Press > Escape From L.A. > Exclusive Interviews > Coleman Luck
(Commissioned Script Writer/1987)
How did you end up being a writer and producer for film and television?
My interest in screenwriting started while I was at university after the army. I
had done advertising writing for years, but had never considered writing for
screen. Taking a history of film course sparked the beginning.
How did you get the assignment to write an official Escape From L.A.
script? What got you interested in it and why did you add the cloning ending
revolving Snake for instance?
The story behind the script is pretty simple. At the time I was a
writer/producer at Universal working on The Equalizer for CBS. I think
Carpenter made contact with me through my agency at the time, ICM (International
Creative Management). At least I
believe that's how it happened. (This was a long time ago.) Don't know why he
chose me except that I was known for hard-edged fantasy material. We met at a
local restaurant in the San Fernando Valley and talked briefly. He gave me no
thoughts about the script at all. There was only one thing that he insisted
on. The script had to be a prequel. That was it. I don't know why he made that
I was interested in the project because I had loved Escape From N.Y.
Carpenter sent me off to write whatever came into my mind. I think I did do a
treatment before I started the script which he read but had no comment about. So
I wrote. For me the strength of EFNY was the dark comedy of it all
married to action with a strong clock. The first film took a lot of pokes at NY
and I think that's one of the reasons it worked. I wanted to do the same thing
with LA. And of course the darkest comedy should revolve around Plissken
himself. Why did I add the cloning thing? I liked the idea. It turns the whole
EFNY on its head which I thought then and still think is great. People
would have argued about it forever. You're talking about and it was never even
shot. Plissken freaks would have been shrieking about the clone ending, but I
believe they would have bought it the way I wrote it. To say he was a clone is
too easy. There was a lot more too it than that. The cloning revelation was
really eerie, not just an SF (Science-Fiction) cliché.
As far as Carpenter and Russell are concerned, I never had a single conversation
about the script with them after it was turned in. What I wrote never got beyond
first draft because the day I turned it in the DeLaurentis Studio went bankrupt.
The project became part of the bankruptcy. But I did get paid which was a
miracle. As you know, it stayed in limbo for years and years. When Carpenter
finally got it back it didn't surprise me at all that he tossed my version. I
doubt that he even read it again. Truth is, I expected my version to be tossed
when I first turned it in.
Which parts of your script do you like the most and is
there anything about those parts you'd like to discus?
The strange thing about writing is that after you have written, the thing takes
on a life of its own quite apart from you. People come into contact with it and
there is an immediacy about it for them that is long past for the writer. I
haven't read my version of EFLA in almost 25 years and I don't own a copy
now. I remember the end and a few scenes such as the traffic jam frozen in place
forever with crazy people living in their cars and the insane parade with deadly
float wars. I remember the beginning sequence set in Las Vegas-by-the-sea where
Snake participates in an awful game of chance called Bet Your Body Part,
etc. But I couldn't focus on any aspect at this late date and call it my
favorite. It was full of things that had never been seen before and were as dark
comedy as you can get. And there was plenty of action throughout culminating at
Rodent Park, all that was left of Disneyland.
Did you drew any inspiration from being a Vietnam veteran
while writing the script? Also, did your experiences as a former soldier somehow
affected your interest in Snake Plissken?
I have drawn inspiration throughout my writing career from being a combat
soldier and leader when I was young. That and the fact that I have been a
Christian for many, many years have created the themes for all of my
writing. Combat is not a videogame. Killing people, even when it is justified,
is a terrible thing and it does not leave you. All of us need the forgiveness of
God for our sins. We need His redemption. The situation in the world is so awful
that sometimes the only way to deal with it is through dark comedy and
over-the-top characters like Snake Plissken. In the script, my view of Los
Angeles, a city I love, was a dark parody based on reality.
Why did you sell your only copy of it?
I had no more interest in it and felt that someone else might enjoy it. Having
someone pay for it guaranteed that it would go to a person who really wanted it.
Why did you decide to move over to working in TV?
Several reasons: Having a true career in Hollywood as opposed to selling a
script now and then, is very difficult. Feature films belong to directors. They
run the show and writers are brought in and shuffled out by the half dozen. In
TV writers run the show, we hire and fire directors. Plus, in television there
is the opportunity to develop characters and tell stories over many
episodes. Not possible in feature films. TV is a writer's medium. If you are
successful in it you have a chance to work with some regularity - rather
important when you have a family.
What work of yours are you the most proud of and why?
The work that I did on The Equalizer. I had the most freedom there to
Introduce us to your novel Angel Fall. What is it
about and what inspired you to write it?
It is a dark fantasy set in another world. It's about three young people from a
broken home who are taken into a world filled with evil hanging on the edge of
eternal night. Each must go on a dangerous journey. As they travel alone they
confront their own past with all of its hurt and damage. I have been flattered
that the novel has been compared to the work of Lewis, Tolkien and Lovecraft.
novel Angel Fall
You're also a mentalist
and a speaker. Can you tell us a little about this?
I think the best way to answer this would be to invite readers to visit my
where I talk about this extensively under the category Illusions of Power.
What are you currently doing and what do you enjoy
doing in your spare time?
I'm getting ready to start a new screenwriting project in the new year. Can't
talk much about it at this point.
I teach a monthly Bible study in Hollywood geared to people in the entertainment
industry. The recordings of these are also on my website. Also, I live in
beautiful mountains near Yosemite National Park. My wife and I enjoy photography
In closing. You aren't a fan of the final version of
Escape From L.A. In what ways do you think your version would've been
Why do I think my script would have been better? Everyone who has read it
has told me so. They have been incredulous that Carpenter didn't make it. But
beyond my script almost any script would have been better than the bucket of
warm vomit that he threw at the audience.
The truth is I really don't care
what he did or didn't do. It's ancient history.
Thank you for your time, Coleman.
More about Coleman Luck here:
More about Coleman Luck's script here:
http://www.aintitcool.com/node/34221 (Review) By RaulMonkey, Ain't It Cool News