Message Board

Let me ask one thing so that we're clear. When you say the Preferred Newsletter, are you talking about the Flash Notices that go out every week re: production companies/producers looking for product?

Are you still having a problem? Whenever I've had ANY questions or concerns, I just e-mail Jerrol@WritersScriptNetwork.com and he responds right away.

If you're having a problem, Jerrol will always take care of it.

1) When I worked at ABC in Distribution, we dealt with rights A LOT!

Contact the Publisher and talk to the Rights Department.

Re: ABC-owned product, people called me to find out if we owned this and that. A lot of naive people assumed that just because it "aired" on ABC, we owned it. Most of the product we owned, appeared elsewhere because they purchased the broadcast, video, etc. rights from us.

2) When I was hired in August 2001 to write a screenplay adaptation for a best-selling book that came out in 1990, the Producer was negotiating the price with the Author's Agent so, I'm assuming, in that particular case, the Producer was purchasing the movie rights directly from the Author.

I think it totally depends on how well you know the story you're going to be writing. Some people do an extremely detailed outline before they start, character development, etc.

It has always varied for me. One 130 page historical epic took me five hours one morning. But I did over six months of research.

Also, if it's a true story that happened to you personally, it can be done VERY fast or take the LONGEST.

The historical piece I first spoke of, I've done nine drafts since 1996.

During the last three years, I took a break. Decided not to try and sell, just work on improving my craft. I'm glad I did. Now my first drafts (especially my dialogue) are awesome. Then, again, I could be delusional. At least now I have confidence in my abilities.

I'm a "morning" Writer. But if I'm on a roll, I won't quit and the next thing I know, I'll look at the clock and it'll be ten p.m.

I've been on a major roll these past couple months, setting goals for myself and completing them. Not really goals, but assignments. Each week, I tell myself, "This week I'm working on . . ." This morning, I finished the 5th draft I started last week (the first four drafts were written in '99) this morning, along with the first draft of another supernatural thriller I started last week. And we're talking the best writing I've ever done!

Like I said, each Writer is different and it depends on so many factors. But, if you've got all the time in the world to write, maybe you're doing something wrong. (It shouldn't take you more than six weeks to do a first draft.) Maybe you don't have confidence in yourself. Maybe you're scared of finally "making it."

1) Find whatever stimulates your creative juices and use it. It could be anything. Listening to soundtracks, i.e., "The Last of the Mohicans, does it for me.

2) Take breaks. And I'm not talking about 20 minutes. If you want to take a two hour break to watch a movie that's comparable to what you're writing, hey--that's RESEARCH. DO IT!

3) If you're in Washington state, enjoy what you have. You're damn lucky. Whenever I get down in the dumps, I take a drive on Sunset all the way to the beach. When I'm curving around those hills and I'm high above the ocean, I say, "YOU'RE IN L.A.!" There are people who dream of coming to CA but never even visit. But, remember, the great thing about being a Writer is that you can live ANYWHERE!!!!

4) Here's something that might help. KEANE ON SCREEN: THE NEW SCREENWRITER'S WORKSHOP by Christopher Keane. From what I understand, it's like being IN A WORKSHOP. Get your idea/story together, then open up the book and follow it. TRY IT, YOU MIGHT LIKE IT (and get a first draft done in two-three months).

HANG IN THERE AND DON'T GIVE UP!

I THINK I might be able to answer your questions. Back in 2000/2001 Scriptwriters Network wanted to sue Writers Script Network (well, to cease, anyway) because of the name even though they really had no leg to stand on, besides the fact that they're (SWN) piggybacking on someone in Florida. (I could tell you more, but I can't divulge what was said and what went on during the Board meetings.)

THAT COULD BE one of the reasons Jerrol changed the name.

On another note, I think WSN is AWESOME! Jerrol is ALWAYS there to help when you need him. ALWAYS!

Every weekend, I look forward to the notices sent out telling us what producer is looking for what, and giving us the chance to e-mail pitch to them! And during the last 9 months, I've noticed some major companies, i.e., Lightstorm Entertainment("Titanic," "Terminator"), ImageMovers (Robert Zemeckis), Kopelson Entertainment ("The Fugitive"), The Mark Gordon Company (if you don't know who THAT is, then you're in the wrong business).

As far as having put a script online with them, it's great that you can always check to see who looked at your work and was considering it. I was tickled pink when I saw that Peter Hymans read my synopsis.

Having sold something from having product online with them, that did happen to me twice--sort of. Unfortunately, the endings weren't that good, but that's not WSN's fault.

1) I originally sold a romantic comedy to an independent who, unfortunately, lost their financing.

2) I optioned a horror script to a producer who used to be with Disney. But, at the time, he had too many projects going into production and, later, didn't believe he had the time to look for financing.

Of all the e-mail pitches I've done during the last two months through the flash notices I receive from WSN, I've gotten responses from all and all but one have asked to see a script (one company asked for two). In the meantime, I'll keep pitching!

When someone moves on to Heaven, doesn't that make the Blessing even MORE blessed?

It would be a perfect world if EVERY Writer could make it as a WRITER--no matter what age!

David--

I tried looking her up in my Hollywood Creative Directory without success. Doesn't mean anything. If you or the company doesn't want to be listed, then you don't have to be.

Why don't you try her name at www.imdb.com? There's a contact section.

If THAT doesn't work, then look up the movie and then see if the production company is listed in HCD.

You can also call the Producers Guild in Los Angeles for contact info.

I know when I've sent mail to Screenwriters in c/o WGAw here in L.A., the Writers have called me.

Keep looking. You'll find her. When there's a will, there's a way.

Good luck!

Terri

Joe--

I'm assuming you're asking because he and his company (and most recent credit) were listed in one of WSN's May 10th NewsFlashes (if you notice, WSN has different ones).

In looking it up in my records, it sounds like a good script search to me. I'd go for it. In fact, I think I did.

Here's my advice, Joe. If you get the opportunity to e-mail pitch your product to someone who's searching for what you may have--GO FOR IT!

I wouldn't worry about it until you're made an offer.

He states both "WG and non-WG writers are welcome." Obviously, he can't offer you less than the WGA minimum for a budget that exceeds $2 million. It's stated that the budget won't exceed $4 million.

It's easy for a working actor to pay the rent, etc. Been there, done that. But a Writer could go more than 20 years without making a dime as a Writer.

Take any opportunity you're offered, Joe. I'm talking about the opportunity to contact and pitch. Once you're made an offer, that's a whole new ball park.

I was so excited a few years ago that someone wanted to purchase a romantic comedy of mine. It was an actor who's done quite a few films. Which insulted me even more that he would have the audacity to offer me only $1,000 for all my hard work. NO WAY, JOSE!

Terri

From Ellum who also quotes Bryan: >"Ellum, you made a good point. This site is not a place for name calling or making belittling statements....' Then you can't resist advising, "...you need to find somewhere else to spew your poison."

You aren't very bright, are you? Just couldn't resist another insult, huh?<

It's been about three years since i've been to this BB. I think it's important for Writers to help one another as much as possible! I believe--and I hope--that what goes around, comes around.

Ellum, I think you misunderstood what Bryan said. Or maybe I did. He wasn't insulting you. Far from it. He was agreeing with you and suggesting that those who have to insult and can't help other Writers (then, they're not true Writers in MY opinion), should go to another site and be nasty.

Personally, I think if it's in someone's nature to be nasty and mean and they just have to get it out, then they should create their own site. You would think that 9/11 would've taught them something, but apparently not.

From Richard:

Uh, I have to disagree with you on THAT one, Richard. ROFLMAO!

I like being completely isolated no matter what I write (at least WHILE I write). Maybe that's why I get so much done. On the other hand, it could mean just the opposite. Maybe I'm NOT a good Writer, due to isolation.

Okay, I'm gonna go "isolate" myself now. Have to finish a script today.

Hey, what happened? My quote from Richard didn't SHOW UP in my last post. SORRY!

"Screenwriting, at least for me, is not like other avenues of writing (say, the novel) where you can be competely isolated from others while you work."

There, let's see if THAT worked.

Have a GREAT, PRODUCTIVE day, everyone!

"Could you check Film Kitchen Inc."

That's a new one to me, David. Don't know it.

Also, David, there isn't any guild that gives out "members to locate" online. You have to do it by phone (you're usually allowed up to three names per call). I know the guilds for the actors and writers have separarte departments for that (except AFTRA where you have to fax in your request). You can either call those specific numbers directly or call the main number and be connected. I've always been able to locate producers so I've never had to contact PGA.

Terri

No, I don't pay for it. But I do get a better version than the ones my friends who don't pay for theirs get. I'm just saying that the ones I get, have companies that are more prominent,i.e., ImageMovers, Lightstorm Entertainment, Kopelson Entertainment, The Mark Gordon Company, etc. And another friend gets a different "free" version than the two I just mentioned.

So, do you like the Preferred Newsletter? Sounds pretty good if you're getting at least five (5) production companies per week or more.

Thomas, Writers-for-hire don't get paid to write treatments and scripts on an hourly rate. If you are, you're getting screwed!

Have you ever seen an actual contract between a Writer and Producer? And I don't mean the kind where the Producer only pays $1,000. I've worked in legal at a few major studios. Many inexperienced Writers don't understand how a Writer gets paid.

If you receive an option for a year (Producers try to do that, but as a Writer, you should try for six months only), you get paid immediately.

I'm giving a spec script sale example.

Payment schedule is usually as follows:

1) First set of revisions 2) Second set of revisions 3) Polish 4) Bonus upon shooting script.

Payment is broken down. Call the Guild and ask for the Contracts department. They'll tell you right over the phone what you need to know. Especially since you, I'm assuming, have never had a work-for-hire contract.

As fast as I write a screenplay or a treatment, I would definitely get screwed if paid by the hour. Your boss obviously is not a signatory with WGA.

If you're going to work for him on an hourly basis, then don't let it be for writing. I get paid more for "proofing" a script/manuscript than what the other posters are suggesting you get paid to write a screenplay.

You need to look out for you. Take it from someone who has been "nice" in the past and gotten screwed--until the corn was no longer green behind my ears!

"what are your soucres Terri that you get for free? mf"

I'm not quite sure I understand the question. Anyone I know who has ever had anything on WSN's site or contacted them, gets a free NewsFlash every week that lists production company requests. It's not the Preferred Newsletter which, from what's posted on this BB, sounds like a lot re: e-mail pitching sources.

"As all of us know, my earnings will be zero if they don't go into production."

Now THAT sentence made sense, Thomas. Sort of. But it sounds like you're talking deferred pay. Then, again, not. If this Producer has the financing to go into production, the story and script are part of that financing. There's no reason why, if that's the case, you can't get paid along with everyone else.

If they don't have the financing in place and can't pay you, then don't do it. Take it from the voice of experience, Thomas.

Over ten years ago, just before I got a studio TV deal, I worked for a company like the one you're talking about. I wanted to believe in them. I trusted them. And I got screwed out of more than $45,000.

Don't make the same mistakes I did, Thomas. I spent years doing so much for other people and then not getting anything in return. Working for free only benefits them, not you/us. As a Writer, you have to have respect for yourself. It's situations such as this that puts Writers at the bottom of the Hollywood totem pole.

"I neglected to include that I will be an associate producer on the project."

Sorry, Thomas. I couldn't help but laugh when I read that. If you haven't seen the movie STATE AND MAIN, see it!!!!

From Marcel: "I like the idea of that play, one could definitely shoot that digitally for real cheap if no one ever leaves the room. talk is cheap."

But talk is great when it's "above-the-nose" dialogue or "above-the-nose" non-dialogue moments.

But, I have to admit, I love those techniques because I like someone in a film to only say something when they actually have something to say.

There are two old movies that drive me nutty, though, that are nothing but talking heads--telling the story instead of using action. I HATE THAT!

I would LOVE to re-do THE MALTESE FALCON. They're sitting there with their backs to the camera telling the other person across from them the story.

At the beginning of DIAL M FOR MURDER, it's like the first 20 minutes are spent sitting there, one character telling the other character the story instead of "showing" the story to the audience.

If you're going to have a one-location script with mostly dialogue, make sure your characters only say something the audience wants to hear and think about. JMHO

From Connie: "Well, I had already done a rewrite after sending them the script, so I think for now I will just go over it again and buff it up for the Scriptapalooza contest."

Just curious, Connie, do you belong to any screenwriting groups where, let's say, you meet once a week or every other week and critique each other's scripts? I have found that the most helpful--getting varied opinions as opposed to ONE who spends very little time with you for am enormous consultation fee. Don't they realize we're "writers" until we make it and become "WRITERS"? Until you're established, it's difficult to make money as a Writer.

Too tired tonight, but I have an extremely funny and INSPIRING consultation story to tell. Maybe later this week. Keep you all in suspense until then! LOL!

"Ebony is there Office magr./asst. Bryon is the head of talent. Keith Perkins is no longer with the company. The guy I sent my script to was Kenneth Min. Call the company and asked to speak with him or Bryon to see what the status of your script is. It couldn't hurt."

Well, I have to disagree with you there. It kind a' could hurt. I've worked in Development and Production for studios and production companies.

Development people are the busiest in the office. They could NEVER get their work done if everyone called to inquire about the status of their script, etc. (Even small companies can receive as many as 100 scripts in one day!)

I've witnessed D people get annoyed and upset with callers and have even seen them dump scripts without reading them-- of those who kept calling and annoying the staff, etc. That's how frustrated they got with some callers.

SOMETIMES, you have to think of the writing business like you were an actor. You go on three auditions a day but each time you leave one, you walk out, forget about it and move on to the next one. FORGET ABOUT IT!

If you need to find out if your script was indeed received, then mail them a letter or send an e-mail, asking.

Usually, I have VP's of Development who call me personally and ask to see a script. They're even the ones who call me to say they read my script the night before and if they're interested.

The following are a few comments I've received:

"This is the most professional-looking script I've ever received. There wasn't a single mistake, typo. Amazing."

"You really know how to write."

"I loved your letter."

"It was so nice to finally read a script written by a real Writer."

It pays to have patience, it pays to know your craft and it pays to help others. In other words, 1. Be kind; 2. Be professional; 3. Be helpful!

You'd be amazed how just those three simple steps can give you "open doors" with production companies around Hollywood--or anywhere.

MF: "yeah, terri, so you want to read one of scripts. :) haha."

TD: Please clarify.

MF: "good advise you've offered and to come across a script with out one typo is amazing."

TD: Yeah, too bad I can't do it on this BB since I've been "checking it out" super late at night when on my meds (LOL) with a keyboard that has no letters on it. You don't know what it does to someone as anal as me when I see I've typed "am" instead of "an" in a post. ROFLMAO!

GREAT! Looks like it pays to come to this BB, huh? LOL!

Here's my personal experience with StoryBay and another company which I won't mention but who make money off of Writers who really have no money.

More than a year ago, I came home to find a message from someone at StoryBay on my answering machine. All they said was their first name and that they wanted to discuss my script. NEVER said which script.

I called back and left a message asking them which script they were talking about and how did they get my number since I'd never heard of them.

I got another message saying the exact same thing as the first message--still not answering my questions.

I left another message stating that they hadn't answered my questions and I still had no idea who they were, etc.

They never called again.

The experience with the second company is not much different. I happened to answer the phone when they called.

She wasn't a producer but supposedly had TV movie producing credits from years ago and had started a company with another woman. They provide some type of service for Writers. God only knows what!

I asked her how she got my phone number. She said that a producer I had contacted gave it to her. I asked who. She said she couldn't give that information out.

I was not a happy camper. I said, "You can't give me this person's name, but this person can give you MY unlisted, private phone number?"

Months later, I was at a meeting at Sony Studios. There was a woman who happened to be there who totally ignored me. When she did speak up, she treated me like dog doodoo. Everyone noticed and couldn't figure out why she was so awful to me.

That night, I came home and was looking at my production phone log, records, etc. on my computer and happened to come across HER NAME! She was the one who had called me, trying to sell me her serives--and we had words! Still, there was no call for her to treat me the way she did in public! Totally unprofessional.

In my opinion, it is completely unethical for production companies, etc., to give out your personal coordinates without your permission, etc. Especially in order for THEM to make money off of YOU!

Last year, a friend of mine told me that I should contact Antonio Banderas' company, StoryBay. I said,"What? That's not his company!" Turns out, she was told that his company would only look at her material if it went through StoryBay first.

NO COMMENT! I think I've said enough!

Thanks, Gil. I'll just have to remember to do my scripts in the morning, and not late at night when I can't see. LOL!

I have to say, Marcel, that confused me, too. I didn't quite understand what he was trying to tell us. I'm glad it wasn't just me. Now I don't feel so stupid. LOL!

I believe that reading both good scripts AND bad scripts helps one--at least me--to become an even better Writer. On top of that, if it's to critique another person's script so they can have a good re-write--you're helping someone else at the same time.

Just remember to always give "constructive criticism." Don't be mean. Tell them what works for you, along with what doesn't. Always be encouraging. In this Biz, it's extremely difficult for a Writer to have good self-esteem and confidence in their abilities. Don't tear any Writer down. And if you're defensive and can't accept criticism, then you're not a Writer and should fill out that application at the bank for a teller position. If you can't tell us you're a Writer, then just show us our money!

I did Let's-Do-Lunch when Mark owned it and it didn't cost as much. And, yes, you get to pitch to one exec who sits at your table during lunch, and a second who sits with you at during dessert.

Unfortunately, when sending follow-up/pitch letters to everyone who attended, I didn't have great responses. Even had a couple who were nasty. Go figure.

But I will say, of all--and I mean of all--the pitch markets I've attended, Eva Peel's Spec Script Marketplace is the best. The set-up sucks, but when you send out letters to everyone the next day who was on the list, each and every one of them responds. I've gotten some great "open doors" at some good companies thanks to Eva and her help!

Hey, I forgot to mention something funny. Four years after I attended one of Eva's pitch markets, a Producer did a search on me. Never heard from the Producer when I pitched, but remembered my script and hunted me down through Eva.

Talk about a delayed call. ROFLMAO!

Yeah, well, obviously, it was making me mad talking about that so-called woman since I couldn't even type the word "services."

I don't need anymore negativity in my life. BE GONE WITH HER!

If I know I'm going to see her again, I'll turn to my "spell" books and cast her away!!!!!!!!!!!!

"My point was so important that it needed to be said twice. That was a first for me.

Sorry!

Steve"

I thought it was funny, Steve. Made MY day.

Okay, I've decided to help EVERYBODY out here so we can ALL become "established, successful, respected Writers"!

Let me put together the ingredients for the spell--a pot of pins (to stick in the assholes who done us wrong), the tongue of a rattler (to bite the jealous jerkoffs who try to sabotage us), a live, beating heart (to give those cold, dead-like studio execs compassion), and a frog (to make us jump from one project to the next)! Then I'll stir it all up and do the ceremony where I will recite, "Change the body's energy field, approach the physical and psychological minds of the ones who have the power to bring us wealth, and bring fire to burn away the evil beings that hound us!"

Okay, you got MY curiosity piqued. I'll check it out when I come back to the computer late tonight!

Steve--

This is MY opinion and mine only. Remember that.

After years of advising economically-challenged Writers NOT to pay hundreds of dollars for a script consultant, I did the stupid mistake of going against my own advice. It is a very funny and inspiring story, but like I said in another post, I'll tell it later this weekend. Maybe I'll have a separate SUBJECT for it.

Personally, I think you get more "free" and "good" advice if you belong to some Writers groups where they read a different member's script each week or a couple times a month--and critique.

As far as contests, when it came to me, it was extremely frustrating to always get so far and high but just miss it by one. Example, if there were 12 awards, I was #13. If there were ten $20,000 awards, I was number 11. Constantly happened to me. Plus, it's not only a long shot, it's not cheap entering all those contests.

But there is the bright side. One friend won the $50,000 prize in the TV Division of the Disney Fellowship last year. Two friends have won the Nicholl. Another friend has won several contests, but there were no major prizes, etc. So he's still in the same boat as me. And the friend who won the Disney Fellowship, wasn't allowed to sell any scripts during that time because she was obligated to Disney for that year. The Fellowship is now over, she's on unemployment--but she did get an agent. Nothing has happened yet--but we'll see.

Terri

Does anyone remember this inspiring story?

I think it was in Janury '97. This 44-year-old Writer who was married with a family to support literally only had a dime left to his name. He was about to go out and look for a job when Disney bought the movie rights to his novel for $6 million.

If you notice the script sales, etc. lately, they're not offering that kind of money for movie rights to books anymore. But you never know.

And they say it's a lot easier to sell your book and get it published than it is to sell a screenplay. They say that's the best way to get through the Hollywood doors, particularly if you don't know anyone who can help you get there.

DAMN! I've been looking at the screen too long and working too hard, I guess. "Janury"? JEEZ! PATHETIC!

You mean a 1.7" margin on the left. LOL!

On a serious note, I'm not going to say anything against Final Draft. Whenever I read and/or proof scripts, there are some people I ask the same first question, "You used Final Draft, didn't you?"

And they'd say, "How did you know?"

And I'd say, "Because, I've noticed, those who use it not only have a lot of mistakes, but the exact same mistakes."

I promised I would tell this story, so here it is:

I always advised Writers, particularly those economically-challenged, NOT to pay for an expensive Script Consultant. I believe it's to their advantage to belong to Writers Groups wherein they can receive several critiques for free. I think it's to everyone's advantage.

A few years ago, there were 20 prominent companies all interested in a particular script of mine. I went to a free seminar by a certain person whose name I won't mention.

His scriptwriting theories and techniques are extremely good and wonderful. But I did hear, much later, from other Writers who have read his work that the reason his stuff has never been produced is because he can't apply his techniques to his own work.

Anyway, at the seminar, he passed out material about his script consulting services and, believe it or not--I fell for it and went against my own advice.

I wanted this script to be really, really good! Well . . .

First, of course, I had to wait forever--WEEKS--to get a meeting. Positive it was because he wanted the check to clear first. I'm sure if anyone had a consult before he cashed the check, they'd stop payment.

I'm not going to mention what "weird" place we met because then it'll be too easy for you to guess who it is this story's about.

Every time he called and left a message, he wanted me to send him another copy of the script (ended up being three). No, I have no idea why.

Before we even had our "consultation" meeting, he left me a message on my machine telling me that the script was awful and that I would NEVER make it in Hollywood. I thought to myself, "Even if that's true, how dare he say that to ANY Writer!"

Okay, fast forward to the bizarre meeting.

I was taping the meeting, of course, which I was allowed to do. He only discussed my script for a few minutes. First, he wanted to know how I came up with such wonderful dialogue. Where did I come up with that kind of stuff, he would ask. I told him I didn't have to "come up" with it, I was from Nebraska.

That's all he said about my script. He handed me back a copy which he said he had written in, making comments. There was hardly anything! And no comments. Just little squares here and there throughout the script next to the dialogue paragraphs which he told me meant they were too long.

Then he handed me a half-page scene which he wrote for my script. 1) The scene had NOTHING to do with my script. 2) It was an AWFUL scene. Of course, that's subjective and MY opinion. He'd laugh and say, "Isn't it funny?" It was about a cat. There's no cat in the story. And I have no idea where he got the characters from, either, because they didn't come out of MY script.

Not only was the scene very short, but there were probably at least eight typos. I said, "You must've typed this up very fast." He said, "Oh, no, I spent eight hours on that scene."

He then handed out material to me which had to do with the place where we met. Uh, NO THANK YOU!

At one point, HE was the one who turned off my tape recorder. I asked him why. He said, "Oh, because our meeting's over."

I was supposed to have a consultation meeting for an hour. It wasn't an hour. I knew why he turned off the recorder. Because he was saying bad things about other Writers (who I knew) and he was talking bad about them because they hadn't joined this "organization" we were at after their "consultation" meeting. Everyone knows that's why he won't allow tape recorders at his seminars--he doesn't want any "bad" comments recorded. (At the seminar I was at, he wouldn't even let a woman with extremely bad arthritis, who couldn't write with her hands, leave her tape recorder on!)

I wasted $400 that I really could have used. Money I really needed!

Months later, I received a phone call regarding an offer for one of my screenplays. When I hung up, I went to the bowels of my supply closet, grabbed the message tape where 'he told me I had no business being a Writer and that I would never make it in Hollywood', then I went and got a hammer, a scoop, the dirty cat litter bag and went outside.

As soon as I closed the door, I dropped the tape on the cement, took the hammer and smashed it all to hell. Then I scooped it up and poured it onto the cat shit in the litter bag and took it out to the trash bin and dumped it where I knew it belonged!

I'd call this THE END, but it's THE BEGINNING!

MF==

I thought this was going to be some type of horror story. LOL!

T

From my experience, especially with my friends who work in television, TV is still considered a "lesser class" than Film.

Plus, I like the idea of getting paid more for screenplays than for TV scripts.

Also, I don't like being contrived when I write, either. I usually write about "sensitive" subjects that would never appear on TV--at least not in this decade.

Unless you're already established as a TV Writer--or even in film, they don't want to take a chance on you in television if you're not 21-23-years-old.

If you're older and not established in TV, then you need to be a success in film first, like Sorkin. Otherwise, they don't want to even look at you.

At least in film, you don't have to worry about what you look like and how old you are, etc. My girlfriend who won the Disney TV Fellowship is in her late 30s and having a hard time trying to find a staffing position.

You could be 80-years-old and still sell a screenplay without anyone ever having seen you.

Another friend who's in her early 50s, has some great TV samples, i.e., CSI. She recently had an interview with someone she knew at a top agency. He told her how great her script was but then asked her to write a screenplay and let him look at it. She point out blank asked him, "It's because of my age, isn't it?" Of course, he couldn't answer her. It may be against the law, but age discrimination still exists--especially in TV.

Here's something I forgot to add (yeah, I know, I'm long-winded--LOL!):

I know this guy in his late 30s/early 40s who is always on staff (TV Writer) with a different show every season. But--

1) He's a man. 2) Though he doesn't work on her shows (I think), his wife is a TV Producer with a deal at a studio.

My screenwriting friends/acquaintances know who this person is. I never kept it a secret. (And the Writers who belong to the same screenwriting organizations definitely do by the "clues.") If you want to e-mail me and ask, fine. But I'm not about to list his name on any internet site and get sued.

Greg--

What an extremely intelligent post. You can definitely write--even if it's just a letter.

I don't think BLUE CAR is a very good example, though. I read the script several months ago and didn't care for it. That's not the point, though.

The point I'm trying to make is: I believe the Writer went and made the movie herself. Most Writers aren't able to do that. And many don't want to--they just want to write. (But having won the Nicholl probably opened financing doors for her!)

Usually, the Nicholl picks very artsy, sort of off-the-wall scripts as winners. But I do remember a winning script I read from '97, I do believe, that had HORSES in the title. That Writer definitely knew how to write. I would love to see that movie up on the big screen.

When Writers have lousy character descriptions or don't really know how to describe a character in an interesting way--I show them the first two-three pages of that script.

Terri

Greg--

Now I know how I know your name. A couple years ago, I was looking for the Writer of a script I had read years earlier in the POP and someone told me his script had been something like a semi-finalist in the Nicholl. I e-mailed someone I had met at the Academny and they gave me your name as a contact. I e-mailed you and you got right on it with contacting that Writer. THANK YOU!

I really enjoyed his script, but it still had a few problems. The same as the ones his script had when I read it in the POP--and pointed out in my POP critique as well. I did get his script to some really good companies, i.e., Icon (Mel Gibson), but he refused to make any changes before sending it in.

When I was asked why I wanted to contact him, I had said there was a company I had talked to about his script. Unfortunately, he sent a copy to this company, using my name, without even talking to me first or letting me see his latest draft. It was the same exact draft I had read years earlier.

I think most Writers on this site know never to submit their work, using someone's name as a referral without talking to that person first.

Terri

I apologize! These pain pills are making me so groggy, I can't get out of bed and I can't even type "Academy" correctly. I don't think I should post again until after my next doctor's appointment. I'd like to keep Posters' "suffering" to a minimum. LOL!

Yes, he did get into Scientology a few years ago.

Don't get me wrong, his techniques are wonderful and fantastic--especially when it comes to dialogue. But script consulting? FORGET ABOUT IT!

Here's something INSPIRATIONAL:

A graduate of UCSB, there was a time when screenwriter Peter Iliff thought he might be a career waiter. He had quit his only screenwriting class in anger after the instructor told everyone on the first day that none of them would make it in the industry. Iliff channeled that anger into persistence and it paid off as his fifth script, POINT BREAK, was made into a movie. An agent gave Iliff the idea for VARSITY BLUES, which took 14 years to get made. Iliff earned a Best Original Screenplay Edgar nomination for UNDER SUSPICION.

I've heard of Landscape Pictures. Landscape Entertainment SOUNDS familiar, but I can't recall at the moment why. Sorry! I'll put on my thinking cap!

Happy Holiday Weekend, Greg (and everyone else)!

Of course, every opinion is subjective. I didn't care for BLUE CAR because the dialogue was TOO REAL, which, to me--is BORING. I have the BLUE CAR script around here somewhere. I just don't care for a lot of UNNECESSARY, UNINTERESTING dialogue. If we wrote dialogue exactly how people talked all the time, no one would go to the movies. Do you really want to hear "Uh . . . Yeah . . . Okay. . . ." throughout an entire film? (I have NEVER forgotten the witty, intelligent dialogue of that HORSES script!)

One of my friends whose winning script went into production a few months ago (I think), starring Matthew Perry--got it to Matthew Perry before he ever entered it into the Nicholl and won. After it was a prior contest winner, he had a public reading of the script wherein Matthew and his father became extremely interested.

I think a lot of Writers don't realize that there's many ways for us to get our scripts out there and noticed, not just through contests. But receiving substantial monetary prizes--helps Writers pursue their dreams. It's difficult for a Writer to write when they have to have a J-O-B. And let's face it! There's very few jobs in this town that are 9 to 5.

