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This found online: http://www.nightly.net/movies/inglorious-bastards-script-review/

Tarantino's Inglorious Bastards: Script Review

Posted July 14, 2008 (2 days ago) by Seth in Movies

Ten years in the making, and less than ten hours to go from a studio exec's hands to the internet for all to read. It's amazing how hard it is to get IN to Hollywood as an outsider— but even more amazing is how easy it is for things to escape it into the public.

Obviously, since the film has yet to shoot a single frame, I'd recommend you read no further than this paragraph if you want to remain unspoiled. The safe version of this review: it's a great film. It's pretty different from what Quentin has given us before, so if it is pulled off on the screen, it is very likely this movie will be seen as a grand evolution in his career.

CLICK HERE for the slightly longer spoiler riddled version&

Tarrantino has mentioned in the past that each film he makes goes into one of two universes. This concept may seem strange to you if you're not a fan of comic books or Star Trek, but the basic idea is that a work, or a group of works exist in a little world together. Similar to spin-offs or sequels, the events in a shared universe film are sometimes echoed or referenced in other works in said universe.

According to Quentin, one of his universes is made up of the crime-driven, ultra gritty world of Reservoir Dogs, Pulp Fiction and the script versions of Natural Born Killers and True Romance. Track the names ''Skagnetti,'' ''Alabama,'' or ''Vega'' and you'll start to get what I mean. His other universe is also a crime-driven, ultra gritty world, but allows for the fantastical. Here is where Death Proof, From Dusk 'Till Dawn and Kill Bill reside. Don't believe me? Michael Parks plays the same character in each of them.

When reading Inglorious Bastards I was immediately struck at how different it was from anything else Tarrantino has done, and that it didn't fit into either universe. Obviously— it's a period piece and lacking in the usual crime figures Quentin revels in. What's also lacking are leads who are too badass and invincible for their own good, endless amount of overt references to films that inspired the work, disjointed chronology and enough pop culture references to bury VH1.

This is where Quentin has evolved. ''Bastards'' is the first time his influences are not directly referenced in the work itself. Example— Death Proof. While I liked the movie, I never felt it quite made the Grindhouse experience. Planet Terror, was a Grindhouse film. Death Proof was a Tarrantino film that payed homage to Grindhouse.

Since Bastards is set in the 1940s, there is really no way to reference war films that didn't see their biggest boom until the 50s and 60s. While films and film history are integral to the plot, the only movies these characters talk about are the ones they are dealing with directly. In fact, the only real pop cultural references Tarrantino displays is to film certain sections of the movie in different styles that emulate other moments in film history. One section is meant to resemble the French New Wave style, another a Spaghetti Western. What's interesting, is that neither of these styles existed during the era the film takes place in, but were contemporaries of the golden age of war films during the 60s.

I don't think Tarrantino will ever really lose his perspective or use of pup culture in his films, but if he continues down this road of post-modernism and making these references more veiled and oblique he's going to dispel the negativity heaped on him by his detractors.

So enough film school babble. What's the movie about? Surprisingly, not what you think. While the titular Bastards, (or ''Basterds'' as the barely high school educated Tarrantino types them), are a force to be reckoned with, they are not the sole focus of the film. The supposition of this being film a Dirty Dozenesque picture where a group of ruffian American soldiers run wild in eastern Europe, is pretty far from the mark.

The Bastards are not ex-cons, but in fact a group of very pissed off Jewish Americans put together to flip the persecution game on the Nazis. The Bastards are lead by a self admitted hick named Aldo, who, if the innarweb rumors are true, is a part being shopped to Brad Pitt. Two of the Bastards are German born, the rest are relatively faceless save for Donowitz, (''Donny'' to his friends, ''The Jew Bear'' to the Nazis) a mad-as-hell Jew that carries a baseball bat to beat Nazis that every little old Jewish woman from his hood back in Boston has signed their name to.

The film is also the story of Shosanna, a young Jewish girl whose parents are killed by the film's primary antagonist, SS Colonel Landa. Shosanna goes into hiding in Paris where she works, and a couple years later, inherits a movie house. She is annoyingly courted by Fredrick, a Nazi officer that also happens to be the star of Goebbels' latest propaganda film.

Much like Kill Bill, the story is broken up into chapters: 1. Once Upon A Time& Nazi Occupied France, 2. Inglorious Basterds, 3. German Night In Paris, 4. Operation Kino, 5. Revenge of the Giant Face.

Chapter 1 begins with Col. Landa reveling in his role as the SS ''Jew Hunter'' as he hunts down Shosanna's family hiding out on a dairy farm. The bulk of this section involves a lengthy Tarrantino style bantering game of words between Landa and the farmer who hides the Jewish family under his kitchen floor.

Chapter 2 introduces us to the Bastards, by way of Hitler himself hearing tales of the savage soldiers from a lone Nazi soldier that was allowed to return to Germany— with a swastika carved into his forehead. The Bastards obviously know how to spread their own brand of propaganda.

Chapter 3 finds Shosanna now in the guise of Miss Mimieux, who runs a small Parisian theater. She is hit on by Fredrick, who is borderline obsessed with her after he realized they are both cine-o-philes. He hounds her, and eventually takes her to dinner with Goebbels and Landa (who seemingly does not recognize her). Frederick is so enamored with her, that he contrives the arrival of the film's MacGuffin (nearly an hour in). Fredrick convinces Goebbels to hold the premiere of their latest film at her theater.

Chapter 4 finds the Bastards being tapped for a mission. Via a Mata Hari-esque spy in the German cinema elite, British Intelligence has learned of the film's debut. ''Operation Kino'' teams the German actress spy with a British agent (who has a film history education) to infiltrate the premiere as Hitler, Goebbels, Goering and Boorman will all be in attendance. Killing the four of them will end the war. The Bastards are meant to be support, but when a simple rendezvous in a German beer haus goes wrong and the British agent is killed, it looks like it will be all up to them.

Meanwhile, Shosanna has planned her own operation. She plans to lock the Nazi elite into the theater and capitalize on film's naturally flammable nature to burn them all to ashes.

Chapter 5 brings the two stories together as Fredrick's film debuts. In a way, Aldo and his Bastards, Landa and Shosanna each succeed in their individual plans, but none of them in the way we expect. To really feel the impact of the end, one needs to follow the story, so I won't spell out the fate of the leads here. Read and/or watch that one for yourself. I will say though, that evil is punished, and in its final moments, Inglorious Bastards does what most war films do no. It does what propaganda aims to do& it changes history. The outcome of WWII in this film is not what transpires in real life. It's a bold thing to do, but this is a story about perspective and point of view— vis a vis films, propaganda and revenge. At the end of the day, it's an ending that is perfectly justified.

