sharon D’Clarke and Glen Ballard. I never dreamed I’d be standing with this group.

Producing the London version of GHOST THE MUSICAL. Director Matthew Warchus is in the center. This musical would never have have happened without him. He is a genius director.

Inside the The Piccadilly Theatre in London as we prepare for the London opening. I got to live in London for months. It felt like a second home.

More of The Piccadilly Theatre. My childhood dreams had me living in spaces like these.

The cast of GHOST THE MUSICAL. I am in the middle standing with Dame Judi Dench who was my guest and seat-mate for one of our previews. She is so much like my mom it was almost as if my mother was sitting beside me for this amazing occasion.

I guess photos like this just prove to me that this collaboration really happened. Pure joy.

Me and Dame Judi Dench sitting together for a preview of the show. Anyone who knows my mom would think she was in this photo. It is truly amazing and was not lost on me.

Many people showed up as we were first rehearsing the show. Ringo Starr was one of them. He joyfully played drums for us during one of the run-throughs.

Blanche and me with Richard and Sharon. Unlike movies which shoot so quickly, a musical takes month and months. Cast and crew become like family. I am still connected to these amazing people.

Matthew Warchus, our director, and me. I was proud and excited to watch him put this show together. He was brilliant.

Curtain call opening night for GHOST THE MUSICAL in London.

More curtain call. It is hard to describe the happiness on that stage.

Having GHOST THE MUSICAL move to Broadway was one of the show’s true gifts. It really fulfilled so many of my dreams. Seeing the show on the side of a bus was especially eye opening,

Seeing a billboard for my show on Broadway watched over by the statue of George M. Cohan, writer of YANKEE DOODLE DANDY and GIVE MY REGARDS TO BROADWAY, was all I needed to have fully completed my childhood dreams.

GHOST THE MUSICAL in lights.

Me in front of the Lunt Fontaine Theater. This photo, taken by my cousin Joanie, says it all.

GHOST THE MUSICAL traveled all over the world. This is me in front of the Pantages Theater in LA.

Me in the lobby of the Pantages theater.

Blanche at the LA opening.

Me and Jerry Zucker at one of the openings. He was there for me for the entire development of the musical and came to nearly every premiere. His son Bob is standing behind him.

Blanche and me at the premiere in Moscow. We got to travel to many continents with the show. It is still playing somewhere to this day.

A deeply resonant photograph taken in the lobby of the Moscow theater.

Me posing with the entire cast of the Moscow production. I am in the front row somewhere.

Me speaking to the Russian audience. Luckily I had a translator. I explained how my family came from Russia and how it felt like home.

Blanche and me surrounded by our producers, Colin Ingram and David Garfinkle.

Blanche and me in Red Square.

GHOST THE MUSICAL in Seoul, Korea.

Me and the Korean cast. In the end Blanche and I saw many wonderful productions of the show. GHOST THE MOVIE and GHOST THE MUSICAL have been unending gifts.