īergoch co-wrote Baker's next feature film Red Rocket starring Simon Rex. īergoch co-wrote and co-produced Baker's feature film The Florida Project, which was released in October 2017 and went on to receive 113 nominations, including one Oscar nomination, and 38 wins. He re-teamed with Baker to co-write and co-produce the film Tangerine, which premiered at the 2015 Sundance Film Festival and was well received by critics upon its Summer 2015 release by Magnolia Pictures. He is also associate producer of that film. Baker, Bergoch co-wrote the award-winning film Starlet which was released on Novemin the US by Music Box Films. īergoch was co-producer on Dealing, a Matthew Huffman feature film which won the audience award at the Big Bear Lake International Film Festival.
He contributed songs to the Rock Opera which closed out the 2010 MTV series Warren the Ape, as well as doing some production work on that show. in Film & Television Production from New York University.īergoch collaborated on the writing of all five incarnations of the television sitcom Greg the Bunny which include the IFC and FOX versions. Because we have friends in very high places.Bergoch received his B.F.A. So producers, directors, studio heads, agents and starlets take note of this important tenet for the Hollywood Rulebook: Don’t ever underestimate screenwriters.
“I think this is the beginning of a beautiful friendship.” Why just the other night on a late show, I heard Him say:ġ. Rather, He sees each day as a new chance.
Unfortunately, up to now, we haven’t been paying attention. Yes, for decades writers have been trying to help us forge a better relationship with The One. On our persistent spiritual unconsciousness: “Snap out of it!” On our failure to pray with conviction: “You talking to me?”Ģ.
On our denial of His power: “You can’t handle the truth.”ģ. On what we are doing to the planet: “I’m as mad as hell, and I’m not going to take this anymore.”Ĥ. On the rumor that He was dead: “I’ll be back.”ĥ. On our ability to please Him: “Go ahead, make my day.”Ħ. On our lack of faith: “What we have here is failure to communicate.”ħ. On His unwillingness to condemn: “Frankly, my dear, I don’t give a damn.”Ĩ. On His forgiveness: “Nobody’s perfect.”ĩ. (And I was in sync with a spec script about a guy inciting domestic chaos by leaving his family.)ġ0. (I was in the vanguard with a comedy about a homosexual bandit.) And in the ‘90s, when no one else was stepping forward, we were flooding screens with gratuitous violence. (And I was in step with a hallucinatory horror film about a man turning into a snake.) In the ‘80s, we were almost solely responsible for more sex, crime and greed.
(And I was doing my part by writing a movie about a guy who leaves his wife and kids for his boss’ wife.) In the ‘70s, we were subversively selling sex, drugs and rock ‘n’ roll. And when you look back at it, it has always been that way.īack in the ‘60s, we were proudly promoting social unrest. We use our dreams and ideas to mold society. We affect the way people think and how they act. But since then I’ve learned that’s just backbiting from envious producers, jealous directors and impotent studio heads, all of whom wish they could do what we do.Īnd what is it that we do, besides grow hair, pace around a computer for a few hours, have lunch and watch movies? Forty years ago, when I first came to L.A., I’d heard disparaging remarks about “schmucks with Underwoods” and jokes about the starlet so stupid that she slept with the screenwriter. No, it’s because since the dawn of talkies, writers have always been the uncrowned kings of Hollywood, the secret titans of Tinseltown, the underground reel royalty. Why? Well, not for the art or the money or the ability to have agents return my calls within weeks. I am proud to be a Hollywood screenwriter.