Returning to the two Tarrantino universes, it's quite possible that the version of history established here is the genesis of the more fantasical world inhabited by Beatrix the Bride, who takes her katana on international flights. Or where a foot-licking Kurt Russell runs down hot young women on the backroads of America.

Either way, I hope this story/film is not a fluke and really is a bold new direction for Tarrantino. My biggest disappointment is that I'm going to have to wait a year or two to actually see it.

This could be a money laundering scheme! :0)

You said: "And what also doesnt make sense is that being blonde isn't even RARE any more. Any body and everybody is blonde these days so what in the heck is this fixtation about NATURAL BLONDES?"

Answer: They taste like chicken.

Sorry... An old cannibal joke.

Couldn't resist.

This from their support area, advanced search function. Hope it helps.

"I have an old or unwanted film project and cannot delete it.

Once you have submitted to a festival online, you cannot delete the associated project. Withoutabox keeps archives for each festival - just as festivals would keep their own files, which you also could not delete had you submitted on paper.

We have set up your Account Home page so that newer projects appear toward the top, and we may introduce a Hide feature in the future to keep your page tidier. In the meantime, one thing that's nice about WAB is that you maintain your own record and archive of what has transpired in your account over the years, until you may decide to close it. "

"What are the guidelines for uploading and deleting script files?

Q: HOW MANY SCRIPT FILES CAN I UPLOAD? A: You can upload a maximum of 2 scripts for each file type (.doc, .pdf, .txt, etc) Some competitions may request a script without a Title Page to ensure fair judging. You may delete and replace a script file at any time with a more current version.

Q: MAY I DELETE SCRIPTS THAT I HAVE ALREADY SUBMITTED? A: Yes. You may completely delete any script that has not yet been acknowledged as IN CONSIDERATION by a competition. You may also delete a script that is already acknowledged as IN CONSIDERATION, but any competition that already has it will continue to have it. Once you delete a script, it will not be submitted to any future competitions you enter.

Q: WILL COMPETITIONS ALWAYS HAVE ACCESS TO MY CURRENT VERSIONS? A: Yes. Competitions you enter ALWAYS have access to your current versions, as long as the file type of your newer version matches one of the file types they accept. This does not guarantee they will be looked at, though.

Q: HOW CAN I FIND OUT WHICH VERSION OF MY SCRIPT A COMPETITION HAS? A: On your Submission Status page, you will see the filenames of scripts that were acknowledged as IN CONSIDERATION by competitions you entered."

Whenever I get conflicting advice, I follow it!

You should see her Knuckleball!

I refer you back to the organization's name.

Good stuff in this blog edition of Mystery Man On Film, especially, Dark Knight's Screenwriting Lesson. http://mysterymanonfilm.blogspot.com/ A very useful information source for screenwriters.

From their FAQ

More info at:

http://www.disneyfeaturewritingfellowshipprogram.com/faq.html Q: Who owns the rights to the materials that I submit for entrance to the Fellowship Program and/or materials that I previously created? A: You will retain ownership for such material. However, if you are selected as a Fellow, any material written by you prior to the term of the Fellowship Program and currently controlled and/or owned by you must be disclosed in writing and Disney and ABC will have an "Exclusive First Look" at such material whereby Disney and ABC shall have the option to purchase such material from you in accordance with the policies and terms outlined in the Fellowship Program contract. Q: If I am selected as a Fellow, who owns the rights to the material that I create during the Fellowship Program? A: Pursuant to the Fellowship Program contract that you must sign before entering the Fellowship Program, all material written by you during the term of the Fellowship Program will be owned by Walt Disney Studios and/or ABC.

Q: What is the difference between the Writing Fellowship Program Letter Agreement and the Fellowship Program contract? A: We are not able to examine your writing sample unless you first sign and return a notarized Writing Fellowship Program Letter Agreement. If you are selected as a potential Fellow, we will extend you a conditional offer to join us as a Fellow. As a condition of your acceptance of our offer to become a Fellow, you must also sign the Fellowship Program contract. The Fellowship Program contract addresses a number of issues, including the at-will nature of your potential employment relationship with The Walt Disney Studios and/or ABC.

Poetist Soul said:

I'm wondering if someone were to win a fellowsip with Disney, what will be the schedule? I work full-time, and I'm wondering whether I should even bother.

See this from the FAQ:

Q:Is the Fellowship a full-time program? What is the duration of the program?

A: Yes, the Fellowship is a full-time position with an expected one year duration; however, employment is on an ''at will'' basis. If selected, you will be required to sign a Fellowship Program contract regarding these and other matters in order to be a Fellow. Due to the intensive nature of the Fellowship Program, you may not hold other employment or be enrolled in school during the Fellowship period if it will interfere with any aspect of or time commitment to the Program. Hours for Program activities can be irregular and changeable. Q: Will I need to relocate to Los Angeles to participate in the Fellowship?

A:Yes. Fellows chosen from outside the Los Angeles area will be provided with a taxable stipend of up to $5,000 to help with their relocation costs.

By the way, the Disney agreements and contracts might be considered the "Trojan Mouse" approach to gaining control of your work.

And, if you have ever seen a Mouse in a Trojan, you will know what I mean.

Connie Tonsgard Story

Photos and story here, with links to some writing:

http://www.juneauempire.com/stories/080108/nei_312440065.shtml Friday, August 01, 2008 Story last updated at 8/1/2008 - 11:56 am

Making it back Local writer, artist shares her experience with having a brain hemmorhage, recovery

By Kim Andree | JUNEAU EMPIRE At first glance, Juneau writer and artist Connie Tonsgard seems like any normal, charming, bubbly 58-year-old. Unfortunately, this congenial eBay seller once suffered a life-threatening brain hemmorhage from falling down her stairs.

"That was just the worst thing I had ever known in my life," Tonsgard said of her accident. "I hope that doesn't ever happen to anybody."

It was just before Christmas in 2006. After returning from shopping for her children, Tonsgard decided to go downstairs to watch a movie, "Fluke." Not wanting to wake her husband, who had to work the next day, Tonsgard kept the stairway lights off.

"I was just by myself, so I just thought: 'Well, I'll go down and get the three dogs, and they'll watch this thing with me,'" Tonsgard said.

That's when she fell.

"(My husband) didn't know," Tonsgard continued. "But I never woke up, I never woke up, I never woke up. So finally, I had to go up there (Harborview Medical Center in Seattle), and they told him, 'Sorry, we're not going to be able to help her. She's going to die pretty soon.'"

According to her husband Bill, Connie's blood clot was as big as a tennis ball.

"It was under the first layer," Bill said. "There's three thin layers that covers your brain. The blood clot was between the outer and the second layer, which was good, because it wasn't directly on her brain."

Luckily, Connie's doctors made a sudden decision to do surgery.

"I didn't know what to do, because they just said there was nothing they could do. I felt pretty helpless," Bill said. "But then (the doctors) came out and said they were going to do surgery, and two days later, she was standing up. I don't know why they changed their mind."

Connie described the dreadful experience.

"I didn't even know that I was anybody," Connie said. "It's all been really bad, because I just wanted to kill myself, just be dead. ... I had wished I was a bird and went everywhere else instead of where I was."

Bill, who spent a little over two months in the hospital by her side, said Connie started saying a few words after about a month. But the worst part about the experience was her fear and anxiety, he said.

"She knew what she wanted and what she had to do, but she couldn't express it," Bill said. "Everything I've read about people who've had these they say the same thing. They're sitting looking at a person and nothing comes. It's like, in your mind your talking but it's just coming out mumbo jumbo. So it really creates some anxiety for them."

According to Bill, who stayed with Connie 24/7 for about eight months, Connie could do routine daily tasks, such as eating and taking a shower.

"But she had anxiety really bad," Bill said. "She cried probably 70 percent of the time. And a read to her a lot of the time."

"My husband was with me forever," Connie said. "He was with me like a doctor. He was so wonderful for me. I don't think so many men would have helped their woman like he did for me."

In addition to fixing a fracture in her right wrist, which created nerve damage in two of her fingers, doctors had to remove part of the left half of her skull.

"This thing (pointing to her skull), they had to take the thing off," Connie said of missing her skull. "They went inside and I thought, 'Oh my god! They're going to give it to somebody else!' It was really terrible. I didn't look at myself because I knew I was so ugly. ... I had no hair. I thought if they would just give me back my thing, I would be able to think. Well, that wasn't true."

According to Bill, Connie had an infection for a while after doctors removed her skull, so they had to wait to put the bone back.

"A lot of it was creating a lot of anxiety, because there was nothing there," Bill said. "She had to wear a helmet, and it was just really unnerving to have no skull there."

Luckily, after about 7-8 months - and after testing to make sure her skull would grow back - Connie's doctors gave her skull back to her.

After returning home from her second trip to Harborview Medical Center, Connie recovered more quickly then, Bill said.

"It helped when she got back here, being around her stuff," Bill said. "When we got home, she started getting better more and more faster than down there in the hospital. ... She would start doing things and she'd start remembering this and that, just from seeing stuff she was familiar with."

But even at home, recovery was difficult.

"She'd go into her office and get frustrated and start crying," Bill added. "She knew there was something in there she used to do, but she didn't know what."

Before the accident, Connie was an avid writer, photographer and artist. About four years ago, she started writing her first two screenplays, and in 2007, she sent them out to various contests for review.

Connie won first place in The Writers Place February 2007-January 2008 Poetry Review, for her poem "Tapestry," and was The Writers Place finalist in June for her screenplay "The Nutcraker." She also won the 20/20 Screenwriting Contest in spring 2007 and was second place in the Woods Hole Film Festival's thriller/sci-fi category for her screenplay "The Raven's Treasure."

She also made semi-finalist for her three screenplays, "The Nutcraker," "The Raven's Treasure" and "A Death in Concord," in the 2008 Blazing Quill Screenwriting Competition.

The Jack Scagnetti Talent and Literary Agency, based in North Hollywood, Calif., also wrote Connie about marketing "The Raven's Treasure" as a TV movie, the couple said. But since receiving Scagnetti's original letter and responding to him, Connie has not heard back.

Also, in 1999, Connie helped her husband publish a children's book, "Willie & Sam," about Bill's childhood growing up in Southeast Alaska. She did the vibrant watercolor illustrations and he authored.

"See, I didn't even know I was a writer," Connie said about her passion. "I didn't know anything. I could not read. I still can't. I see my name, 'Connie.' That's about it. And then ... 'Thanks.'"

According to Bill, Connie didn't know she had written anything until about 10 months after the accident.

"She had no clue that she wrote her scripts," Bill said. "And then, when I read them several times, it was like three or four weeks later when she starting reading and writing. It kind of just started all of a sudden.

She had me reading her scripts to her. And I read them several times. And she started connecting with remembering what she'd written. For a long time, she couldn't believe she wrote them."

Connie still doesn't read fluently by herself, but with help from her computer program, which reads text to her, she can make corrections and small additions to current works.

"I can listen to the ones that I've already written," Connie said. "If I think it's just a little bit ehhh, then I'll change it a little bit, but only just two words."

Connie spends at least 12 hours a day on her computer, Bill said. Her relentless activities on eBay, as the login "practicemakspurrfectnew," keeps her busy.

"She also does all of our banking and everything," he said. "She's really maticulous. She always was. She's probably worse now."

Aside from eBay, Connie has a children's book in progress, which she started before the accident.

"She's talked about writing something new," Bill said. "She's told me stories pretty well. She just can't put them in words. It's like a checking account. She can go through and balance a checking account, pay bills, so she can do those kinds of things. It's just connecting the words with paper is difficult for."

Although she sometimes still gets frustrated, Connie's wrist and fingers seem to be healing, she said. After dreaming her hand was "turning a pretty color," Connie said her hand felt better the next day.

"It must have been the Lord as I was asleep," she said. "Maybe the Lord was somewhere."

Through it all, Connie and her husband have relied on family and friends for support, as well as their faith. And even they couldn't have predicted the conincidental significance of the scripture in their book: "Now faith is the substance of things hoped for, the evidence of things yet unseen" (Hebrews 11:1).

When asked what she would say to anyone who has gone through what she did, Connie showed her sincerest sympathy.

"I don't know. I would just say (while hugging her husband), 'It happened to me. You want me to pray for you?'" Connie said. "I would just tell them, 'Don't worry. It'll come back.' It did for me. It took a long time to come back to me - two years, almost three years. But you know, it'll come back."

" Contact Neighbors editor Kim Andree at neighbors@juneauempire.com or 523-2272.

I set up a simple little page at MySpace.

If you are a MySpace member, I NEED SOME FRIENDS!!!!!!!!!

Please be gentle. This is my first time.

You can find me here if you merely want to visit, or "friend" me.

Please drop by for a peek...

http://www.myspace.com/the_swimmer_manuscript

All the best,

Joseph Kenny __________________ Writing screenplays you want to see! What are you looking at?

I bet it happens almost Daly.

That's the palooza part.

Okay. The train to friendsville is boarding. Hop on with Marty and other pals, for the scenic ride!

Women's channel WEtv to make original movies

By James HibberdTue Aug 5, 3:32 AM ET

Look out, Lifetime, rival women's cable channel WEtv is getting into the TV movie game.

The Rainbow Media-owned network plans to start making original movies, with an eye toward releasing the first title late next year.

"We should be out there in the game making films for television," said Steve Cheskin, senior vp programming at WE.

A few years ago, the network's primetime programming lineup was mainly second-run theatrical films. It has since started filling out the schedule with such original reality programming as "Bridezillas" and "Secret Lives of Women."

With the network up 44% in total viewers this year and a couple of nights of theatricals still performing well on the schedule, the executive team is ready to enter what it sees as the next logical stage in WE tv's evolution: producing the channel's own long-form titles.

Lifetime tends to dominate this space, however, and its spin-off Lifetime Movie Network has grown by leaps and bounds.

"Lifetime does what they do, and we do what we do," Cheskin said. "We're going to do movies that fit our brand."

Part of that branding is finding movies that can be cross-promoted with the network's reality fare. A well-promoted original movie that involves a wedding, for example, could help bring new viewers to "Platinum Weddings" or "Wedding Central."

A budget for the endeavor was not disclosed, though Cheskin suggested that the funding was additive rather than pulled from the existing budget.

"We've been the fastest-growing network for women, percentage-wise," he said, "and our budget has been growing accordingly based on our success."

Reuters/Hollywood Reporter

http://news.yahoo.com/s/nm/20080805/tv_nm/women_dc&printer=1;_ylt=ArKUbknkUz0sLfZqGDmeGNvAGL8C

Thank you, Julia.

Friendship is expressed in many ways, as in a kind response.

All the best.

Joseph

Time to take your meds, Stevie.

Mary,

Very few people in the industry accept unsolicited material. If you don't have an agent, manager or lawyer who is known to them, or contacts with other major talent or production companies, your only recourse is to attempt a query letter -- sent to one of their film executives or development staff.

Send me your email address and I'll give you a list that you can select from if you want to send them a letter of intro and query. It's unlikely they will respond, but you can give it your best.

Do a little research on projects they are developing and try to fashion your letter according to their interests. Keep it brief. Look at query samples online, unless you already are an expert at these important communications.

You only get one shot, usually. So, make it count. Do your homework first, and if you hit them with the perfect pitch you might advance to another phase of communication.

email me at josephkenny at earthlink.net

Hi,

I responded before I saw Jean's message. Her list will get it where you want to go.

The key, of course, is to focus your communication and make it enticing.

All the best.

Hi Dorothy,

I responded to your email at MySpace, as well. Yes, please stay in touch, especially since we are neighbors. Feel free to contact me any time, if I can be of assistance.

You might consider building your MySpace profile with information about your writing and projects. It's a good source of exchange. Many of the filmmakers at withoutabox.com have profiles at MySpace, for example, and it makes for a relatively easy source of self-promotion. And, a place to send people to learn more about new developments regarding your work. You can feature your screenplays, or blog, or just exchange information with other friends and people you direct to the site. Since it's free, and there are lots of available tools to create pages, it seems an easy alternative to establishing a webpage and hosting it elsewhere. Of, course it all depends on your goals, but I am finding my profile page useful.

All the best,

Joseph

http://www.myspace.com/the_swimmer_manuscript

I'm guessing it's a way of helping new and developing writers, who haven't yet done so, to pop their Queries.

Brad Pitt enlists for Tarantino's "Bastards" By Steven Zeitchik and Borys Kit

Brad Pitt officially has gone inglorious.

The actor has joined the cast of Quentin Tarantino's "Inglorious Bastards," signing on to play Lt. Aldo Raine, the head of the Jewish resistance in the writer/director's World War II film.

Additionally, British actor Simon Pegg ("Hot Fuzz") is in discussions to join the cast. David Krumholtz (CBS' "Numbers") has an offer but may have a scheduling problem. Nastassja Kinski is meeting with Tarantino for the part of a German actress.

Pitt's character is a Southern rebel who leads a band of eight Jewish American soldiers as they exact vengeance on Nazis in German-occupied France.

Pegg would play a British lieutenant. Krumholtz's part would be that of a member of Pitt's team.

Producer Lawrence Bender said the alchemy of Pitt and Tarantino, who have never worked together as actor and director, will yield unique results. "They're going to push each other and really help make something special," he said.

Pitt's character is a voluble, freewheeling outlaw in the manner of Samuel L. Jackson's Jules Winnfield in "Pulp Fiction," prone to saying things like "we're gonna be doing one thing, and one thing only, and that's killing Nazis," according to those familiar with the script.

The signing of Pitt, who first saw the script in early July, means that the production has locked down a key role as it moves forward on an accelerated schedule.

The Weinstein Co./Universal co-production starts shooting October 13 in Germany, with hopes of having it finished in time for a debut at the Cannes Film Festival in May. "It's going to be a nine-month sprint marathon," Bender said.

Pitt has a relatively clear schedule for the fall, though he is set to start shooting the boxing drama "The Fighter" for Paramount late this year or early next year.

Bender, in Berlin scouting locations, said casting is under way for a German actor to play Hans Landa, the Nazi leader targeted by the resistance. B.J. Novak ("The Office") and "Hostel" director Eli Roth are in talks to play soldiers in Pitt's rogue army, with the pair playing PFC Utivich and PFC Danowitz, respectively.

Reuters/Hollywood Reporter

http://news.yahoo.com/s/nm/20080808/people_nm/bastards_dc&printer=1;_ylt=AqtU2US68QbpTiBAG4xVdSxRF78C

I posted my screenplay, The Swimmer Manuscript, at WinningScripts.com approximately one month ago. To date I have received more than 480 viewings of the listings, along with numerous reads of the synopsis and excerpt downloads. (I'm sure this summary pales in comparison to many of the long-standing screenplays here.)

The subsequent listing (ScriptLinks: Top 5 Supernatural Scripts) in the recent MovieBytes Update e-newsletter has already generated direct contacts from producers who are reading the screenplay now.

There are many successful screenplays listed at MovieBytes and WinningScripts.com. What has your experience been?

I have found the listings here to be an excellent resource, so far, and remain encouraged about the future visibility these listings might bring.

Wishing you all the best in your screenwriting adventures.

The Swimmer Manuscript is calling you... THE SWIMMER MANUSCRIPT An Original Screenplay by Joseph Kenny

26 Official Selections and Award Nominations at Domestic and International Film Festivals and Screenwriting Competitions

Visit Swimmer at MySpace and blog: http://www.myspace.com/the_swimmer_manuscript

Visit Swimmer at The Caverns, of the Terror Film Festival: http://www.terrorfilmfestival2.com/submittedscreenplays.html

Burt Lancaster, what an icon! I remember that film well.

The Swimmer Manuscript is quite different. It's an epic fantasy, more along the lines of The Lord of The Rings, Narnia, Pan's Labyrinth, or The Wizard of Oz (without the music -- which maybe I'll add some day :).

