HOWARD RODMAN

HOWARD RODMAN

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Howard A. Rodman is a screenwriter, author and educator. His novels include The Great Eastern and Destiny Express. As a screenwriter, Rodman wrote Savage Grace, with Julianne Moore and Eddie Redmayne, nominated for Best Screenplay at the 2009 Spirit Awards, and AUGUST, starring Josh Hartnett and David Bowie. He also wrote Joe Gould’s Secret, the opening night film of the Sundance Film Festival, based on the memoir by iconic New Yorker writer Joseph Mitchell. He is the past president of the Writers Guild of America West; professor of screenwriting at USC's School of Cinematic Arts; a member of the National Film Preservation Board; and an artistic director of the Sundance Screenwriting Labs. 

This interview was conducted by Mia Funk with the participation of collaborating universities and students. Associate Interviews Producer on this podcast was Bret Young. Digital Media Coordinator is Yu Young Lee. “Winter Time” was composed by Nikolas Anadolis and performed by the Athenian Trio.

(Highlights) TOBIAS WOLFF

(Highlights) TOBIAS WOLFF

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Writer

I don’t start off to create a moral in telling a story, but there are certainly consequences to the decisions that we make and some of those will inevitably have what we call a moral dimension. I don’t respond enthusiastically to fiction when I can see a thumb on the scales, when I can see that it’s a sermon in disguise. I’m more interested in writing that explores rather than proclaims.

TOBIAS WOLFF

TOBIAS WOLFF

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Writer

I don’t start off to create a moral in telling a story, but there are certainly consequences to the decisions that we make and some of those will inevitably have what we call a moral dimension. I don’t respond enthusiastically to fiction when I can see a thumb on the scales, when I can see that it’s a sermon in disguise. I’m more interested in writing that explores rather than proclaims.

(Highlights) LAN SAMANTHA CHANG

(Highlights) LAN SAMANTHA CHANG

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All Is Forgotten, Nothing Is Lost was a departure. It’s actually my favorite because it was just a huge pleasure to write. So much fun to write. Nothing to do with my background, my family, it’s all about lived experience and observations I made coming up as a writer. Because for me becoming a writer went hand in hand with me becoming a person.

LAN SAMANTHA CHANG

LAN SAMANTHA CHANG

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All Is Forgotten, Nothing Is Lost was a departure. It’s actually my favorite because it was just a huge pleasure to write. So much fun to write. Nothing to do with my background, my family, it’s all about lived experience and observations I made coming up as a writer. Because for me becoming a writer went hand in hand with me becoming a person.

JANE SMILEY

JANE SMILEY

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Jane Smiley is the author of numerous novels, including A Thousand Acres, which was awarded the Pulitzer Prize, and most recently, The Last Hundred Years Trilogy: Some Luck, Early Warning, and Golden Age. She is also the author of several works of nonfiction and books for young adults. A member of the American Academy of Arts and Letters, she has also received the PEN Center USA Lifetime Achievement Award for Literature. She lives in Northern California.

Photo: © Derek Shapton

JAY McINERNEY

JAY McINERNEY

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Writer
In the course of writing a novel I will sometimes lock myself away. During most of my previous novels there comes a point where I just go to the country and hide for 5 or 6 weeks. Sometimes it’s the first draft, sometimes it’s the second. There are periods when I feel like you just have to cut out the world and listen to the voice in your own head. In the course of writing a novel I will sometimes lock myself away. During most of my previous novels there comes a point where I just go to the country and hide for 5 or 6 weeks. Sometimes it’s the first draft, sometimes it’s the second. There are periods when I feel like you just have to cut out the world and listen to the voice in your own head.

(Highlights) YIYUN LI 李翊雲

(Highlights) YIYUN LI 李翊雲

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The artificial beginning is interesting to me. There is a clear-cut: old life, that's old country, and here's there's new life, new country. It is an advantage. You are looking at life through an old pair of eyes and a new pair of eyes. And there's always that ambivalence––Where do you belong? And how do you belong? And I do think these are advantages of immigrant writers or writers with two languages or who have two worlds.

YIYUN LI 李翊雲

YIYUN LI 李翊雲

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The artificial beginning is interesting to me. There is a clear-cut: old life, that's old country, and here's there's new life, new country. It is an advantage. You are looking at life through an old pair of eyes and a new pair of eyes. And there's always that ambivalence––Where do you belong? And how do you belong? And I do think these are advantages of immigrant writers or writers with two languages or who have two worlds.

(Highlights) DAVID PALUMBO-LIU

(Highlights) DAVID PALUMBO-LIU

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Writer · Activist · Comparative Literature Professor

Students come in already knowing what they want to do. And so they've already excluded and taken out of consideration all sorts of options, which is exactly the opposite of what a university is supposed to do. It's supposed to give you a broad set of possible ways of thinking about life and training your mind and your talents. And so I like to open that up more for students.

DAVID PALUMBO-LIU

DAVID PALUMBO-LIU

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Writer · Activist · Comparative Literature Professor

Students come in already knowing what they want to do. And so they've already excluded and taken out of consideration all sorts of options, which is exactly the opposite of what a university is supposed to do. It's supposed to give you a broad set of possible ways of thinking about life and training your mind and your talents. And so I like to open that up more for students.