”“I do. Look, Joe. I know where you’re going with this. I’m not the writer that Jonny is. Or that you are. I know how to set up the scenes. What Jonny expects. But what’s said... ? Even what’s not said? The emotions? The gestures? Those things inspire an actor and a director to make something really work.”Joe sighed. “I think you can do better than you think you can. You know how Johan thinks. How he expresses himself.”“Not as much as you want me to. Not in creating it. But that’s not even the point. He wants your words, Joe. Your specific vision.”“Which you know will become his.”“He wants it to be a synthesis. That’s already started with you conforming to his treatment.”“Which is part of the problem. Pushing my words into his structure. And then the conventions of the script.”“How is it more restricting than writing a play?”“Because those restrictions work for me. A scene happens on a set. It’s rigid. It happens over time in one place, not bouncing willy-nilly from scene to scene,. They looked similar to the other courses in the area, so we didn’t have a problem. We wanted to use the locker room to leave our shoes and my sport coat. I had to pay a five dollar ‘basket fee’ as he called it.The locker room reminded you of a junior high phys-ed locker room. There were no lockers, just baskets that you put your stuff in and locked it to the cheap metal shelves. This would have to be improved. I sent Sumi to the women’s locker room, and she came back to say that it was the same and ill-smelling to boot.I gave Sumi my holster, gun, and sport coat, along with my car keys so that she could put it all in the trunk. We were told to take any cart and there was no waiting for the first tee on course number one.The pro suggested that we play this one as fast as possible to see how it played. The eighteen holes were all short and not much better than a putt-putt miniature golf. This was supposed to be a par 72. The pro shot 61, and I actually shot a 68.The pro made a bunch of.
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