For more than forty years, my rationale for not re-watching movies - even those I loved the first time - was straightforward. I didn't want to spend hours in a redundant passive state. Such can be the curse of a goal-driven person. I don't claim to have never wasted precious hours re-watching an old favorite but it was rare and I was never tempted to purchase videocassettes just to have a standby on hand.
Having more hours to myself after leaving the full-time work world as well as having a daughter in the film industry were two factors that moved me toward abandoning my longstanding resistance to re-watching movies. But the single factor that most persuaded me that re-watching films could be a productive use of my time was a deepening appreciation for the art of screenwriting. As I re-watched more movies, I began to see the way that first-rate screenwriting could help me as an aspiring writer, perhaps as much as great literature can. And I saw a clear link between how the concision of a great script contributes to movie magic and how a similar concision could aid me in my blog. Of course, it's possible I've simply constructed a neat rationalization for spending more time in front of a screen. But I don't think so.
When I recently re-watched The Man in the Moon (1991) for the first time since its theatrical release, the words of the perfectly realized script landed for me in a profoundly different way than they did thirty-five years ago. As the closing credits rolled, one thought wouldn't let me go. There was not a single false note in this coming-of-age film. Was Director Robert Mulligan's artistry on display? Without question. Were the central performances - including Reese Witherspoon in her film debut - nearly flawless? They were.
But without the words of screenwriter Jenny Wingfield, all the other important elements that made this an extraordinary experience - twice - might have added up to a less satisfying whole. I may not improve as a writer having now been witness to Wingfield's words, twice. On the other hand, how can exposing myself more than once to her kind of artistry hurt me as a writer?

