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Bill Fruet's Wedding in White

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Bill Fruet's Wedding in White BILL FRUET'S WEDDING IN WHITE BiU Fruet on writing: "I write everything longhand. I've learned to make the you have to keep telling them what to do, it doesn't leave you quickest possible notation - to fiU in the blanks later. I sued much time to do your work. One would hope that you'd have to try to work in aU the detail from the beginning. Of course a httle time to spend with the actors, blocking the picture, and you do two pages and then dry up. You've lost the whole idea, not have to keep worrying about their jobs! (Read about you've lost the essence. Better to get ideas down quickly; you Fruet's hassles with lATSE elsewhere in this issue.) can always pick them up again and develop them later." "To me writing is just hell. I guess all writers go through On writing and directing; this. I like big rooms, I prefer other people's apartments, "I don't think every writer should direct his own work, not strange places. (I used Shebib's apartment to write Rip-Off, unless he's famUiar with the medium he's working in. But Also started writing OUT there. He thought I was writing certainly who knows better than the writer what he started RIP-OFF and I was writmg Out.) I find that all the outlets out with, and what he wants to get? I think that the writer is start to function m my body: physically! I have to take a crap the most neglected creative rtist, regarding production. He every ten minutes, I really do. I have to eat — I am up and should be given much more say in the production of his work, down — I can't sit — I spend half my time standing there because after all, my god, without him there isn't anything to making notes. I don't have any particular hours. I have to eat, start with. It's his work, he really conceives the whole thing, I have to reward myself constantly, I have to pamper myself. it's his imagination that comes out with it. Everybody else, I Writing is the hardest work in the world for me." know, contributes; but the writer is the seed where it aU comes from, and yet he is usually given the least amount of control in On directing: the end. Many writers just howl with pain when they see what "WeU, I didn't reahze that a lot of areas were my happens to their work on the stage or the screen." responsibihty. I felt that they would take care of themselves. On a proper set they would have worked, they should have. If On European directors: everybody had the right attitude. I had to keep teUing the "Antonioni's European films, I sued to cringe at them. crew what to do — they don't have to take any responsibility Monica Vitti, she may be a great chick, but I don't want to at aU. And they're aU supposed to be some sort of experts! If watch her for a block while she comes toward the camera, and Page 42 another bloody block while she walks away from the camera. But I liked both of his American pictures, BLOW-UP and ZABRISKIE POINT. Zabriskie was so far out, you couldn't help, but Uke it. It was great! I am not a big Godard man — that whole simple form bores the shit out of me. But if I could ever have half the imagination that Fellini has! He's my idol, there's nobody quite Uke him. What a film-maker! He never leaves you a second in the film where he doesn't entertain you, or keep you busy. If he must get to the other side of the room, he gives you lots of things to watch while the camera goes over there." William Fruet was born in Lethbridge, Alberta, where the story of WEDDING IN WHITE actually took place. (Another feature Fruet wrote the screenplay for, called OUT, is currently being filmed there by David Acomba, and Jim Margellos.) Fruet left Alberta when he was eighteen or nineteen. He was in a drama festival, aspiring to be an actor. He won several scholarships, went to the Banff School of Fine Arts for a summer. Discovered a whole new world, culture and art, which he was totally unaware of Uving in a smaU town in the West. Out of school for a while, he worked as a photographer, but then accepted another scholarship and came to Toronto. Studied at the Canadian Theatre School, "a little old school that used to be on College Street." He attended for a couple of years, then tried to get acting jobs. "I did quite a bit of work in early television, with all the pioneers in the business. It was a very exciting time. God, there used to be two or three plays a night, at least ten plays a week, minimum. All live productions. It was very exciting." He spent six or seven years doing that, fiddled around with writing at the same time. He also worked as a photographer, and did a lot of little jobs, because he wasn't making enojjgh money to live on as an actor. "Lots of work, but they weren't paying too much money. Then in 1960, I got what was considered a very good, big part Bill Fruet (upper right) directing a scene in THE DRYLANDERS, Canada's first big feature film, Donald going to do on Maritimers. They worked very hard together for two Haldane directed it. Unfortunately it didn't turn out to be much of a years, with almost no money, and came up with GOIN' DOWN THE movie." "In the meantime, I had some success writing. I started ROAD, which is now a classic of Canadian cinema. Fruet also wrote the co-writing with Sandy Sterne, who is a successful writer now in screenplay for Shebib's second feature film, RIP-OFF, and which Hollywood. We started writing some TV scripts together. He was going played to mixed reviews in Toronto and other major Canadian cities, to study medicine at the time, so we wrote this series about an intern, and is scheduled for U,S. release soon. Fruet's connection with Shebib very good, but the CBC refused it. A year later Ben Casey and Dr. certainly did pay off, since it enabled him to write the scripts for OUT, Kildare became hits on the U.S. networks." "I started to wander as well as WEDDING IN WHITE, and the opportunity to direct the around, things got dull here, the whole CBC started to close up, all latter, drama productions wrapped. So I went to California, and spent three years working for a couple of small TV companies, in all capacities. Still "We're probably better friends, than co-workers. We fight hke hell photographer, writer, cameraman, you name it - on industrial films, when we work together, but it's a healthy fight. With Shebib it's open PR films, commercials." "In L.A. I really found myself behind the all the way, we can curse each other out, but it's always to the good." camera - hooked on production. I wanted to start making films. Made a few 16mm films with some actors, but there was no place to take "Even RIP-OFF would have payed off more, had we more time. Just them at the time. Went to a summer session in filmmaking at UCLA - near the end we started to get it. The same things were happening with did some film editing. Shebib was there at the same time - working GOIN' DOWN THE ROAD. We had a lot of trouble with Coin' Down nights, finishing a thesis, and I was working days. Using the same the Road for a long time, and suddenly, it was like a revelation, one building. I just heard about the guy, never met him. He was a surf freak, night we struck it - wham! wham! the whole thing went together! It and used to go zoom all over on his skate board. He was like a big kid." was about to happen with Rip-Off - there are fragments in the picture "I bummed for a year on the beach, had a little cottage - did a lot of - we started to get going in the right direction," "It's a good enough writing. Wedding in White was started there. Strangely enough 1 really picture, I just think it should have been marketed differently - got into Canada in California. Because being in a totally different pubUcized, put into the drive-ins in the first place. It's this Great society, 1 could really reflect back - remember, and appreciate things Canadian Picture crap! Everything has to be evaluated on the same level, more. I got to really appreciate Canada and made my decision to come here. It wasn't that kind of picture. I think we could have made that back. I didn't do that well there, anyway, couldn't really get off the kind of picture, with a little more time. Don and I do work very well ground, so to speak. Not in the film business. Met a lot of nice people, together!" but I knew if I was ever going to make it it would probably be back here." "Came back in 1965 and tried to get something going on my WEDDING IN WHITE was originally written as a stage play.
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