The Swimmer Manuscript was inspired by the mythology and folklore of The Great Smoky Mountains, the sacred myths of the Cherokee, and the diaries of a Cherokee shaman and medicine man (named Swimmer), which are housed in the Bureau of American Ethnology archives of the Smithsonian.

I went with Costello.

Yes, but is this really superior to a Kagistani copyright? With the money you save in Kagistan you can employ indentured typing minions who wear little clothing and offer unlimited story beats and adoration (in a parenthetical way, of course).

I'd get a new orthodontist. No retainer necessary.

Hahaha. They must be rather dyslexic. Do they know they have this backwards?

As a production company/producer, they are suppose to give YOU a retainer.

At least Guild Minimum, and usually much more, to secure the rights to your property, in order to set up a production.

Good Hollywood insider blog, and Tropic Thunder Weekend box office predictions here:

http://www.deadlinehollywooddaily.com/

I liked his cough drops.

It is not a documentary. It is a dramatic work. And as such, defines its own world and its own parameters, within the context of the story being told.

I would do more skywriting:

S U R R E N D E R

S P I E L B E R G

Over the Hollywood Skies...

I'm sure Janet meant well. She was just dancing a little too hard.

(I'm not Barack Obama, but I approved this message.)

It seems as if the narcotics are finally kicking in. Soon, Ben will feel no pain.

TV Writers in Ageism Lawsuit About To Settle With First Hollywood Defendant

EXCLUSIVE: Slowly but surely, a group of over age-40 TV writers alleging age discrimination by Hollywood networks, studios, production companies and talent agencies have been winning their lawsuits. Their latest victory took place last Thursday when the California Court Of Appeals issued a ruling on discovery in their favor. Believe me, the last thing Hollywood companies want to do is expose their inner workings to the prying eyes of lawyers. As a result, one of the defendants has now decided to become the first to settle with the writers. I'm told it's ICM, and I understand that the other big Hollywood talent agencies are none too happy about the tenpercentery breaking ranks and "going rogue", in the words of one rival agency owner. (Won't that be a fun session at the next meeting of the Association of Talent Agents?) Insiders inform me that ICM's settlement amount is $4.5 million and will be covered by the agency's insurance. The deal is done, and all that's left to finish is the paperwork, I hear. Now that ICM has taken this seriously, look for the other agencies -- at least those with insurance -- to get in line to settle, too.

About two dozen class action lawsuits were originally filed 8 years ago in federal court in Los Angeles by 150+ older writers claiming pervasive age discrimination since the early 1980s. The allegations included violations of the federal Age Discrimination In Employment Act, the Labor Management Relations Act, and the California Fair Employment and Housing Act. Targeted were the then six television networks, including CBS, NBC, ABC and Fox; studios including Walt Disney Co, Fox Entertainment, Universal and Paramount; 12 production companies; and 11 talent agencies, including William Morris, CAA, ICM and Endeavor. Among those taking up the writers' cause has been the AARP which joined the class action specialist Sprenger + Lang law firm. Since 2000, the cases have wound their way through California state and federal lower courts and appeals courts with some setbacks but also much success for the writers. Ultimately, the outcome of these cases could affect thousands of unemployed or underemployed older writers and help change the way TV deals are done in Hollywood and elsewhere.

http://www.deadlinehollywooddaily.com/

I'm really stoked. I started a new diet this week. The Michael Phelps diet. 12,000 calories a day. I may not sell many screenplays, as a result. But, the ballast will probably improve my swimming.

I believe this is a sister competition to the "Don't Let The Door Hit You In The Ass On The Way Out" awards.

One of the interesting "comments" from the same blog:

Older (50+) feature film writers tell me of entering a room for a pitch meeting and actually seeing the 27-year-old development exec's face drop when he or she gets a look at them. People in an already tenuous job don't want to hire their fathers and mothers. While older writers may, indeed, not have the same cultural references as the prime movie-going demographic, what they do have is a level of craft that can work in tandem with the flavor-of-the-month. This is why a producer will buy a neat idea from a new kid, realize one or two drafts later that it doesn't make a movie, and then hire an older scribe to save both their asses. Only they've given the new kid $100,000 versus $1 million and all they have left for the old guy is WGA minimum, and he gets arbitrated out of a credit. Admittedly, TV table writing is different it IS about socializing as well as skill but a feature script has no age, only craft. The real problem is the 27-year-old Jasons who can't read scripts but can read those ''how to write a screenplay'' books and think life begins with the reveal on page 9. Remember the joke about the guy who sends a script to a friend at a studio and then calls him a week later to ask what he thinks of it. ''I don't know what I think,'' the friend says. ''I'm the only one here who's read it.''

Comment by Santayana August 18, 2008 @ 8:05 am

http://www.deadlinehollywooddaily.com/tv-writers-in-ageism-suit-about-to-settle-with-first-hollywood-defendant/#comments

Heck, yeah.

And, I'm still trying to get the knob dislodged.

More reporting from Nikki Finke, on the settlement reached today:

"...According to the consent decree filed today, the settlement talks over the 8-year-old age discrimination class action lawsuits began in November 2007 after both parties reviewed and evaluated demographic data including television writer employment by age, earnings, and studio and agency representation during the liability period. But here's what I really love about the consent decree: ICM must now provide training on at least a biannual basis to recognize and prevent age discrimination to all its personnel involved in screening potential TV writer clients. ICM even has to take attendance at each training session. ICM also has to pay $50,000 to sit on an independent task force to examine its representation practices, and to participate conditionally in a job relief program that will promote the top 25% of older TV writers based on script evaluations by a neutral panel qualified experts. Wow, the agents are now the older writers' bitches. What a great day for Hollywood.

Especially now that 10,000 TV writers say they've "penned a happy ending" to the first of 23 class action age discrimination lawsuits by obtaining both dollars and programmatic relief designed to enhance work opportunities. Still unresolved are the other class actions in Los Angeles Superior Court against the major TV networks and production studios, including ABC, CBS, Disney, Fox, NBC Universal, Columbia, Warner Brothers and talent agencies Creative Artists, Endeavor, Paradigm and William Morris...

...The settled case, Edwards, et al v. International Creative Management, Inc. alleged that the more than 150 named plaintiffs and others like them - television writers who were aged 40 and older after October 22, 1996 - were victims of systematic age discrimination by talent agents, who aided and abetted networks and studios by refusing to represent and refer older writers for work at the production studios."

http://www.deadlinehollywooddaily.com/

Interesting takes on the overused movie moments that I put in all my scripts:

http://www.moviecliches.com/

You may have seen this already, but if not, there are some funny references and pitfalls to be wary of.

BTW, this first settlement was accepted at $4.5 million, as predicted, plus the above conditions.

Remains to be seen what the future settlements will entail.

Interesting. I suppose I'll have to get my script translated into English, now.

Mystery Man on Film is another very good resource. Be sure to cruise the archives.

http://mysterymanonfilm.blogspot.com/

Send me $170. I'll consider your screenplay for production.

In the event your screenplay is not accepted. Please send me another $170 and reenter next year.

Thank you. The Truly Shady Film Festival also accepts WISA and MassaCharge, gold bullion, coins, collectibles, and non-perishable canned goods. After the competition, we will offer you our Judges notes, depending on the severity of your crime.

Winners also must provide us with a notarized quitclaim deed to their property, gasoline allowance for one year, and occasional housecleaning services. If we are forced to bring in another housekeeper, we will reduce your spec agreement, accordingly. Writers working under our sub-spec contract will be required to assign us the rights to all future projects in perpetuity and clean up after the dog. Those who write in the nude must agree to our First Look clause.

At the Truly Shady Film Festival, we stand by our pledge, that no agreement will ever be presented in back and white, only in shades of gray. Submit with confidence. Submit today.

Two screenwriters jog to a Hollywood Pitchfest. McD jogs at 5 mph, and Barack jogs at 4 mph. Barack starts at noon, and McD starts at 12:30. At what time will McD overtake Barack? How far will they have jogged? How quickly will their screenplays be picked up and placed in turnaround? How much do their Lawyers get?

I ran it through my calculator a couple of times to be sure. But, it came up double doughnuts every time.

However, if Trailways ever buys a studio, you're in!

Yes, I understand the gravity of the situation.

What price immortality?

And, neutered cats benefit from a cut in prices!

It does exist, but only on a very cold day. And, at the better Gentlemen's Clubs.

The greatest thing you will ever learn is just to love and be loved in return.

One of the best approaches to understanding great dialogue is to read great screenplays. They are perhaps the best teachers.

Read some of Goldman's work -- titles listed here:

http://www.twyman-whitney.com/film/celluloid_profiles/goldman.html ...as well as other Academy Award Winners and great screenwriter whose screenplays are available on the web

http://www.simplyscripts.com/wga_top_101_scripts.html

Here are a few other articles and resources on the web regarding dialogue.

The links below may be of interest, though you may already be aware of them.

http://johnaugust.com/archives/2007/how-to-write-dialogue

http://www.bluecatscreenplay.com/news/heart_and_soul_of_screenwriting.php

http://www.writersstore.com/product.php?products_id=3139

http://www.thedialogueseries.com/press_release_22_06.php

http://www.thissavageart.com/2005/10/17/tip-of-the-day-active-vs-passive-dialogue/

Let me know if this helps...

Outline; The Shawshank Redemption

I know, this is coming from a rather weird place of origin online. However, it should point you in the right direction.

http://www.world-prosperity.org/outline.htm

http://www.world-prosperity.org/outline_2.htm

http://www.world-prosperity.org/outline_3.htm

"indirectly look your coverage provider in the eye.."

This look has a name. It's called the Marty Feldman.

Great work, Dorothy!!!

Congratulations on achieving your 20/20 vision.

If the reader isn't supposed to always know which is which, and you are blurring the line between dream and reality, why announce that it is a dream?

You can use a mini slug line like CONCERT HALL STAGE, and go into the action and dialogue. Continue in that style until you want to have a clear transition to another location and time in reality, where you can use a more formal and conventional slug line.

Just be sure that in your writing you don't utterly confuse the reader. Surprise is great. Confusion isn't.

These sorts of reality/dream/fantasy/ and time transitions were used a lot in a classic film called "Slaughterhouse-Five" released back in 1972.

Formatting was different then, of course, but you might want to check out that film sometime and give it a look.

From IMDB:

"Listen: Billie Pilgrim has come unstuck in time." The opening words of the famous novel are the quickest summary of this haunting, funny film. Director Hill faithfully renders for the screen Vonnegut's obsessive story of Pilgrim, who survives the 1945 firebombing of Dresden, then lives simultaneously in his past as a young American POW, in the future as a well-cared-for resident of a zoo on the planet Tralfamadore, and in the present as a middle-aged optometrist in Ilium, N.Y."

Read this great book, too!

It's all a style choice, but if you say MOMENTS EARLIER you may not even need to say FLASHBACK.

In essence, MOMENTS EARLIER tells us all we need to know.

Some thoughts:

Instead of using INSERT and describing the insert, you could use THE LETTER as a mini slug line. This gives the director the option to choose how the letter is revealed.

Or use an action line like ...

Patrick carefully reads THE LETTER.

Also, calling for a "series of shots" or a "montage", as referenced earlier for other purposes, would probably fall into the realm of directing. Not necessary for a spec, but might be utilized in a shooting script.

But again, these are all style choices.

Some additional thoughts:

One should include only action that is essential to furthering the story -- and any action that is essential deserves to be described, no matter how briefly.

A litany (or series) of shots may be economical, but generally speaking, it also is boring -- unless the dramatic actions selected are so intense as to rivet ones attention in their relationship to the advancing story.

If the series of shots list is being used for transitional purposes, it may be unnecessary. And there are other ways to make the transition, whether it is more fluid or abrupt.

In some ways, series of shots sequences become a cliché in their shorthand efforts to capsulize action.

Often you can achieve the same effect intended by the series by focusing on the key moment or moments of the proposed series, describing the dramatic actions of most importance, and allowing the reader/audience to bridge the gaps. You may not need to show them every step unless each step is of dramatic significance.

If the transition needs more shots to serve those purposes, the director will determine that in the shooting script, and in subsequent editing.

Tarantino is producing Inglorious Bastards currently, so you may get some reaction to calling your characters bastards. Of course, there is no relation to what he is doing, and he has no ownership of the term, but you might get some feedback on that point.

I'm guessing payday loans.

Survey says... India!

"DreamWorks Finds Indian Big Bucks To Form New Film Biz; But Battle Brewing Over Paramount Exit.

"So now we know with whom David Geffen has been negotiating all these many months. And the newest Hollywood mogul names to put on speed dial are Rajesh Sawhney and Anil Dhirubhai Ambani (one of the world's Top 10 richest men). I can confirm that DreamWorks has secured $500 million to $600 million from India's media and entertainment conglomerate Reliance ADA, specifically its Reliance Big Entertainment, and then will add $500 million to $600 million in debt for what will be a total $1.2 billion financing for its new independent film company. I'm told that DreamWorks 2.0 (yes, the principals get back the name) will make about 6 movies a year when it liberates Steven Spielberg from Viacom Inc's Paramount and all the acrimony of that relationship of the past few years. There's no need for DreamWorks to negotiate a distribution deal for a while, but I'm told that Fox, Universal and Disney would be in the running. Because of Spielberg's long history with Universal and the fact his office never moved off the lot, I've always assumed DreamWorks would return there. But DreamWorks has a lot of ties to Fox, including Geffen's close relationship with Rupert Murdoch and Spielberg's with Fox Filmed Entertainment chairman Tom Rothman."