On another note, I don't mind all the e-mails I've received this morning, asking who the SO-CALLED SCRIPT CONSULTANT was. BRING IT ON!!!!

Landscape Pictures is owned by Artisan. Did they become Landscape Entertainment? And now that Artisan is up for sale, word is they're not purchasing new product at the moment.

Don't quote me. But I think a while back when I looked them up, it turned out they're a management company. I could be wrong, but I think it was them.

Greg--

Since I had to do research while at the Academy library, and you can't check scripts out--I never got the chance to read all of WILD HORSES. But I sure loved Karen's writing style. (Ashley Judd's still looking for scripts. I wonder why SHE hasn't snatched it!)

The script you're asking about is THE BEGINNING OF WISDOM by T.J. Lynch. It stars Matthew Perry and his real-life father.

A few years ago, they were hoping to film it in Montana. But everything fell through. Then I believe I read that the company that produced THE WHOLE NINE YARDS was going to do THE BEGINNING OF WISDOM. And I think it ended up being shot in Canada this year with Director Peter H. Hunt.

Terri

I find this little tidbit slightly interesting. Of the 50+ e-mails I received, asking who the "consultant" was, I only recognized one name as a poster on this BB. Shows you a lot of people read this Board who don't post.

Greg--

If they're not offering money upfront, then you made a good decision. If you were to consider it, you not only should consult an entertainment attorney, but one familiar with "international" entertainment law.

It's not like you were optioning to someone in the U.K. or NZ or Down Under, or even Canada. At times like this, you can't think about "being nice." You have to think of YOU and what's best for YOU.

Also, I've had Producers tell me that it's in the Writer's best interest to get a six-month option as opposed to one-year. A Producer will want one-year. But, if you notice from those who have had one-year options, the Producer usually waits until the last minute--when the option is almost up--to do anything.

Terri

Well, I gave someone else the chance to win since I didn't enter this year. J/K

I haven't entered any contests for several years now. As I stated in another post, it just got too depressing to be so close to winning--yet so far away. Believe me, it truly is depressing to miss winning "by one." Yes, it's encouraging to know you made it that far, but trust me--it's more depressing than encouraging.

It would get me down in the dumps where I'd say to myself, "I'm too old for this sh-t." And I'd almost want to give up. But I know I won't. Even if I still haven't "made it" by the time I'm 80. It's in my blood, unfortunately. Like a poison.

I love M. Night, of course. William Goldman is really good, but his body of work seems uneven.

I just found out that my all-time favorite, Jeffrey Boam, died. It appears he passed away in January 2000 from heart failure due to a rare lung disease. I had no idea! Where the heck was I? (Must've been in a secluded cabin in the mountains, writing a screenplay with a Grizzly--LOL!) Wow! That "belated" news saddens me. Well, at least now I know why I haven't seen any new work from him in the last few years.

I guess M. Night will have to move to the front since he scares the crap out of me--and I like that! His work is so unique. He makes it an ART. If you noticed, there were "signs" within the movie "Signs."

I think Nora Ephron and Carrie Fisher write great dialogue and are also funny. And James L. Brooks is wonderful, too. But his scripts aren't "good" until they're on the screen. Randall Wallace does great work with historical pieces. I really enjoy the films Curtis Hanson has written, but he directs more than he writes.

Okay, I'll go for M. Night, William Goldman and Richard LaGravenese. And what happened to the latter? He was VERY HOT in '95 and '98--but I haven't seen work from him since. I have heard that LaGravenese has been busy directing and producing a documentary called "A Decade Under the Influence." Hear he took over directing after Ted Demme's death. Another sad Hollywood story.

Wow! That is one major tough, thinking (wo)man's question!

I'm not sure that Writers ALWAYS write commercial scripts on a consistent basis. I have more than 20 screenplays and 17+ story outlines for more. Though some seem commercial, my timing always sucks. (Which can make them fall into the artsy category!)

Sometimes, my subject matters are too sensitive (to be considered commercial). I wrote a female "Sleepers" a few years ago and it's a very touchy subject inspired by actual events. Unfortunately, though I had many meetings and phone calls from several top companies (eight days in a row with some), everyone's final decision was that it is was just too soon after COLUMBINE. Told ya! My timing sucks.

I won't even go into the scripts I wrote just prior to 9/11.

Shall I put my violin away now?

Well, Doug, you are one Writer who--it appears--may get their wish granted this year. (I hear Shane still writes with a typewriter.)

Title: You'll Never Die in This Town Again Log Line: Set on a movie shoot in L.A., a murder mystery unfolds that involves Hollywood agents, actresses and private eyes. Writer: Shane Black Agent: Endeavor Buyer: Warner Brothers Price: n/a Genre: Drama Logged: 5/2/03 More: Black will make his directorial debut. Joel Silver will produce.

So Ron, you going to tell us the story, or what? I still have the PEOPLE magazine article about Shane and LETHAL WEAPON and, I believe, he said MONSTERS was actually his first sale--not sure.

So tell the story, dang it! Don't tease us like that!!!! LOL!

I wonder if he still hangs out on the Westside, 'cuz his house sure isn't over there. Okay, calling for Shane Black sightings. If they can have "celebrity sightings," then we can certainly have our own "Screenwriter Sightings." (Notice how I made OURS sound more important! SNORT!)

Hey, maybe this means I'll finally tell my Dale Launer and Tom Schulman elevator stories. (Obviously, I'm floating from my meds again!)

Okay, back to topic--TOP TEN SCREENWRITERS!

Grover--

Most of us Writers are in the same boat as you--economically-challenged. But I think it's what keeps us going and also makes us better Writers.

It's the journey that makes the pot of gold at the end of the rainbow even more enjoyable once obtained.

There are other ways of improving your script(s) without spending money. First of all, I think you need to build some confidence in yourself re: your own abilities. If you couldn't write, you wouldn't be doing it.

There's also lots of free screenwriting groups where Writers get together, read each other's scripts and give constructive criticism. (If there isn't one in your area, start one.) And when you're not writing, pull out those videotapes and watch lots of movies. Bad ones as well as good.

Just remember, Grover, we're always here for you. I've discovered that Writing friends/acquaintances are a different breed. Nothing against actors, having been there and also a Casting Director, I personally know they will eat you alive for a part.

Friendships from Writers, I've found, are genuine. They're there for you when you have money--and when you don't. They'll pay your vet bill when you have to end your pet's suffering. They'll knock on your door with bags of groceries. They'll even pay your rent so you won't end up living in a shopping cart.

Writers hand you money without you asking for it, and them never asking for it back.

Writers are always there for each other, no matter what! I think that's what makes me so proud to pursue this profession and call myself a WRITER!

Terri

In MY experience, and this is only mine, Directors usually don't option a piece of work unless they have the means to produce it.

From what I understand, you no longer have an option with this other Producer (unless I read it wrong).

I'm not quite sure, though, if I understand what the question is. Is this Director willing to attach herself to the script? (Sometimes that works for you when you're trying to sell it, sometimes against!) Does she want to help you shop it around? There is such an option, but I'd have to look at my records to remember exactly what it's called and what your rights are. But that could also be a problem if you have an attorney who "shops" it. Then, of course, you probably have the kind of entertainment attorney who doesn't.

There are just so many factors to consider to what I THINK your question is, but I'm not really sure what the question is. Guess this blonde head needs more clarity.

Do you want to go back to this Producer and tell him that you have a Director interested? Unfortunately, we have to know all the facts to be able to help you, and you may not want to divulge those facts to us. Complicated situation. Always is when you're not a $1.3 million Screenwriter. Life is probably even MORE complicated when one reaches that point.

This is a continuation of Greg's post.

Last night, Peter Iliff said that he's been hired 46 times as a Writer but has only had eight pieces produced. He added that his figures are not a very good ratio but he feels extremely lucky that he's been able to make a living as a Writer for the past 14-16 years.

On another note, I haven't talked to T.J. for a couple of months--since the last time he contacted me. I've been thinking a lot about him lately. Maybe it's because I was to receive this "frustrating" news of his.

It seems as if every time I talk to T.J., they're always having problems with obtaining someone to fulfill the part of the female lead. I wonder what's up with THAT!

Ron--

I would take a WILD GUESS and say the Director you're referring to is the one who did BLUE CAR except I don't believe she produced her script. So I guess I don't win any free tickets. LOL!

I'm going to relay to you the advice of someone who's experienced at this, since I'm not.

Last night, Peter Iliff (VARSITY BLUES, POINT BLANK, PATRIOT GAMES) sat with me during a movie and I thought of you when he specifically mentioned something.

He stated that it's in a Writer's best interest to make Directors your best friend. He said that Directors NEED Writers.

He went on to say that he's had scripts optioned by Directors--for as low as $1. I think he may've been talking about the same script when he said he's had options as high as $60,000.

He also mentioned that the company ended up in Bankruptcy Court, he got his script back and ended up with only $3,000. But within a month, he sold it to a studio for $600,000.

I'm guessing that he was discussing VARSITY BLUES since he stated several times that it took 14 years to get the movie made. But that a lot of Directors gave him bits and pieces of ideas for the script.

Is your ethics question re: whether or not you should approach her and ask if she wants to option it or not? She really likes your script, correct, but hasn't offered anything more?

If THAT's your question, it's a toughy. I, myself, don't ask anyone for anything. While growing up, I was taught not to "use" people. My very best friend is THEE top actor in the world today--but I have always refused to ask for his help. I don't ever want him to feel that that's my reason for being friends with him. Because it's not. But people expect you to be assertive in this business. Since I don't "ask" people for their help, that's probably why I'm not as far as I could be in this Biz.

And I hate to mention this, but it's true. Men can get away with being assertive or aggressive. But when a woman does it, she's called the "b" word and considered obsessive.

Terri

I will have to agree with David E. I've been told by successful Screenwriters, Directors, Producers that a Writer shouldn't think about what's "hot," who their audience should be, etc. Write what YOU want to write. What YOU'RE passionate about. In two years, it's your subject and story that could be "hot."

As to where that "devil" line originated from, I'm not sure WHO first included it in their screenplay, but I believe it's an old saying that came from the 18th or 19th Century.

And I also have to agree with Jay. I read MUSIC OF THE HEART when it was still called 50 VIOLINS, and was surprised that Wes Craven was doing it. But look how many times filmmakers have surprised us, i.e., Martin Scorcese, by switching to a totally different genre on a film or two.

Terri

First of all, I'd like to thank Ron for sharing that "poignant" Shane Black story, etc. That must've really been a heartbreaker for Shane.

It's interesting how you mentioned "dark" when discussing Shane Black. He's known for having a very dark personality. On a sad note, he's had to "face his demons" many times over the past several years. But I admire him for overcoming those obstacles in his life. I'm happy he's decided to stick around and share his creative abilities with the rest of the world.

Everyone seems to think that just because you've "made it" in this business, that it makes you happy. Unfortunately, that's not so.

Several years ago, at the time he was considered one of the "new turks" at CAA, I had an agent hot on my tail. I thought, "Wow, this could be my real chance to get into the doors."

Unfortunately, though this "new turk" was very hot, he had a cocaine habit and kept ending up in rehab. A few years ago, he committed suicide.

Always remember the things that are really important in life, because it's those things that will make you happy--not money, not prestige.

And to Thomas, I have to correct you re: SHAKESPEARE IN LOVE. Tom Stoppard did not co-write the script. Marc Norman wrote the script, Stoppard did re-writes. It's also a subject that Marc Norman doesn't like to discuss.

First of all, I'd like to thank Ron for sharing that "poignant" Shane Black story, etc. That must've really been a heartbreaker for Shane.

It's interesting how you mentioned "dark" when discussing Shane Black. He's known for having a very dark personality. On a sad note, he's had to "face his demons" many times over the past several years. But I admire him for overcoming those obstacles in his life. I'm happy he's decided to stick around and share his creative abilities with the rest of the world.

Everyone seems to think that just because you've "made it" in this business, that it makes you happy. Unfortunately, that's not so.

Several years ago, at the time he was considered one of the "new turks" at CAA, I had an agent hot on my tail. I thought, "Wow, this could be my real chance to get into the doors."

Unfortunately, though this "new turk" was very hot, he had a cocaine habit and kept ending up in rehab. A few years ago, he committed suicide.

Always remember the things that are really important in life, because it's those things that will make you happy--not money, not prestige.

And to Thomas, I have to correct you re: SHAKESPEARE IN LOVE. Tom Stoppard did not co-write the script. Marc Norman wrote the script, Stoppard did re-writes. It's also a subject that Marc Norman doesn't like to discuss.

First of all, I'd like to thank Ron for sharing that "poignant" Shane Black story, etc. That must've really been a heartbreaker for Shane.

It's interesting how you mentioned "dark" when discussing Shane Black. He's known for having a very dark personality. On a sad note, he's had to "face his demons" many times over the past several years. But I admire him for overcoming those obstacles in his life. I'm happy he's decided to stick around and share his creative abilities with the rest of the world.

Everyone seems to think that just because you've "made it" in this business, that it makes you happy. Unfortunately, that's not so.

Several years ago, at the time he was considered one of the "new turks" at CAA, I had an agent hot on my tail. I thought, "Wow, this could be my real chance to get into the doors."

Unfortunately, though this "new turk" was very hot, he had a cocaine habit and kept ending up in rehab. A few years ago, he committed suicide.

Always remember the things that are really important in life, because it's those things that will make you happy--not money, not prestige.

And to Thomas, I have to correct you re: SHAKESPEARE IN LOVE. Tom Stoppard did not co-write the script. Marc Norman wrote the script, Stoppard did re-writes. It's also a subject that Marc Norman doesn't like to discuss.

SORRY! Don't ask me HOW my post ended up on the site THREE TIMES! All I know is, I couldn't get it to go through because I kept having to wait only to receive a message page stating that the website was not responding.

I severely apologize!

Maybe a "higher being" thought it was an important message you needed to REALLY read. Go figure!

Hope you saw the ending credits, Thomas, 'cuz the movie's not over 'til it's over. The credits were just as funny as the movie.

You'll have to suffer another ten years to feel my pain, Tom. ROFLMAO! (Yeah, I have to laugh--how else am I going to survive, eh?)

Well, that's an alternative way of getting yourself "known." Become another tragic Hollywood story.

So, are you telling me I should go out and kill myself? (Just kidding, although that really isn't very funny!)

I never noticed this thread before. There is a Writer who has won several contests who moved out here to L.A. a year ago. I remember him saying that he had started a Writers Group in Seattle. If anyone's interested, I can certainly ask him about it.

Bryan--

First of all, I noticed that you call yourself an "aspiring screenwriter." Someone told me once--a well-known Producer--"You're either a Writer or you're not." You've written, so you are! Maybe that's the first step toward your "making it." You need to admit it to yourself before you can convince others.

Terri

ROFLMAO! This seems to be a very interesting and funny thread! Look at what I've been missing by not clicking onto this subject!

David--It's not just you. I notice that I pick at (and observe) every little amazing detail in extremely good films. But, at the same time, there are films I don't enjoy anymore.

Example: I used to love PREDATOR. I popped it into the VCR the other day and couldn't sit through it. Stupid dialogue. Unnecessary, stupid action. I mean, PLEASE, why would you blow up a bunch of buildings if you don't know which building has the hostages?

Maybe that's why I've really gotten into reading lately--and seem to enjoy it so much.

Steven--I agree. I rarely go to movies anymore unless I go for free or see a bunch in one day at a cheap theater. Otherwise, I wait until they come out on video. (I'm an economically-challenged Writer, what can I say?)

I have a confession to make, though. After I saw MOULIN ROUGE, I couldn't write for two weeks. I felt there was NO WAY I could ever be that creative!!!!

Connie--I thought CATCH ME IF YOU CAN was better than the script. Although there were a couple of things in the script I would've like to have seen in the movie.

John--I have to check out DELICATESSEN. Sounds like MY kind of movie!!!!

Terri

Though I've been paid in the past for what I've created, I'm far from having "made it." I guess in my mind, I won't have "made it" until I'm considered "established" and don't always have to wonder where next month's rent's going to come from. Unfortunately, most Writers are in the same boat.

Be like a postage stamp. Stick to one thing until you get there.

- Josh Billings

No prob. I'll e-mail him right now and ask.

From David E.: "If you're writing something completely different, all the more reason to not worry about audience or especially who your buyer is, because if it truly is different there are no buyers. Or, is everyone a potential buyer?"

But I think that if you write something completely different that hasn't been done, you'll probably have buyers running to your door. (So I agree with the latter!) Something like that I think might have a possible chance for a "bidding war." Unless, of course, it's a "sensitive subject" that makes people uncomfortable. LIKE MY SCRIPTS! LOL!

The e-mails keep coming and I want you to know that I think that's great! I don't mind, honestly. I've always thought it extremely important for "We Writers" to help one another!!!! (Those who don't, don't deserve to "make it" in this Biz. That's just MY opinion!)

Go for it! You can't afford not to. Yes, I've heard from people who worked in production for him and his cousin back in the '80s that the experience wasn't pleasant. But you're a Writer! Once an offer is made, that's when you can decide. That's when you look at the good, the bad and the ugly. Until then, PITCH! PITCH! PITCH!

Just got home. Checked my e-mails and the first one came from the Writer who moved from Seattle to Los Angeles. Here's what he had to say:

"Yeah, tell them to contact the www.nwsg.org - I was the president, but didn't start the organization." Good luck!

Probably more like SEVERAL TRUCK LOADS, Randy. Like a moving caravan!

I do agree that Writers Script Network (InkTip.com) is probably his best bet. I can't thank Jerrol and his wife enough for starting that site. I think it's absolutely FANTASTIC!

Bryan--

YOU CRACK ME UP! That's definitely what's needed on our end of the Biz--HUMOR!!!!

THANK YOU! THANK YOU! THANK YOU!

I haven't entered any contests for several years, but after reading this thread--I might consider this one (and fast since the deadline's tomorrow).

Terri

Back in the spring of 2001, this company was interested in producing one of my scripts. But within a couple of months, he told me he had too many projects going into production to try and find financing for it. A friend of mine had known who he was from when they were both on the Disney lot years ago.

But this is MY advice. If a company wants your script but thinks it needs changes, then they can purchase it and pay YOU to re-write it. Or purchase it and pay someone else. Seems unethical to me for some production company to ask you for money so they can do re-writes. THAT MAKES NO SENSE. The company must be hurting for MONEY!

There was someone on this thread who said the company offered them $32,000. I'd like to know why they didn't take that offer. Until a couple years ago, union minimum was $33,000 for a budget under $2 million. SPILL THE BEANS!

Thanks for the tip, Chris. Think I may've seen this on Jerrol's Flash Notices a while back. The name sounds very familiar.

Good luck, everyone!

Chris--

The numbers you gave for Arthur Sarkissian didn't look familiar to me, so I looked up the numbers in the HCD.

I did try the 310 number you gave. Someone was chewing food or something and took a very long time to say anything. I think it might've been him because the person sounded Armenian. He was NOT a happy camper. He asked why I was calling him instead of the office. (I received the third degree.)

So I then hung up and called the office number I had written down from HCD. Yes, indeed they are still looking for such scripts. BUT YOU HAVE TO HAVE REPRESENTATION AND THE REP HAS TO SEND THE QUERY IN BY FAX!

I advise anyone reading this thread--DO NOT CALL THE NUMBERS FIRST GIVEN AT THE TOP!!!!

Terri

"But you cannot write for a trend, you can only create a new one."

What a great personal quote, Paul. Or is that someone else's?

Thanks. Guess I read THAT one wrong. I took it that they offered her $32,000 and to help her with the re-writes. They'd have to be CRAZY to think anyone would PAY THEM $32,000 to help with a re-write. Might as well get Carrie Fisher to doctor your script for one week at $100,000. (Though that price is more than ten years old. Wonder what she gets NOW!)

David E.--

Yes, you are entitled to your opinion. Supposedly, it's a free country. LOL!

But what's up with that comment about "adaptation"? Screen adaptation is an ART. Do you realize how much more hard work and skill it takes to do a screen adaptation than to write an original screenplay? It's extremely difficult to take a 600-page book and make scene changes in order for the story to be adaptable for film. Not to mention, in some cases, the author constantly contacting you at all hours of the day, etc.

M. Night is far from a "one hit wonder." Granted, he just got a HUGE three-picture deal--but, in MY OPINION, he deserved it.

You know why I loved SIGNS? Because I observed it and noticed the "awesome, subtle" signs within SIGNS. This man is extremely artistic in his writing and filmmaking.

Many people hold bad feelings within themselves when someone so young makes it big. But M. Night is definitely one major talented man who deserved what he got.

Terri

Yes, everyone is correct in the $200,000 against $400,000. But I think you're going to confuse Vincent by saying that the Writer receives the $200,000 "upfront" which isn't the case. That amount is received by installments.

Let's say it's your first major sale (which may not be a "high" amount of money but is far above minimum scale). Let's say you received an option first. Now THAT's paid upfront--IMMEDIATELY!

Here's a TEXTBOOK EXAMPLE if you were to receive an option first:

OPTION $35,000

FIRST SET OF REVISIONS $25,000

SECOND SET OF REVISIONS $25,000

POLISH $20,000

BONUS UPON SHOOTING FILM $145,000 ________ TOTAL "SALE" $250,000

It probably falls under "Creative Accounting." LOL!

Also, everyone thinks their troubles are over and they've got no more money problems once they're told a studio has agreed to purchase their product. HA!

Let me tell you about my experience having worked at Studios. They don't like to give that money up. I've seen contracts that have been sitting around for six months, yet to be signed and, as of yet, of course--NO PAYMENTS TO THE WRITER. So you'd better prepare yourself and have rent money in your bank account to fall back on until your first check clears the bank. And if you don't, you'd better swallow your pride and ask your friend for that list of temp agencies they've worked for.

Terri

Sorry, Frederick! The phone rang and I didn't finish the second half of your post. After the call, I went ahead and added a message. Please forgive me?

James--

SNORT! Yeah, how else is he going to sit and type?

I love the humor on this damn BB. Am i sick or what?

Terri

John--

Damn good question, but a hard one! In my lifetime, there's only been about two movies--that I can think of--that surprised me. "The Sixth Sense" and "The Life of David Gale." (Oh, and maybe "Signs." It's the little things in "Signs" that surprised me!)

I honestly don't think I can give you an answer. At least not the one you're looking for.

Since the docs have had me on meds for the past couple months, I've completed five screenplays--and come up with more than a dozen story outlines for more.

And what's even crazier, is that the last four of those five scripts have unique aspects about them that have never been done before. Come to think of it, I think the first of those five was written a few days BEFORE I broke my foot.

Not only have I been on a "writing roll," but I've written like I've never written before.

I guess the only advice I can think of is to break a leg and have your docs put you on meds.

Terri

"Also, fees paid to agents and managers, the Writers Guild, and lawyers. And the tax man, of course."

Yes, isn't it depressing? That's why we can't quit at one script. We have to write as manny GOOD scripts as we can--and NOT GIVE UP!

I know what you mean. The Harry Potter movies bored me. But that doesn't mean they weren't huge hits!!!!

I haven't seen the second one yet, but Lord of the Ring did the same for me. That stupid monster-fighting scene was just wayyyyyyyyyyyyy too long. A lot of unnecessary action. If it were me, I would've brought the almost-good guy back to life in the end.

That last movie is a good example of what I was talking about re: adaptation. I didn't have to read the book to know it wasn't a good adaptation. Non-writers who read the book said, "But it followed the book." To be a really good screen adaptation, you can't "follow the book." You can't follow a book exactly in order to make it work on screen. And talk about a frickin' slow beginning! I was afraid I was going to snore through the whole movie!

Neer heard of it OR him. I'd be careful if I were you, Jack.

Opinions are subjective, but when the person I was with and I watched SIGNS, we were amazed at the artistic subtleties thoughout the film.

When we went to lunch afterwards, we couldn't stop discussing it. I saw things they didn't, and they saw things I didn't.

Okay, I have to go now and try and creative some artistic subtleties of my own in my latest supernatural thriller.

HAVE A GREAT, CREATIVE WEEKEND, EVERYONE!

Terri

One last note before I leave (yeah, right--SARKY!). In MY opinion, JACOB'S LADDER was one screwed up piece of work. But I give it credit for being very creative and original. (Maybe I'll watch it now before finishing those last few pages of my script!)

Here's something I wanted to mention. Someone read the script while the movie was being made. They said, "You would never believe it that the script was absolutely awesome. Nothing like what ended up on screen." (I heard the same thing about LAST ACTION HERO!)

When you sell a screenplay, unless you direct it yourself, you just gotta take the money and forget about it. Because that's what you did. You sold it.

Thanks for making me SNORT, Gil.

Yeap, Bryan--I knew it all. In the movie STAR WARS, I knew that Luke and the Princess were brother and sister and that Darth Vader was Dear Ol' Dad. I knew that Norman and his dead mother were one in the same. And, of course, I knew Ms. Paltrow's head was in the box. (Kevin Spacey plays such a great BAD GUY!)

I'd give anything for a movie to surprise me. Whenever they say, "Oh, even if movies never surprise you and you always guess whodunit, you won't in this movie." ZZZZZ. Wrong answer!

I couldn't believe they said that for "Along Came a Spider." The ending was obvious from the beginning. It played like a one-hour TV show. (Like HAWAII FIVE-O when a good guy would turn out to be a bad guy! Or like in CSI.)

But in THE SIXTH SENSE, every ending turned out not to be the ending. And in THE LIFE OF DAVID GALE, I thought I knew the ending when I thought it was over, but it wasn't over. I want more movies that surprise and shock the shit out of me!

And, of course, it's always a clue when a "known face" has a small part in a film like SEA OF LOVE. It was obvious Michael Rooker was the bad guy.

I even knew when reading the script for BLOOD WORK who the bad guy was when he first turned up.

I'd give anything to be able to totally surprise an audience with an "unexpected ending" and an "unexpected bad guy"!

HINT: Whenever there's a "fire" movie and Scott Glenn plays the good guy, in the end--he's the one whodunit!

SUCKER!!!!

(Did I make you SNORT, Gil?)

Sorry, Ron, but if some guy came into my office and tried to pitch me, "The Day the Stood Still " meets " typical 50's alien UFO stuff in a corn field," I'd probably turn to my partners and say, "I'm not going to buy a project from someone who doesn't even know the correct title of a movie he's talking about."

(Nothing against you, Ron. I was just using your "deleted word" boo-boo as an example. I'm not saying that YOU don't know your movies.)

I wonder what they said about the idiot who pitched "DIE HARD in a building"? It's unbelievable that there are some out there who get to pitch and don't know movies. I should say, don't know what they're talking about. There's more to writing than writing. There's research. There's knowing your craft. There's knowing your medium.

I spent two hours with an agent I interviewed at his office once. I had given him a list of all the companies who had recently requested product from me. He didn't know who hardly anyone was.

EXAMPLE:

AGENT: Who's PHOENIX PICTURES?

ME: It's Mike Medavoy's company.

AGENT: Who's Mike Medavoy?

And this so-called agent had supposedly been in the business for over 25 years? What's even more pathetic and funny is that the next night, Hollywood had a big birthday bash for Medavoy. And this "agent" had no clue as to who he was.

I can understand the jealousy re: those who have made it, I really do. And it's also frustrating when you see a lot of SHIT produced and it's because the person-who-wrote-the-shit's brother was an exec or a CAA agent.

I know actors who spend so much time being pissed at someone like Julia Roberts because they've been paying their dues for 14 years and she didn't have to pay any.

I've come to the conclusion that it's just a lot of wasted energy that you could be spending on yourself.

Steven--My secret for completing five screenplays and God-only-knows how many story outlines in two months?

1) Fracture a bone or two. Pick one you need (like for your j-o-b)!

2) Go to a doc, then a specialist.

3) Make sure all medical personnel advise you to "stay off your feet." (Hey, they didn't say to stay off my ass.)

4) Get lots of prescriptions.

5) Go on disability.

6) Oh, and it probably helps if you break your bone in an accident OUTSIDE your home.

Richard--Yeah, THE USUAL SUSPECTS, dead giveaway!

FYI--The audience disagreed with me when I blurted out "It's the cook!" during THE HUNT FOR RED OCTOBER. (If anyone reading this was there, sorry. LOL! I couldn't help myself.)

Speaking of surprises--Does Richard Chamberlain (sorry if I spelled that wrong, Richard) think he's going to shock us on Sunday night's DATELINE with a secret that everyone's known for 25 or 30 years (maybe more)? I love Richard but, hey, who didn't know?

Bryan--I never said "star." I believe I said "known face."

And it was obvious at the beginning of THE BONE COLLECTOR when they took us to that huge apartment. (But I'm sure it had you guessing as to whether or not you were right.) But it's a movie I still thoroughly enjoy. I LOVE forensics!

And, yes, hats off to me for FALLEN. I knew from the VO at the beginning. And I definitely knew the CAT was going to "survive"--shall we say--since he showed up earlier at the cabin. (I've watched it a few times lately--for research--since I'm writing a couple of supernatural thrillers.)

Re: DECEIVED--Goldie and the audience knew he was alive long before the ending. Finding out he was alive wasn't part of the ending. Come to think of it, I didn't "know" the elevator floor was not there. So maybe I was surprised.

Tell me, Bryan, when did you guess the ending to SHATTERED? Maybe you haven't seen it, but I'm taking a wild guess that you have.

Sorry, I forgot to address BLOOD WORK.

I didn't care for the script so I didn't see the movie (even though someone kept asking me to go). It was obvious to me in the script when the character was introduced that he "dunit." (I'll probably watch it someday!)

I have a copy of the book and I still have yet to read it. But what's the point now--unless it's for "adaptation study purposes"?

