At the end of October, I heard from Kevin, "my producer" again. He had spoken to Joel the producer concerning “The Kringle Project.” Joel thinks I should re-write the Pee-Wee version and keep it as the mailroom boy turned detective. Kevin told Joel he’d mention it to me. While mentioning it to me, Kevin recommended that I NOT do such a thing, as it would involve a “page one rewrite” for no dollars. Meanwhile, Kevin is back in contact with former Warner executive Kimberly Brent (huh?) who had moved to Paramount and was working for producer Howard Koch, Jr. Kevin wanted to get her “input” (huh??).
Kevin also critiqued my “Seinfeld” script. Saying TV writing is a science not an art, he said I didn’t know the formula, so I should say away from it. He even showed it to an agent, who agreed. TV writing doesn’t “flatter” me at all. Plus, there are no TV jobs (Huh???).
With the end of October came a flurry of activity with Kevin. We was still showing around “Kringle” and was now dealing with a producer at Gary Hoffman Productions who wanted to see both versions of the script, so I had to mail off the Pee-Wee version. This guy was thinking animation.
Meanwhile, I was busy dealing with Tom Gilpin and putting together a new framework for their show. Jay from the WGAE liked my material. And my daughter volunteered me to type up her class’ class play. So I was keeping busy.
In November I clipped out an article from Entertainment Weekly’s Hollywood Power issue and taped in in my journal. It was Tim Burton, #46, and his “Next Big Move” was producing Disney’s animated “Nightmare Before Christmas”, due in ‘93. So, at this point I’m figuring it’s not me.