(more at the link)

http://www.deadlinehollywooddaily.com/index.php?s=reliance&submit=Search

Ben ... burn after reading:

Paramount Drops Out of Plan to Raise $450 Million for Films http://www.nytimes.com/2008/07/15/business/15paramount.html?scp=18&sq=film%20finance&st=cse



How Hedge Funds Are Remaking Hollywood

http://dealbook.blogs.nytimes.com/2006/11/08/how-hedge-funds-are-remaking-hollywood/?scp=25&sq=film%20finance&st=cse



Sudenly, Hedge Trimming

http://articles.latimes.com/2008/feb/16/business/fi-hedge16



Abu Dhabi Do

http://www.nytimes.com/2008/09/03/business/worldbusiness/03fund.html?_r=1&th=&oref=slogin&emc=th&adxnnlx=1220457685-L9eN%20x/Fkf5aYLbooblxKg&pagewanted=print

"While Hollywood was awash in hedge fund and private equity money a few years ago both MGM and the Weinstein Company, the film company started by the brothers Bob and Harvey Weinstein, were recipients of private money that flow of Wall Street cash has since slowed, though it has not stopped.

Some hedge funds that invested in slates of films found themselves stung when movies flopped at the box office. Other funds have been hurt by the credit crisis."

Did you use a credit card to make the PayPal payment?

If so you can bypass PayPal and do a chargeback through your bank/credit card company. Your bank will always be more supportive than PayPal.

For those who use PayPal, I recommend always paying by credit card vs. direct bank transfer for this reason.

With credit card payment you have more protections, as the banks make the merchants establish accounts to cover potential claims.

If you paid by cash transfer at PayPal, stay after them. You should never be charged for services not rendered or goods not supplied, or done so in a way not in keeping with the purchase agreement.

Contact your bank for additional assistance.

I have used this chargeback system on several occasions and always got a full refund to my credit card account.

It may be time to spend a day at the DMV...

Watch the multiethnic crowd attempt to take a number and navigate the DMV labyrinth

Listen to their pleas and protestations in countless languages

Find a guy in line who is scalping numbers

Take cuts

Get attacked by a grandma who has waited too long for service

Attempt to get the attention of DMV workers who are distracted by their lotto pool sign ups, or the new baby pictures of their haggard coworkers

Attempt to get the attention of their supervisors who are stacking and restacking files on their desks, and spilling coffee on new registrations

Try to pass a vision test without your glasses

Pose for a picture on someone else's license

Sign up for the DMVD clinic

Help a blind man find the correct window to renew his license

Recoil when his seeing eye dog bites you on the ass

Protest that the guy next to you is copying off your test, until he pulls a knife on you

Then correct his answers for him

Embark on a road test in a heavy rainstorm, without wiper blades

Practice parallel parking in a too-small space, in a too-large vehicle

Discover that your driving test inspector is really a car-jacker

Ram into a police car in the parking lot at the end of your driving test

Buy a taco from the roach coach in the alley, and discover it has real roaches in it

Try to get a new registration without proper documents

Steal someone else's documents

The DMV: It's a world unto its own, a lot like the Ellis Island of yesteryear

People are made official there

People are made hopeful there

People are probably even born there and die there

At least, that's the way it is at my DMV.

There are eight million stories in the naked city. And they all start at the DMV.

Forwarding a note I sent to a Theatre designer friend, with info about Linkedin. Please note the podcast link at the end which offers valuable tips regarding how to leverage Linkedin and build connections. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Linkedin is a social and business networking site.... I have avoided it for years, since I felt all this stuff was a waste of time. However, at the invitation of a film producer friend with several feature and TV credits, I recently joined. After learning the ropes and the ins and outs of inviting friends and associates, I have discovered the place offers connections to around 25 million others worldwide. More importantly for me, and other creatives, I learned Linkedin is teeming with film and theatre professionals, writers, directors, producers, arts organizations, agents, managers, connections, and opportunities.

Already, I have connected to people at Disney, Lucasfilm, DreamWorks, venture capital groups, and others of significant reputation, who might never have taken a call or email from me in the past. I'm sure the same is true for any other profession. Once connected, you also have potential access to the connections of those others, if they choose to share them. I don't know what will come of this, as I am new to the effort -- but it is very encouraging as a way to connect and stay connected. This is a professional network, not a collection of spammers and gossip mongers. So, if making connections is vital to what you do, or want to do, then by all means, look into it. You can invite friends and associates, and connect to others through introductions, or by joining groups of those with common interests. Some of my connections have only a couple of contacts -- others have thousands, which then are potentially linked to me (through invitations). One very interesting thing to note, which I learned almost too late, is that people can click a link and say they "do not know" you, when you invite them, and decline your invitation. If that happens 5 times, you are locked out of the system. They want to encourage the connections of friends and associates and discourage spammers. I don't yet know how one gets pardoned and reconnected, if they are locked out. You can avoid the rejections by sending a customized note, rather than their form invitation, that says who you are, how you know the people you are seeking to connect to, or common interests or groups that link you. Or, if you have a job request, or professional information to seek or share. Most people will ignore or archive a request if they don't want to connect or don't know you. Some will ding you just to be jerks. The good guys support others and build their connections. Beyond NEW contacts, I also have reconnected to some people I haven't seen for 25-30 years, as well as past cohorts. I think this shows real promise -- a professional rolodex of associates who can share news and interests, current projects, and opportunities wanted or offered. Here's one of the sample requests I send to some of those I don't directly know, but who have joined the same "film groups" I have joined. I vary the content according to who I am contacting, or their closeness to me: Dear _____, I'm a screenwriter and playwright. My epic fantasy feature screenplay titled, The Swimmer Manuscript, written in the epic tradition of Lord of the Rings for live action/CGI (or animation), is the recipient of 28 award nominations at domestic and international film festivals and screenwriting competitions.

I'd like to add you to my professional network on LinkedIn.

All the best!

Joseph Kenny Listen to the podcast here, for more info (that applies to ANY profession): http://www.scriptforsale.com/ Interview: Setting up a Network on LinkedIn Hollywood is already online and many key players are at LinkedIn.com. Are you already there? Do you know the best strategies for building a high quality network?

Hal interviewed Bob Lenthart and Bob was kind enough to share:

A step-by-step process for a screenwriter to connect with Hollywood. How to start your LinkedIn page.

How to invite people you know into your network.

How to discover other movie people and invite them into your network.

