Ken Rance: Yeah, Siobhan – she nailed it. But I do think they did a very good job with casting the film. But in this case, in regards to casting, no I did not have input. And hopefully, the wise executives will realize that it’s great to dance with the girl you brought, and that writers do have a level of contribution and a level of significance…you know, they created it. Writers unfortunately…once they’re on a project and it is passed on to like a director or they’ve been replaced, then their input really isn’t valued. ![]() I brought the script to him, and we developed it for about a year, and that’s when he reached out to Tracey and they partnered and then Scott Stuber at Universal bought the screenplay preemptively and he took it to Universal and developed it. Ken Rance: Darryl Taja, who is one of the producers on the film, Darryl and I went to Howard University, he’s one of my best friends from college. And worker’s rights – those people need health insurance, they need to have money for retirement, they need to have futures for their children and to be able to send them to school and to be able to, in essence, grasp the American dream.Īs far as Tracey Edmonds being a producer on this film, did you seek her out or did she come to you? Hopefully, this will be a wake-up call, not only for workers, but for corporate America. My family’s from Detroit, and in some capacity, they work for the auto industry – whether they’re making the cars, whether they’re doing the bank loans for the cars, whether they’re painting the cars and selling them, et cetera. I don’t think this film could be any more socioeconomically relevant of what is taking place. Both workers and management are going to have to contend with concessions and work together. Ken Rance: Yeah, I think it’s going to have to be a collaborative effort right now – the foreclosure crisis, the credit crisis, the financial crisis. Do you think they’ll see that and think,Well, maybe we can come up with something… Do you think that will have an effect on people, not even just looking at it from the perspective of the executives, but the actual employees. Regarding the film and the economy right now, the thing that I found so timely is the fact that the characters had to become more resourceful. In speaking with, Rance spoke about writing the film and working with Tracey Edmonds. What begins as a straight forward job assignment becomes a life changing experience as Lucy discovers greater meaning in her life and most unexpectedly, the man of her dreams (Harry Connick, Jr.). When she is offered a temporary assignment - in the middle of nowhere - to restructure a manufacturing plant, she jumps at the opportunity, knowing that a big promotion is close at hand. ![]() She loves her shoes, she loves her cars and she loves climbing the corporate ladder. There aren't that many African American screenwriters who do Hollywood films, let alone a film that stars and feature an all-white cast.Ĭo-produced by Tracey Edmonds, Lucy Hill (Renée Zellweger) is an ambitious, up and coming executive living in Miami. Rance speaks about writing the film and being a black writer in the business.Īs one of the screenwriters on 'New in Town', which stars Renee Zellweger, Kenneth Rance is in a rare position. NEW IN TOWN | An Interview with Screenwriter Kenneth Rance
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