WATCH THE TRAILER FOR THIS FILM HERE
It’s not everyday you learn that the film you co-wrote made it on the submission list of the 2011 potential Academy nominations for Best Foreign Film. For Concord resident and screenwriter/director David Michael O’Neill, the nomination for the film “The Black Tulip” came as icing on the cake of a thoroughly solid, heart wrenching and realistic portrayal of life in Afghanistan post Taliban rule seen through the eyes of its people seeking to express their freedom despite the costs.
In the October 2010 issue of The Concordian we wrote about the film and the critical successes it was enjoying in showings to local and global leaders, most notably in Afghanistan itself.
With a humility and generosity in exchanging information on his craft, O’Neill tackled some of our own questions, the most predominant being “How do you write a movie like that?”
“I build out a timeline initially,” O’Neill said, “and I make sure I have the thread of history accurately accounted for. I always find stuff you couldn't imagine; then work from that outward pressure working its way onto my characters.”
O’Neill gives his characters life through their actions. In this case, opening a restaurant and providing an open microphone for the people to express themselves through poetry and stories which in itself causes trouble from the remaining Taliban and the degree to which their power is still potent. So potent in fact that director Sonia Nassery Cole, the film’s producer had to become the lead actress after the abduction and disfigurement of her original lead.
“There are a lot of mechanics to [screenwriting] to make it work efficiently, correctly, seamlessly, so that it flows,” O’Neill said. “I liken the experience to someone coming in your house and telling you that you have structural problems. It's your house and there's a feeling of ownership to it and sometimes you become an annoyance to the home owner; but in two months time you know the foundation is going to go, the roof will be leaking and the pool needs to be drained because water is leaking under the house itself - I try to teach as I write and as a result put forward creative models before the producers at every turn to get them involved in the kind of thinking that's necessary to make things work.”
In fact there was such a fundamental difference from Coles’ original script vision, to the final version that the elements O’Neill brought in amplified the conflict and created the necessary tension to make it work.
“The Taliban were rooted out in late 2001 after they wouldn't hand over Osama Bin Laden,” O’Neill recounts. “I thought it interesting to put it in that time frame where there was a moment of freedom and create a story with the question ‘now that you're free, what are you going to do with it?’ I suggested we put a microphone with a stage in the middle of the restaurant and have an open invitation for those to read. Men, women, boys, girls all gave a voice to the voiceless. Then the factional Taliban elements would begin visiting and ultimately put their pressure on the family. With this one small idea the film lifted itself up into something very provocative.”
In giving the movie a voice, O’Neill had to construct the poetry read by the characters, no easy task for a Concord man sitting in his garage and slamming out the massive tensions and events that would grab audience members half a world away and hold them spell bound. “An old man gets up on stage and says that the Taliban are nothing but tired and fearful men, offering nothing to the Afghans but misery and a dark age mentality,” O’Neill shares taking pause. “Now we have the Taliban actually in the restaurant as the old man reads. He is later killed by them as they shove a screwdriver into his heart and through the poem he read.”
Where the reality of the film and the reality of the writer diverge is in the construct itself. For O’Neill, having to go to Afghanistan and experience first hand that which he would impart to his characters, was not going to happen.
“I'm brave enough to write it but I wasn't brave enough to go under those circumstances,” O’Neill explained. “I'm not one who would literally die for art's sake. Writing is a way for us to create the world we want to live in. At least for me anyway. And it still has to be personal.”
O’Neill recounts his experience on the movie “Cadence” directed by Martin Sheen who told him that ‘everything had to be personal’ in order to have value onscreen. With that advice O’Neill carefully finds the angles that make his projects personal. He did not need to suffer in Afghanistan to recount the suffering. His experiences elsewhere, such as a trip to Nicaragua at the end of the Contra-Sandinista war, where the memories of living with the poor and rotating through different war ravaged villages helped cement that feeling of despair and the power of hope that he projected onto the characters of “The Black Tulip.”
The film shown Sept. 21 to Afghan President Karzai, and U.S. General Patreaus at the Arian Theatre in downtown Kabul, as well as to an audience of 300 at the U.S. Embassy, helmed by Ambassador Eikenberry received a tremendous response. Next month the results of the Academy submission will be cemented and O’Neill will learn whether the film made the final cut to be an actual nomination.
“It's weird, for a kid from Concord to have an opportunity like this one,” O’Neill shared. “I wrote it in my garage during the summer and to think a production was mounted and sent to the most dangerous place in the world, I'm still catching my breath.”
You might not equate Concord as a screenwriter’s Mecca, but for that to make any sense you would have to understand the process that screenwriters follow; vast internalizations tied into life experiences.
O’Neill grew up in Concord, a graduate of Clayton Valley High School and with friends and family still in Concord, has made it his base despite an entrenchment with Hollywood. “I did live in Hollywood for 18 years or so,” he will tell you. “I'm very acquainted with it.” The truth of the movie business is that with Internet and cell service you can be anywhere and still remain connected.
And life is good. With a script titled “Threat” at Chernin Entertainment, a novel he has optioned from Pulitzer nominated author Richard Jessup for which he is penning the script and another titled “The Happy Man,” a favorite of his, O’Neill is a busy man; the best way for a writer to be. “I also have a golf comedy called “Gentlemen Only; Ladies Forbidden” that will star “Happy Gillmore's” Christopher McDonald as The Great Mighty Puddy. I'm also working with Tom Jacobson's company on a book I have about the serial killing team of Gerald and Charlene Gallegos. They were tried for the murders of twelve young co-eds near Sacramento.” The book was written by homicide Detective Ray Biondi. The last one I've been contracted to write is “The MTV Story.” I'm working with John Lack who was the founder of MTV and we're crafting a script on that one right now.”
And for O’Neill being busy is the best way to be and one of the reasons he enjoys being in Concord with no distractions to detract from the business he loves.
Meanwhile, on January 25, O’Neill will learn whether “The Black Tulip” made it on the official list of nominated films for the 2011 Academy Awards. Cross your fingers...
-Story by Andre' Gensburger
-Photo by Kathy Weires










