Before I can tell you my story of how I wound up cruising down the highway with OJ, I first I have to tell you why I was in LA.
Armed with my confidence building MA in communications, my screenplay winning an award and my friendship with Spiderman director, Sam Raimi, I moved to LA and found an agent. If you weren’t aware that you need a car in LA, then you are in for a shock. Apparently, the tire companies blocked public transportation being built to sell more tires. Great strategy for the tire companies but bad for people and the environment. I needed to buy some cheap transportation, so I found out that I could buy a US postal jeep for $600. I was able to sell it 2 years later for $3,500!
I shouldn’t have painted it because the police didn’t give me parking tickets thinking it was an active US postal jeep. My vanity license plate read “IMCR8TIF. Tom Cruise once passed me giving me his thumbs up. That was another opportunity for me to network, but I was put off by the whole “Scientology” thing.
I had just pitched Star Trek “The Next Generation” ideas for episodes that they liked but were too similar to future episodes they planned for Deep Space 9 and Voyager. The Star Trek offices looked old and run down. I was expecting to see the Enterprise and futuristic interior design. I guess everything is smoke and mirrors.
So one day I’m driving on the highway and see the police chasing OJ. The road ahead of me was practically empty and I began to think if I was supposed to move to the side of the road. I saw the Bronco in my rear view mirror and saw AC driving; he is OJ’s best friend. I heard on the radio that OJ was lying down in the back seat with a gun to his head. I was seriously considering stopping short in front of him and do a citizen’s arrest, but the gun to his head and all the police dissuaded me. Imagine if I had done it. I would have been part of the media circus. Afterwards, I realized that this could have propelled my career as the guy who stopped OJ.
Since the waiter jobs were taken by aspiring actors, I had to work in the market research of feature films. This is how I learned how dysfunctional Hollywood can be. The screenwriter visionary has the least amount of control. The producer, director, actor and their friends have more influence. I have seen musicals become romantic comedies. Once a film has a green light, they shoot it a few ways and then do market research with audiences. When it doesn’t score well, they work on it until it does.
I decided to leave Hollywood and go back to NY and produce a TV talk show for 5 seasons.