Moviemaking Magic And Madness

Bill Johnson, director and screenwriter, makes a movie out of a memoir by Joe Shaw, a lecturer at an arts college. One thing leads to another and Shaw is invited to the set of Johnson's next film to witness the production and write a book about it: the book that will be known in this universe as The Making of Another Major Motion Picture Masterpiece, and instead of Shaw it is authored by Tom Hanks.

I could imagine the author, nonplussed, replying to comments about the title: "Well, what else could I have called it?"

To prevent this novel from descending into a monotonous blow-by-blow about the making of a film, Hanks introduces other stories into the mix. Among these is that of Robby Andersen, a cartoonist known for his talent since young; Robby's uncle, Bob Falls, a former US Marine who's the inspiration for a character in Robby's comic and the film; Bill's hypercompetent assistant Allicia "Al" Mac-Teer, who was plucked out of the obscurity of a customer service desk; Wren Lane and Ike Clipper, the lead actors in the film; and Ynez Gonzalez-Cruz, a ride-share driver Al roped into becoming the production house's dogsbody.

Years before, he'd suggested, rightly, that she forgo her christian name, Allicia—pronounced Al-i-SEE-a—and use the terse, masculine Al. Sight unseen, the citizenry assumed she was a man, and she soon proved herself so competent, so proactively assumptive, so badass, she forever-after-and-amen had her calls returned, pronto.

More than a story about moviemaking, this is a sprawling tale about how a movie comes about through a mix of chance and how the lives of those involved shape the product and influence the process. The characters come to life in vivid, almost cinematic vignettes of American life from around World War II to the present day, spanning a good slice of the American social fabric.

The hubbub of a movie set feels true to life. Here, one can soak in what Hanks may have experienced while on set. The atmospheric immersion is not limited to filming nor the use of words, as several short comics – in this edition, at least – give readers more to chew on: the wartime comic Robby once read, the satirical comic Robby drew about war, and the comic adaptation of Bill's finished production.

In this story about a film being made, one sees a nation in progress through the characters, up to the post-COVID era. Here, the US is the masterpiece and its denizens are the cast and crew. Calling it a love letter to America and its entertainment industry is a bit cliché, perhaps even trite, in light of the ongoing strikes by the Writers' Guild of America and Screen Actors' Guild over their future. Seeing it as anything else, however, is difficult

And it's far from monotonous. Hanks's storytelling is also playfully whimsical, the narrative format shifting from plain paragraphs to textspeak and screenplay, whatever the occasion requires. Quaint metaphors and the occasional comic-book sound effect enrich and enliven actions and thought processes. Bold and italicised text are used to good effect to emphasise and shock. Some might chafe at this because, when poorly done, it is irksome. Not here.

...his self-prescribed discipline commanded that he stay at the typewriter no ... matter ... what. Type anything. MAKING MOVIES IS MORE FUN THAN FUN. The phone book, the pledge of allegiance, Springsteen lyrics...

The Gonzalez-Cruzes' dining-table banter. Letters from and to loved ones. The text exchanges between the characters. The beginning of a movie being pounded out on Bill's typewriter (incidentally, Hanks is a screenwriter, producer and typewriter fiend). Character names in film scripts are CAPITALISED, so the same happens in the book, according to Hanks in a footnote (yes, there are footnotes, and there are FOOTNOTES); expect this when the narrative shifts to movie-script mode. And to remind us that "someone is writing this book", we get parts where several characters speak to the "author".

First-time Hanks readers will be charmed. The man can spin a yarn. The America in this novel is real enough that parodied companies and products are still recognisable. And did I mention the footnotes, which not merely add context or clarify things, but provide additional in-story information that at times teases a chuckle or two out of the unsuspecting reader?

A taste: when an extra and self-avowed Screen Actors Guild cardholder gives Al lip for lecturing him about call sheets, the related footnote tells us the name of the production he was in and advises us not to search for his face because he merely "yelled obscenities from a tree line."

Several bits I found over-the-top hysterical. One that stands out is how Bill and his inner circle pondered having to deal with a divo of an actor who broke up with his girlfriend just before shooting – is it really that mission critical? There's so much characterisation of the actor that one can't help but wonder if Hanks is drawing from memory. WHO is he talking about?

Movies last forever. So do characters in books. Blending the two in this volume may be a fool's errand, wasted effort in the mining of fool's gold. Don't hate the final product. Think of it as quite good.

All these characters, their workplaces and favourite haunts, described to a tee. The story seems to drag on at first with all that characterisation. You're not invested at first, but about halfway through, one is anticipating a reference to earlier chapters as if itching to tie two loose ends together. You're rooting for (most of) the characters. You want happy endings for them and your heart sinks when tragedy strikes.

One can glean that Hanks's sympathies lie mostly with the cast and crew. The suits and the execs? Not so much. Two of the people who comprise the beating heart of the production machine are minorities. Towards the end, one gains an appreciation of the filmmaking process and the people behind it. Filmming is WORK and films succeed because of PEOPLE. Because films ARE people.

So it's amazing how this book, this paean to America and everyone in moviemaking, comics and the entertainment industry in general, was released in the early days of the WGA strike, which has now hooked up with the SAG-AFTRA strike by actors, mainly over residuals from streaming media and the use of AI.

Almost as if to tell everyone the industry, everyone who has been suffering since COVID came a-knocking, everyone struggling to get back on their feet after the mess of the past few years, and everyone bracing for the next major shitstorm, "You are loved."


The WGA strike ended on 27 September with the guild successfully making a deal with the Alliance of Motion Picture and Television Producers (AMPTP) regarding a new contract. The actors' strike is still ongoing.

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The Making of Another Major Motion Picture Masterpiece
Tom Hanks
Knopf
430 pages
Fiction
ISBN: 978-1-5247-1232-7