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Kim Voynar

By Kim Voynar

"Minotaur" Gets Optioned

Mike Jones, who until recently helmed Variety’s The Circuit blog, just had his screenplay for The Minotaur Takes a Cigarette Break, adapted from the novel by Steven Sherrill, optioned by The Gotham Group.
The story is about the mythical half man-half bull working as a short order grill cook, in a world where other mythological creatures also work in a variety of menial jobs and are treated like low-wage minorities. Says Jones, “Since they are all myths, they each have their metaphorical place, in a way. In the Minotaur’s case, he’s the object of all alpha-male aggression, so any stupid ex-jock that sees him wants to push his buttons. So M keeps moving to different jobs to avoid conflict.”
Things get spicy when the Minotaur falls in love with a waitress at his new gig, and she with him. “When the head cook starts pushing him around, M decides to stay,” adds Jones. “And since he’s the Minotaur, he blows his stack. All hell breaks loose.”
Jones notes that his script is very different from the book. “It’s very internal, the book. I really only used the first three chapters, then went to a completely different direction.”
The concept of the film sounds pretty cool to me. The film will be a live-action project, and is currently out to directors. Congrats to Jones on optioning the script; now I just need to pick up the book and read it, so I know what to expect when the movie comes out.

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One Response to “"Minotaur" Gets Optioned”

  1. RedheadedWonder says:

    As a mythology geek, I’m always excited to see someone riff on Classical myths. I wonder if they incorporate any other parts of the original story. Sounds different at any rate!

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon