From small town Pennsylvania to teaching at the U.S. Navy, then to social work and back to teaching, Darryl Ponicsan has lived an inspiring and interesting life. After his second stint of teaching, he struck gold with his first novel "The Last Detail." From there the sky was the limit where he is most known for his novels that have been adapted to screenplays which include "The Last Detail," "Cinderella Liberty" and "Last Flag Flying." Screenplays include "Taps," "Vision Quest," Nuts," The Boost," "School Ties" and "Random Hearts." He also wrote the voice-over for "Blade Runner." We sat down with him to hear about his life and his service to our country.
1. Tell me about your family and your life growing up?
My parents ran a mom 'n pop auto parts store in Shenandoah, Pa., a coal mining town that was booming then. Now you can buy a three-story house there for the price of a used Chevy. I worked in the store as a kid and hated almost every minute of it. The town itself, however, was rich soil for drama and comedy. I'm surprised I'm the only writer ever to come out of the place. At the age of nine we moved into the first and only home my parents ever bought, six miles over the hill in Ringtown, a farming community. I had a happy childhood there, graduating from the local high school, now gone, in a class of 22 students. I think I ranked #18.
2. What is the most distinct memory of your mother and your father?
My father and I used to take our own trash to the dump once a week and dump it into a deep pit. One day there were two bums there. I was around 13. One held the end of a rope, and at the other end was his partner with a big bag, scavenging for anything of value. The one on top asked if they could go through our garbage before we dumped it. My father said sure, and we stepped aside. I said something belittling about what they were doing. My father told me, "It's an honest living." A great lesson in life. Years later, I was going through a nasty divorce. My mother told me it took years to build my character, don't let this take it apart. Those two moments are linked in my memory, because in truth I did not have a close relationship with either of them.
3. What challenges did you face at school and in the community?
As I said, I was in a class of 22. There were no cliques. In Shenandoah I was a latchkey kid at a very early age, unheard of today, but the neighbors looked after us as we played in the streets. Likewise in Ringtown where my parents knew all my teachers on a first name basis. I got into a little trouble fighting, which seemed to be our favorite pastime, but we fought with fists only and afterwards were usually ok with each other.
Darryl during his days as a teacher.
4. What values were stressed at home?
My parents were laissez-faire. They seldom knew where I might be. Frugality, toughness—both emotionally and physically—a work ethic, and honesty were values instilled in us, more by example than preaching.
5. What influenced your career choices post college and why did you join the Navy?
Honestly, I never thought of a career, not even when it seemed I was living one. I became a teacher by default, and when I was offered tenure, I resigned to join the Navy, at age 24, because I wanted to be a writer, not a teacher. In those days everyone was expected to serve a hitch. My brother went to the Air Force at age 18. I chose the Navy because no one had yet written a Navy novel from an enlisted man's point of view, at least not that I knew about. I'd studied creative writing at Muhlenberg, Cornell, and CalState LA, but my true education as a writer started as a child in a coal town and matured during my time in the Navy.
Darryl at Guantanamo Bay Cuba in 1964 (far left).
6. What lessons did you take away from your service and what are some of your favorite moments from the Navy?
The Navy is the only branch that draws its cops from the rank and file on a temporary basis, as a work detail. This is both a good and bad idea for exactly the same reason: the Shore Patrol does not put aside his humanity when he puts on the arm band. (Navy brigs, however, are run by Marines.)
I spent most of my enlistment at sea, and I have many memories of the sea itself. I remember seeing my first flying fish. I remember the Atlantic as still as a pond and so wild that I had to lie on a table and hook my elbows and heels over the edges. My very first night at sea I was intensely seasick, throwing up over port and starboard while standing my first mid watch. And of course, there were the liberty ports. We would rotate nine months in the Mediterranean, a month or so in Norfolk, and then four or five months in the Caribbean, my ship was the first American warship to tie up at St. Mark's Square in maybe ever. We would walk off the ladder right onto St. Mark's Sq. We were in Venice for a week. I was on the USS MONROVIA (APA-31), the flagship for Comphibron 8, an amphibious squadron. Occasionally we would move to the USS OKINAWA, a helicopter carrier, which was a luxury compared to the Monrovia. I also spent about two months in transit on the USS INTREPID, which is now a museum in Manhattan.
An indelible memory, resulting in my novel and movie "Cinderella Liberty," was a week-long stay at the Naval Hospital in Portsmouth, Va. I went there for a surgery. It turned out I didn't need the surgery, but it took a week to process me out of the hospital. I had liberty every night until 2400.
Another weird one: my first TDY after boot camp, before getting a ship, was at an Army depot in Ohio. Long story. I was there for a whole summer.
James Caan and Marsha Mason in "Cinderella Liberty." From IMDB.com.
7. What did you enjoy most about being an English teacher and a social worker?
Both had annoying bureaucracies which hampered some good work, and the pay in both is shamefully low, but the rewards of seeing children progress or in helping people in true need cannot be measured. A lot of my former students are now Facebook friends. They're all retired and I'm still working.
Faculty picture for the school yearbook.
8. What inspired you to write “The Last Detail,” “Cinderella Liberty” and the “Last Flag Flying,”?
"The Last Detail" was an incredible stroke of luck. It was handed to me almost whole while I was in transit aboard the USS INTREPID after leaving the hospital. I was working with a crusty old P.O.1 in a tiny office. The Career Guidance Office. We played chess all day and swapped sea stories. He told me about having to escort a young sailor from Corpus Christi to the brig in Portsmouth, NH. The kid was unjustly sentenced to a long sentence for a small offense. I knew immediately I had struck gold. It took five or six years to evolve from a short story to a novel.
"Cinderella Liberty" was based on my Naval Hospital experience. That one took about four months to write.
"Last Flag Flying" was the result of endless prodding by a friend to revisit the characters in "The Last Detail" and essentially duplicate their train trip. I resisted for obvious reasons, but I was so obsessed with Bush pushing us into an endless and unnecessary war I felt it might be the best way to get it all off my chest.
9. What was it like working with Jack Nicholson, Hal Ashby, Robert Towne, Harrison Ford, Martin Ritt, Barbara Streisand, Richard Dreyfus, Harold Becker, James Woods, Mark Rydell, Sydney Pollack, Sherry Lansing and Stanley Jaffe, Richard Linklater, Bryan Cranston, Laurence Fishburne and Steve Carrell?
I never worked with any of the principals involved in "The Last Detail." I worked alone on Towne's first draft for two weeks, the first time I ever saw a screenplay. Of the others, I worked most intensely with Barbra, Harold Becker, Mark Rydell, and Rick Linklater.
Mark Rydell did "Cinderella Liberty." I worked closely with him on the script, my first, which took over twice as long as it took to write the novel. A WGA strike forced us to call it done. Mark was a charming, clever director, but I think I absorbed some bad stuff from him. He was an operator and I know at times I emulated him. A mistake. I'm not an operator, and I should have known that from the beginning. Not that his heart wasn't in the right place.
I did several scripts with Harold Becker, who I liked personally, but I never fully trusted him. I saw him throw others under the bus and I'm pretty sure he did likewise with me.
Sherry Lansing was often derided as a cheerleader, but she was the best of cheerleaders, always encouraging, out in front. She was great to work with on "School Ties." She was one of the first women to break out big in the business. I like her a lot. I worked with her and Jaffe on "Taps" and "School Ties," which Jaffe left to head up Paramount. Stanley and I had a love-hate relationship. While at Paramount he hired me to do a major rewrite for a green-lit picture with a major star. I knew he had bragged about getting me cheap for "Taps," so he made up for it with this job. It was outlandish. I can't mention the project because at the last moment the star decided he couldn't work with the director, and the whole thing crashed and burned.
Sydney Pollock was a good friend and a guide to me in the industry. He helped me through the political and filmmaking process in Hollywood. Sydney said that I was not "part of all this," meaning the ethos and byzantine angles of Hollywood, and he took on the role of guide. I never did learn the ins and outs of the business, and whenever I pretended to I came off as a jerk.
My best experience, which turned out to be my least successful movie, was with Rick Linklater. All indications are that the movie will be rediscovered as time moves on. That happened with "Vision Quest," a failed picture that keeps finding new audiences that are deeply moved by it. Rick never speaks above a whisper. He seems always on an even keel. Whatever he does comes from the heart.
Barbra was a singular experience. She's taken a bad rap in the past. Even though I didn't even like her, until I met her. I was so nervous about our first meeting. At the time, Sidney Pollack told me I would love her, and I did, even though I have a hard time being around perfectionists, who I believe get in their own way. Alvin Sargent, a good friend, worked with me as a collaborator on "Nuts." Mark Rydell was originally the director. At one point she asked Rydell to step aside and let her work alone with the two of us. He wasn't happy about it, but Barbra gets what she wants. We practically lived at her house in Beverly Hills for a week. It was agony, it was a joy. Rydell was replaced by Martin Ritt, one of the great old lefty directors.
10. What are you most proud of, your life and career?
Whatever I may be proud of came with a good deal of luck. I'm proud and lucky that my children are not addicts, and I'm proud I never wrote anything I'm ashamed of.
I'm also proud and lucky to have received an Image Award from the NAACP as Screenwriter of the Year. (1973) I may be the only Caucasian to receive that.
Several years ago, I was living in Sonoma and found I could not work because of the raucous noise of leaf blowers. I went to the city council and took my allotted three minutes to urge them to ban blowers. I went to every meeting over the next year, taking my three minutes. I did my homework and concluded that blowers were the most destructive handheld tool ever invented. I bombarded them with data they could not ignore. They finally voted to ban them, but the mayor caved to commercial pressure and changed his vote. He lost the next election because of that. The issue finally went to a ballot measure and the ban was passed by 16 votes.
I did the same thing in Palm Springs, but this time it was a slam dunk. I'm proud to have had a role in banning leaf blowers in two different cities.
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