[Originally published in Movietone News 66-67, March 1981]
Introduction by Richard T. Jameson
When it comes to new hope for the American cinema, filmcrit types are always in the market. New hope in 1980 took the form of a low-budget festival film with the misunderstandable title Return of the Secaucus 7. It wasn’t a documentary, wasn’t a tribute to sullen or snarling radicals, wasn’t even a where-were-you-in-’72 American Graffiti–style slice of overpacked nostalgia. What it was was this genial, witty, low-key comedy, with just the right touch of rue, about a group of friends getting together for an informal reunion one summer weekend, and trying to get used to the idea of turning 30—and just a wee bit comfortably bourgeois. The screenplay was a beauty, ostensibly laidback and wide-open, yet carefully detailed without letting the pointedness show; the characters expertly drawn, no fuss, and so cleanly individualized (among other things, everyone’s dialogue has a logic and texture all its own) that for the audience and for one another they step right out of any assigned boxes, free to explore a wide range of possibilities. The result was a droll ensemble portrait shot through with the cozy vitality the Sixties used to call natural, without any of the boring unintelligence that so often went along with it.
The film marked the directorial debut of John Sayles, himself age 30 and one of the most solidly talented writers of contemporary American fiction. About the time Secaucus 7 went into national release, Sayles accepted an invitation to meet with a scriptwriting class at the University of Washington and share some of his experiences. Virtually all the Hollywood personnel who graciously and generously gave of their time to support this course delivered themselves of frank and cogent remarks about the realities of the film biz at the dawn of the Eighties; but even in this company Sayles was conspicuous for the comprehensiveness and lucidity of his commentary. He talked for better than two hours, first supplying a general commentary on his background in film and the circumstances of Secaucus 7‘s making, then opening the floor for questions. Having never heard so much good sense about films and filmmaking collected in one place before, movietone news requested permission to share it with a larger public; the unassuming writer-director seemed surprised that anyone would think so highly of his off-the-cuff remarks, but he agreed. “We’ll send you a transcript so you can check it out.” He thought about that a moment, then said, “No. If I said it, I’ll stand by it. Just go ahead.” And that, with very little editing and rearranging, is what we did.
I’d always been interested in doing screenwriting, realized that there weren’t too many ways into it. I didn’t want to go out to Los Angeles and start knocking on people’s doors trying to get an agent, so I went a route that isn’t much help to most people, which is that I wrote two novels and got them published. I got a literary agent out of that, and his agency had a deal with a film agency on the West Coat, so they were automatically representing my novels as screen properties. I wrote a query letter to them saying, “I also write screenplays”—which I hadn’t done at that time—”do you want to see one?” They said, “Sure, send one,” so I wrote one and sent it off to them, and they said, “Sure, we’ll represent you.” So I moved out to the West Coast.