(that could activate on touch)

I knew I was destined to be a writer when I was five years old, and I used to watch BATMAN, go to bed, and dream up my own original villains and  carefully structured episodes.  Roughly twenty years later, I wrote a treatment called  BATMAN, TWENTY YEARS LATER, that was meant to be a two hour TV movie update of the  classic television series that set me on my path.  Lorenzo Semple, the brilliantly absurd head writer for the original program, loved my story and pitched it to the powers that be, only to find out that Warner Brothers had all the Batman rights tied up, and that they didn't want anything interfering with their feature films.  However, time has lapsed, things have eased up, and people are starting to take an interest in this one.  There's fury behind those sunglasses and that bewitching smile, and I wouldn't want to be The Riddler, when Yvonne Craig and Adam West break loose, after all this time. 

Not everyone has a Batsignal magnet on their refrigerator that they can claim was handed to them by Batman himself.  It's the totally insignificant things that keep us smiling.



ALMOST NIRVANA is the title of a prospective television situation comedy, that I was hired to write a pilot script and a series of episode treatments for, by a producer whose many merits and virtues I won't even begin to touch on.  Usually, I can watch a TV sitcom or drama two or three times, or read a series prospectus, and come up with at least a dozen episode treatments, some original characters and at least a few complete scripts.  The world of television is just such a tough one to penetrate. It's a lot easier to get into a  Las Vegas show, as I found out when I was recruited onto the stage at the now demolished Sahara Hotel.  I threw in this picture because it kind of symbolizes, at least to me, what ALMOST NIRVANA was about. 



Ever since I discovered politics, current events and interesting people on the streets of New York, I've been writing sketch comedy, whenever the mood strikes.  These four scenes, shot on video for different projects, feature some recurring characters that I created.  Just from these pictures, I'd say that Rose Sylvester was much more appreciative of my wit than Karen Kamisarof was.  The genuine, honest to Gerald Ford WIN button that's clasped to my head, subsequently got lost.  If anyone knows where I can get another one, I'd seriously appreciate an E-Mail.



THE GODFATHER, THE YEARS IN BETWEEN is a treatment that I wrote for a fourth film that would fill in the blanks, complete the epic saga and include just about all of the principle characters from the first two masterpieces.  Michael Corleone and those around him are taken from the Cuban revolution at the end of the second film through the Kennedy years, while Vito Corleone's life, in flashback, takes him from the young De Niro we left at the end of part two to the cotton cheeked Brando that attended his daughter's wedding.   If you're not a Godfather enthusiast, the last sentence doubtlessly sounded like gibberish, but I hope we've grown close enough, in the last few minutes, for you not to hold it against me.  A friend of mine, who's a close relative of Francis Ford Coppola, liked the treatment enough to pass it on, but I'm not sure if the great director ever actually sat down and gave it a look.  I do know that Al Pacino read it, and though his agents said that it wasn't on the immediate horizon, they didn't rule it out as a future project.  That was a few years ago; probably around the same time that a Madison Avenue copywriter found immortality by coming up with the slogan The Future is Now!   Figuring out which heads don't belong on which bodies, in the above picture, shouldn't be difficult, but I'll buy a drink for anyone who can tell me whose faces are being covered up.


After the first time I met these talented and truly sensational people, I was inspired me to write what I've been told is a rather compelling and intriguing spec script for THE SOPRANOS.  Unfortunately, I allowed the ball to drop, and I didn't do what I needed to do to make myself part of what is now genuine entertainment history.  Of course, there might always be some sort of sequel or feature film.



Previously Produced Works    Active Projects    Miscellaneous Endeavors 




(totally unrelated to STARR'S ON BROADWAY)


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