"It's time to accept what the function of movies is at this point," he says. "I never thought we would be seeing this. We get these shakeups, so I guess it's time to assess what we're doing. It's a challenge. When I came to Hollywood in the 80s it was still a factory. When I first came here I loved Paramount Studios, I was so excited to work there. Every actor had development deals, scripts were pounded out left and right. Just the other day I stopped outside of Paramount and was looking at the posters on the walls. Now it's a completely different world. There's nothing there for me anymore."
"You could rethink your career," he says. "You could try to do television. Or you can try to do your goddamm best work for the next 20 years and hope some producer is insane enough to want to realize a piece of poetry written from your heart. I'm being asked to go speak at colleges. I'm afraid to do it, I don't want to be discouraging or give these kids false expectations. Everyone is a little panicky. I do believe the minimization of talent will work itself out in new ways. Who knows what they will be? Story and the ability to invent character and drama and poetry and imagery, that's not going anywhere. Maybe in a different form, whether it's 3-D holograms: if you can create characters that people can relate to there will be, I assume, a market for that."
Cartright is developing another film, "Jane, Jane Tall as a Crane," with Mr. Mud, the producers of "Juno." It's another project for children written from the point-of-view of a girl who loses her hand-clapping partner and is set up with a boy instead. It's based on poems that get handed down in school yards, which Cartright started writing down, natch. "It's the interior monologue of a first grade girl pondering life, death, good, evil," he says. "How can she eat animals when she loves her poodle so much?"
This time he's directing the movie in L.A.