![]() “I remember there were dogs and babies playing in the office, a real family atmosphere, and Steven jumped up to introduce himself,” he says of their initial meeting. It was original enough to catch Steven Spielberg’s eye, and Columbus was summoned to his Los Angeles production company. Too funny to be really horrifying, Gremlins splatter animals like a Roadrunner cartoon. In Columbus’ screenplay, the first glimpse of one of his beasties is in the kitchen, where he’s just chomped the head off a gingerbread man. ![]() Late at night, listening to little mice feet scurry around the floor, Columbus dreamed up Gremlins, the tale of cute fur balls that turn into batlike vermin and terrorize a Norman Rockwell village. Reckless sold for $40,000 and was made into an awkward movie starring Daryl Hannah and Aidan Quinn.īy fall, inspired by The Bride of Frankenstein, he decided to write his own creature feature. The summer after he graduated, he slagged off by watching old horror movies and scripted Reckless, a reworking of Rebel Without a Cause set in an industrial town. ![]() Columbus wrote another screenplay, Night Shift (not the Ron Howard movie) - awful by all accounts - his junior year and directed a short film his senior year. The teacher was impressed enough to introduce Columbus to his own agent, and the agent promptly sold Jocks, the story of a Catholic-school wimp trying to make the football team, and Columbus’ first script, for $5000. Hearing Darkness on the Edge of Town made him decide to do it. Ever since his first trip to a theater, when he’d sat in the dark and watched Santa Claus Conquers the Martians on the big screen, he’d wanted to work in the movies. He was sweating through a summer job at an aluminum factory in 1978 when he first heard “Badlands” and “Prove It All Night,” Springsteen’s songs egging him to chase his dreams out of Ohio. Its rag top up to a winter world, the Rambler pulls up near a record store where Columbus’ll hunt for an old Impressions collection. “My dream,” he says, hopping out, “would be someday to go for a ride with Bruce in this car.” His car’s a ’62, with a chunky body, gaudy chrome trimmings and two-tone leather seats, the sort of cool classic that could’ve cruised by 77 Sunset Strip. At 27, he’s already a Hollywood fat cat, having seen three of his scripts turned into Steven Spielberg movies that together grossed over $270 million.īut he’s got cheap taste in wheels. Kris currently resides in Rancho Palos Verdes with her husband and two daughters, Taylor and Harper.A Mustangful of Jersey boys hanging out the windows yelling “What year? What year?” passes on the highway down Manhattan’s West Side as Chris Columbus tools along in his red Rambler convertible. She is now taking on a similar role for Girls IN Focus where she is the Program Committee Chair and has been involved with curriculum development, among other initiatives. She was a volunteer writing consultant and part of the advisory board of Camp Reel Stories for two years, which is a film boot camp for young girls. Now in its twelfth year, the wildly popular one-day event shares the talents of dozens of renowned artists with elementary school students giving them an opportunity to take a peek into the careers of those in the creative community. Kris is also an avid volunteer and co-created and participates in a program called Arts Alive. She also took second place at the Las Vegas Film Festival for a comedy pilot, and earned the Bronze Award in the Family Film Competition of the Hollywood Screenplay Contest. Her indie feature script was a finalist California Women’s Film Festival feature screenwriting contest and received an honorable mention at the Women’s Independent Film Festival. Kris co-authored two female-driven comedies that were sold to Gold Circle Films and New Line Cinema. Earlier in her career, after moving from New York to LA, she worked in television production for shows produced by Miller/Boyett, Carsey-Werner, Decter/Strauss and Mike Binder, and also worked in development at Castle Rock Entertainment, and at Warner Brothers for Joel Surnow. She has also found success writing scenes for various WGA events. Kris also wrote and co-produced the award-winning comedy short, End of the World. Kristine Skeie is a screenwriter and earned first place in the 2018 NFMLA’s Los Angeles: On Location contest as writer, co-director, and co-producer for the short This Is My LA, which highlights wheelchair-accessible places around LA. Program Committee Chair Frazzled Films Inc., CEO, Screenwriter
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