There was something else, I'm sure, I was going to address. If there was, it escapes my mind.

Well, since I'm a "Morning Writer" (who'll be "mourning" until I sell something SOON), think I'll go stick THE BONE COLLECTOR into the VCR and slip into bed.

WAIT! LOL! This might be what I wanted to address. Not sure. Probably not.

I think it had to do with someone saying there is no original idea (then how do things keep getting invented?).

Years ago, I think in the mid '90s, my boyfriend and I were on our way home, late one night, from some kind of fair in Riverside County.

He was driving. The top was up. I had my feet on the dash, and I was thinking about THE CRYING GAME. Suddenly, I said to him, "I just came up with an original idea for a script. I cannot believe no one's done it before--ever. I'm so excited."

Do you know that from that moment on, I have not been able to remember what that idea was? And I have a trained journalistic mind. Until lately (LMAO), I've been known for not forgetting a damn thing--not even the littlest, minute detail. (It's a bitch always getting called to be a witness.)

Someone suggested I pull out THE CRYING GAME and watch it again. I'm not sure that will do it. Positive I've seen it since. Any ideas on how I can remember what THAT IDEA was? Hynopsis? Regression? St. John's Wort? (No, that's for depression. Lecition's for memory and lowering cholesterol! Now how did I remember that? LOL!)

From Orlanda: You won't believe this. I'm going to the invite only opening of the nightclub that will be the shooting location for Shall We Dance. It turns out an old friend of mine knows the new owner.

This is too weird. I mean really, what are the odds?

It aughta be fun. Boogie time!!!"

Sorry, but maybe I'm dense. I don't understand what's so odd about it.

Wait a minute! Are you one of those who live in Seattle or something? When it's not in L.A., then I can understand it being "odd." Film shoots were exciting when I lived in Nebraska.

Wish it were odd for me now. They're always filming a movie or TV show outside my bedroom window. They used to do a lot of film shoots at my house when I lived in Beverly Hills. Sometimes it was fun and exciting. Sometimes annoying. It wasn't fun always having a star in your kitchen or bathroom (especially if it was an old fart like Martin Landau in his bathrobe.)

I'm sure, during Playboy shoots in the backyard, the men on this BB would've enjoyed the naked centerfolds who would go through the lunch line without putting a damn thing on. It was uncomfortable--bad enough not knowing where to put your eyes BUT the thought of something getting in your food!

Okay, I apologize. I went through the thread and found out where you're at--CANADA. But I thought they did a LOT of filming in Canada.

I REMEMBERED! I REMEMBERED! No, not the idea. What someone asked me about.

The bathroom issue. I have VERY good continence!!!! Drink at least 90 ounces of water/liquids a day and you'll learn to hold it. I know it's much more difficult for a man.

Plus, great people in our history were known to come up with great ideas on the toilet. So I'm lucky to have a bathroom connected to my office.

Ron--

Maybe that wannabe producer's the one who pitched "DIE HARD in a building" to a studio. LOL!

Terri

You know something? You're right! NO WAY OUT did have a really good surprise ending. Bet that shocked a LOT of people!

Just curious. Is there anyone out there reading this BB who's been lucky enough to receive a high-six figures against a low-seven figures deal? Or even a mid-six figures against a high-six figures?

I'd just like to know how it feels, and maybe have them share their story(s) with us. (Hey, we have to have SOMETHING to dream about and keep us going! Then, again, we might get someone like Scott Rosenberg to tell us a nightmare story. That would still be appreciated!)

Okay, I'm seriously considering signing up for the Preferred Newsletter (if my Budget permits).

Those out there who recieve it, can you answer some questions for me, please?

1) How often do you receive it? Once a week, twice a week, etc.?

2) How many pitching opportunities are usually in each Preferred Newsletter?

3) Are there good companies, i.e., as in names you recognize with studio deals?

4) Are the independents good, as far as you know?

5) Have you had good experiences when pitching from the sources given in this Preferred Newsletter?

6) Do many--or all--companies listed require the Writer to have current representation when pitching?

Any experiences/info you can relay would be greatly appreciated, and as quickly as possible since the next deadline, it appears, is June 9th.

Thank you.

Terri

Gil--

Did you also hear that THE SIXTH SENSE original draft was NOTHING like what we saw on screen?

I believe in the first draft, Bruce Willis' character was a homicide detective and his son was drawing murders that were about to happen--and did. Something like that, which I think would be a very interesting story to see on film.

I have yet to see UNBREAKABLE but I've been told that people didn't like it while sitting through it until the ending--and that the ENDING is what made it worth seeing.

The one thing I REALLY loved about SIGNS which will probably make you laugh--is the opening, before the film even began. I loved how they did the opening credits and the music. Like the old days of SCARY films.

Terri

Ooooo, Bryan, that Canadian comment was a . . . well, we won't go there! LOL! (It's all fun and games, I know!)

Well, I made a decision this morning. I haven't entered contests in years but, a couple days ago, decided on two. Their deadlines being June 1st.

I woke up this morning and realized I was going to make a big sale in a week and a half so, I thought, "I'm too pinchy to throw away entrance money like that!" LOL!

Good luck to you all!

Terri

I meant "ooooo, Richard," not Bryan. My mind must be on that SALE!

PLEASE! Don't anyone give away IDENTITY. I wanted to see it when it opened, but I had just broken my foot, etc. But I still want to eventually see it because I LOVE scary movies.

Re: Michael Connelly.

I really enjoy Tami Haog's books. I have another of Michael Connelly's that's been on my shelf for years that I have yet to read--ANGELES FLIGHT. Is that any good?

Great! Thanks everyone. (You were, and still are, quick and fabulous in your responses!)

I've posted scripts on their site before and I've e-mail pitched from the sources I've gotten through their free newsletter (which mine have included really good, big time companies).

So, guys, here's the BIGGIE question:

DO YOU RECOMMEND THAT I PAY FOR THE PREFERRED NEWSLETTER?

I've written an extensive amount of screenplays so I usually have something to offer. Except for one of the freebies I got today where someone asked for a completed script about Kurt Cobain's life.

Terri

From Bryan: "As far as I can remember, from the writers who frequent this site, there have been several options, maybe a few sales, but I can't remember any that have been seven figure deals."

Hope! There's always hope!

Remember that song Celeste Holme sang in the Leslie Ann Warren version of CINDERELLA? ". . . every day."

Well, yes, you eventually get paid by a studio you have sold your script to, even if it takes a long time--unless it goes into turnaround.

And, yes, I think we've all had experiences with someone whose original intentions seemed good.

Several years ago, a company offered to purchase five of my screenplays. A year went by and the $400 million seed money they were expecting--fell through. Every Writer's nightmare. We can have huge highs but even bigger (and many more) downs. I'd go into my very short-lived studio deal that happened a year after that, but that would REALLY depress you!

Thomas--

You're too deep for me. Do you have multiple personalities? Just kidding!

Terri

Congrats, Colin, that's WONDERFUL!!!! Curious--are you an OBS member?

I just knew it was going to be YOU, Marcel. I have to admit, it was cute!

Terri

PLEASE take my butt! I've got lots!!!!

I'm taking it you have NO idea how many scripts a production company gets. THOUSANDS. And the biggies, it's even worse. Six months before you hear anything is not unusual.

If you have an rep that has a relationship with the company or YOU have a relationship with the company, then it's a different story. In such cases, they usually get to the script pretty quick.

Again, it depends on whether your Rep has a relationship with the company and you, as well. It also depends on whether they had to hire an outside Reader, etc.

In my own experience, when I've had relationships with VPs of Development, they read the script that night and called me the next morning.

But there is a Producer I sent a script to over a year ago last March--who put out a request, I THINK on WSN. After six months, I contacted him. Said they got over a hundred scripts (which didn't sound like too many over a period of six months, myself--unless he was the only one reading them). Said he'd be contacting everyone shortly. Zip. Nada. Still nothing after after a total of 15 months.

Yeah, "after after." LOL!

This is why I don't like talking on the phone (one of the reasons, anyway). So I never pick up unless I have to. I don't like having my time wasted. (E-mail saves soooooooooo much time for a Writer!)

Well, treat it like Scientology.

1) Either keep letting them call and leave messages until they're sick of it;

2) If you're home, take the call and say, "I'm not interested. Thank you." And hang up;

3) Return the call and say you're not interested, then hang up.

YOU DECIDE! Not them!

Don't ever stay on the phone so they can talk you into anything. They try to make you feel guilty. DON'T LET THEM!

YOU HAVE THE POWER! LOL!

Great, logical point you just made, David.

John--So the Isaac Asimov story was a short one and not one of his books? You sure? Do you know what book might've carried the story?

I have the following Asimov books on my shelf that I have yet to read. Can you recommend any that you might've read?

The Gods Themselves

Prelude to Foundation

Foundation

Second Foundation

Foundation and Empire

Forward the Foundation

Nightfall (with Robert Silverberg)

Thanks. I'd appreciate knowing if you've read any of the above and/or recommend one of them or any others.

Terri

Wow, Marcel, if it's controversial, then it's MY KIND OF FILM!

I woke up this morning to find an e-mail that was sent to me VERY early today that tells me THIS IS MY MONTH! I'll be sure to let you all know if, indeed, it is.

Terri

I may have an inspirational story to tell next week! May I ask that you keep your fingers crossed, pray, rub Buddha's belly, etc.? Whatever you believe in?

It would be GREATLY APPRECIATED!

You sure your name's not Doug "Holster"? LOL!

You are so silly. At least you make me laugh! LMAO!

Gil--

Just curious. How come you're always Googling instead of just IMDb.com-ing Industry people? Or is that your generic term, "googling"?

Hey, a few months ago, a girlfriend was playing around and found ME on IMDb.com. Go figure. I HAD NO IDEA! Certainly doesn't mention the hundreds of projects I've worked on in the Industry, but--hey! Maybe when it comes to script sales--THEY'LL GET IT WRITE (I KNOW IT'S "RIGHT"--DUH!).

Terri

"I went on the IMDB and saw that it's rated R for pervasive language and sexual situations. excellent."

Yeah, definitely excellent--PRIMO!

Thought I would show the following to everyone just in case there might be some economically-challenged Writerson this BB who are engaged.

Terri

Are you engaged to be married this summer/fall?

Do you currently live separately from your fiancé?

Would you like the help of a nationally recognized designer to create the ultimate home that combines both of your tastes?

IF YES…

THE PLEASURE OF YOUR ATTENDANCE

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for MERGE A NEW PRIMETIME SERIES COMING THIS FALL TO LIFETIME Contact Josh in our Merge casting department at 310 460 0280 or MergeCasting@aol.com.

Steve--

Sorry, I just now saw this message at the bottom of the pile.

So you're saying that your "book" agent doesn't handle film rights? Is your agent amenable to seeking out the film department of another book agency? I know the most reputable ones in NY have film departments.

Bigger lit agencies out here have book departments, i.e., William Morris.

In acting, I know you're allowed to have more than one agent if they represent different areas, i.e., commercials, print, film and TV. But is there a conflict of interest in your area?

Terri

I saw Kevin in church one day in Pasadena. This was before he and Cindy divorced, though.

I have two friends who are friends of Kevin's. The husband went to college with him. (Even invited me to the opening of KC's restaurant. Nope, I didn't go.) They had a friend, a Podiatrist, call me and ask if I wanted to go to the premiere for NO WAY OUT.

I had no interest in going out with this guy, so I said no. I'm not a snob so, trust me, it had nothing to do with looks, weight, etc. I just thought it was "closed-minded" to seek someone who doesn't smoke, doesn't do this and that, etc. What if your soul-mate smoked? You'd miss out if you didn't meet them and go out with them just because of that!

Wish I could remember what this "friend" of Kevin's called him. No, it wasn't "a$$#ole." Some nickname other than that.

Come to think of it, I don't think it was NO WAY OUT. FIELD OF DREAMS maybe? I honestly can't remember. Whatever came out in '87 (I just happen to remember where I lived at the time, that's how I know what year).

Hey, Bryan--

Horror and thrillers are my forte'.

I'll show you my dark closet if you show me yours!

Terri

Not like a skeleton, I hope.

But you're not a generic kind of guy, are you? I mean, generic aspirin and that kind of stuff is fine! But personality? Story? I hope not!

STEPFORD MEN, PLEASE DO NOT APPLY!

Steve--

Don't know if you're still perusing this BB, probably not. But if you are, there is someone I can put you in contact with who did outside work for William Morris and through WMA, she got her book published. She could refer you to someone.

There's also someone at a top book agency in NY (that has a film agent) that I can put you in contact also.

I was thinking about this in my sleep last night so, if you're interested (that is, IF you see this message), contact me and I'll hook you up.

Terri

Unfortunately, news like this is never new to me. I've had so many friends "go to the other side" that I don't even bother buying address books anymore.

I'm sure I can't say anything to make things better, only my thoughts re: this issue.

If it were me, and it's not, I wouldn't spend money on a plot--maybe two hundred to be cremated and have someone spread my ashes over the ocean, my favorite mountain or lake.

I'd rather put that money to use in spending it doing something that I always wanted to do--and didn't. Or if I believed I didn't have enough time, giving it away to a worthy cause.

You may think I'm odd and weird when I tell you this, but almost 20 years ago, I was regressed a couple times. I had the most wonderful feeling the first time. I can't explain it. But I knew that life is never over. I saw death so differently. I don't think there really is a death. We just "live" somewhere else.

A scientist told me years ago that once the body "expires," it weighs an eighth of an ounce less. They believe that's how much the soul weighs.

I never say "Good-bye." I always say LATER. I know there's no such thing as a final good-bye. I've had too much evidence in my life after someone's passing to know that.

You might want to take some of that previous advice on this thread and do a screenplay or book and write about your true life experience. There have been some fabulous, funny and enlightening movies done about real people in that type of real situation.

If there are things in life that you wanted to accomplish and, so far, haven't, I wouldn't let this current bump in the road stop you.

I don't know if you remember this story or ever heard it. But about 2-3 years ago, there was a Writer who finally made his first script sale. A romantic comedy screenplay he sold to Columbia. He did pass on due to a brain tumor and never got to see his work on the big screen. But it made him so happy that his talent, his abilities--had finally been acknowledged and validated.

Just rememeber, miracles happen every day. I knew a woman who was told she had only two months to live. They said no treatment would help so they didn't bother.

She wasn't about to give up. She went to some unique nutritionist here in L.A., over in Venice. The nutritionist put her on a totally raw food diet (except for rice, maybe--I'm not sure). Not having anything to lose--so to speak--she faithfully tried it.

On her next doctors' visit, her tumors were shrinking. They couldn't understand how. Months later, they were completely shocked to discover that her tumors were totally gone. Ten years later, she's still alive and as healthy as can be. And now a wife and mother.

I think what I'm trying to say is, don't stop living. You obviously don't feel sorry for yourself and that's great. And I do believe that humor is the best way to live!

Terri

Dang it!

From Steve: "I just look forward to the speakers, the beer, the discussions, the beer and meeting some of you, the beer will help."

You'll probably need the beer just to meet us.

I'll tell everyone something on this BB. I've never been to Austin. Texas, yes, but not Austin. (Not even to hear Russell Crowe!)

I'll make this promise in writing "write" now. LOL! If I make a six-figure sale in the next month (deadline, July 3rd), I'll pay for all regulars on this BB to go to Austin and have a PARTY!

(Unfortunately, it takes a long time for one to get one's money!)

Okay, I'll even put my name at the end of this, sort of like signing in blood.

Terri Dickey

Thanks for sharing, Mary.

From Mary Kay: "Now here's the funny part... She couldn't have had that script for even a day and I get a polite "pass" from her. Now, nobody in Hollywood is sitting and waiting for a script from Mary Kay LaBrie. Nobody. Normally it takes a company at least a month or two to get back to you and on the first read, it took them a month. I suspect that this woman just took my second script to reject me because she's sour that she passed on a script that optioned. I can't prove this... maybe she did put me at the top of the slush pile, but I seriously doubt it. My mentor says that in "Hollywierd" they try to keep writers humble all the time by doing strange things like this."

Sorry, but in my experience, Mary Kay, I have to disagree with you. When you talk to someone personally on the phone who liked your script but it wasn't what they were interested in, and they would like to read another one of yours, they usually do--and right away. Especially if they discover that the previous script was optioned, etc. They don't want to miss out on anything. It's their job to find good product!

I've had several VPs personally read my work after reading something they thought was "excellent" but too sensitive due to Columbine, etc. How do I know they read it? In some cases, they sent a studio messenger to pick up my script. The next day they called me, told me they read it and we talked about the script extensively. So I knew they read it themselves. Not just because they said, "I read it last night." There were a couple of companies who called asking for a specific script and even wanted to make offers before reading it, etc. (That's another story I won't get into at this moment.)

These execs/companies who contacted me gave me "open doors" to their companies as far as submitting material.

Never make assumptions.

So, Mary Kay, I guess I'm just asking you not to generalize and judge execs and us "Hollyweird" people. What you stated may be true in some cases, but not all.

And as far as Benderspink, I know there was some bad blood in the beginning, because they did come from Zide/Perry. But if you notice, lately, they've been making a LOT of script sales. A LOT!

And as far as a somewhat "nasty" response to companies, etc., watch it. If you can't respond with just a thank you and leave it at that when you harbor bad feelings, then don't respond at all. The last thing you want is to have them spread the word about you and blacklist you/screw you over in this town just because of one incident. Trust me, Hollywood's a small town. They all talk. They all share.

Terri

Randy--

Is he referring to you and me?

Terri

I love writing low-budget. There's still a couple of bad things about it.

1) Most companies can't get financing unless a film has at least a $15 million budget.

2) I've had God-knows-how-many script sales fall through because the independent filmmakers lost their financing.

Well, since time has passed since Steve posted, I'm curious to know if he made any film deals for any of his books. Anybody hear anything, anywhere?

Hope I didn't come across defensive.

Sorry if I sounded like a "b." Didn't mean to.

Think I forgot my Bran Flakes yesterday.

If it hadn't been for this BB, I probably would've gone nuts!

I had my Ortho Surg appointment this morning and found out that my foot's not healing and now I'm wearing a boot up to my knee.

Since there's scar tissue and the bones are overlapping, I have to have surgery for screws, etc. I look at it from the bright side--I'll get a lot more writing done, I hope. There's a reason for everything.

If I hadn't broken my foot, I might not have found this Board. Also, I might not have completed five screenplays during this time.

See? The glass is half full, not half empty!

Oh, and I wouldn't have met my FUNNY, ATTRACTIVE Orthopedic Surgeon. LOL!

I don't know how much Benderspink takes. I know Warren Zide told me he only took 10% since he knew that the Writer would still have to obtain an attorney.

Personally, I'd rather not have a manager. But that's just me. I mean, most of the managers now are also producing your product and other clients' product. If they're doing that with so many projects, then how can they efficiently manage your career?

I would've responded, but I had no idea what the heck Michael Gill was talking about. Less is more, but two words ("too bad") just wasn't enough.

What I get on my end is a fat ass!

You know, I should've added that this Message Board is very Poster/Reader Friendly. There are Boards that drive me nuts where I rarely even bother--like the one on IMDb.com!

Too bad you need your head to write. Guess now, in your case, the glass is half-empty, NOT half-full. LOL!

So, Steven, are you the kind of guy whose favorite position is being next in line at the bank? (Sorry, I just couldn't resist--had to take another pain pill, you know. ROFLMAO!)

Oh, yeah, Steve? I can up you one on that. There's a urologist here in L.A. whose name is PETER DICK! And a doc named Phuc Duc and another named Tuf Chow. I could go on and on and on. Oh, sorry, that was more than one, wasn't it? Guess the meds made me lose count!

Oh, come on! Nobody's gonna debate me on this? That's no fun!!!!

Okay, I say we make this interesting as to who will be the first on here to announce their Mid-Six Figures against High-Six Figures $ALE. (Maybe we'll create some motivation here and someone will actually DO IT!)

You're thinking jackass. If elephants were dumb, they'd be living HERE! And you have to give them credit, they must be smart NOT to pursue the longggggggggg road that screenwriters must.

YEAH! I'd like to know when he's gonna come back and tell us who the heck he's talking about!

Great logical thinking, D. Jay. I'm proud of you. Now use that logical thinking and sell a million dollar screenplay--'cuz we wanna hear about it!

I didn't see the post on this site but are you talking about Tom Butterfield at Zide/Perry who was looking for romantic comedies?

Tom@zide.com

MF--

ScriptMyViagra! Where can I get that? LOL!

Terri

Since I didn't see the post, I'm not sure if what I gave you is what you were looking for. I hope it is. I got the Butterfield info last January, I believe.

Hey, Steve--

I think I'd like your wife. Is she going to Chicago in August to see TOFOG at HOB again?

Terri

Guess you've got a "point" there, Bryan. Oh, sorry--you DON'T have a "point." LOL!

I have the perfect script--with all requested requirements EXCEPT ONE THING! "No sex in Southern California." Too unrealistic. There is no such thing as "No sex in Southern California." It's all about sex, babe. All about s-e-x!!!!

Or is it just the flying non-barking dogs who aren't supposed to have sex? That would explain the no barking.

You're welcome, Mary Kay.

Terri

Mary Kay--

You make me feel like I'm a wealth of information. I don't know how old this is, but the following is what I have in my computer:

Lee Wilson/Robert Woods . . . Producers (Known for TV Movies!)

Wilson/Woods Productions

10641 La Grange Ave., #304, Los Angeles, CA 90025

PHONE: 310/470-6924

FAX: 310/470-8990

E-MAIL: robtwoods@att.net

Well, what do you want me to say? That I disagree? Sorry, I'm a screenwriter, I don't. No controversy debate here!

If I had "writesay," you'd see my product on the top ten box office list.

I didn't know you ate Cheerios for breakfast. And I thought I knew all.

Since there's been no response, I guess that answers my question.

At least I'm good for something!

Tell me about it, Ron! I thought it was just me. THANK GOD I'M NOT ALONE. I was beginning to think I was in THE TWILIGHT ZONE.

Hey, Ron, I just "read" about you. I'm impressed. Quite a bit of detail there. Why not? One way to get yourself known.

By the way, and I'm embarrassed to ask this since I was in Casting a long time ago, but could you tell me who Glenn Plummer played in SPEED? I have the videotape so I guess I could watch it and look at the credits, but I'm lazy. LOL!

So when are YOU going to be our next M. Night?

D. Jay--

If yours is an EPIC about S-E-X, then I definitely want to read it. I'd even like to see it up on screen. (Hey, I never said I wasn't a deviant!)

Terri

James--

This is what I've been told by people who were told by their Financiers, that they won't invest if it's less than a $15 million budget. Otherwise, they feel it's a waste of their investment.

Well, I'd like to tell THEM a few things. I knew someone once who made a film (even with special effects) for $25,000, I think. (Said he collected on a lot of favors, though. Even had some "name" actors. Maybe one, anyway. IF you call Scott Valentine a "name.") Entitled DEADTIME STORIES. If I remember correctly, during the first year of its video release, it earned back 15 times its cost.

Terri

Ron--

Okay, NOW I know who Glenn is! The "boyfriend" in SHOWGIRLS. Also, I saw TRESPASS again the other night and I swear it was HIM with shorter hair--as a sharp shooter.

Well, I hope your script gets produced by someone really good other than Joel Silver. I like some of his product but he basically focsuses on unnecessary action and T & A. He gets his product made which is good. I just hope I never have to work with him. I not only used to work with the production crew/actors who worked on his films, but if you ever know anyone who's ever worked at Warner Bros. studios, you'd learn some of his antics that would make you puke. Let's just say, he's not known in this town for being a gentleman.

It sounds like you're going in the right path with your script. If I were you, and I'm not, I'd continue to pursue those avenues. I predict things will solidify re: this particular script within the next nine (9) months. HANG IN THERE!

BEST OF LUCK (unfortunately, that's what it takes!!!!)

Investors don't care about festivals. That's the last thing on their minds. I don't think it's on their minds at all. Their numero uno concern is making money off their investment(s).

As far as "Hollyweird," most investors aren't involved with Hollywood. At least any film I've been associated with in some capacity that wasn't a studio project.

And since you're a screenwriter and/or filmmaker, that classifies YOU as part of "Hollyweird."

Yeah, and I look like Pamela Anderson (NOT!). Maybe Meg Ryan--but I don't have a boyish figure. I'm more the hour-glass type. But I do have the blonde hair and blue eyes! Does THAT count?

Well, when I was little, I was in the horse pasture, riding a Shetland pony bareback (and barefooted) and a small dog came around the corner BARKING! The pony ran like the wind and I fell off right into a pile of horse crap. Does THAT count? I'm sure I could make every 1/4 second a page to try and make a full script. At least a TV movie!

Ron--

I only saw TRUE ROMANCE once, in the theater. Guess I'll have to watch it again sometime and see if it comes EVEN CLOSE to the disgusting antics he's performed on the studio lot.

TD (yes, Touch Down! Well, let's hope SOON anyway!)

And don't forget John Woo and his partner!

You know, there is an Asian-American organization for the Film/TV Industry. Just like there is for the Spanish. I would go online and find it if I were you. You could probably find a lot more people/companies than just Wayne Wang and Ang Lee.

Makes no difference WHERE your investors are from. All applies. Whatever you can find, go for it. Those in London and Germany tend not to go for anything less than a $15 million picture.

I don't recall any Lynch pics that were LOW or ULTRA-LOW Budget. Even BLUE VELVET had NAME TALENT, as most of his pics do.

First of all, in order to find him, you'd have better luck by getting the spelling correct. It's "David Cronenberg."

I'm going to give you several alternatives.

1) If you can get a hold of this Tuesday's Hollywood Reporter, grab it. Tuesdays are their Production/Development issues.

IN PRODUCTION is his current film "Painkillers." More than likely, it'll have the production company, address, phone number, etc. listed.

2) He is a DGA member. There are several "main" offices, i.e., L.A., NY, Chicago. When calling the agency line (for any guild), you are allowed to give three requests (names). Sometimes, members neglect to update their contact listings but, usually, there is SOMETHING.

For the L.A. Agency Listing line call: (323) 851-3671.

3) Writers Guild--I'm going to give you the Agency Listing line for WGAw: (323) 782-4502.

4) Screen Actors Guild--Yes, he is a SAG member. Whether he's kept up his membership or not, I do not know.

Actors to Locate Line: (323) 549-6737

5) Producers Guild (PGA)--Have no idea if he's a member or not. They're main number: (323) 960-2590/FAX: (323) 960-2591

Hope this helps.

Terri

Sorry I'm so late on this and didn't read this earlier.

In my experience with pitching, always take with you MORE THAN ONE script/idea to pitch. You have to be prepared in case they stop you and say "What else have you got?"

I don't think they meant for you to give a 15-minute pitch. That's rather long. I think maybe to spend 15-minutes WITH them and pitch.

Be animated, exciting and interesting. Have some charisma when you talk to them and sound interesting. Don't be monotone and blah blah blah blah.

Unfortunately, phone pitches are not something I've experienced. I've only done pitching in person, snail-mail pitches and e-mail pitches.

I would be very interested to know how yours went, though. VERY!

I've noticed that when Film Critics HATE a movie, I usually like it. When they LOVE something, I usually don't like it.

Yesterday, a friend and I went to see THE CORE in order to help us learn how NOT to write a script. This was a movie that was panned by the critics.

WE LOVED IT! We thought it was extremely intelligent and exciting. I'd give anything to be able to come up with something like THE CORE. In our opinion, it made ARMAGEDDON look like dog doo-doo!

None whatsoever?

Is that your double chin jiggling with laughs?

Okay, so what's your point, MF? Did you have a question? Or were you just making a comment? See? I had three, no four questions!

Hey, I've got a "dark' Western, too. But it's "dark" because it's TRUE. Very violent!!!!

It's about the Parkers of Texas. And if you Texans out there tell me you don't know who I'm talking about, then I'm ashamed of you for not knowing your Texas history. Then, again, that's why--in my opinion--we have film. Not only to entertain, but to LEARN!

I think I have a "sugar/carbo" hangover from yesterday at the movie marathon. I meant "their" not "they're." SORRY! Me bad!

D. Jay--

I'm confused. Are you saying YOU--as a man, or maybe NOT as a man--look like Mrs. Roosevelt's mother? Did I read that right?

If you were serious about seeing my pic, I'd honestly think about it. I don't have any of my "centerfold" pics on the computer, though. You'll have to settle for something else.

Terri

This reminds me of the dialogue in "Good Morning, Vietnam."

Well, think of it this way, James. If you were Down Under, you'd be a day older. LOL!

Why don't you start some subject topics for each of the companies you're asking about and then someone might be able to help you.

I know a some Writers who didn't meet the Producers, etc. except by e-mail/phone and did the contracts by fax. In this world of technology, everybody can be agoraphobic. Why does Salinger have to be alone, eh? I mean, obviously, he's alone--I meant, why does he have to be the only one?

A transcrelephant?

First of all, Randy, I know Sam Waterston has his own company. But, so far, they've done small films, like that August King thing with Jason Patric. (I liked it, but knew I would never watch it again because I don't like stories where animals die or get killed.)

I'm going to share MY experiences and MINE only--which isn't much.

When I had a TV deal, it was through two actors who had a Development Company/Deal with a studio.

(Wanna hear something STUPID before THAT happened? We talked to Denzel Washington's people and they were eager to set up meetings with us. Why we declined is another story. All I can say is--WE WERE NAIVE AND STUPID!)

What I have to say next will probably shock some of you. There were at least THREE times when I or myself called the SAG Actors to Locate line and all that was listed was a phone number. When we called those numbers, they happened to belong to the actors themselves.

There was a "so-called" friend in my building who wanted a specific actor for her project. About 20 years ago, he was an A-list actor. She called the number listed, it was a machine, and he called her back personally. He even came to my apartment to pick up her script.

What became of it, I don't know. I loaned her $1,200 and she took off shortly thereafter.

It also PAYS to know the backgrounds, etc. of the actors you want to pursue. In my case, though, it didn't work. LOL!

Back when Meg Ryan had her company at Paramount and was going to do HOUSESITTER with Steve Martin, I was in talks with her Development person. Not only was she more interested in doing comedy, but she was pregnant at the time.

I guess what I'm trying to tell you here is this. It was a thriller I had. The D person tried telling me she was too young for the role. And I said, "I don't think so. She's --years-old which is the exact same age as the main character." Dead silence. He thought he could pull one over me. LOL! He did tell me she was no longer slated to do HOUSESITTER. I said, "Oh, because she's pregnant." He said, "How did you know?" Anything that pops off the top of my head is usually right.

My point is, YOU NEVER KNOW! You'd also be surprised at the people you know who know people.

You'd be shocked at the "name" people I volunteered with at Childrens Hospital Los Angeles.

If there's a will, there's a way. I keep telling myself that!

I, myself, have a script that takes place in the late 1800's in the Midwest about a large, German immigrant. I WANT ARNOLD! I queried his agent. Didn't hear SQUAT! Looks like I'll have to go to his restaurant and MAKE A SCENE! (PUN INTENDED!) I'm joking, of course.

Too bad I didn't have the script written when Arnold came to Childrens Hospital with one of his children and I had to find a chair large enough for him to sit in.

Yeah, and too bad I didn't have a script for Mel when I met him in an elevator.

Look how many chances I've missed in my lifetime? Hope this doesn't mean I've used up my opportunities!!!!

Terri

Don't drink coffee. Personally, I think I NEED to slow down. Must be too many diet sodas and chocolate this weekend.

"when I or myself"

See? I must have a dual personality or I'm buzzing along too fast here.

Personally, I don't see how that's a "problem." At least not how you've stated it.

Sorry, though, D.Jay! I haven't been able to find the "centerfold" pics since I moved out of my house. Yeah, hard to believe that I was once a "California Calendar Girl."

Uh, bikini? I'm not wearing anything but autumn leaves. I was Miss October.

You know the rose petals in the AMERICAN BEAUTY poster? I swear to God they had to have seen my "autumn leaves" pic.

Okay, I admit--I'M NAIVE. What's AIBNTV?

You still doin' the Tony Little thing? Did he ever get rid of that pony tail?

Didn't you catch the post on this BB in the "other" John Woo thread (Asian-American topic????)? PAY ATTENTION! LOL!

Lion Rock Productions

(Someone else gave a different company name, etc. So mine maybe old. It's from 2002.)

I'm not going to give you their MGM address because MGM has just moved to Century City.

But the phone number should be forwarded: (310) 449-3205

Terri

I meant that when you call, it should give a forwarding number.

TD

"Violence is good in westerns."

Maybe yes, maybe no.

Ron Howard wanted to depict the "real" violent Alamo and Disney didn't want that because they don't want an R rating on such a high-budget feature. That's why Ron decided not to direct it, and to direct another Western.

Too bad!!!! I would've liked to have seen Russell Crowe in another Western! (Rumor has it that Dennis Quaid is portraying the part Russell was intended for. How IRONIC is THAT?)

I'm just posting again so it'll show at the top of the topics--so Marcel will catch it and not miss out on the info I posted!!!!

So, Randy, did you meet him? Do tell! LOL!

He wouldn't like me. Don't smoke!

I feel like I'm in THE TWILIGHT ZONE. No one's answering my question. Am I now all alone in the world?

Or am I Donna Douglas' character where she kept having plastic surgery to look like the rest of the world--pigs--and it didn't work. Hence, she was then ignored, I'm assuming.

From Gil: "roeper is just a dork so i discount everything he says."

I can't stand Roeper. So I don't even bother watching anymore. Roeper has about as much charisma as a flat piece of Xerox paper.

Okay, due to upcoming surgery, I'm not allowed to take anymore pain pills. So I'm apologizing in advance for my crankiness today!

Marcel, why couldn't you just have told me what that stood for so I wouldn't have to go to some site I had no interest in looking at? Is THAT cranky enough? LOL!

Jill--

I found out once I was forced to go to the site. Stands for something like American Born Indian Network or American Indian Born. Something along those lines.

"The Jews believe that if you save one man, you save the whole world."--TAKING SIDES written by Ronald Harwood

So, tell me, who should we save so we can save the whole writing community? LOL!

From Marcel: "dga member??? dog garnit anyways"

What's wrong?

I read the script for WIND TALKERS but didn't see the film. It cost MGM like $135 and only grossed around $10-18 mil at the box office, I think. Woohoo!!!! LOL!

"Mr. Costner's car"

CUTE!!!!

But did someone HAVE to mention Ben and Jen? Puking in the morning sort of ruins the whole day, you know?

I've already had experience with the site for scripts since they formed years ago. I'm not talking about that. I'm asking about the Preferred Newsletter. I don't need to know about the site.

Unfortunately, an acquaintance of mine has been trying for a month just to get their Free Newsletter and STILL hasn't gotten it. Just letters from someone named Stephanie who apologizes, but doesn't send the Newsletter. Jerrol's always been REALLY good with me so I don't know what the deal is. . . .

MF--

So, tell me, is it a good movie to watch to learn what was "missing" so one can make one's writing even better? Or is it a total waste of one's time?

I like learning from bad movies as well but, I have to confess, sitting through WILLARD was a learning experience that was absolute TORTURE. I don't want to sit through THAT kind of learning experience again!

Last night, I went to a Hollywood event that was awesome. And not because it was sold out. It was a special screening of SEARCHING FOR BOBBY FISCHER. I'm glad I hadn't seen the movie before. I learned so much from watching it last night and listening to the director/screenwriter and star, etc. talk about about the film. Though it's ten years later, you wouldn't guess it--which made it, to me, an even better experience. That movie had such great dialogue/non-dialogue moments, etc., etc., etc. It made me appreciate the art of filmmaking even more and happy that I chose the career I did--no matter what a long struggle it has been.

Terri

Steve--

I think you misread that. The acquaintence repeatedly signed up for and asked for the FREE Newsletter. Not the Preferred Newsletter.

Terri

Andrea--

You didn't fail your marriage. Your husband was the quitter.

Through everything that has happened, look at it this way, you have a much better book and/or screenplay than HEARTBURN.

Your husband makes me think of my girlfriend who, years ago, called me on Christmas Day to say she was getting divorced. Though I had a dream about it six months earlier, I thought she was joking. Realized she wasn't when she started bawling over the phone.

Her husband came home from work on Christmas Day, had sex with her and, as soon as the act was done, told her he wanted a divorce.

The jerk left her and their young son and never even tried to be a father. Neglected to see him, etc.

Both my parents died recently--my mother last year. I'm comforted to know they both went in their sleep. But it doesn't keep me from feeling guilty that I failed them. I wanted them to be proud of me.

My best friend, who happens to be thee top actor today, keeps telling me they were proud of me. That I didn't need to make a million dollar sale for them to feel that way.

I try to believe him but, at the same time, I tell myself it's easy for HIM to say that. Both his parents are alive and he's "made it."

As far as your big brothers sort of being useless in this situation and you having to handle everything--you're not alone. That's the norm. Men try to come across as strong, but when it comes to death and illness, it's extremely difficult for them to handle.

What makes everything so difficult for you to handle--and I mean emotionally, because, physically, you have--is the huge plate of responsibilities you were handed. Everyone made YOU make the tough decisions. Look at it this way, they made you do that because you're strong and they're not. They knew they couldn't handle it and didn't even care to try. I know! Life isn't fair. "Why is it always me?" I constantly used to ask myself that and decided I just had to accept it because God made it that way. He did that because you're special. You're destined for greatness!!!

Those aren't just words, Andrea. They're real. And you have to realize that.

For years, I've wondered why I've escaped death soooooooooooooooooo many times. I should be dead 100 times over. I figured there's a reason why I'm still here on earth. But I stopped trying to figure out what that reason is, because all that thinking about it might prevent it from happening.

Just remember, Andrea, you're special and you're strong. DON'T EVER FORGET THAT!

Terri

Hey, Marcel--you afraid to answer my question? LOL!

I'm REALLY curious! Has anyone read ANYWHERE that this Writer sold the movie rights to one of his books?

Years ago, they were offering such deals as $6 million. Now, you'll notice from recent sales, they've been offering the same amount they do screenplays.

Marcel--

If you mention "autumn" and "leaves" to me ONE MORE TIME, I SWEAR. . . .

;)

Marcel--

That's not the true story about those two lesbians who had live sex shows in Nevada at this one saloon back in the OLD WEST, and one ran off and married a man and the other supposedly haunts the place to this day?

Yeah, I'm an expert at "ghost activity." LOL!

Terri

Marcel--

A friend of mine at MGM just called. She said that she still has her old Santa Monica number even though they're now in Century City. But she also has a new number on top of that one.

So the John Woo number I gave should still be good.

Terri

MK--

Cosby DID have a production company that was in NY where he lives. I believe his company did his last show in conjunction with Carsey-Werner (or maybe Marcey Carsey did the NBC show and not the CBS one--which, I noticed, the CBS one--is in syndication so you might want to watch it and look at the credits).

I had to find an actor last year who I used to have a development deal with. I called the comedy show someone told me he had been on. He no longer was but they were kind enough to give me the contact number they had.

You might also contact the organization that holds his minority scriptwriting contest.

Terri

MK--

Well, I do have Marcy's home address in Paradise Cove (Malibu) and her home phone number, but I don't think she'd appreciate anyone handing that out, do you? LOL!

The following might help you, though. As a Producer, Bill Cosby is listed as Dr. William H. Cosby. He was executive producer of COSBY. Both shows (NBC, then CBS), it appears, were produced by The Carsey-Werner Co. (which later became Carsey-Werner-Mandabach).

COSBY was filmed in New York at the following:

Kaufman Astoria Studios 34-12 36th Street AStoria, NY 11106

At the TIME, these were their numbers:

PHONE-----718/706-5701

FAX-------718/706-5322

The Carsey-Werner-Mandabach Co. numbers are as follows:

PHONE: 818/655-5598

FAX: 818/655-6259

As you already know, they're located at the CBS/Radford Studios in Studio City. Just down the street from me.

Good luck!

Terri

Wake up, MK!!!! Don't want you to miss this information. LOL!

The e-mail inquiries keep coming--and that's great! I'd rather not have any other economically-challenged Writer get "conned" like I did.

Depends on who you're talking about. For instance, if Phoenix asked to see your script, you'd send it, right? Whenever they requested a script of mine, they never asked for a release form. I guess you just have to be more clear/specific with your question. Are you targeting companies that don't require a release form? Or have companies asked to see your script(s) and not required a release form?

Wow, Paula. Leave it to a JERK to make you explain to the kids why a lot of stuff is "gone." Why do men do that? I never understand why practically everything's always the responsibility of the mother. My biggest pet peeve is when a man describes HIS night with the kids as "babysitting." No one says that when the mother is at home alone with the kids. That just BURNS MY BUTT!

As one Phoenix VP told me years ago, "It's a piece of paper that means nothing. You could still sue us. I don't need anymore paper clutter in my office."

YW

This sounds totally "off the wall" to me and more like the Producer or Production Company are the ones who are "unprofessional."

If your format was really bad and totally unprofessional, then I can understand someone not taking the time to read it. But those two little things? GIVE ME A BREAK.

A good Producer realizes, no matter what, there could be a great story there. I worked for a Production Company many years ago and we had gotten a script written by the Mayor of Miami (I think). It was entitled something like ROMEO AND JULIET IN NEW YORK.

It was the funniest script I'd ever read. But it had NO FORMAT whatsoever. Obviously, the man never even read a book on screenwriting or took the time to read any scripts. But it was given to us by a name actor and that's why we read it.

As far as format, I will admit, unless you're moving from room to room and don't need an entire slug line (Master Shot), then you're right about DAY and NIGHT. But if you are in the same building and changing from DAY to NIGHT or NIGHT to DAY then you do need the whole kit and kaboodle. When you're changing locations which are not in the same house or apartment, etc., then you still need the whole thing.

EXAMPLE:

INT. BART'S HOUSE--FOYER - DAY

Bart walks in. He looks around. No one in sight.

BASEMENT

Bart pulls the chain on the bulb.

If you're still in the same house and it hasn't changed to NIGHT, you're okay.

As far as margins, Industry Professionals still adhere to Jurgen Wolff & Kerry Cox's SUCCESSFUL SCRIPTWRITING:

1.7" LEFT MARGIN

2.8" DIALOGUE

3.5" PARENTHETICAL DIRECTIONS

4.3" CHARACTER'S NAME (above the dialogue)

To me, and this is just me, it sounds like this company WAS/IS unprofessional. I've NEVER had anyone ask me for all those things sent to them before reading the script. Sounds like to me, they needed to look for financing and asked for those requirements in case they wanted to put your script in their "package."

ABC'S ORIGINAL MICRO-MINI SERIES

Landmark Program Provides Platform to Creative Talent on the ABC Television Network Through a Unique New Programming Concept

WHAT:

TV's first scripted "Micro-Mini Series" is a joint effort of ABC and Touchstone Television, with the cooperation of the WGA, DGA and other industry guilds and unions. The Micro-Minis are a series of films for broadcast on the ABC Network. This series of interstitial short programs will be integrated into ABC's primetime and/or late-night lineup, providing a unique entertainment experience and expanding the potential for television programming into a new arena. Each Micro-Mini program will be three minutes in length. It will play in three one-minute interstitial acts spread over the course of a single evening. The Micro-Mini Series may be repurposed on ABC Family or other distribution platforms.

In this unique program presentation, each of the three acts will be thematically connected to the others, with a storyline that will track over the course of an evening. But individual acts will stand alone as compelling entertainment experiences in and of themselves. The Micro-Minis will come from all genres and can be either comedic or dramatic in tone.

Interested writers should submit previously written material for consideration. You need only submit one writing sample. Submissions should demonstrate the writer's ability to create material for this format, i.e., a three-act structure, with each act only one minute in length. (We prefer that writing samples not exceed 7 pages.) Previously written writing samples should be of broadcast quality.

WHO:

We invite submissions from the following sources:

Former Disney/ABC Writing Fellows, former ABC/DGA Directing Fellows, Talent Development Scholarship-Grant Program winners, participants in the ABC Talent Development Casting Project and the ABC/Disney Directors Partnership Program;

Members of the WGA (contact the WGA Employment Access Department at (323) 782-4648 for more details);

Agencies and management firms that do business with ABC.

WHEN:

Samples must be received by the ABC Talent Development Programs Department by June 30, 2003. We reserve the right to determine the number of submissions to be reviewed and accepted.

WHY:

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ALL SUBMISSIONS MUST BE ACCOMPANIED BY THE ABC/TOUCHSTONE SUBMISSION AGREEMENT AND COMPLETED SUBMISSION FORM, both of which may also be found on the Talent Development web site at http://www.abctalentdevelopment.com.

WHERE:

Mail submissions to:

Micro-Mini Series Development ABC Talent Development Programs 500 S. Buena Vista St. Burbank, CA 91521-4395

Micro-Mini information line (818) 460-6055

Hey, many people cringe during tax season, but not me. As a Writer, you can write-off a lot of things. One year, I got back almost $20,000. For me, whenever I owe money and/or need money, it always falls around the time I get my tax refund. If you're a Writer and you don't itemize, you're CRAZY.

David--

When I was at the Academy Library once, someone showed me REBECCA and told me to look at it (the script). Wonderfully written. I know you've probably seen the movie, but trust me on this.

There's another script written by produced Writers which I know you haven't seen the movie. To the best of my knowledge, it was never produced.

BETRAYED. No, I'm not talking about the Debra Winger/Tom Berenger movie.

The script was written by Marshall Herskovitz, story by Edward Zwick and Marshall Herskovitz.

I bought it at Book City in Burbank. I asked for BETRAYED (the other one) and they gave me this one by accident. It's a wonderful Hitchcockian-type thriller. Sort of a caper, but not a caper. If you can find it, get it!

Another good script to read is John Carpenter's VILLAGE OF THE DAMNED.

Terri

Wow, David. Were you talking about ME? I'm blushing!!!!!!!!!!!!!!!!!! :)

I don't know what to tell you, James. No one's ever asked me for a synopsis, only on rare occasions. And those were 1) Writers Script Network--to place my scripts on their site; 2) e-mail pitches through WSN, etc.; and 3) at production companies I worked for who needed one sheets to sell the product.

There are some companies who save us tons of money by allowing us to e-mail our scripts in. Wish everyone did that! It certainly has saved me tons of money by not "mailing" scripts to England, Ireland and Switzerland--but as attachments.

I've heard the same thing from Readers, Development people and Producers, David.

I've known "Writers" who have done what Eric suggested. It never got them anywhere and the companies "frowned" upon it. The act was also considered "unprofessional."

The same goes for artwork and fancy title crap on the covers. They don't even want colored card stock anymore. They just want the script with a plain, white cover (not even card stock) and the title typed in Courier 12 and the name of the author, etc. You don't even need Copyright on there--it's already implied. If you do put Copyright on it, FGS, don't put the year and/or number.

In THIS case, I like your on-the-nose method. LOL!

Okay, James, this is one area I have to disagree with you.

James L. Brooks is my all time favorite filmmaker. But I wouldn't recommend reading his scripts. He directs what he writes. Any professional writing group I've been in that read "Terms of Endearment" and "As Good as it Gets" DID NOT LIKE THEM.

The thing you have to remember is this-- Mr. Brooks knows he's going to be directing the script. So he's writing it for himself. A lot of Directors do NO-NOs when writing scripts because they know they're going to be directing them.

I certainly wouldn't recommend the Hong-Kong-style script that John Woo goes for. You never know what location you're in, etc.

And a lot of Directors will use the Magnoli technique in their scripts. As a Writer, you cannot do that. The Magnoli technique is up to the Director and Editor. It's not a screenwriter's call.

A lot of Directors don't put things in the scripts because they're going to be directing them and feel they don't need it. As Joe Mantegna said the other night, "If it's not on the page. . . ."

P.S. Sorry, Joe. No matter how many times I see your last name, I never get it right. (I'm sure I didn't get it right this time, either.)

James--

We're not "amateurs." We're unestablished. I've never read REINDEER GAMES but I loved the movie. I love anything that's Hitchcockian. (Can you tell? LOL!)

Terri

Since the late 90s, this has been the "norm" for LATER.

Producers, etc., prefer you NOT to put CONTINUOUS, MOMENTS LATER, etc. in a whole new slug.

If you're in the exact same location (this is what I'm referring to) and you haven't changed from NIGHT to DAY or DAY to NIGHT, then just do your triple space and put LATER.

The other stuff, forget it. And I'll tell you why. It's not necessary. Especially since it looks like you're making decisions for the Director, Editor, Cinematographer, etc. It's their decision, once the rights to your script are bought--how it's to be played out, i.e., FADE OUT, DISSOLVE, Magnoli technique, next scene, etc.

Tell your story as simply as you can. Less is more. That doesn't mean go out and use the Hong-Kong style and forget slugs, etc. You appear even more professional by having only what's necessary.

YES--not to put Steven down but his example is "repetitive and dated."

You also have to remember that when you read scripts from "established" Writers, more than likely, they're using what they learned 20 years ago when they "made it." They don't have to keep up with the times. They're "established." When you're not "established," it's necessary to keep up to date.

STEVE'S EXAMPLE:

INT. TED'S HOUSE- LIVING ROOM- DAY

Ted is DANCING in his living room- he looks around for his drink and heads to the kitchen.

INT. TED'S KITCHEN- CONTINUOUS

Ted, still DANCING, reaches into the fridge and grabs himself a cold beer. He hears the phone ring and looks to the ceiling realizing the phone is upstairs.

INT. TED'S BEDROOM- MOMENTS LATER

Ted, now BREAK DANCING, answers the phone on his bedside table.

Okay, here we go:

1) Steve's example is not ACTIVE. Should read "Ted dances."

2) Steve's example is repetitive! His slug already stated Ted's in the LIVING ROOM. No need to repeat that in the narrative.

3) Unless you're introducing a character or it's your slug line, CAPS have been unnecessary for years--even for sound.

4) We're no longer in the 1940's. It's not necessary to state that someone "heads to the kitchen." Just skip three lines and put KITCHEN and start the next scene. Besides, how do we know he's heading for the kitchen? If you feel the need to show that Ted's leaving a room, then state that.

5) You cannot tell us what a character is feeling or thinking. Steve's already shown Ted as he looks toward the ceiling. And don't tell us that/what he "hears." Show us!

Remember, you're writing a screenplay, not a book.

6) If Ted moves from the kitchen to the bedroom, no need to state the obvious. We already know it's moments later.

7) We're in Ted's house. When moving from room to room, all those new slug lines are totally unnecessary. One doesn't even have to put TED'S KITCHEN. Just KITCHEN because we're in TED'S HOUSE.

Terri

As far as the number of brads, before I worked for studios and production companies and took screenwriting workshops, etc., I used to use three (3) brads.

Then I found out that's a NO NO. They all prefer two (2) brads and when you submit with three (3), they think you're inexperienced.

From Paul: "I always wondered when someone took the time to create artwork or fancy packaging, why they didn't use the time instead do write another draft of the play.

Just my opinion."

BRAVOOOOOOOOOOOO!!!!!!!!!!!!!!!!!!!

I've had distasterous results when taking my work to copy centers. I think I've looked through every one of them and then I get a nice Producer who sends one boo-boo back with the second half of the script upside down.

I used to use places that were 2.5 cents a copy. But still, making all those copies was a huge dent in my budget.

My printer is an HP 5P. Whenever I need to send something out, I just print it out. Nice and clean!

I always have a box of regular white copying paper (letters and manuscripts) and a box of three-hole paper. If I happen to run out of three-hole paper, I use the paper puncher (not an electric one, unfortunately) which can be a total bitch if you have a ton of scripts to do.

I print out several scripts per day and my toner always last six months to 1.5 years. Get this. And I don't understand it. When I buy the recycled cartridges for $30-$50, they last much, much longer. When I've spent over $100 for a brand new toner cartridge, I've been lucky for it to last six months! Like I said, GO FIGURE.

By the way, when I informed someone recently that copying one script at KINKO'S was around $12 minimum, she called me back after making some calls and stated that if you give KINKO'S 24-hours notice, it costs 2-4 cents a page. I never experienced that, but she could be right.

So, James, that explains why your English is so good. Though you reside in Denmark, you're Canadian. English Canadian, I'm assuming. LOL!

I did meet someone years ago. A young gentleman named Hans from Holland. His English was perfect--and no accent. He even knew all the slang!

I did want to point out to everyone that, once in a while, there are exceptions to the rule(s).

Though it's no longer advisable to use camera angles/shots, sometimes it's necessary.

Example, and I'm not sure if this is a very good one. I didn't want a script of mine to appear "pornographic," so when a 15-year-old girl seductively undresses an 11-year-old girl, I wanted to make it appear that "nothing was seen." So I used a MED. TWO SHOT.

There I said it. I confessed. SLAP ME!

(No, the script is not about lesbian love. It's based on a true story about a sexual deviant who terrorized and preyed on young girls in the neighborhood. Okay, SLAP ME AGAIN!)

My group at SONY STUDIOS met to discuss a script one time called KILLING ME SOFTLY.

I'm not sure if the film ever came out. It starred Joseph Fiennes and Heather Graham--I THINK.

It's written by Kara Lindstrom, based on the novel by Nicci French.

And I'll tell you why I'm bringing this up. As far as the format, NO--IT'S NOT UP TO DATE. But there is something about it that studio execs like. It was the writing style of the narrative. Parts of it are new and daring--not always, but just enough.

In my next post, I'm going to show you a scene that I got permission a while back to show other Writers as a sample of a FAKE OUT SCENE and the staccato technique that execs just love.

Back in a flash!!!!

Well, I changed my mind. I didn't think it was a good idea. Getting permission to show someone's work to other Writers is one thing, but putting it on the Net is another.

So I've just decided to show you a couple of lines (and without the characters' names). You won't get to see what a great FAKE OUT SCENE it is but, at least, you'll get an idea of the staccato technique.

INT. SMALL STARK ROOM - NIGHT

Bare walls. A lightbulb dangles. MALE CHARACTER, 32, sits. Face shadowed. Smoke rises from his Marlboro.

MALE CHARACTER My first . . . My first time. It wasn’t what I expected.

Across the table, SECOND MALE LEAD, 42, pillow-sized gut--

SECOND MALE LEAD It never is.

If I was in a position to produce this script, I would. It's a wonderful thriller. A very, very sexy thriller written by a man. The sex scenes are fabulous. Beautifully and tastefully written. Funny thing is, on the first draft I read, the first sex scene was on page 69. LOL!

(Okay, I'm getting goofy. Better go and put some food into my empty gut.)

Oh, in case I confused you, that last script where I discussed the staccato technique was not KILLING ME SOFTLY.

KILLING ME SOFTLY doesn't use the staccato technique.

Jeez! Don't you just LOVE how things run together on this site? That was supposed to have been DIALOGUE.

MALE CHARACTER

My first . . . My first time. It wasn’t what I expected.

Across the table, SECOND MALE LEAD, 42, pillow-sized gut--

SECOND MALE LEAD

It never is.

In the Valley in L.A., you can go to BOB'S which is 2-3 cents a page. There are even some that will do 1 cent a page. You just have to check around.

Unfortunately, you'd better check every page of every script before you walk out of the door of ANY copy place.

This topic is totally unrelated to screenwriting. Well, maybe not totally.

I've been watching a lot of movies the past couple days for research on a new screenplay I'm starting.

THE PELICAN BRIEF (distributed by Warner Home Video) was the next on the list today.

I noticed it wasn't rewound, which was odd. I stuck the video in the TV/VCR. It started to play. It was near the end, of course. I saw Denzel as he was being interviewed. I do not recall if I heard any sound or not.

I rewound the tape.

There was absolutely NO SOUND. I thought, "Oh, crapola. Just what I need. My TV/VCR's on the blitz!" I tried other videotapes. The sound was fine.

I cleaned the heads. Still no sound for THE PELICAN BRIEF.

This video has been on the shelf with all my other videos of that category. I've only watched the video once, maybe twice. Haven't watched it in probably a year.

Any ideas on what could be wrong AND, any suggestions as to how to fix the problem IF there IS a solution?

THANKS!

(Told you it was a stupid question!!!!)

A few people asked to see the scene from KISSED BY FIRE. So I e-mailed it to them.

If you'd like to see this opening FAKE OUT scene as a sample for your studies, please feel free to e-mail me and I'll send it to you.

All other movies have sound. Just not THE PELICAN BRIEF. That's what I can't figure out.

This VCR is in my bedroom and is a built-in (as in TV/VCR).

I bought it when I moved into this place in 1996.

So if I hear sound on all other movies, what the heck is preventing me to hear sound on THE PELICAN BRIEF? I'M STUMPED.

I've been watching other movies today. Let me go try THE PELICAN BRIEF again. Maybe there will have been a miracle. (With my luck lately, I serioulsy doubt it. LOL! But you never know.)

Terri

Wow, Richard. I just read where you wrote the adaptation for one of your own books. Was it hard? I have confidence that I could do someone else's. But not so sure about my own. I don't even want to attempt it!!!!

Steve--

Don't have a DVD player. I'm economically-challenged.

No, the videotape was never near any magnets. And all the other videotapes which sit on either side of it are fine.

Go figure.

Think I'll tell Warner Home Video the same thing. There should be nothing wrong with this tape. I only played it once or twice, FGS.

Frustrating! Frustrating! Frustrating! Damn! Damn! Damn! Damn!

From Gil: "for one thing, the format i learned was that a mini-slug only needs one space in front of it, (formatted as a SCENE DIRECTION)

as opposed to the two spaces in front of it (formatted as a SLUG LINE).

this will actually save you typing and spaces in your script."

Say what? I never heard that one before. Are you talking about between scenes? Otherwise, I don't understand what you're talking about.

If you're talking about between scenes, I've always heard and been told (and read) that it's treated as a separate scene, because that's what it is. Three spaces between scenes just like anywhere else.

Whether you're a good Writer or a bad one, when you submit a script, you need to come across as professional as possible. We're already at the bottom of the Hollywood totem pole.

I've never seen anything wrong with FREEZE FRAME when needed. I think what you're later referring to is SUPER: (which took the place of SUPERIMPOSE:).

I had to go back and read your post again, because I wasn't sure if I knew "exactly" what you were talking about.

Here's something interesting:

FREEZE FRAME--A single frame that is repeatedly printed on a duplicate copy of the film so that the image projected on the screen seems frozen for a desired length of time. The freeze frame, which is made in an optical printer, can dramatically punctuate or emphasize some idea or concept for the audience.

At the end of Truffaut's THE 400 BLOWS (1959), the image of the young boy is frozen on the screen and resembles both a newspaper photograph and a mug shot to suggest his bleak future.

Anybody seen this film?

SUPERIMPOSE, SUPER--To place two or more images over each other in the same frame. Has frequently been employed to show both a character and his or her thoughts or memories at the same time; actions taking place at different locations but simultaneously; the passage of time by overlapping a series of sequential actions; supernatural events such as the appearance of ghosts; and an analogy or contrast to the main image by placing on top of it the corresponding or contrasting image. Superimpositions take place in a dissolve when the initial scene and the following scene briefly overlap on the screen.

SUPERIMPOSED TITLES, SUPERS, SUPERED TITLES, BURN-INS--Titles that appear on top of a still or action image, sometimes used for credits at the start or conclusion of a film, for subtitles translating foreign dialogue at the bottom of the frame, etc.

I've searched and searched and can't seem to find what Ellum was referring to. I certainly see nothing wrong with the example Ellum gave. Seems perfectly logical to me.

I've read several hundred scripts a year for many years and never came across ACTION RESUMES or RESUME ACTION, but that doesn't mean anything.

Try it. You might like it. I don't know about anyone else, but I see nothing wrong with it.

Ahhh, THE CHILDREN'S HOUR is one of my favorite movies. A definite risk during its time. MY KIND OF MOVIE. I like risks!

Marcel--

What the heck are you talking about? 1) There's nothing wrong with any of my VCRs; 2) I don't ask for loans; and 3) what "actress friend" are you talking about?

I think you're going to give me nightmares. LOL!

Yeah, I always wondered why there's no cent sign on the keyboard. Never made any "cents" to me.

Trust me, in this town, you use too many gerands in your narrative--you get blasted. If it's not active, they have a problem with it.

I remember an exec once, looking for a script for LIFETIME. "JC, these gerands are driving me nuts. This person must write books."

"Jack digs into his pocket and digs out the spare change. It's a quarter and a dime. It looks like he's about to cry, but then suddenly he laughs uproariously. He hurls the coins away. They arc through the air and land in the water."--SUCCESSFUL SCRIPTWRITING

(Of course, if I were to use something like the above in MY script(s), I wouldn't have more than 2-3 lines for each narrative paragraph AND I wouldn't repeat myself by using "digs" twice in the same sentence.)

I'm not saying, don't use gerands at all. But the main action of your sentence structure should be in the active voice.

"Jack sits alone, watching television."

Yes, MK, that's the one thing about being "unestablished" and writing screenplays. You have to keep up with the times, which includes FORMAT. You don't want anyone to think you don't know what you're doing and that it's your first screenplay and you just finished reading a screenplay book written in 1984.

The 90s--a big time for change in the screenplay format. Every year, something different. Like in 90/91, CUT TO's became obsolete. In 98, no more CONTINUEDs on the page, not even in the dialogue.

You certainly wouldn't want to go into a meeting and have the execs mention a name you don't know--like Mike Medavoy--now would you? You need to make sure you're up on EVERYTHING and EVERYONE, no matter what/who it is!

(There was a "wannabe" who insisted on joining my Burbank Screenwriters Group which I was the Moderator of a couple years ago. He was very cocky and thought he knew EVERYTHING. You can only imagine how stupid he looked when I passed around some pages written by William Goldman and he said, "Who's William Goldman?")

This may sound like a stupid story, but it's true:

I was at a seminar once and the guest speaker was a young, HOT Screenwriter. You'll never believe how he made his first sale.

The President of a studio department called him in. The Screenwriter was really excited. He thought the President loved his story.

Truth being, the President had yet to read it. He wanted to meet the Writer because, when glancing at the script, he noticed that the Writer had typed his "ellipsis periods" correctly. "An anomaly," he said. (Which, unfortunately, is true. A lot of Writers who didn't take Journalism or English, type their ellipses as if they were writing an ad.)

I know that sounds stupid and I don't want to cut anyone down who went to Harvard. But you have to remember who, in a lot of cases, is going to have a say re: a script sale. A lot of studio execs have masters in business.

My studio boss was one of the most anal people I ever met. Nit picky about EVERY LITTLE THING. Oh, and if anyone should mispell his name, he'd have a heart attack. Not only would he NOT consider doing business with that person, but made me call them to tell them how to correctly spell his name.

Yeah, a lot of insecure people in this Biz we've chosen!

In this case, I can see why FREEZE FRAME is important to his story. (From what we were told, anyway.)

"Once in a while, you may have to call for a camera angle, but usually you can use a specific way you phrase the description of the action to suggest the way the scene should be shot."

I have a friend who's a very talented screenwriter. I absolutely loved this one script that is so unique and wonderful in story. But he had POVs throughout the entire script.

I re-typed some scenes for him and showed him how he could do it without ever using POVs. He thought he couldn't because it's like a SHALLOW HAL story where one character sees a "being" as one thing, but the other character sees the "being" as something else.

He cleaned up his entire script without using any POVs.

A creative Writer can always find another way. Like using words other than "usually you can use." Sorry, unless it's part of the story, I have a "thing" about being repetitive. Puts a bad taste in my mouth, obviously. (Yeah, I'm ANAL--I admit it! LOL!)

Get a load of this! Because of this thread, I have gotten God-knows-how-many Consultants e-mailing me, trying to sell me their services. I DON'T THINK SO. Thanks for the nice compliments, but I'm ECONOMICALLY-CHALLENGED!!!!

Marcel--

Are you "French" Canadian?

Terri

James, are you serious? There's no office supply or stationary stores in Denmark that sell 8.5 x 11 paper? I thought Denmark was the paper capital of the world. LOL!

Are you sure there's no OFFICE DEPOTS in Europe? LMAO!

Seriously, though, I don't know about Denmark, but there must be some place in Europe that has ordering services online, just like we do here for Staples and Office Depot.

Wow. I feel for ya, man!

I haven't looked lately, but what's Trottier's latest edition? As in, when did the latest come out?

LOL! That was funny, Gil. Yeah, what screenwriter isn't crazy, huh? Who'd be stupid enough to be a Hollywood screenwriter, eh?

I mean, really. You can go 20 years without making a dime. You receive the lowest payment in the above-the-line talent. You get NO RESPECT!

Is it worth it? HELL YES! (I'll let you know when I REALLY believe that!!!!)

M'mm. Is it up-to-date?

Hey, that reminds me. I have to respond to that person. Apparently, they have five published books and are interested in finding out about selling the movie rights.

Anyhoo, I was busy posting before I went and did a search under EUROPEAN OFFICE SUPPLY OUTLETS and found a whole bunch, James!!!!

Hope the Ireland thing works out. If it doesn't, do the online search. There were also a bunch listed for Boeing, Office Depot, Staples, etc. in Europe under that exact same search.

Terri

New BEST FRIEND, huh? Don't expect me to respond to anymore of your e-mails or read that scary script of yours. I'm hurt! J/K

Yeah, I know you were joking, Paula--but you may make SOME people believe the opposite of what Gil meant. I do believe, for anyone out there reading REAL fast and not digesting the words, that he meant anyone living in the LA area--the drive to Hollywood would be worth it. LOL!

Sorry, Paula, but there are some who just aren't that smart. Hopefully, they're not the ones perusing this BB.

I need to find out fast and can't find anything--as of yet--online.

I need to know who invented the Dolly camera. I thought it was Director Dorothy Arzner who invented the boom microphone. But I can't find anywhere that she did re: the Dolly.

HELP!

Thanks!!!!!!!!!!!!!

I forgot to mention that, except for one instance where I had to have a "phrase" on screen, I usually never use SUPER. If it has to do with something like dates, I place them within the slug line. Which is what I needed to do throughout my historical Western.

Terri

Aw, James, how could I stay mad at you, huh? Oh, you're Canadian, I mean, eh?

The sites I went to were for European branches. Humm.

Well, I'll keep my fingers crossed.

Hey, why doesn't Europe have any need for 8.5 x 11 paper? They have screenwriters over there. Why don't you phone Brian DePalma in Paris and ask him? LOL!

Paula, you crack me up! Should I move back to the Midwest for some good humor? LOL!

Paula--

How did you find that? Let me know so I can look it up.

Thanks a heap.

Terri

P.S. Guess if I were smart, I'd look under the guy's name, huh? (Tells you what my IQ is.)

Is Ellum smart or what? AMAZES ME!

It appears that Garrett Brown invented the Steadicam, etc. The Steadicam was first used for ROCKY in 1976. I also think he's too young to have invented the Dolly. I could be wrong, but I thought it was invented in the 1920s.

Well, maybe Garrett will be at the Showbiz Expo and I can ask him or someone else. Although I'd rather not wait that long.

Anybody out there have an answer? PEASSSSSSSSSS?

Bravo Colleen and Richard!

You may not have liked the movie, and the screenwriter may not have many industry credits, but how many screenwriters can say their script was made into a movie????

And just because his script didn't win an Oscar, doesn't mean he can't spot talent!

Unfortunately, screenwriting is a crap shoot. I remember when I worked at ABC. Six months after I started there, two people down the hall in Children's sold a screenplay for $250,000. Now we're probably talking 1992 or 1993. They quit their jobs AND, from what I've been told, they haven't sold anything since.

But maybe living there makes you funny! Seen Dorothy lately?

From Victor: "My freeze frame recedes into the distance and becomes one of the photos in a thick album."

How interesting.

Wait a minute. Victor, is this a SUPERIMPOSE shot or are you holding on a picture, and then pulling back to reveal a photo album?

No, my question was not answered. I went to all the sites re: the Dolly and there was nothing on who invented it.

Wait a minute. How did my Dolly question end up over here?

Ellum gets the first AMEN!

Thank you. . . .

Ellum wins the 1976 Chrysler Cordoba.

Michael Gill, First Runner-Up, wins the 1963 Volkswagon Beetle. Please send $13,000 for shipping fees from Germany at your earliest convenience.

Thank you for your participation!

Usually, James, that's a good thing. Guess you already had the max length requirement for your contests, eh?

Look at it this way, James. You're pretty lucky right now being Canadian. Do you realize how many recent script searches have been for "SORRY, CANADIAN WRITERS ONLY"? If you don't take advantage of these opportunities, then there's something definitely fishy in Denmark.

Personally, from my own experience, I think the best way to market your screenplay is to have another screenwriter read your work, and send out letters recommending it.

Certainly worked when I did it for other screenwriters. Another person I know has had great luck recommending screenplays. I think one or two were bought by The Bubble Factory.

Companies are always more willing to listen to what another person has to say about a screenplay, than the Writer(s) themselves.

Wow, Ellum. I think we ought to bump that up to a 1977 Chrysler Cordoba!!!!

From David E.:"that screenplay was accomplished not by great writing but by lazy deception and casting an actor people would not want to be dead."

You MUST be talking about someone else other than BRUCE WILLIS. LOL!

Well, Michael, I don't know if this counts or not, but everyone seems to hate SHINING THROUGH (Michael Douglas, Melanie Griffith)--except for me. I love it. Maybe because I'm a romantic, I don't know. Or maybe because I happen to like films that deal with war. (Though I'm totally against war.) Or maybe because I really enjoy period pieces. Nah! I think it's the romantic in me.

From David E.:"Terri I get the impression you don't want Bruce Willis to father your children."

Oh, David, please don't make me throw up. I met him once at Culver Studios when I was working on one film and he was working next door on SUNSET. He was EXTREMELY rude!!!! If he's grown into a kinder, gentler, nicer person--then okay. He'll have to prove that to me. Otherwise, no children! LOL!

I have to admit, I was telling my best friend the other day--after just watching THE SIXTH SENSE again--that I wish he had starred in it. Bruce Willis was so bland.

You notice that when people talk about the film, they never talk about Bruce Willis. They talk about the story, etc.

From David E.:"If I wanted you to throw up I'd offer myself as father of your children."

Sounds just like a Writer--LOW SELF-ESTEEM.

Or are you being realistic and telling me you're as rude and obnoxious as HE is? (Which I seriously doubt is the case!)

Okay, David, here we go. I think the reason Cole didn't realize that Malcom was dead is because:

1) Cole stated that the dead walk around just like real people who don't know they're dead.

2) The "dead" that we saw either appeared suddenly in his home without explanation, were seen hanging and/or their wounds were obvious and apparent. Malcom's deathly wound wasn't obvious. (Guess Cole never walked behind him. LOL!)

Why would Cole have talked to his mother about Malcom when he couldn't talk to her about anything until the end?

What does bother me is that Cole never got cold and his breath never turned cold when Malcom was around. The "coldness" only appeared after Malcom realized he was dead.

From Gil: "didn't dolly the sheep invent it?"

SNORT! ROFLMAO!

Good point, David, about the cold.

I also didn't understand why Malcom was allowed to wear things he wasn't wearing when he died. Everyone else, I'm assuming, only wore what they died in, i.e., bathrobe, pajamas. I'm sure, like you said, to throw us off.

If you were a ghost and didn't know you were dead, wouldn't you want to change clothes and look your best when walking around all the time? If you couldn't change your clothes, wouldn't that be a clue that something just wasn't right? LOL!

And if you burned up in a fire, wouldn't your clothes be burnt as well as your face?

Wow, this is one thread that will probably NEVER end!

No, David E., I don't think Cole would've said that to his mom. Not only is it on-the-nose, but he didn't want to worry his mother about anything. Remember, he didn't want to plant anything in her head that would make her think of him as a freak. He already hated the fact that his father left.

Sorry, you got me. I never heard of either.

LOL! David, David, David. Am I supposed to thumb my nose you now? LOL!

Personally, I don't think he would verbally come out and question his mother about Malcom. I don't think he'd want to do ANYTHING to make her mad. Remember what the mother said at the table one night? About their little family not doing too good? Last thing he wants is for her to leave him, too.

See how uncomfortable I am with this kind of behavior? I meant to say "thumb my nose AT you."

Maybe you're right, David. You shouldn't be the father of my children. LOL!

Hey, critics hated 'TIL THERE WAS YOU. Stars Dylan McDermott and Jeanne Triplehorn (sp?). I have that one on tape and watch it once in a while.

Oh, and I'm embarrassed to say this one. But, on tape, I do have the film JACK FROST--and I don't mean the one that stars Michael Keaton. This one's a LOWWWWWWWWWWW Budget film that looks like it was shot in Idyllwild, California. It's about a serial killer who, because of a chemical accident, turns into snow and goes around killing people--as a snowman--and has sex in the shower with a teenager with his "ice pole." LOL! I SHOULD WIN THE PRIZE FOR THAT ONE!!!!

"Basic Instinct"

Oh, yeah, the one just before Joe when downhill--and I don't mean snow skiing, either.

I think a better one than that would be JAGGED EDGE if we were to choose one of HIS.

God Almighty, Kevin. Bet you weren't expecting THAT one, were you?

And this wasn't even the thread that discussed MANNEQUIN.

Uhoh, hope Bruce doesn't read my comments. I've already been terrorized online by Steven Baldwin.

SORRY. I meant STEPHEN, not STEVEN. (Hope you don't return to my life just for THAT!)

Well, Kevin, I'm sitting here wondering if you read the post in the other thread from thee MANNEQUIN person.

Makes me wonder WHO and HOW MANY peruse this site.

Steven--

CONGRATS! Keeping my fingers crossed for you.

James--

You are soooooooo funny! Is that true?

Terri

Looks like I might win.

tick tock tick tock

Well said. Reminds me of people who trash athletes when they make a mistake. I don't see THOSE people on TV in front of millions of people getting physically bashed and having to make decisions on the spot. Talk about PRESSURE!

OOPS, repetitive. I should've said "in front of an audience of millions."

From Ellum: "When the big Academy in the sky holds its awards, God will give well-deserved recognition to the screenwriter of that wonderful piece of filmdom, and I'm confident that if I ever see the movie or read the script, I'll like it even more."

Ellum, you crack me up. You're telling us MANNEQUIN was the best screenplay ever written, and then telling us you've never read it or even seen the movie? YOU DEFINITELY CRACK ME UP! YEAH, I'VE SAID IT BEFORE AND I'LL SAY IT AGAIN. YOU CRACK ME UP!

Terri

Haven't seen that one to compare it to my LOWWWWWWWWWWWW Budget JACK FROST.

And, by the way, Ellum won the '77 Chrysler Cordoba. Your VW Beetle is still in Germany, awaiting your $13,000 cashier's check for shipping charges.

I think Kevin is still in the bathroom, cleaning out his pants. LMAO!

Hey, I used to enter the Chesterfield. I placed really high in it. Once, I missed the $20,000 by one. I know the person who contacted me to tell me thought they were being nice, and I did appreciate it, but I don't think they realized how it made me REALLY feel. Missing out on that money I could've lived on for a year? DAMN!

From Steve: "One last thing- as demonstrated on another thread- watch who you FLAWG with verbal abuse- you would be surprised at who in Hollywood lurks on this site."

I'm still laughing about that, Steve. And I have a feeling that Kevin will be spending the entire night in the bathroom, either puking or cleaning out his pants. Probably both!

Paula--

If you ever watched the Network TV version, you'll notice that the scenes from the script that aren't in the theatrical version--are in the TV one.

It was kind of a bizarre thing to watch since I've seen the video so many times.

Terri

HELLLOOOOOOOO, KEVIN!

Did you run off to Canada or are you in the process of changing your name? (Sorry, I couldn't resist. I'll quit now. Not another word. I promise!)

Yeah, C, it sure can be frustrating sometimes, huh? Especially when someone who doesn't NEED the money wins. Those are the breaks. Or is it them rotten apples?

Hey, my foot's broken. Maybe I should enter. Does that count as a break? LOL!

V--

Didn't you ask this before on another thread? Or am I dreaming?

T

The BLOND didn't have a name. Was she your fantasy? Just curious.

No, I didn't find it odd for Cole to find Malcom in the living room with Mom. He'd already met him.

But I do find it "off" that Cole would do his "make believe game" with his Mom in front of another person. Remember, he doesn't want people to think he's a freak. And things kids do with their parents embarrasses them when it's in front of other people.

Hey, John--

I don't care HOW BAD a movie is if it's got KURT RUSSELL in it. Damn! Who gives a crap about the movie. As a woman, I say HUBBA HUBBA HUBBA!!!!

Terri

Just to clarify for all the men out there who might be insecure and might have been offended.

Once a woman gets to be in her 30s, she realizes that looks are insignificant when it comes to a "partner." 1) Looks don't last. 2) A HUNK can turn out to be the most boring individual on planet earth. 3) In my case, if you can't make me laugh, I'm not interested.

But when I'm at the movies, I think I'm allowed to look and drool. Since I'm (or someone else is) paying for it, does that make me a "john"?

What I said about ATHLETES was an analogy! And it's true. They're put up on a pedestal and considered heroes one moment, but as soon as they make a mistake--"fans" say stupid, horrible, cruel things. I'd like to see those "fans" out there on the football field or basketball court and attempt to play a game they have no professional experience at.

I promised another poster last night that I would not say another "teasing" word re: what he posted about a particular movie and the Screenwriter. (And the Screenwriter posting a response.) Yes, I don't think it's a cool thing to say bad things about a Writer just because their script, when made into a film, did not make $200 billion worldwide or win an Academy Award. I think it's a mistake to give people the assumption that the Screenwriter has no talent, especially when the Writer making the comments probably has no produced credits. There are two major things in our profession that are not very easy: 1) writing a script; and 2) selling a script.

I think it's great to analyze scripts and movies. It's fun. And it's a great debate we're having here re: THE SIXTH SENSE. Just be careful about "misinterpretation" and taking people's comments the wrong way just because they don't agree with what you say.

David--

Remember, Cole wasn't "telling" his mother things. Asking her what she's thinking--because he doesn't want her to think of him as a freak--is not telling her "things."

He couldn't really talk to his Mom until after the play he was in. After he last saw Malcom. After the "woman on a bicycle" was killed. That's when he was finally REALLY ready to talk to her. To tell her "things," i.e., what was happening with him ("I see dead people").

Terri

Ellum--

You read my mind. I like your "(SOMETHING LIKE THAT)."

Terri

Except that I would probably put:

FREEZE FRAME - SGT. YORK

LOL! Who knows what my final draft would look like, since I LOVE playing around. (RE-WRITING! RE-WRITING, PEOPLE. Yeah, THAT, too--but we're talking about scripts here!)

As far as "page numbers," this is where the AVERAGE pages are in all the one-hour drama scripts I've purchased in the past or gotten from ABC, etc.:

ACT ONE: 1-22

ACT TWO: 23-40

ACT THREE: 41-55

ACT FOUR: 56-62

The scripts I'm looking at right now, end with a single (end scene) paragraph at the top of page 62.

Kevin--

Please come back.

I've been good!!!!

Terri

Kevin--

Are you okay?

Terri

"Maybe he took those contest suggestions to heart and is busy polishing up his entries."

I hope so. And I hope he knows I was just giving him a hard time. I'm the one who's famous for usually sticking my foot in my mouth. Now those stories are funny but, at the time, most of them weren't.

Colin--

I'm glad. Happy, in fact, that you shared this with us. I really am. Although I'm sorry you ended up losing the money you spent on the lawyer.

Unfortunately, there is something on our end of the business that seems totally unfair to me. In my mind, it makes no sense, and it's the one thing I COMPLETELY DISAGREE with that WGA offers.

Here it is. If another Writer ends up with even 51% of what's up there on screen, he gets total credit. The original Writer only gets STORY BY. I think that sucks. The credit process really stinks. It's so complicated as to how much entitles one to "and" or the "&" and so on and so on.

The Writer who's credited for X-MEN wasn't the original Writer of the screenplay. He was an Assistant in the office who came up with some ideas for scenes. Then, one day, during a meeting he was taking notes at, the Producer asked him to highlight everything in the script that he had written. That 51% gave him total credit.

If I remember correctly, he even told me that he'd never written a screenplay before. I don't even think he had intentions of becoming a Writer.

Kind of like the Andrew McCarthy story. Never wanted to be an actor. Just went with a friend to an open call--and ended up with a lead part.

(Makes me think of what Cosmo says to Marty in SNEAKERS.)

You described the best, yet most terrifying, scenes in the film.

Extremely well said, Michael.

From Michael: "At the very least...a voyeur femelle."

Well, that does sound better than PERVERT. LOL!

Paula--

I got you beat. I can go down the street a ways to "Little Mexico" (no, not the REAL one downtown) and get videos for 99 cents--BRAND NEW. Well, I did have to fork out $1.99 for THE BONE COLLECTOR!

Terri

Maybe I'm wrong, Colin, but something tells me this was not an "entertainment" attorney you got re: this case.

Also, Tom Holland is a NAME in this town. Many Writers would give ANYTHING to be able to get through he major doors of Hollywood--even though it meant that a company was just going to use the "idea" and not much of the script itself. If you have to start somewhere--that's the way to do it. Those doors--those walls--are extremely difficult to penetrate.

You ARE aware, I'm assuming, how many, MANY years can go by before a Writer gets even as far--guess I should say, "as close"--as YOU did.

Believe it or not, re: this subject, I agree with David E.

I just pray that you haven't missed your opportunity, Colin.

Terri

Not knowing who this "agent" is, makes it a little more difficult to help you out. True, doesn't sound like they're "professional." (But if they're starting out and HUNGRY, that's to your benefit.) I'd shop around if I were you. Don't sign a damn thing until you're comfortable.

Remember my horror story re: the agent who didn't even know who Mike Medavoy was? He was WGA and here in L.A. in the Valley. Maybe I made a mistake. I'll never know. I just thought the guy would hurt me more than help me.

Re: Not sending a Synopsis. I don't understand that one. Producers would be in a better position to steal something re: a script idea, etc. than an agent--and when you pitch to Producers, you leave a synopsis behind.

If you've got the script and it's Copyrighted, why worry about whether or not to send a synopsis? If you send people your script, they're going to see THAT. The synopsis scenario makes no sense to me. Based on what I've pointed out, I can't see why anyone would advise against sending out a synopsis. You're sending out a synopsis when you e-mail pitch!

Personally, I like audience-friendly endings. I hate leaving a theater feeling depressed.

I just finished watching INDEPENDENCE DAY again and I don't understand why it was necessary to have the First Lady die. Randy Quaid's character dying was powerful and gave you a good feeling, though it was a sad moment. He made the decision and died for a purpose. Hey, if I was suddenly put in a position to save a life or the world and had to risk my own in the process, I would. In most cases, for those who are truly "human," it's human instinct. I've saved quite a few lives but, luckily, didn't have to die in the process.

I still don't understand why the First Lady had to die. Or why Kurt Russell's character had to die in BACKDRAFT. Have the movie on my shelf but NEVER watch it because of that. Like I said, I'd prefer NOT to watch a movie if it's going to depress me. That's not how I like to escape.

Point taken.

I'll tell you later about an experience I had with a top agent. I'm too beat tonight to do it.

When I was in Casting, that's what the breakdowns were (what James said). If you've ever seen the breakdowns from BREAKDOWN SERVICES that goes out to agents (for actors), etc.--that's what they are. (That's also what we had to do for our TV Pilot scripts.)

Hey, has anyone seen the KILLER TOMATO movies lately? I can still hear the song in my head, "Revenge of the killer tomatoes." LOL! Been YEARS since I've seen them. They were FUNNY! (Or should I say laughable.)

I have to tell you about the worst movie of all time. I taped it once on PPV. It was a movie done in the late '90s, I think. Had to be direct-to-video or PPV. IT WAS TERRIBLE.

It was sooooooooo terrible, I taped it just so I could show it to a girlfriend. We laughed so hard, we we cried.

It had Jan-Michael Vincent (who can no longer act and is no longer a hunk). He was the captain of some alien space ship. CHEESY, CHEAP SCI-FI SHIP FOR A SET. P.J. Soles (Dennis Quaid's first wife and of HALLOWEEN fame) was in it. I think she worked on the alien spacecraft. Don't remember. I just recall her cheap, polyester dress.

And there were campers. Teenagers, I think. And the alien ship might've landed at their campgrounds. I think Jan-Michael Vincent's people were out to conquer our world or the universe or something.

I've never seen anything so bad in my life. I kind of wish I hadn't taped over it just so I could watch it and have a good laugh.

What I'm going to tell you next is not about a BAD movie. It's a good movie but I advise everyone to only watch it with your friends when you've all had a few. That's the best time to watch it--when you've had a few. Or--QUITE A FEW. It's GEORGE OF THE JUNGLE. Cute movie to watch and have a good time with--when you're bombed!

I'm gonna go look up the name of that HORRIBLE sci-fi so-called film. I shall return. Unless JMV's alien ship lands in my house and JMV abducts me from my office with his plastic laser gun.

The following is what was on IMDb.com:

ALIENATOR (1989)

Summary: Revenge of the large transvestite with a gun

Well, I had to be generous and give this a 2. This was mainly due to the gratuitous holes cut in that lady's shirt where her breasts are. I found that mildly amusing. Other than that, this movie does nothing more than provide a few good laughs with a friend. Funny if you're willing to throw "mystery science theatre" comments at it with someone, but it ain't no better than a 2. And a 2 pretty much sucks.

We laughed so hard "we we cried"? You betcha!

Brad--

Do you have an identity crisis? LOL!

Terri

James--

You're saying it only made that in theatrical distribution sales, not all ancillary markets, right? (Also, did it have overseas theatrical distribution?) Sometimes, films make much more money in video/DVD rental/sales than they ever did in the theater.

I missed THE SALTON SEA. I heard good things about it and the critics seemed to love it. I think Val Kilmer is an extremely gifted actor. Did YOU see it? I'd be curious to know what you thought.

Terri

Colin--

Please let us know the end result. I'd be curious to know what you decided and what happened.

Terri

Sorry, Sherlock, no "inside joke" going on here. James asked me for a favor and "offered" me money if I did it before MY Saturday morning. ROFLMAO!

James--

I don't even remember what the movie was about. Guess I'll have to look it up.

Terri

So why aren't you sharing with us what screenwriting BB it is so we can go check it out, too? Or do you want to save it for yourself? (Selfish little twit! JUST KIDDING!!!!)

Paul--

You lucky little $@!+ . . . REEFER MADNESS was really funny when done on Mystery Science Theater.

Unfortunately, as far as BAD movies, there's nothing worse than ALIENATOR. At least the lowwwwwwwwwwwww budget JACK FROST can be funny and scary at the same time. Especially that shower/sex scene with the "ice pole." I'm crackin' up just thinkin' about it.

(Wish I was laughing all the way to the dang bank!)

Terri

I remember when we read the script for FIGHT CLUB at my Sony group before the film came out. Even reading the script, we had no idea that was coming.

That is cool.

I didn't say the film professionals in this group I belong to LIKED the ending to FIGHT CLUB. They thought it took too big of a HUGE turn from the rest of the script.

The script itself sort of scared me. I was afraid it might give a "wrong" message. I mean, let's get real here. Look at what these people were doing. They looked just like someone following Hitler.

I have to say, there are two scripts I found the most enjoyable and fastest to read--FIGHT CLUB and TRAINING DAY. I think it's because the characters SOUNDED so different. You didn't even have to look to see who was talking. They all talked completely different. Great character development. (Something I'm lazy at.)

Well, look at it this way. Kevin Spacey purposely didn't want to be credited because he didn't want to give it away that he was in the film.

Okay, it wasn't a happy ending--SE7EN. But who out there can actually say they DIDN'T know what was in that box?

From Marcel: "does this magazine have web address?"

HUH? What magazine you talking about? Or is this a joke?

Steve--

I bet those "Russ" movies give great inspiration for dieting and exercise. LOL!

For women so they can look like that, and for men so they can attract "that."

I have no other use for the movie SHOWGIRLS. I wanna look like Elizabeth Berkley in that movie. Didn't help HER career, though, did it? She's only had bit parts since. The most recent being on CSI: CRIME SCENE INVESTIGATION.

Aw well . . .

as they say--LOOKS AREN'T EVERYTHING!

Hey, I love Lance Henrikson movies. Remember PUMPKIN' HEAD? Sometime after I'd seen that movie, I saw him in the Santa Monica Mall parking garage and I yelled, "Hey, Pumpkin' Head." He laughed and waved. I always thought he was cool. Who else could've played such a great android in ALIENS?

Hey, who can guess the name of one of the WORST horror films to include Joan Crawford late in her career--without cheating and looking at IMDb.com? I believe it was filmed in the '70s. Take a guess. We'll think of a really good prize--like a disected frog or something.

Think you'd better contact DGA, David. Unless he's with a company--or owns a company--that wants to be listed in HCD, he won't be.

Directors Guild of America (DGA-LA) 7920 Sunset Blvd. Los Angeles, CA 90046

(323) 851-3671 (Agency Listing)

(310) 289-2029 (FAX)

www.dga.org

Good luck!

Yeah, too bad about Jan-Michael Vincent's "alcohol problem" (among others). He was such a HOTTIE with great promise. He had a problem BEFORE the car accidents messed him up, etc. Such a shame. A real waste. He should go to high schools throughout the country and take film clips with him--so kids know what a promising future he had and how he f'd it up. He could write an honest book about his life, but how many teenagers enjoy reading?

I think someone should do a documentary on the guy. Something should be learned from such a sad situation.

I just read one of James' scripts. And I must say, WOW. The guy HAS to be a Lynch fan. I was "dazed and confused" in a good way. The script definitely kept me on my toes. I don't know if I could ever be that imaginative and creative.

UHOH, I couldn't write for two weeks after watching MOULIN ROUGE. Probably happen again after reading James' script.

Yesterday, something interesting--or should I say ANNOYING--happened.

I received an e-mail from Reignmaker Entertainment. Keep in mind that I never sent them anything. I knew I hadn't and went through my records to be sure.

After I received the following e-mail (well, after I did my in-house research), I sent them a response informing them that I didn't send them anything and asked them what they were referring to. Every time I try, the e-mail bounces back. I'm wondering if everybody in the world got the same message as me and has been e-mailing them with the same questions--and that's why it keeps bouncing back.

Needless to say, I'm not going to try anymore anyway because I don't care. But it's bizarre being contacted by a company in which you never sent anything.

From Reignmaker: "Thank you for submitting your material. Unfortunately, it is not right for us at this time, but please submit other projects that you feel might interest us. Thank you again.

Reignmaker Entertainment"

LOL! So you tell me, how can I submit something when I have NO IDEA what the heck they're talking about, eh?

Okay, Ellum, WHAT do you want? LOL!

I believe Gil was referring to Terrence Malick who directed THE THIN RED LINE in 1998, but had been in seclusion (as they say) since directing DAYS OF HEAVEN in 1978.

Interesting how, I THINK, Malick and Holland were born the same year.

I don't know if it's true, but I heard that Holland has been traveling and writing. During his career, he's done more writing than directing.

You have to remember, people who have "made money" doing what they do for a living don't have to work unless it's what they want to do.

MK--

I have the Standard Release Form on my computer, along with Release Forms for several prominent production companies and many of the studios if you want to e-mail me and ask for something specific. (I don't know what company you're referring to, but if they asked for a Release Form, the company usually has their own.)

As far as your situation, this is my experience. I don't remember the exact terminology, but it's something like a "Hip" deal or "out-of-pocket" deal with an agent. You don't have a contract but they'll do a deal for you when one pops up--without you being a contracted client with them.

Most "prominent" agencies won't do a deal for you unless it's a sure thing that the Producer wants to purchase your product. If you just say, "so and so asked me to submit," that's not good enough for them. (Guess they don't wanna work unless they have to. LOL!) Unless you already have a relationship with an agent, you're not going to find anyone--more than likely--to submit for you.

My advice, and it's only mine, is to contact the agent you already have a relationship with and ask them to submit the script for you. Why waste time? If you do a contract with them, it's only for a certain amount of time. Plus, trust me, if you make a sale from it--they'll give you the attention you deserve.

Terri

Yeah, if only I was a NAME, right? Besides DITZY BLONDE!

WOW! Congratulations, Mylo!!!!

XXXXOOOOXXXXOOOO

Are there any more rainbows where you're at?

You're welcome, Gil. I'm just full of useless information!!!!

Well, Richard, I didn't see Tracy Lord in any movies until she got "out of the business," so to speak. (She was in a really good a USA movie called AS GOOD AS DEAD with Crystal Bernard.)

I'm not into vampires, but there are three vampire films I like--LOST BOYS, NEAR DARK and JOHN CARPENTER'S VAMPIRES.

Kathryn Bigelow (one of James Cameron's many ex-wives) wrote and directed NEAR DARK.

Bill Paxton was also in NEAR DARK.

I don't know, Richard, what type of women you were into--buff, I'm not sure.

In NEAR DARK, other than the child, there was Jenny Wright who played Mae. She portrayed Stephanie in TWISTER, Marnie in LAWNMOWER MAN and Felicia in ST. ELMO'S FIRE.

Now, if you're talking buff, one of the "girls" was a competitive weight-lifter, I believe. Jenette Goldstein who portrayed Diamondback. She was also in TITANIC, T2, LETHAL WEAPON and portrayed Pvt. Vasquez in ALIENS. As Vasquez, she doesn't look like the same person in those other movies, does she?

I'm glad you're happy with your decision. But, in answer to your question, if it were me--I would've taken the deal. Having a well-known director involved, etc. I would've taken it just to get through those damn Hollywood doors.

I'm going to tell you a story. It's sort of related but, then again, it's not.

Several years ago, I had this friend who always came up with the best story ideas and pitches. Unfortunately, his scripts were never what he pitched.

He had this great idea about a futuristic story re: the government being able to detect who will be future murderers, etc. by their DNA.

Then, one day in THE HOLLYWOOD REPORTER, I saw the deal made for MINORITY REPORT and what the story was about. The next day, I saw this guy at a meeting and told him how sorry I was. He thought it was the best thing that ever happened to him. I couldn't figure that one out.

Just prior to the THR story, he pitched his screenplay to DreamWorks. They were interested in seeing the script.

When I read his screenplay, I was shocked. Not only was it badly written, but the story he pitched was not in the script. GO FIGURE!

Well, DreamWorks rejected it. Now here's the interesting part of the story. At a meeting, this woman from DreamWorks was sitting next to me. I overheard her telling someone about this script she had to read because the pitch was similar to MINORITY REPORT. According to what she said, they had planned on purchasing the script to get it off the market. But when they read it, they knew they had nothing to worry about--the script was horribly written and it was NOTHING like MINORITY REPORT. (Yes, it was "his" script.)

Like I said, this scenario sort of fit into your world--but sort of not.

One can only imagine how I felt when Madeleine Stowe turned down $5 million (from Ridley Scott and 20th Century-Fox, I believe) for her and her husband's screenplay, UNBOUND CAPTIVES.

She turned it down because she wants to star in it. Maybe her personal story will end up being like ROCKY. Who knows?

Ms. Stowe, being a name actress, has an IN. I don't. I spent all of 1996 doing research about the Parkers of Texas before I ever wrote the first draft. Her story is somewhat similar to mine except that my script takes place 30 years prior to hers--and mine is a true story. Hers isn't.

On one hand, I'm relieved she turned the deal down. On the other, it breaks my heart. She had the once-in-a-lifetime opportunity to have the best filmmakers and thee top actor in the world make her script into a major motion picture, and she blew it off.

It appears that acting is more important to her than anything else. I'm glad she's passionate about it. I'm passionate about my writing!

Now here's a scenario similar to yours, but I hope the same thing doesn't happen to you.

It happened to another acquaintence of mine. SEVERAL years ago, Warner Bros. wanted to purchase his script for the idea only. They informed him that they would be hiring other Writers to do the script. They also offered him $400,000. He turned it down. Here it is, 15 years later and he's still struggling and still plugging away, trying to sell his work. The poor guy's never made a sale.

Don't worry, Ellum, we got it.

I do agree with Vincent. Look at TERMS OF ENDEARMENT and AMERICAN BEAUTY and, of course, the big mucho moneymaker, TITANIC. But I still think he needs a bowl of Wheaties, then a nap. Might make him feel less cranky.

Vincent--

Though I don't have the same type of Laserjet printer as you, I bought my HP 5P in February 1997. I print probably two scripts a day, minimum. I've only had to purchase four toner cartridges.

Terri

Hey, Paul, I wanna SEE that one. HONEST. LOL!

Never seen or heard of MITCHELL, Richard. But there is a Joe Don Baker film I enjoy called something like THE LONG, DARK NIGHT about killer dogs. (For the past ten or so years, he's played nothin' but bad guys, i.e., SUDDEN DEATH, CONGO.)

Didn't Joe Don do those STANDING TALL or WALKING TALL--whatever they were called--movies? (Or was that someone else?) I read where they're doing a re-make. I think with Colin Farrell. Not sure. I know I read they're doing a re-make.

Hey, that ALIVE comment made me think of those IT'S ALIVE movies from the 70s with Rock Hudson. The first one wasn't bad, if I recall correctly. Well, it was scary at the drive-in, anyway.

Okay, I'm on a roll here this morning.

Many years ago, I had several opportunities to get a script to Cynthia Rothrock. In the martial arts field, she was my hero.

I had a very unusual dramatic action story that was--until another script was sold with the same title--called IN COGNITO. I specifically wrote it with Cynthia in mind.

Well, I kind of lost enthusiasm for pursue the project when I saw some films Cynthia starred in.

I'm looking at my video shelf right now and two tapes are screaming out at me--CHINA O'BRIEN and GUARDIAN ANGEL. Believe me, that's all they've done is sit. The acting is soooooooooooo bad I couldn't even get through them the first time.

At least I can watch the lowwwwwww budget JACK FROST. CHINA O'BRIEN and GUARDIAN ANGEL are two turkeys I would never torture anyone with!!!!

Why did I change that "to" to "for"? I'm not making sense. I'd better quit while I'm behind.

Colin--

I just wanted to stress that I didn't tell those stories/experiences to make you feel bad. You've made your decision and you're obviously comfortable with it.

Good luck!

Terri

Oh, Ellum. Did you happen to see A MIGHTY WIND! I highly recommend it!!!!

Greg--

Thought I'd give you the latest update on THE BEGINING OF WISDOM.

T.J. tells me that they're "still moving forward, hoping to shoot in Canada in Sept." They've attached director Bill Dear but their search for a female lead continues to be "elusive." Currently, because of a "tax advantage," they're seeking out British actresses.

As always, I wish him the best of luck. No one deserves it more than him.

Terri

I think you're doing fine on your own, Ellum, as always. LOL!

I can't tell if that post was actually from HEATHER, or if PEACE, KEVIN D meant that it came from Kevin under Heather (and that Kevin did, in fact, came back). As always, I'm confused.

It's not necessary, in my opinion, to be a Steven Spielberg in order to have writing talent and be able to find, see and evaluate talent. Of course, everyone has different opinions.

Reading a script can be very subjective. When I read ROAD TO PERDITION, I loved it. Most everyone in my group disagreed. They always say something like, "If you didn't know that Tom Hanks was going to be in it, would you feel the same?" Trust me. Had nothing to do with it.

I love PAY IT FORWARD. True, I'm a Kevin Spacey fan--but I liked the script before I knew he was going to be in it, despite the sad ending.

It's weird, but most everyone in my group will hate scripts that I love and I dislike scripts that they love. At least I can say that the ones I love usually turn out to be hits. LMAO!

One time, I met this award-winning Screenwriter who was asking everyone what they would do to re-write a specific script we were critiquing. Let's say, I wasn't quiet that night.

At one point, the room became very still (usually because I stick my foot in my mouth), and the Screenwriter stared at me. I asked him what was wrong. He said, "You are &^()ing amazing. You're going to make one hell of a re-writer." That may be true--but where am I at? Stuck in my office at home, writing. And not currently making money at it!

My point is, just because someone who's handling a contest doesn't have 13 Oscars and TITANIC under their belt, doesn't mean they don't have what it takes.

On another note, I don't believe we were "supporting" MANNEQUIN. We were supporting the Writer.

Me, too, Ellum. I may not deserve it MORE than T.J.--but just as much, gull dang it! (But I'd settle for having Kevin Spacey's baby. I don't really want to go through the "birth," just the act that would get me there. LOL!)

Hey, I LOVEDDDDDDDDD Billy Jack movies when I was a kid!!!! Whatever happened to him, anyway?

Alex--

I'm glad you decided to come here. When I saw your post this afternoon on another BB, you neglected to state the EMMY and that you've been busy doing indie films until, that is, someone was snoody and told you that you were obviously a "newbie" to ask such a question. I wondered if they went to hide under a rock after you replied to the response and told of your EMMY, etc.

Well, trust me, Alex. You'll find a great group of Writers here who will help and support you.

Terri

Yeah, Marcel, get with the times. (LOL!) It's been like 25 years or so since people said "Oriental." But whenever I correct people and say Asian-American, they get pissy with me.

I must say, who needs to diet when reading THIS thread? I think I've lost my appetite for, at least, the next three months!!!!!!!!!!!!!!!!!!!!!!!!!!!

Marcel, do you have Alzheimer's today? (J/K)

Well, if you've ever been on a movie set, it definitely looks like the "art of filmmaking" to me!

Oh, by the way, you think there's no such thing as selling art? What do you think art galleries and auction houses do? It's even a business for museums.

Just to let you know, Marcel, you'll only be able to receive the production info I mentioned, if you subscribe (for the full issue) when going online with THR.

*Don't know if your libraries in Canada carry THE HOLLYWOOD REPORTER. I know the libraries here in L.A. do, of course.

Alex--

If I remember correctly, Marc's business e-mail is query@crescendo-la.com.

Good luck!

Terri

Well, I'm German-American but no one seems to use "the terms" for people who are caucasian. Just mainly for African-American and Asian-American. But some of my "black" friends say, "I'm not from Africa, I'm black." I have a lot of "black" friends and they always use the term "black." When you're a witness and they ask you to describe the "perp," it's always, "Was he black . . . white . . . Mexican?"

ROAD KILL SCOOPER. Great idea. Always takes Animal Control hours to show up after you call them. Then, when they finally show up, they call and say, "It's not there." DUH! Why do we pay taxes for these people if it takes them hours and hours to show up???? I'd hate for an ambulance to take as long as they do.

"After life ending." You mean like GLADIATOR?

On a personal level, I'd prefer not to have a depressing ending. I remember being in the theater for LEAVING LAS VEGAS. People kept getting up and walking out because it was such a DOWNER!!!!

I love the movie REMEMBER THE TITANS. But I bawl my eyes out during the entire movie. Never take me on a date to a movie like that. You don't want to see me without make-up. TRUST ME!

Alex--

This might be what you want to do. First, so as to not waste time, I would put a letter together for agents since you've got an IN if you ask me. Tell about your EMMY and then your indie films--and then, of course, talk about your screenplays.

I would think that with YOUR background, agents would want to scoop you up. But, then again, who knows.

If that doesn't work (or do the following simulataneously), target some production companies which you think might be interested in your product and send them a similar letter. You know, talking about your background/qualifications and then pitch the product you think would be perfect for them.

Are you coming to CA for a visit or are you moving here?

The reason I'm asking is because you might want to contact Spec Script Marketplace (Eva Peel). They're located in Santa Monica. They should be having another pitch session soon.

Of all the Pitch Marts I've attended, this is the one that gives you the best results. The conditions aren't the best, but the end results are.

Every single exec I sent a letter to the day after the pitch session, called me as soon as they opened my letter, and requested material. Even the ones I didn't meet.

There are other pitch opportunities in the L.A. area, but the results aren't as great. Like I said, the conditions aren't the best re: Spec Script Marketplace, but the results are what counts. Wouldn't you rather have good results than pay lots of money to have dinner, etc., but to have no one call you?

Terri

Well said, Colleen and Paula!!!!

Oh, God, Alex, I hope you never see ME naked! Lord only knows what you would think.

Oh, Paula, that story of yours made me SNORT! I noticed there are a lot of wildlife in Nebraska that I don't see in California. But the one thing L.A. has an abundance of is POSSUM!

Thomas--I'm not as lucky as you to be able to research my roots. I probably wouldn't want to, though. Never know. There could be people out there with HITLER blood.

Since I'm adopted, the only roots I'm able to enjoy is when I'm regressed and can view one of my past lives. LOL!

If you think this topic/thread or any other is dumb, boring, etc., then don't read it. There's something called CHOICES. I mean, not to be nasty, but I'm making a point here--what's more dumb than thinking a topic/thread is dumb, then posting on that topic/thread. Who's calling who dumb?

Jack, was TROG on that list? And since no one guessed the title of the horrible movie Joan Crawford was in late in her career, no one wins the poor, dead frog.

I don't know, Marcel. Is your character going to go POSTAL or is it a comedy? Or is it a comedy about a UPS guy that goes POSTAL?

CASTAWAY began with Federal Express. Think of the possibilities!!!!!!!!!!!!

M'mm. Intelligent post that made sense, I must say.

Re: LOGAN'S RUN

I wrote a sci-fi years ago and someone said, "The concept reminds me of LOGAN'S RUN." Couldn't prove it by me. I've never seen the movie. Only know the title and that Michael York and Farrah Fawcett were both in it.

Well, Colin, since A MIAMI TAIL is coming to theaters this fall, I'd think that would give you quite a bit of an advantage to get your script sold and made.

Good luck! God knows, we all need it--even "established" Screenwriters.

Terri

D. Jay--

You're damn lucky you found someone like that. Sounds like someone who cares and is unselfish.

Unlike, unfortuantely, the one I paid $400 to and didn't even get an hour with. On top of that, he didn't even talk about my script. BUGGER! I think he should stick to seminars and not script consulting. He's really taking advantage of economically-challenged Writers. I'd better end this post or I'll be on a major roll again re: this so-called consultant who wasted my money and time!!!!

Terri

Well, good luck.

Here's MY advice. Just don't watch the latest WILLARD for any inspiration. I like watching bad movies to help me become a better Writer, but that was so bad, I thought I was gonna throw up from boredom.

Yeah, Gil, I'm with ya. That post needed some CLARITY. And I don't understand the generalization of grouping everyone into one category of "you have NO IDEA." What's THAT supposed to mean? That none of us have worked for production companies or contests or read scripts or what? What is it that ALL OF US have NO IDEA about? Like you, Gil--I have NO IDEA what the purpose of that post was because I sure didn't get the meaning of it.

I don't know, Marcel, maybe if you bang it a little harder, you'll knock some sense into your head. JUST KIDDING! I couldn't resist!!!!

Break something! Just not your back!

CONGRATULATIONS AND GOOD LUCK!!!!

I'm not entering the contest. Not entering any this year.

But, in the past, that application request always stumped me. Made it sound like an application to get into college.

I would just be honest--no BS. From your heart, tell why you want and NEED the fellowship. I don't believe they base much on it, though. Since it's a contest to look for "diversity," anything you can offer in that field would be great. I.e., being a woman, is there a lack of product out there for people of your ethnic background? They don't ask for very many words so it's hard to say what to say.

Like I said, I don't believe they base much on that--mostly your writing talent.

The two friends I have who won, did so in the TV Division last year. Both are women--one African-American who had been a D.C. prosecutor (and has been on staff for two shows since), and the other is Hispanic (who doesn't speak a word of Spanish).

Your guess is as good as ours.

You're saying they looked at it, but they have not requested it yet, right?

Obviously, your logline and/or synopsis piqued their interest. Just wait and see what happens. Don't get depressed if it hasn't gone any further than that. You're lucky you got THAT far. William Morris never looks at screenplays unless the Writer was referred. So, at least, this is telling you that you made a good choice in placing your product with WSN.

During that six-month period, you'll more than likely have hundreds looking at it. I know I did--and for more than just one script. Got me even more excited when I received a call three days after Christmas from someone who wanted to purchase one of my screenplays that was listed on the site.

The possibilities are endless, my friend.

Steven--

Curious. When did you hear this . . . "they are looking for undiscovered and unrepped new blood"?

Terri

FYI--Two of the three sales that year happened through WSN. Or I should say, as a result of. The first one--the financial backers pulled out. The second, the producer had too many projects going into production to give mine the attention it deserved, I guess. The second was an option with hopes/plans to go into production that summer.

That Doris Day song is singing in my head right now. "Que . . ."

I like "Every picture hides a secret." But, unfortunately, it's a "tag," not a logline.

Can you be more specific as far as telling us that the Protagonist sees through pictures? What do you mean? He has ESP or what? Or he knows when there's an art fraud and a different painting behind the painting?

That word's too nice for the one I paid $400 to. Couldn't believe he was bad-mouthing other clients to my face, just because they hadn't joined "you-know-what."

Hey, Steve, when you going to answer my question? I'd really like to know the answer.

Gil--

It appears that we may not get an answer.

Aw well. Moving on. . . .

Terri

Gil, you never fail to make me chuckle! Thanks!!!!

No comment. (I desperately tried holding my tongue--but it got slippery, you know?)

Tic toc, tic toc. Or do I have to say "Tick tock, tick tock"?

Thanks, Brenda. Although I didn't have much to offer re: this topic.

Sounded more like "Keyser Soze" to me.

Brenda--

Looks like you got an answer from THE MAN HIMSELF.

In the past, all Chesterfield letters I received stated what the "placement" was. Of course, I haven't entered any contests for a few years so I wouldn't know what they currently read. You're lucky you got the answer you needed--straight from the horse's mouth.

Terri

ROFLMAO!

You're serious enough to give me nightmares, Thomas. (I hope I NEVER find out I'm related to HITLER.)

Hey, you know something? That actually would be a great story. An adopted woman goes to Germany, searching for her roots and has to emotionally deal with her findings--that she's related to HITLER. ICK! POOR WOMAN!

I'm here, Steve. I was working on my novel--PEST HOUSE.

(LOL!--yeah, I'm trying to be funny and, yet, that really is the title.)

WOW! Rich made it so I WANT to see this movie. ME LIKEY! What an interesting concept. Sort of like how John Travolta's character became a SMART MAN due to a brain tumor. And now this character can tell who's an alien--and who isn't because of brain cancer. I LIKE IT! (Just get rid of the first "that" in that excellent logline so it looks less wordy and flows better.)

"What's That Smell"? I've been cooped up too long.

I know Writers are at the bottom of the Hollywood totem pole, but this is ridiculous. When will people realize that without a Story, you have no Script? Without a Script, there are no jobs for those who make movies and TV shows. DUH! When will Hollywood finally realize just how important we are?

From today's Daily Variety:

Scribes face smaller fees, fewer jobs:

For movie screenwriters and TV scribes, the Big Bucks are starting to dry up. Except for Hollywood superstars, salaries across the board are tilting downward--so much so that the WGA West has just decided not to issue an annual earnings report.

If you read a script written by Oliver Stone, you may see the characters' names in all CAPS throughout the script. Up until the 80's, that was the technique (for many).

Then the technique was to have the characters' names in CAPS only when they were first introduced in any scene. That still made it easier for those scheduling actors/scenes.

Around the 90s, it became standard to only CAP the characters when first introduced into the screenplay.

As far as capping sounds, that became no longer necessary in the late 90s.

You have to remember that when you read a screenplay from an "established" Screenwriter, the format is usually (not always) typed in the manner in which they learned to write screenplays (or in the format that was "in" when they made their first sale).

Many "established" top Screenwriters have been around for 20, 30 or more years. Terri

Oh, and thank you, James, for that "brief" introduction. LOL!

Terri

As I stated previously, you need to make us understand what you mean by "see through pictures." You're still telling us the same thing.

Until you clarify what you mean by "see through pictures," your logline, obviously, will be unclear.

My mother used to drive me crazy by talking to me and others and not being clear. And then she'd say, "Well, I know what I mean." Sorry, but that's not good enough when it comes to communication. What's the point of saying anything if no one else understands?

You may know what you mean but if your audience doesn't, you're screwed.

I like the one Rich came up with. Simpler. Less is more.

I CANNOT BE THE ONLY ONE WHO CARES ABOUT THIS!

"HOLLYWOOD PITCH FESTIVAL

Where Preparation and Luck Meets Opportunity

AUGUST 2 & 3, 2003

Sofitel Hotel, West Hollywood

Over 140 Executives, Agents, Managers and Producers (including DreamWorks, New Line Cinema, Sony, Warner Bros., Disney, Showtime, HBO, Miramax, Artisan & many many more!) to meet with/pitch your project to in one-on-one 7-minute meetings."

I, myself, never had any luck subsequent to this event. But I'm sure others have.

Everyone always acted so excited about my pitches and said they'd call but they didn't--not even after a follow-up letter.

This is why I recommend Eva Peel's Spec Script Marketplace. As I previously stated, the conditions may not be the best, but the results are phenomenal. Every single company I sent a follow-up letter to, called me as soon as they read my letter--and requested material.

When at The Hollywood Pitch Festival, it always reminded me of acting auditions. You go on an audition and they're excited, you're excited, they tell you, "We'll call. You definitely got the part." And then no call.

At auditions where you got NO REACTION and you think you did terrible, they call and tell you, "You got the part."

Is this a screwed up business we chose, or what?

Rolling On Floor Laughing My Ass Off

David--

How many lines is not the point. Don't clutter your logline with too much info.

Keep it clean, simple and catchy!

Terri

It just pisses me off that we get NO RESPECT in this Biz. Although, I noticed, this last EMMY telecast was filled with actors, etc., thanking the Writers and pointing out how they wouldn't have received their award or work without them.

And remember how there was no work for anyone for a year after THEE BIG WRITERS' STRIKE? Even McDonald's had signs begging Writers to come in. Every business in this city was hurt.

It still seems to me that we get less and less respect as the years go by. Why is that? Is it reality Film and TV where no script is needed that has done this?

But ticket prices are higher than ever--and still climbing--because of the ridiculous pay demands of actors. I'm not cutting actors down, but does an actor really need $20-$30 million a picture when the rest of the people who work so hard to put a film together--get barely anything compared to that?

More like Cosmo Kramer!

Fortunate for us, history shows that re-makes--overall--haven't done so well.

Speaking of drinking heavily, I think Poe (yeah, I know--his was drugs, mostly), Dashiell Hammett and Hemmingway were on to something there.

I don't know why, but when I have a bottle of Bailey's, I write like a tornado. The ideas just flow and my fingertips won't stop.

(Of course, I get the cheap brand that tastes like Bailey's.)

Too bad alcohol's fattening, expensive and not good for your health. If it weren't for those things, it'd be sitting with me at the desk instead of a bottle of water!!!!

Next time, don't tell a story like that. I hate dead animal stories!!!!

Ron--

I have felt like that screenwriter in the pool in SUNSET BOULEVARD all my life.

Tell me something I don't know.

Terri

Richard--

Are you drinking?

Terri

SNORT!

But then you'd be a Director. What if you don't want to direct? I see nothing wrong in just wanting to be a Writer. There's a lot of pressure in that job title alone. Creating, Developing, etc., etc., etc.

Unlike most Writers, I have no problem with the script being changed once it's sold. I'd love to be the one to re-write it, but that doesn't always happen. I know that once it's sold, it's sold. (It'd be nice if someone could make it better--but that doesn't always happen.)

I know there are a lot of Writers who are disappointed in what the Producers and/or Directors did to their script(s). Scott Rosenberg was extremely unhappy with what Jerry Bruckheimer did to GONE IN 60 SECONDS. Same with the Writers of LAST ACTION HERO and TOMB RAIDER.

Unless you've got the time and money to writer, produce and direct--it comes with the territory. Doesn't mean we should have to settle for no respect and being at the bottom of the Hollywood totem pole.

I meant "write," not "writer." Sorry!

And here I got all excited because I thought you were congratulating him on some script sale or something. DAMN!

WOW! What an "interesting" thread THIS turned out to be.

Don't say to turn away when someone uses the term "buyer." It's most commonly used as a distribution term (rather than someone purchasing scripts).

And, Paula, I think you rely too much on IMDb.com. I have hundreds of credits and only one (the worst film ever made in the world--the most embarrassing, anyway) shows up on IMDb.com. Many times, their info is not up-to-date. My best friend has been with William Morris for several years and they still have him listed as being repped by ICM.

Yes, I noticed that FROM JUSTIN TO KELLY came in REALLY low at the box office. From the advertisements on the radio, it sounded very bubblegummy to me. Give me Frankie and Annette!

Yeah, D.G., it bugs me when Writers use "that" when it should be "who."

This is the ONE TIME I'm going to highly recommend IMDb.com. It's a great place for inspiration when you need to write loglines and synopses.

You can click on one area for any and all loglines/synopses for any film. They're alphabetized. There's quite a few for TITANIC--but there's one short one that REALLY grabs me.

Terri

Thomas--I LOVE THAT CAPRA STORY. I had to copy and send it to myself. WONDERFUL! Now THAT's an above-the-nose non-dialogue moment.

As far as directing (which someone in this thread suggested), it's a very lonely occupation. I've done it before. Not on a feature, but I hear the same applies. As a Director, you're out of the loop on everything. You're the boss so no one tells you anything. You have no idea what's going on with the crew and talent. (Ask Taylor Hackford!) You're avoided like the plague.

So you people FINALLY believe me that James is BRILLIANT!

Mike--

I like the idea of walking around in public and no one knowing our faces. But we work hours and hours and months and months, and sometimes years to bring great product to the film-going public. And that deserves respect!

Terri

"In the near future, having amnesia isn't just a medical condition, it's a death sentence--because you could be a clone."

WOW! That sounds like the best publicity tag I think I've ever read!!!! Although, come to think of it, better change the tense since the future hasn't happened yet.

And, NO, I said you were brilliant on another thread BEFORE we decided to work together. Just after I finished reading an unusual screenplay by James Barclay.

Also, I'd like to remind everyone that TIMING is everything. I'm sure you've all read and heard about Mylo Carbia's three-picture deal. CONGRATULATIONS, MYLO.

My point is, I've discussed the importance of TIMING on this BB. In the early 90s, I had a script out there which was originally called ALONE IN THE DARK (until I discovered there was another film of that name).

Meg Ryan's D guy turned it down because he wanted her to do comedy. Every top agency that read it said the same thing--that it was the first script ever referred to them that they really enjoyed BUT (there's always the BUT), due to the current market, they didn't feel they could sell it at that time.

ALONE IN THE DARK was based on a true story--about my being attacked in college by an All-American football player and how I was ostracized not only by the University and state, but across the country. He had become the victim, not me. The script tells that story plus horrifying events years later.

The story doesn't sound that far different from STATUE OF LIMITATIONS. Though I'm sure it's a much better script than ALONE IN THE DARK since I am now, hopefully, a better Writer than I was then.

Again, CONGRATULATIONS, MYLO. And, maybe someday, they'll stop calling Writers who make their first sale "first-timers." I HATE THAT! It's so demeaning. One could've written 20-40 scripts before making a sale, dang it!

Hey, Edgar, pay attention--I mentioned Bob's at the very beginning of this thread. LOL!

Seriously, though, that's who I used to use BUT be careful. Unfortunately, that's one place you have to check every copy before going out the door. The last time I used them, on half of my scripts, the last 50 pages were upside down. So far, I've never had a perfect order. They're inexpensive and you get free cardstock and brads, just don't dare walk out the door before checking every script!!!!

For me, it's just cheaper and more professional to print out my scripts and to check every page as each comes out. Then I know I don't have any slanted, crappy-looking pages, etc.

Terri

James--

You ought to get into the marketing departments of these studios so you can write what's on those movie posters.

Terri

Karl--

Years ago, he used to be in N. Hollywood, I believe. You're best bet would be to go to the WGA website to the agent listings. He's there. That's pretty up-to-date. He's also on the agent/manager list on scriptsales.com.

Terri

Oh, Karl, sorry. Didn't remember that you already checked scriptsales.com. Go to the WGA website.

In case you haven't seen it, here's the story on Mylo Carbia and her three-picture deal as a result of WSN/InkTip.com:

Motion picture production company Global Screen Partners is pleased to announce a 'three picture deal' with one of the hottest Latina screenwriters to break into the film industry: thirty-one-year-old Mylo Carbia.

Pursuant to the terms of the agreement, Global Screen Partners will produce three of Carbia's projects over the next 24 months--starting with her award-winning thriller STATUTE OF LIMITATIONS.

'I have read hundreds of scripts over the years and STATUTE OF LIMITATIONS is without a doubt one of the best I've seen in over a decade,' said Global Screen Partners' president Richard Garcia (Urban Jungle, Un Argentino En New York).

Global Screen Partners recently acquired STATUTE OF LIMITATIONS and placed it on the production fast track.

'We can't believe the buzz this project is creating,' said producer Robert W. Whitmore (Runaway Train, Texasville). 'We're receiving a half a dozen phone calls a week from agents trying to land the lead roles for their clients.

Anyone who reads this script knows it's Oscar material.'

STATUTE OF LIMITATIONS--scheduled for release late next year--is the story of a woman brutally raped in college by three privileged fraternity brothers, then paid to keep quiet until the statute of limitations expires. But years later, when a twist of fate brings one of the perpetrators back into the woman's life, it triggers a chain of events that results in one serious white-knuckle thriller.

The three-picture deal also includes the rights to produce Carbia's music-driven comedy TOTALLY LIPSTICK! as well as ENRIQUE CARRALERO'S DOUBLE IMPACT--an action/adventure flick based on the seventh best selling comic book series of the same name.

CONGRATULATIONS, MYLO!!!!!!!!!!!!!!!!

Steve--I'm assuming your referring to Marc Hernandez and Brooklyn Weaver. I first met Marc when he was with UTA. Then, before forming his own management company, he was at Zide/Perry.

I wish every Writer on this BB--and even those who are not--the best of luck in their careers. We all have to support one another in our efforts. It's truly important that we do and I think this BB is one of the best places to do that.

Terri

I definitely wouldn't fly from Canada to the Valley just to go to BOB THE PRINTER. The scenery is lousy!

I'm still smiling at the Capra story! ;)

(_$,$$$,$$$_) Now, when the time comes for me to post THAT, I won't need words to say there's money coming out of my @$$ from a script sale. That'll be MY above-the-nose non-dialogue moment!!!!

Steve--

You're not alone. I've had the exact same experiences as you re: M. Hernandez and B. Weaver.

Terri

"I can appreciate a little optimism, but save the "Oscar" talk until after the film is made."

Good point, James. Don't want to be too cocky.

I remember some of the biggest bidding wars. Those films ended up flopping. And one which was a major bidding war for a Writer's first sale has yet to be made. (I think it's been ten years!) I've heard it's been in turnaround ever since.

I remember all us Studio "Slaves" used to have parties whenever our bosses were in Cannes, etc. and/or one of us sold a script. Back in '95, I think, there was this 30-year-old African-American woman who had been an editor in D.C., I believe. She worked at 20th Century-Fox. She had just made a major screenplay sale and was leaving Fox to begin her "Development/Production Deal" at Universal the following November. The movie has never been made and I haven't heard a word about her since.

THAT'S THE BIZ!

Ron--

Sounds like you were the Sherry Lansing of the advertising world. (Remember those commercials that said she returned every single call before she left at the end of the day?)

I admire you, Ron.

Terri

You're right. You're right. WHAT COULD I HAVE BEEN THINKING?!!! Spend $300 to get down here to spend $50 at BOB THE PRINTER.

DUH!

So, what's the deal? Nobody's posting on this thread again until I say (_$,$$$,$$$_)?

Well, Karl, since you live in Okie--I'd try yahoo's white and/or yellow pages first and do a search if you haven't already. You'd think his company would be listed.

Okay, Karl, you owe me one! J/K

I just called both numbers. Barry answered the phone (it is Saturday) for the phone number I had re: the 9200 Sunset Blvd. address on the strip.

Just in case, I also, as previously stated, tried the other number--the one for Avenue of the Stars in Century City. That number is for THE AGENCY and Barry wasn't listed on the directory.

There! YOUR INQUIRY HAS BEEN ANSWERED!

Terri

Wow, Ron, thank God!

Like I said, I buy the recycled cartridges for $30. Why the toner lasts so much longer than the new ones that cost over $100 is wayyyyyyyy beyond me.

Wait a minute, MF! I thought this thread stated that you acquired a distributor. Interest doesn't mean you "acquired." Don't count your chicks before they hatch.

Best of luck, though, I mean it. Keeping my fingers crossed.

Anyone ever see the short film FRANK'S LAST DANCE? BEAUTIFUL STORY! WELL DONE. I saw it at the Hollywood Film Festival last October.

Everyone seems to be correct here. The only time I've seen draft dates--scripts that have been sold and usually in production. Leave that part up to your agent, manager, etc. If you don't have one, I wouldn't put any type of draft notices on your cover.

Most of the time I don't underline the title--but I always place in bold (and I've never used quotation marks). During the past year, I don't even put the contact info on the cover page. I use a second page with that info in the right hand corner.

Just to be on the safe side, I pulled out a bunch of produced screenplays. I have over 1,000. They all have the title in bold. Two that I'm looking at are underlined (one being ROAD TO PERDITION.)

Oh, by the way, I didn't look at the sample but I'm assuming that all the letters of the title are in CAPS.

The only thing I place in CAPS are the character names when first introduced, even minor roles (and extras). Hey, when you schedule a shoot, everyone counts.

At this moment, I'd like to clarify something. It doesn't matter how small a role is, YOU HAVE TO GIVE THAT CHARACTER A TOTALLY DIFFERENT IDENTIFICATION than any other character in the script. If you've already used COP, then use POLICE OFFICER or COP #2. I read a script recently that had ten characters with the exact same identification. If they're not the same people, then they're different. DUH!

HUH???? :(

And what makes the Nicholl any better than any other contest? If your script's not quirky and artsy--more than likely, it won't win a Nicholl Fellowship.

Ellum--

You be hittin' the "Sunday afternoon brew"?

LOL!

Terri

"Breakfast At Tiffany's" Writer George Axelrod has died in his sleep of heart failure, aged 81. Axelrod, who earned an Oscar nomination for "Breakfast At Tiffany's," was the son of silent movie star Betty Carpenter and wrote over 400 TV and film scripts, including his breakthrough adaptation of "The Seven Year Itch," which Billy Wilder directed in 1955 with Marilyn Monroe as the lead star. Axelrod, father to producer and writer Jonathan and actress Nina, also wrote celebrated 1962 drama "The Manchurian Candidate." Nina says of his passing, "He ended his life very peacefully in his home overlooking Los Angeles. He was very happy."

"PS: what is with Jennifer? Beautiful Mind and Dr. Bruce Banner? One guy sees crazy things and one guy does crazy things."

Yeah, and they both live in Australia! M'mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm.

I figured that Katharine was getting more coverage than this wonderful, esteemed Writer--so that's why I posted a thread for him. Writers contribute just as much as Actors. We may be lucky not to be in the public eye and have our privacy threatened, but it doesn't mean we're not as deserving.

I always CAP any Extras who are introduced. Did it in production, casting and I'll continue to do it as a Writer. Extras are important, too, you know! We don't want to be downplayed as Writers, so why should we downplay anyone else involved in making a film? If they were insignificant, you wouldn't have those characters in your script. If they're important enough to show up in your script, then they're important enough to CAP!

I don't know. I tortured myself by sitting through the first CHARLIE'S ANGELS just to see what the fuss was all about. The theater was originally full. But people kept walking out. When it was over, there was nothing but chatter about how terrible it was and how they couldn't believe they wasted their money on that piece of crap.

MF--

I never said anything before because, I believe, you're French Canadian and not English Canadian. But it's really starting to bug me that you keep typing "were" when you mean "where."

Sorry, it's late and I, obviously, need to get to bed early for once!

Ellum--

A day without a post from you, is like a day without the brew! LOL!

Terri

I'm going to mention something in this thread because, to me, it's a scam.

A couple years ago, this "working" actor was producing films and wanted to purchase one of my romantic comedies.

When I met him and the Director for lunch, he didn't discuss money with me but, instead, handed me an envelope with a sample contract to take home and look at.

Talk about a frickin' waste of my time!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

If I had been told from the very beginning that this JERK was only going to offer me $1,000, I would've told him, well--I'm going to try and be a lady here so I won't say what I would've said!

Not only THAT, but he wanted to cast some woman without acting experience. Some married woman he was sleeping with. I think I showered several times that day.

Anyway, to me it's a major scam for so-called people to try and take advantage of Writers like that. You work your ass off for a script and they want to offer you $1,000? And they act like they're doing you some big, huge favor! Yeah, well, I'm sure they're not making only $1,000--but at least enough to buy themselves groceries for a few years.

What's $1,000 get you? Especially in L.A.? NADA!!!!!!!!!!!!!!!!!!! NOT A DAMN THING!

Good point, Richard. VERY GOOD POINT! LOL!

Personal preference. Every produced script I'm looking at right now, has them in CAPS. They have to also be scheduled for a shoot. And, personally, I don't see how it would make the script flow less by capping them.

THANK YOU VERY MUCH, ELLUM!!!

Months and years go by and you don't hear anything? I'm tired of hearing excuses.

GOOD LUCK, KARL!!!!!!!!!!!!!!!!!!!!!!

You're going WAYYYYYYY overboard with your example there, Ellum.

These produced scripts I have in my possession I receive prior to their release in the theaters. Many haven't been around as long as Oliver Stone, but just recently established.

Sorry, Ellum, but I don't consider your example a very good one.

I was asked three years ago by more than one major publishing company in regards to writing a book on FORMAT. Unfortunately, Format constantly changes, which is why I think it's extremely vital to "keep up."

Now can we please move on, FGS?

Thank you.

I've been receiving an abundance of e-mails asking about the Sony group I belong to. It's called StoryBoard.

(Many refer still refer to it as "the Sony group" because, until 9/11, meetings were held at Sony Studios.)

StoryBoard consists of people who work in the Industry--Screenwriters, Actors, Directors, Producers, etc.

Once a month, each person is given a script for a soon-to-be released theatrical film to read.

We have dinner and discuss the script with a Guest Moderator (screenwriting guru, Development person, "established" Screenwriter, etc.).

StoryBoard is by invitation only.

Any other questions?

WARNING: I'm in a very foul mood today, so don't cross me!!!!

There's a site I peruse every once in awhile. It lists all the latest publications, etc. that mention my best bud.

(FYI--I've learned NOT to mention what I've read since the first couple of times I did when speaking to my friend, he said, "Do you believe everything you read? You don't actually believe that crap they wrote, do you?")

Yesterday, the site had a special "memory" for Katharine Hepburn. I mentioned to the person who runs the site that I felt Axelrod's passing should be mentioned as well.

No, he's not getting a mention because, according to her, Axelrod was no Katharine Hepburn or Frances Marion.

See what I mean about NOT getting any respect as a Writer? Apparently, you have to be the first woman Writer to win an Oscar to get any recognition. Sometimes, LIFE REALLY SUCKS!!!! (Or what's the saying? "Life's a BITCH," which I guess is more appropriate in this instance.)

I think that's worth more than 4 cents, Steve. Honest. To the point. Priceless!

I don't think some of you get the point of StoryBoard. We discuss the script in-depth with the Guest Moderator.

Premise. Theme. Storyline. Plot. Structure. Character. Dialogue. Most of the time, we discuss how to make the script better. We find out why and how the script got sold in the first place, etc. WE LEARN!

The Members are also an amazing group of people (who enjoy laughing). Absolutely no backstabbing that I've ever come across. We all help each other. We're there for one another.

There are Members who have won contests, sold screenplays, had their films theatrically distributed. Members who have had their documentaries aired on PBS several times. Members who direct Network TV shows. Members who star on TV shows.

Plus, when we have a screenwriting guru as our Guest Moderator, that saves us from having to pay for a weekend seminar with that person.

And, Ellum, I love the food. It's the one night a month I get lots of chocolate!

Oh, by the way, for those who "the following would seem to make the difference," besides Producers, Directors, etc., there are also Studio Execs who are Members. There are Members who work at several different studios, i.e., FOX, MGM. Some even work for literary agents.

If you're going to work in this Business, you can't be small-minded. For those of you who can't see a "gold mine" . . .

And for those of you who don't NETWORK in groups such as this that you belong to, you're missing out. Networking is a great way to discover who's looking for what, etc. Great way to find out all the necessary "inside scoop."

I hope everybody realized you were being sarky, David. LOL!

Thanks a lot, Ellum. I was hoping to go to bed early tonight and actually--and hopefully--get some sleep tonight. Now you've put me on the spot. LOL!

TREATMENT

1) Usually 15-30 pages.

2) Double-spaced.

3) Make sure to include sample lines of dialogue. (Hopefully, you can pick the best!)

4) They aren't written like short stories and novels, though. TREATMENTS ARE ALWAYS IN THE PRESENT TENSE!

5) Try your best to make your treatment sound exciting! DUH!

GOOD LUCK!

Carl/Michael--

That would greatly depend on where you live as far as getting experienced feedback from consultants you don't have to pay for.

There are a LOT of screenwriting groups/organizations, triads, etc. where you can get lots of good feedback on your scripts--for no money.

And I'm sure there are several people on this site who would love to swap scripts/critiques with you--especially for a thriller!

Richard--

I haven't responded because I was trying to find a good quote--and couldn't.

So I'll just use one of my own.

"Call me crazy. Just don't call me Anne Heche."

Guess Marc doesn't have it in him to be a "Sherry Lansing" then, huh?

I don't know, Michael. Unless it's SNEAKERS, have you ever come across a perfect script or a perfect film? I don't think any script is ever "polished" or "finished."

Thank you, Michael, for starting my day out right with a great laugh. I hope everyone remembers (or tries) to have some humor when reading this or any other BB. I think Melanie Griffith said something in WORKING GIRL about not taking the whole thing so seriously!

Great thread. Great posts. I admit, I enjoy reading this BB during my writing breaks here at the computer. Where else am I gonna go with a broken foot, eh? I guess this BB is not only my source of information to the "outside world of screenwriting," but my PEYTON PLACE as well. Oops, that's dated. Sorry. MELROSE PLACE. LOL!

I think that's more than two but, then again, I lost count. LOL!

Well, in MY OPINION, and this is just mine--those who are defensive and can't accept constructive criticism, are not true Writers. And those who don't know how to give constructive criticism (hey, you mean, nasty people out there--you know who you are!), will definitely NEVER MAKE IT!

From K. Smith: "Here's what you do: Write a killer script, direct it (if they say "no" to you directing, tell 'em you have compromising pictures) and then throw yourself in as a small, yet vital character.

There you go. Easy sneezy."

Isn't that what HITCHCOCK did? LMAO!

Ellum--

Definitely made ME laugh! Which is what I needed before going to the damn doc. (No, not the hunky Ortho Surg--the ol' fart.)

I pray I don't die naked!

It's my party and I'll cry if I want to. . . .

So, Ellum--

Arnold Schwarzenegger gives good direction?

Hey, James, at least my "off like a prom dress" is cleaner and PG-13 rated!

I have to address two (2) points at the moment.

1) I've received responses from every single person/company I've ever dealt with in this business--except one. His name's already been mentioned several times on this thread, so I won't repeat it!

I, myself, receive 100 e-mails on one S/N and 200-300 on my distribution S/N. I answer every single one and still make time to write and read 2-3 screenplays a day.

2) Apparently, someone misunderstood the $1,000 I was offered for a screenplay a few years ago.

They couldn't understand why I couldn't understand why they turned down an option when I did the exact same thing, but for more money than them.

It was NOT an option. It was for the RIGHTS TO THE SCREENPLAY. A FLAT SALE!

Personally, I don't think it was wrong to turn down $1,000 for a screenplay. It wouldn't even have covered minimum-wage, considering all the hours, weeks, months, years, drafts! I may be a fool, but I'm no stupid fool! Math may not have been my best subject, but I'm not THAT dumb! (And I'm not that blonde anymore, either!)

Here, here, Paula.

Ellum, you don't think Arnold's a BIG GUY? LOL!

RE: the doc's--samo, samo. I don't even know why I was supposed to go. But I have to see the ol' fart again in two weeks--a day before I'm scheduled to see the HUNKY ORTHO SURG!

MF--I think it's 'cuz a can of FOSTERS is a lot bigger than a regular can of beer. LOL!

We may spend more money on health care, but Canadians (from what Canadians have told me) have great healthcare that they don't have to pay for. (Guess that's why their taxes are as high as England's. Which is why they've got people to wash off the graffiti before it's ever seen. They must have guards watching those walls.)

Every time Canada Day comes around, I hope to get back all the thousands of dollars I loaned to my so-called Canadian friends who took off for the border, never to be heard from again. I don't think Canadians like me.

Oh, that's right! Kevin Smith did a J-Lo/Ben movie, didn't he? How could he DO that to us?

Sorry, I realize the movie was made BEFORE the CONSTANTLY ANNOYING J-L0/BEN BUZZ HERE AND EVERYWHERE. They're the reason I stopped watching TV!!!!!

Even though a BIG (HUGE) MONEY-MAKING PRODUCTION COMPANY e-mailed me today and asked when I was going to send my stuff (still got to be repped, unfortunately), I'm going to wait a little while. I'm sure a zillion people have already contacted this guy.

And one shouldn't be turned off by an agent/manager accepting a lot of scripts from Writers to consider repping. I'd want to read all of them, too. Why take the chance of turning away a million-dollar diamond?

I agree with you, Paul. Whether we write an e-mail query or snail-mail query--is insignificant. Professionalism is professionalism.

There are companies in this town who have GREAT reputations because of their wonderful, kind development execs who are polite and considerate when they call, etc. Then there are some who do not have great reputations because of their NASTY execs (I've only come across one, thank God--who's known for being a total ASS! Oh, wait, I remember three who talked about nothing but getting into my panties.)

If people like Sherry Lansing and Bill Mechanic can have such awesome reputations because of their consideration, honesty, politeness, etc., why is that too much to ask of anyone else?

Ellum--

Please scroll back and read your post. If you don't get the humor, I'm sorry.

Fosters may be from Australia, but it's distributed in Canada. Read the label.

Terri

Sorry, to be technically correct, I should've said, "Read the can." LOL!

I guess the "with" credit means that you slept "with" that person and married them, then divorced AFTER you were "with" someone else. I think that SOMEONE has a lot of "withs" after their name.

Where's Donald Sutherland? At a ballgame, of course!

And probably "with" James Cameron (at the ballgame--at the ballgame, people!).

"Have a life. The good and the bad, but especially the incomprehensible. It makes writers out of us. It's material. Put the journey on the page and make sure you show up everyday."

I don't know who said it on this BB, but I believe Lew Hunter said it to me in '99. Might even be in his book.

Hope you don't get eaten by sharks in the Carribean.

Yeah, and I have a feeling I "maybe" shouldn't have joked about somebody on another thread. I had already pushed "add message" when I stupidly realized (remembered) the guy owns the company that contacted me today. Aw, well, I'm sure he's got a great sense of humor. If he doesn't, well . . . uhoh! LOL! Is having Alzheimer's a forgiveable excuse?

I saw BAMBI in the theater when I was little. It severely traumatized me! I bawled through the entire movie and haven't forgotten since. Why in God's name does Disney do that to little kids? It's like Disney has this clause that animals have to die in their movies. (Maybe that's the real reason I wouldn't go work for them!)

From James:"Maybe you should send Terri an email. She'll tell you how terrible I am at being productive. Too much sand in my ears, I guess."

James is being extremely sarcastic. He tires me out. I'm trying to work on an outline for a script we're doing and the bugger surprises me with the first five (5) pages of the script. FANTASTIC PAGES, I MIGHT ADD.

I find everyone offensive. It's in my nature. J/K!!!!!!!!!!!!!!!!!!!!!

Um, Jay, remember that bottle of Ban Roll-On that just happened to slip out of the bag? It was my way of a subtle hint.

Jay--

Todie was shorter and, of course, weighed less due to the missing leg and her mashed potato diet!

Terri

Oh, Ellum, I'm assuming you've never stayed in NEBRASKA.

Re: naive--"I'm from Nebraska, I'm allowed."

Can't sleep!!!!!!!!!!!!!

Oh, and Ellum, the ol' fart checks my left leg, right hand and neck (not breasts--NECK!). It's the hunky Ortho Surg who's in charge of my broken foot. Probably why I can't sleep. Ahhhh, the fantasies. The great thing about being a Writer--IMAGINATION!

Uh, Jay--NO COMMENT! LOL!

And, Ron, I believe that's commonly known as the "referral." But that is hilarious that you had NO CLUE it was Marty Bowen. THAT'S FUNNY!!!!

Now, if it had been me and it was "the other Marti"--I would've definitely crapped my pants while hanging my mouth open and saying "Ahhhhhh."

Okay, now can we all do what the song says? "Don't worry, be happy!"

David--

Do you know what love is? LOL!

This reminds me of the discussion between Harry and Sally--the debate, I should say--re: CASABLANCA in WHEN HARRY MET SALLY.

Terri

I've never been to Done Deal's message board. I only go to scriptsales.com to check the script sales.

But, yes, it was irritating yesterday to not get into the site. So I tried www.donedeal.com and got some SCARY-looking nerd (with a great tie) in Wisconsin. I THINK trying to sell real estate.

Oh, what a tangled-web non-posters weave. LOL!

Throughout the day, I constantly get e-mails from people who say they read this and that on MovieBytes--but I've never heard of them. Are these people too shy and chicken to post? And they're asking me stuff that they could be asking the world on a thread.

Yeah, well, I found out yesterday that whatever S/N you go to on YOUR computer, you still pop up as the same person on MovieBytes.com.

I didn't realize I was in my other S/N when I was checking the MovieBytes BB. After I pushed "add message," I said, "Oh, damn, I'm on the wrong S/N." Then discovered, within seconds, the post still came up as having come from MOI.

How many frickin' computers do imposters have? Do they go to the library and sign on to MovieBytes.com?

Does one really need multiple personalities to get their view heard and point across? Guess so.

"Paul M - Did you change your last name to Smith? If not, don't sign my name to your stuff. I don't appreciate it."

BTW, Paula, you WERE joking, right? I'm assuming you got Paul's humor by signing P. Smith--which had nothing to do with you.

Oh, God, I've tried. And it was TORTURE. I don't think I can ever give up ice cream.

Terri

I liked A BEAUTIFUL MIND but I don't think Jennifer Connelly deserved her Oscar. And why didn't she have a Salvadorian accent? Could she not pull it off or did Ron not want that?

Sorry, but in my opinion, if Russell Crowe hadn't given such a brilliant performance, none of those people would've won an Oscar for the movie. (And then Crowe didn't even win.)

Yes, Ellum, I've seen a ghost. But he was a black, evil bastard. I didn't see a face or anything. Just what looked like a solid, black-stockinged figure. Who dropped a mouse on me while I was in bed. I think he purposely did that to see me naked. 'Cuz I did sleep naked all the time back then, and I did jump up and run down the hall to turn on the light.

And when I came back and shook the covers, there was that stupid mouse.

I first frequented and posted on this BB many years ago--and I don't recognize anybody currently on it. I did Paula--but not from this. I think as a member of a screenwriting organization I belong to. I used to know someone, as a child, named Paula Smith. That's why, I think, it caught my eye.

I've had script packages mailed to me from New York by media mail and not a single one had a tear in it. Now, if you were overseas, I don't know.

If you guys are so Canadian, then tell me why, on a Canadian two dollar bill, the flag flying over the Parliament building is an American flag.

GOTCHA!!!! (If you don't believe me, go look!)

From Thomas: "Picked up at a funeral once."

Thomas, for my own sanity and hopeful sleep tonight, please clarify.

a) Were you picked up at a funeral?

b) You picked someone up at a funeral?

c) You picked someone up/they picked you up at a funeral in the 1600's?

d) Or was something else totally picked up?

Sorry, I had to have one last laugh before desperately trying to finally--and hopefully--get some sleep tonight.

I'll have to read the CASABLANCA script. Because, to be totally honest, the few times I've seen the movie, that's it. I never remember a damn thing about it afterwards. I know it's been YEARS since I've seen it but there are films I've only seen once and I remember so much about them. Odd how I've never remembered a damn thing from CASABLANCA.

When I mentioned this article almost two weeks on this BB, no one seemed to give a rat's ass.

There does seem to be SOME good news--in a way. It MIGHT (and might not) give a better chance for "unestablished" Writers to get their foot through those stupid, iron doors.

But it's sad! As I previously stated on another thread, we were already at the bottom of Hollywood's totem pole--and with no respect. This makes it WORSE!

Well, obviously (in my opinion), they don't think it's good enough to state their opinions under their own names, but have to create alter egos to support them.

BTW, aren't Aussies, English Canadians, Brits, New Zealanders (and maybe South Africans), basically the only ones who use the term "knickers"? How many Americans even KNOW that saying, eh? LOL! Just my observation.

Ron--

Does that mean a black micro-mini skirt or hot pants and a lacy, see-through, low-clevaged top? Oh, sorry. Misunderstood. You said to "leave something." LOL!

Terri

Did you read the story back in the '90s about what a group did to some studio execs around town?

A specific script was sent out. Somehow, they knew these young whipper-snappers would have no clue that the script was CASABLANCA. They were right, and each one of them turned it down!

I don't understand why it's okay to give a "star" $20-$30 million while everyone else suffers and pays the consequences for it. Even the movie-going public doesn't care to pay $9-$15 a ticket!

Nahhhhhhhhh. Back then, knickers were those short pants. To other English-speaking countries re: this lingo, they're, what's a PG way of saying it? UNDERWEAR!

Every time I look at this thread, I laugh. I can't help but to remember how Joan Cusack said "or as a total imposter" in WORKING GIRL!

I hope you're right, Richard. Wasn't it George Clooney (no, he's NOT my best bud) who said earlier this year that it's ridiculous for actors to be paid that much?

You know what this makes me think of? You may be on to something. There was an article a couple months or so ago about John Travolta and how he didn't want to go work on this film (that's a great script, I guess--a Western) because they couldn't meet his $20 million pay requirement.

The article went on to say how Travolta hasn't had a major hit in a longggggggggggg time. FACE OFF and BROKEN ARROW weren't losers. But, other than those two (was MICHAEL a hit?), he hasn't really had anything since PULP FICTION. And in the box office time zone (or should I say "period"?)--THAT WAS A LONG TIME AGO!

Steven--

Are you really all those five posters? I don't know whether to take you seriously or not.

You've got my head swimming!!!!

M'mm, I wonder how much Cage got paid for WIND TALKERS. Didn't it cost $135 mil and only bring in $10-$17 mil? That's not only sad, THAT'S SCARY!!!!

Ron--

What's that famous movie line?

"TRUST NO ONE."

Most of the explosives will be coming from my @$$ because that's what ice cream does to me. (Still ain't a good enough excuse to give it up!!!! Just not to date when I want ICE CREAM!)

From Walt: "On the eve of their demonstration, an accident sends an innocent man billions of years into the past to another world."

Question--because something popped out at me right away. Was this truly an "accident" or did some BAD SEED send the man billions of years into the past? The reason I'm asking is because you say "innocent man." If it was just an "accident," wouldn't he already be an innocent bystander? I'm just wondering if those two words--"accident" and "innocent" in the same sentence mean something more.

With today's amazing "dinosaur" technology, I'd rush out to see the movie.

Hey, on second thought, when you say "another world," are you meaning just another TIME or literally "another world"? As in ANOTHER PLANET?

If it's a serious role that requires an actor with AMAZING talent, I can see it. But if the story, etc. isn't up to par, no AMAZING actor is probably going to make it better.

Some of the best and most popular movies had UNKNOWNS. I saw MATEWAN once in my life--and I will NEVER FORGET IT! Unfortunately, I haven't seen it since it came out. (Would love to own a copy.) The only problem I had with that movie is that--other than Chris Cooper--everyone looked alike. I couldn't tell one person from the other (besides gender, of course). STAR WARS was a history-making hit. The stars were UNKNOWNS. I watched PLATOON again last night. The stars of that movie were not KNOWN to the public when it came out.

I have to admit, I don't go see a movie because of who's in it. But I have come across people who, when I ask them if they want to go see so and so movie, they say, "No, I don't like Tom Cruise." Well, you know, I'm not a Nic Cage fan, but it didn't stop me from seeing CON AIR or THE ROCK. I didn't see TWISTER because of who was in it, nor APOLLO 13. I love APOLLO 13 because of what it is as a whole. It's a fantastic story with great moments.

And that's MY $.10 worth. (If a star can get $20-$30 million per picture, then my thoughts are worth more than $.02!)

As I've already told Phil, many would be amazed at how many stars, filmmakers, etc. peruse Internet Boards--especially when it's about themselves. Never assume anything, my friend(s).

Obviously, what Phil states is true--he's new here. Wasn't here when the BB received some nice/civilized posts from Screenwriters, etc. in reponse to posts about their scripts, movies, contests.

Never know WHO could be reading these Boards, eh?

Oh, Phil, just to let you know that, here in the U.S., if you literally make verbal threats against someone's life (which I don't think was the case here--just an @$$-whooping but, then again, I only read it once), the FBI shows up at your door. That is, if the person calls the FBI and complains. Trust me, they take a threat like that VERY SERIOUSLY.

Oh, sorry, Phil's not reading this BB anymore. Okay, then it's info for everyone else.

WOW! And why do I say that? Because Hitchcock's SABOTEUR is one of my favorite films. Talk about an intriguing piece of work. If your screenplay is even HALF as good as that, I'd say you've probably got a winner. Plus, with the questions you've answered, I'd say you have an unusual concept. Not one I recall seeing before, anyway. But you know something? That's what's missing. If I had questions then, obviously. . . .

You need to make filmmakers realize that this story has a new "twist" but, hopefully, without giving too much away.

If I had known from the start that there was a saboteur involved and that it was not just another time, but another planet . . . I can't even think of a word to describe it. I would read that screenplay ASAP for purchase consideration.

Paul--

Why not? You said you love it! Too crowded on 4th of July?

I used to always go to Disneyland on the 4th of July. But then I started going on Mondays in December because the weather is perfect--AND NO ONE'S THERE!

Terri

I know in MARATHON MAN they said, "Trust no one."

I'm beginning to think I should contact this agent soon. With my theory/luck, I will have waited too long and his answer will be, "I'm not accepting anymore new clients."

IS IT SAFE?

Walt--

Are these "friends" screenwriters, writers or in any aspect in the Biz at all?

Curious. Is that studio in the Carolinas still operational? I haven't heard about any filmmaking going on down there for years. (Isn't that also where "Dawson's Creek" was filmed?)

I'm just asking because you might find something in that area to help you out. I know there used to be a Pacific Coast directory for filmmaking. Don't know about the East Coast. But with the Internet these days, why waste money publishing something like that. I'm sure there's websites that can help you out re: your area.

There's also many Writers on this BB who have listed YES to read other Writers' works.

Terri

Walt--

This is what you might want to do first. Contact your state's (or city's) Film Commission. You'd be surprised who you might find.

There was a professor in one of the departments at the college I was at in Nebraska who always worked in Burt Reynolds' films. Problem--he was always gone on location rather than teaching.

Say who?

Colin--

TRUST NO ONE came LONGGGGGGGGGGGGGGGG before THE X-FILES (that wasn't even until the 90's). Get a broken foot, stay home and watch a ton of movies--you'll soon find out.

Terri

"reponse"

OMG! A TYPO! I've put myself in restraints. My OCD personality can't handle it.

"develop a fractured sense of self"

Richard--

Are you talking about me and my fracture? Or am I just PARANOID?

LMAO!

Terri

Marcel--

Admit it!!!!! That was a LOUD Canadian &@^+!!!!!!!!!!!!

Richard--

I've always been possessed. Weren't you told? Oops, the devil's out of the bag!

Wow, that's like a third-degree questionnaire before becoming involved with a new sex partner in this day of AIDS.

I wonder if, in the future, we'll have to fill out a questionnaire with those exact same questions Paula listed--just to find out WHY audiences go to the movies. Maybe the poll will be seriously taken the next time some actor with no recent hits requires such a high pay demand! THAT'S AN IDEA!

I just thought of the bright side to being a Writer and not an Actor. Things change re: stardom. Age. Tastes. An Actor's career can always come to an end--but a Writer can write 'til the day they die.

From Paul: "However, if the Redsox ever win the series in my lifetime, I'm going to be one of the 3 or 4 million who go into Beantown for the parade."

Dream on, babe! Well, miracles HAVE been known to happen--haven't they? LOL!

I've only come across one literary agent in my entire life who sent a release form and required signature, etc. And that was that scary one on Sherman Way in Van Nuys who had no idea who anyone was, INCLUDING

MIKE MEDAVOY.

Have NO IDEA why the site went "crazy" on me (LOL) and sent the message while I was still writing it.

M'mm. TWILIGHT ZONE music's dancing in my head.

You may be confused because the box reads "solid brass fasteners" as opposed to "brads." The most common brand being ACCO.

If she said NOT to use cover stock, then I don't understand why you're worrying about it.

I used to always use card cover stock on my screenplays until a few years ago when all the development people were asking Writers NOT to use it--just the plain white paper the rest of your script is printed on.

Unfortunately, you have to remember that there are some people who can't take constructive criticism--but get very defensive.

One time, in my development group, the person who had arranged to have their script critiqued, wouldn't even listen to the critiques. Any person critiquing wouldn't even get (literally) two words out of their mouth before the Writer would jump on them. Not even listening to the critique.

Finally, the man heading the evening stopped her and said, "Wait a minute. Why are we hear? Why did you arrange for this dinner, arrange for us to read your script and then refuse to listen to our opinions? Why are you wasting our time?"

Oddly enough, she's a producer with her own company but has never been able to sell her own work.

Then, in my Burbank group, there were a couple of people who really did NOT know how to give constructive criticism. They were downright mean and nasty. That's definitely not constructive criticism. No one deserves to receive that kind of horrible treatment that I observed.

Private discussions were being held to have these two individuals dropped from the group. I kept giving them chances over and over. No one had ever been forced out. (Oh, wait, there was one person, I had been told, who had been asked to never return. That was before I was asked to join the group and take over as Moderator.)

Oddly enough, they couldn't even accept CONSTRUCTIVE criticism when it came to their own work. They wanted everyone to tell them their work was great. So they left on their own.

That's not the point of screenwriting groups. If other Writers, etc., don't tell you what works for them and what doesn't in your script(s), then what's the point? You want different opinions, different outlooks, etc. so you can forge ahead on a good re-write. If all you want is admiration, then have your neighbors and close friends read it who might be too scared to tell you anything else.

"here"

Sorry. I get very passionate when it comes to this kind of discussion.

I have refused to post any responses or anything in regards to you. I've put up with your harassment the past few days but, now it appears, I have to post in order to get something through your head.

1) Since you confessed on a thread who you really are, I have refused to read a single post from you.

2) I've been told by several posters that it would be wise for me not to go back to that IMPOSTORS PRESENT thread in order NOT to get upset by a post you wrote to me. I have NOT been back to that thread since I was warned of it. Hence, I have not read the post--and refuse to.

3) I was told of a couple of things you accused me of. (I refused to hear anymore.)

4) I NEVER told anyone who you really are.

5) I NEVER sent any "anonymous" e-mails. 6) During the middle of this past week, when I opened an e-mail from you and saw how nasty the first line was, I scrolled to see how long it was--then deleted it without reading the e-mail. I have deleted--without reading--every e-mail that has come in from you since.

7) You obviously figured out that I wasn't reading your e-mails. Today, after other e-mails from you which I did not read, I received an e-mail from a yahoo address I didn't recognize. But the S/N made me suspect it was from you. I opened it just in case it wasn't. The first line said it was you. I deleted the e-mail without reading it.

PLEASE UNDERSTAND THE FOLLOWING:

A) I WILL NOT READ ANY POSTS FROM YOU, NO MATTER WHAT THREAD!

B) I WILL NOT READ ANY E-MAILS FROM YOU!

NOW LEAVE ME ALONE!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

Years ago, someone was promoting/selling Chicago screws for screenplays, telling everyone that production companies, etc. couldn't make copies.

I have Chicago screws although I don't use them. All you have to do is unscrew them. Doesn't prevent anyone from making copies. All it accomplishes is annoying execs.

And, having been in development at a couple of companies, I can tell you that we did make a copy(s) for the "outside" Reader(s) and kept the original in-house. (You never know when something can get lost.)

Since I didn't sign the post, does that make it "anonymous"?

Good point, Paula.

Like I told everyone a month or so ago, when Phoenix Pictures called and asked me to submit something, I mentioned if they needed a signed release form. He told me they were worthless and that I could still sue them. Also said he didn't want the extra paperwork on his desk.

I just checked out this feature that's at the bottom of everyone's post--that I never noticed before. Apparently, it's only per month. Still, "Lucy . . . you got some 'splainin' to do."

I'm sure glad I never posted under any other name. Whewwwwwwwwwwwwwwww!

Hey, something's not right. Must be a kink. A glitch.

I clicked at the bottom of someone's post, someone who CONSTANTLY posts (besides me--LOL!), and it only gave the posts they wrote on this site for the month of July.

To make sure, I clicked on it for someone else. For them, it gave all their posts from the beginning of the year.

M'mm. Something's fishy in Denmark.

Hey, I think I got it figured out!

If you click on someone's alter ego, it'll only give you the posts that the alter ego posted--and other posts under other names for that same period of time.

But if you click on it when you're on their "real" name, let's say, it'll list ALL posts.

EXAMPLE: Let's say your alter ego only posted during the month of July. Then, if you click on the alter ego post, the only posts it'll show are the posts that you wrote in July--including under all other names (for that month).

Did that make sense? I think I just confused myself. ROFLMAO!

I would just like to say THANK YOU to everyone who sent me kind, wonderful e-mails today.

I can't express how much they meant.

God be with you, Buddha or whomever else you believe in.

The only thing that bothers me is this--why are they NOT a signatory of the Guild?

Hey, we all know what it takes and how many points it takes to become a member of the Guild.

Since I haven't been an agent, I have no idea what the requirements are for an agent to become "signatory." Do you have to be an agent/agency for a certain amount of time? What does one have to do? Obviously, it must not be that simple if many aren't.

No, Victor. It's just paper, but thicker, sort of like "construction" paper. It doesn't "bind" like a book.

And, NO, you do not put any information on the card cover.

Victor, you quoted to us what she said and asked for. SHE TOLD YOU NOT TO USE CARD STOCK. If she asked you NOT to, then don't!

Sometimes, when I really, really hate my life (which has been A LOT lately!!!!), I try to stop and remind myself that I'm lucky. But it sure seems to get harder and harder to discover why I am.

COME BACK, LITTLE STEVEN! COME BACK!

Don't go away. Any information any Writer gives is always appreciated.

This past week has been sort of WEIRD for this BB, but I think it's over. I think the bad and the ugly elements of some personalities are gone. I think it's already starting to return to the helpful, encouraging site it's known to be.

I can see how some Writers who have been writing for many, MANY years might be jealous. But if they are TRUE WRITERS, they would be happy for you!!!!

WOW! I'm glad I wasn't here to see what went on between Steven and Ellum. I have to say, I'm not sorry I missed it.

Unfortunately, I did catch tidbits here and there in e-mails from other individuals when I returned to this BB a few months ago. Of course, since I wasn't there, I'm not a witness to the "true" story.

It's obvious that these two individuals are extremely talented Writers. History has shown that brilliant minds usually "butt heads."

I hope that everyone can remain adult on this BB and realize that "constructive critism" is just that--CONSTRUCTIVE. We're here to help each other, not to hold one another back. We do it to help, not to hinder.

Some people have stated that it doesn't matter when there's spelling errors, etc. in posts. I think it does matter.

We're Writers and we're not the only ones perusing this BB. We've seen evidence of that by posts from individuals who didn't hide, but told their true identities--and were "established" Screenwriters and/or individuals on staff of major screenwriting contests.

I think it's important that, although we like to have fun on this BB, that we remain civil and professional. And I, especially, have to watch what I say because my previous posts are already out there. I can't take them back. Remember that--once they're out there, there's no turning back!

Just wanted to add something.

During the past month, I've received e-mails from production companies who read my posts and thought they were "intelligent" (I've got THEM fooled, don't I? LOL!) and asked me what I had to submit.

So don't make the mistake of thinking that we're the only ones reading this BB--because we're not. It's on the Internet. Whatever you write is out there for the World to see!!!!

Great points! But does anyone out there KNOW what the requirements are for an agent/agency to become a "signatory of the Guild"?

Granted, I certainly will never lower myself to do what that so-called Producer wanted me to do two and a half years ago--and sell him my WORK for $1,000. He must've thought I was STUPID. I may've been desperate--but not THAT desperate!

Oh, by the way, the Producer got really snippy with me during lunch and said that he could've easily got another script he tried for before mine--but the Screenwriter insisted on nothing lower than WGA minimum. He told me he knew he didn't have to pay that kind of money to get a script.

Yeah, well, the "Producer" gave me a tape of the trailer for his previous film. I suppose I shouldn't have been stunned when I saw it. It was a piece of S#!+.

I take pride in my work. And I hope everyone else on this BB does, too!

Uh, Thomas. You can't be a "signatory of the Guild" and work out of your kitchen. Well, you can, but you can't have an office at home.

Funny how an agent has to pay for an office, but only gets 10% wherein a manager can have an office in their home and gets 10-15%.

I'm talking about an agent for scripts, not books. Most book agents get 15% when selling books to a publishing house.

Ellum--

I know you were referring to Steve's comment about being a "Professional" Writer. But I just wanted to clarify something:

"I think it's important that, although we like to have fun on this BB, that we remain civil and professional."

I just wanted everyone to understand that I was referring to conduct.

I'm sure I'm not the only Writer on this BB who has been "paid" for any type of writing work--whether it's $1.00 or $1,000,000.00. And those who have yet to be paid, I'm sure, will be.

I've been paid to DIRECT! Does that make me a Professional Director? Maybe, technically, but I don't think of myself as one. I was paid to ACT! But I don't tell anyone I'm an actor. I guess, because, I no longer consider myself one since I no longer pursue the field (which reminds me, I have to pay my union dues).

I've wanted to write since I first began making up stories before I ever started school. I've always wanted to be a Writer and, although I worked in other fields before fully pursuing the career, that's what I am--A WRITER.

I think it took me a longggggggggg time to fully pursue it and call myself one because there are people don't think of it as a real type of living. When talking to me, there are people who still refer to it as a "hobby" which--excuse my language--PISSES ME OFF!

My mother was the one person who truly believed in my writing abilities. When I was in the second or third grade, she found a book in my closet that I had written. It was a ghost story. (I was reading POE as soon as I learned how to read.)

I have no idea what happened to that book. There are many fantastic stories I wrote as a child that I wish I still had.

But, unfortunately, my mother used to call herself a "hick." If we had lived in Los Angeles, things might have been different. The only thing my mother was capable of--was making me a champion swimmer. When I was growing up, movies weren't shot in Nebraska until TERMS OF ENDEARMENT.

Nobody in my small town who knew my mother could've informed her how to get my writing work published.

When I went back to my home town to sell our house, I came across photographs I had never seen before. I saw pictures of my mother at 18. She looked exactly like Margeaux Hemingway. I told her she could've been a model (she was 5'8"). Her comment was that they didn't know how to pursue that kind of thing back then.

I guess my point is--if there is one--that with 411 Cyber Highway we have today, anything's possible. You want to know how to pursue something, it's at your fingertips. (That's why I'm still amazed at how many "wannabes" there are out there!)

As a Writer, I am so grateful for today's technology. In one minute, I can find research that would've taken me days, weeks, months, etc. to compile years ago.

I'm hoping that with today's technology (Internet research, e-mail pitching), it won't take me until I'm 80-years-old to "make it." But if it does, so be it. This is one career I'm not giving up!

Terri

See? I proofed that LONGGGGGGGGG post. And I still missed the word "who." (That'll teach me that I need to proof a post more than once!)

I didn't think I had it in me to WRITE A BOOK. LOL! I originally only planned for that (LONG) post to be one paragraph.

Well, think I'll go write that book!!!!

We have to make something clear that a lot of people may not know. Just because you sell something to a WGA signatory prodco, doesn't mean you'll become a member of the Guild.

1) If it's a full screenplay, yes. You'll have enough points.

2) You've only got a certain amount of short time to pay that initiation fee to the WGA. (And we're not talking $500 here!)

3) The only thing you usually get paid right away for--are options. At studios, I've seen TV and FILM contracts for Writers sit around for six (6) months before they were fully-executed and the Writer(s) was finally paid (installments, of course).

Ron--

I don't mean to play dumb, but I'm going to ask anyway.

I know there are modeling agencies which are signatories of SAG. But why would they be signatories of WGA?

Terri

Hey, I NEVER SAID I WOULD SELL A SCREENPLAY FOR LESS THAN WGA MINIMUM!

Is $2,500 still the fee to join WGA? I know that's how much it was five+ years ago. Maybe I'll call WGA tomorrow and find out, in case anyone's interested.

You're funny, Ron.

"Why do these writers ramble on and on . . ."

Is he talking about me?

I believe one of the Screenwriters (not the dead one, of course) of THE KING OF COMEDY (might have the wrong movie) is a Psychologist who caters to Screenwriters.

Does THAT help you, Grover?

Yes, I was surprised, Colin. I didn't realize Barry was that young. He's looked the same for 20+ years.

When I worked on a Michael Jackson video for a year, Barry's son--Barry White, Jr.--worked on the project as well. There were a few of us who hung out in the same group--Barry, Jr. and I were two of them. I was the only woman. Of course, I was only one of two women in a crew comprised MOSTLY of men. (Yeah, that was the best year of my life--ROFLMAO!)

I don't remember how tall Barry, Jr. was. Probably 6'. But, I remember, unlike his father, he was as skinny as a toothpick. And he always had a long, unlit cigar in his mouth. The only time I ever saw it lit was at the nightclubs. (Of course, now, you can't do that.)

I think the last time I saw him was a year later when someone from our group, Chelse Carter (one of the funniest human beings I ever met) was killed.

Most everyone from the production came to the memorial service and the party afterwards. Another member of "our group" was Matthew Earl Jones (adopted brother of James Earl Jones). A real sweetheart who I was "sort of" seeing.

Sorry, guess I'm "rambling" again. But those were great times and sad times for me. I think it was the last day of production--not the wrap party, where I had never seen so many crying men hugging each other.

Many who haven't worked on Hollywood productions, may think the people are cold--but it's just the opposite. There are people in this Industry who will stick by you and be there for you NO MATTER WHAT! Maybe now you'll understand why I resent the term "Hollyweird."

"Terri, I didn't mean to imply that you would ever sell for less than WGA -- just reinforcing my own position thereto."

Yeah, I know. Okie Dokie.

One of my Australian friends uses "Hollyweird" and he knows it irritates the hell ouf of me!

You know what gets me? The people who complain about Los Angeles, are people who live here. If you don't like it, THEN LEAVE!

I'm going to share a secret. The most wonderful, passionate, nice, caring people I've ever come across were born and raised in the L.A. area. The ones who have scammed me and pissed on me--are not originally from here. (I say that and I'm not from here, either.)

I no longer have his card but, seriously, for anyone in the L.A. area who might be interested--I can certainly find out his name, etc.

I just thought of one of my funny Hollywood stories that's appropriate for this BB.

Someone who read one of my scripts called me. She was really nice and sounded very elegant--due to her English accent.

She said she was recommending my script but needed me to send a different copy--one that she could show her "honcho" boss. I couldn't understand what she was talking about.

I asked, "Is it not a clean copy? Is it difficult to read?"

She said, "No."

"Then what's the problem?" I asked.

She answered, "Mr. XOXOXOSOS doesn't find it necessary to use foul language in script descriptions. He's completely against it."

I was "completely" confused. I said, "I never use foul language in my descriptions."

She said, "I'm afraid you did."

"I did?" I said--CONFUSED. "Can you give me an example?"

She was very hesitant to repeat it over the phone. She whispered, "Bloody chicken."

I'm sitting there, saying to myself--WHAT? Is she meaning the bird is "foul"? LOL!

"I don't understand," I said.

She whispered louder. "Bloody chicken."

Finally, the bell went off in my head. I said, "It's not a damn chicken, it's a bloody chicken."

Want to see my blood-covered chicken? You think she would've gotten that from the story--DUHHHHHHHHHHHHH!

"When are you gonna get spell/grammar check on this thing...? We're artists...!"

That's why, sometimes, if I'm know there's something I'm forgetful of, I'll pretend I'm writing and e-mail spell check it before posting. But I think the "your" and "you're" would've been a grammar check. I think I'm so damn smart, that I get too lazy to check the grammar.

See? I did "and" instead of "an." LOL!

And, yes, I forgot the "and," too. LMAO! Hey, it's late and my eyes are still filled with tears from BRAVEHEART!

From Marcel: "first time for me hearing the word hollyweird. isn't that weird."

Yes, it is, MF, since it has been used on this BB since my return.

Is La La Land a demeaning term? I just thought it meant a land where dreams come true.

LIPSTICK CITY? I've heard West Hollywood called BOYS TOWN.

Now BOOB TOWN, I could understand. Or BOOBIE TOWN. LOL!

I actually only know one person who's paid for those "hard things." She used to be a model, did commercials, etc. She was so beautiful before.

I don't know WHY she went and had that done. She did get married and it was probably her husband who insisted on it.

Except for a bra commercial for "bigger" women where she looked like a very MATURE lady, she hasn't had any work.

I find the only thing those "things" are good for is identifying an unrecognizable dead body.

In answer to the e-mails I've received, "Yes, I have many funny, Hollywood stories."

I'm not sure all of them are appropriate for publication on this BB, though. LOL!

Bond. James Bond.

LOL!

We're George Clooney, Russell Crowe, Hugh Jackman and Julia Roberts. For our own safety, we cannot divulge our a.k.a.'s.

"FYI, the guy who liked my critique so much he put me on a porn site bounce list, we met through Zoetrope."

OMG! Thanks for giving us the heads up, John, and sharing!!!!

I think, during this past week, it could've used a million.

Ever work in a grocery store and a little old lady comes up to you and asks, "Do you have any brains?"

Here's one for ya! I'm sure you would've enjoyed the look on my face when my Aussie bud told me he had to to hit the farter.

That's actually too long for a good logline. On most of the script sales on Done Deal, those long sentences are considered very short synopses. For a logline, that example's not actually a very good one. The words need to be weeded out. The logline needs to be powerful and snappy. It needs to be an attention-grabber!

From Thomas: "I'm sure someone can do better,but, sticking a cop in Amish land (Witness)and sticking a female criminal in small idyllic town land hits the spot.

This heads right into the game we are playing right here. Prodco folks want the stuff that has worked before....just a new twist."

Just wanted you to know, Thomas, that I totally agree with you on that "concept." If someone actually came up with something that's NEVER been done before, they'd run to the hills like scared rabbits.

John--

The title of this thread would make a good movie title, huh? Like finding the evidence to save someone on death row and you do, but end up only having minutes/seconds to save the person. Not that the story hasn't been done before, i.e., TRUE CRIME, THE LIFE OF DAVID GALE. But even just the title makes your head swim with ideas.

Terri

In answer to all the e-mails, "hit the farter" means "go to bed." (First time I heard it, I thought "farter" meant "toilet." Maybe Aussies do a lot of that in bed. LOL!)

July 9, 2003 -- WHEN former New York-based Spy magazine editor William Monahan was voted one of Variety's "10 Screenwriters to Watch" recently, the question everyone was asking in Hollywood was: "Why bother with the other nine?" Monahan, author of the novel "Lighthouse," launched his film career last year with two Ridley Scott epics for 20th Century Fox - the war-delayed "Tripoli," starring Russell Crowe and Ben Kingsley, and the 11th-century drama "The Kingdom of Heaven." He's currently busy wrapping "Jurassic Park 4" for Steven Spielberg and finishing the Afghan war epic "Mazar-i-Sharif" for director Philip Noyce at Sony. As soon as he's done with those, he'll next adapt the hit Hong Kong thriller "Infernal Affairs" for Brad Pitt and Warner Bros.

Somehow, I don't think the following PRICE is a misprint:

Title: The Vintner's Luck

Log Line: In the 19th century, a French winemaker has a love affair with a fallen angel.

Writer: Joan Scheckel

Agent: n/a

Buyer: Hysteric Pictures

Price: $17,700

Genre: Drama

Logged: 7/9/03

More: Based on Elizabeth Knox's award winning New Zealand novel. The New Zealand Film Commission is paying for the development of the first draft. Niki Caro to direct.

John--

I LOVE non-dialogue moments that tell us what we need to know.

Example: At the beginning of BUTCH CASSIDY AND THE SUNDANCE KID, the Kid--as many know--is famous for being a good and fast shooter. But for those who don't know, how are we told?

The Kid shoots a gambler's holster from his waist, shoots it across the floor, then shoots the gun out of the holster. We have been told without verbal dialogue.

Mark G.--

Clint is very famous for taking a script and crossing out tons of dialogue so that one, short line stands out and says everything.

In one of his movies, he walks into his apartment building, checks the mail and an Asian neighbor walks out in her underwear and asks, "What does a girl have to do to have sex with you?" Silence until Clint says "Knock."

Dennis--

I saw I AM SAM once--in the theater. I'm embarrassed to say that I don't even remember Diane Wiest being in that movie.

But, yeah, I do love Diane. I love the vibrator scene in PARENTHOOD. But that one scene on the park bench with John Cusack in BULLETS OVER BROADWAY was out of this world!

Terri

Curt--

There was a big story in VARIETY a couple days ago re: ORIGIN and a big sale. I was waiting for someone to mention it. But no one did.

And, yes, I also saw the list you posted that mentioned Colin and him taking on a couple of Writers.

Why didn't I say anything? After last week, I didn't want other posters to think that I thought I was a "big know it all."

Terri

Mark--

You gave me a GOOD chuckle. Thank you.

Terri

Curt--

You're just "full of it" today, aren't ya?

I love it when people make me laugh. And I'm not sorry for saying it, either.

Terri

Ramon--

Are you talking about doing the screenplay adaptation of your own book? Such a task truly is an artform. A very good "how to" book you might want to consider is THE ART OF ADAPTATION: TURNING FACT AND FICTION INTO FILM by Linda Seger.

I'd also study films (i.e., MARATHON MAN, BRIDGET JONES' DIARY) by Writers who adapted from their own books.

Terri

Ditto! But they didn't mention any specific scripts of mine when e-mailing me, and it's been several years since I've had anything on WSN.

I get tons of scriptwriting e-mail news all the time. Sources I've never once contacted. So how did they get my e-mail address and know that I was a Screenwriter? I think anytime you go anywhere, you end up on a list.

Years ago, I was getting tons of phone calls from solicitors. When I asked them how they got my number since it was unlisted, they'd hang up. But one didn't. She answered me.

She told me that the company had gotten my name and number from a list they bought from my cable subscriber. I said, "WHAT? My cable subscriber is selling you my confidential information?" Personally, I think that should be illegal. (I no longer subscribe to that cable company!)

I think I've told the following story before. But once, there was this woman who used to be a Producer but now has a company with another woman. Basically, providing services to extract money from Writers who have no money.

This "woman" called me 2-3 years ago, and tried selling me her services re: one of my scripts. I asked how she got my name and number. She said from a Producer I had sent the script to. I asked her WHO. She said she couldn't divulge that info. And I said, "You can call my unlisted number to solicit, but you can't give me the name of the Producer who gave you MY name and number?"

I saw her at a meeting once and didn't recall her name as being this woman I had spoken to. No one could figure out why she treated me like dog poop. (Worse than that, actually.) Several days later, I came across her name on an old phone log in my computer. IT WAS HER!

Tim--

THAT WAS CUTE!

Marcel--

Most U.S. production companies that produce MOWs are signatores with the Guild (I believe even Alliance in Canada is). The WGA minimum for any budget over $2 million is over $70,000 since the new contract. Before that, it was $60+K. Even before the new contract, the WGA minimum for a budget under $2 million was something like $33K.

But this prodco is in New Zealand. A whole different territory.

Terri

BTW--Unless it's a company that always produces direct-to-video/PPV films (like PM Entertainment), it's usually the distribution company's decision as to whether or not to distribute it theatrically or direct-to-video.

Ask our resident BB produced Screenwriter--COLIN!

Tim--

I can't tell you who it is, but there's another BB member who sent Colin a screenplay he requested. Colin read it within two hours and called the guy. Is that an energetic, ambitious person or what? Doesn't look like there's any procrastination here!

Terri

Dennis--

Not sure, but I think I've seen them before on the WRITERS WANTED section of this site.

Terri

That's a great line, Dennis. She really was funny in that film--thanks to good writing, of course!

Anyone remember the scene where Stockard Channing flushes the toilet in TWILIGHT? What a way to say it without saying it!!!!

I know! Shocking, huh, Ron? LOL!

I just found an e-mail dated 6/19/03 from these people, telling me that they came across my name/posts on MovieBytes.

No lack of confidence in your Self-esteem Department, I'd say.

Good for you, Ron.

But, sometimes, a Writer has to keep their mouths shut, you know? Sometimes, I just don't know WHEN to do that! LOL!

Colin O. asked me to send two scripts. But then I said, "Are you sure about THAT one? It's based on a very sensitive subject."

Then Colin O. told me that I was right, that script would be a hard sell and to just send the Sci-Fi one.

ME AND MY BIG MOUTH, EH? LOL! That's me, just don't know WHEN to quit!!!!

John--

I'm going to a meeting today where I'll see a lot of people. Think I'll test your "I'm not unwell" line. I'll let you know what happenes.

Terri