How to use the "Question and Answer" section to lure people to contact you. How to give and get recommendations that increase your credibility.

Hi Bernice,

As I mentioned in the initial post, I already have established several industry contacts who were unknown to me before...

People from Disney, Lucasfilm, Dreamworks and elsewhere, including a couple of Academy Award Winners and producers of major and indie films.

Not everyone in the industry participates, but the list is growing rapidly.

Unfortunately, many people already participating at linkedin have no idea how to leverage it properly.

Have you listened to the audio links referenced above -- at http://www.scriptforsale.com/

Many of your questions are addressed there in detail.

The point is that you are NOT supposed to contact people you "don't know." Rather, you are supposed to deal with people you already know and "get to know" other people ...

By linking through already established friends and connections.

By seeking introductions and referrals to others through your friends and connections, or through open networkers, called LIONS -- (linked in open networkers).

By Joining groups and associations of those with common interests (filmmaking, screenwriting, etc.) -- and as you get to know them, inviting them to become connections.

By posing questions to groups, and by answering questions as an expert.

By making recommendations for the work of others, or by receiving recommendations.

These steps and more are discussed in the audio links at Hal Croasman's website. It's free to listen. And it's free to joined Linkedin, to network (mentioned again for those not already there).

Don't expect that any or all of your connections will accept "pitches". But, someone who becomes a connection MAY introduce you to someone who WILL accept pitches in the future.

Hollywood entities still have to protect their legal interests and submission policies -- but, doesn't it stand to reason that if you know (lets say) 10 people of significance in Hollywood (or any number), you are more likely to develop the relationships and nurture the relationships that will advance your career.

A contact might not be able to help you directly today, but you may be first on their list for help tomorrow.

If you expect that any network would be a hit list for submissions, you are unlikely to make progress. Almost no place of merit, in Hollywood, is open to unsolicited submissions. But when you begin to know people and they are familiar with you, perhaps your material will be recommended or solicited.

Referrals might help you find connections, jobs, opportunities, producing partners, financing for your film, or any other of the endless possibilities that are available through networking. Or, they may lead nowhere -- just as in real life :)

Linkedin is a way to NETWORK with a broad range of people and interests not available to you elsewhere.

Especially, if you don't live in Hollywood.

How it benefits you depends on how you invest your time, how you communicate, your expectations, what you have to offer others, and your dedication to advancing your career.

It is not an instant solution for script submissions and done deals.

Though, as with any Hollywood contacts you make elsewhere, it could lead to an evolving relationship that could help you climb the ladder.

Your connections add to your credibility. And, as your credibility and connections grow, so does your influence and opportunity.

It is not an easy push button answer for script submissions. But, it is a way to augment and enhance your OTHER relationship building efforts in Hollywood, or elsewhere in the film industry -- as there are people represented from all over the world, who make and support films.

If you make any progress in the film industry it will be largely due to the relationships you have, because as we all know, filmmaking is a collaborative effort.

Best of luck.

Many contests cut and paste the rules of others, and some offer only minor modifications.

Many of them don't even know why these rules have been devised. Though they will quote certain aspects of them to you as the "industry standard." I've had this discussion too many times with novice festival directors.

I guess there's a point where theft becomes standardization.

Mostly, it tells me that the people running the contest don't know what they are doing. Or, are too lazy to do anything but cash the entry fee check.

If companies are really interested in your screenplay, they will respond almost immediately.

If the time starts to drift, they generally have little or no interest, or may decide to run you through a development gauntlet, to justify their positions (or farm your other ideas for things they can reference in their upcoming films--lol).

I've had work sit for months with a producer, only to get a passive response, or polite rejection, if they even bothered to answer; while another "2-page story summary" in letter form, that was "faxed" to a mini-major production company, received a mid-six figure offer ten hours later, without discussion (which came still later in a face to face meeting.)

Interestingly, the "partners" in that (book-to-film) project, one being a big shot Beverly Hills Lawyer, took that quick offer as a sign they could get more money elsewhere -- due to the nature of this so called "hot property."

Well, they refused the offer, invalidated my deal, and took the "story" to the agent of a famous writer of law thrillers, who was unable to ever get another offer. They lost the first deal, and never got a second. Which also goes to show you how greed can backfire, and how bridges can be burned.

Along the same lines (at least on the issue of negotiations), I read a story yesterday about a completed indie film (not script) that received an offer at a recent film festival for $2 million for North American rights, and passed on the offer. After they shopped the market, they couldn't get another offer, and went BACK to the original company, who lowered their offer to $1 million. They ended up splitting the difference at $1.5 million (and the producers therefore lost $500,000 from the original offer.)

Moral of the story, I guess, is that if you are ever lucky enough to get a solid offer, be realistic in your expectations. Get what you can, but take what you must.

And, if you don't hear quickly, don't expect much action to follow.

But, that doesn't mean to give up. Just realize that you may have to find another target for your work.

Oh, that's Sandler's number.

Best offer I've had all day. Please do.

I'm saying if someone gets your script and likes it, and wants it, they'll call you NOW, instantly, in the middle of the night, or in the dawn's early light. They will make your breakfast, help you brush your teeth, fold your jammies and make your bed. Because, if they WANT your property, they will do almost anything to get it.

Of course, depending on your connection to them -- and if you are a cold call, rather than a referral or the new hottie on the potty -- it may take them some time to wade through the slush pile to find you. So, you can sleep in, if you want, today.

People in Hollywood don't like to read, though it's their lifeblood, so to speak. If you can get direct or close access to a decision maker, it usually speeds up the process. If you're sending in a something cold, you may never hear back. Not much happens without referral. The stronger your referral, the higher your priority. And the faster it goes.

So, get to know people. Somehow. Anyhow.

There's no set time frame, otherwise. Your waiting period will vary from person to person, and place to place, depending on how you got there.

These folks aren't really concerned about affirming your worth, or meeting your emotional needs for submission closure. But, when they find something that sets a spark under them, they will chase you to the end of the earth and carry you home (and bill you later for the transportation).

All depends on what you got, and how you got in the room.

It's Murph's turf, and we're all just visitin' ;)

Congrats!! Congrats!!

Fights Crime.

Wears Tights.

No Guano.

http://www.tvwriter.com/

So, how hard is it? (Took Sidney Lumet's daughter 13 years...) Imagine the odds if you don't have a connection. "I'm not dumb. You have to have a connection." Jenny Lumet, How Did You Get Your Screenplay Read?

Sunday, October 12, 2008; Washington Post M02

After 13 years of pecking away at screenplays, Manhattanite Jenny Lumet is finally seeing one of her scripts come to life on the big screen. "Rachel Getting Married," a drama that documents the havoc wreaked at a wedding by the bride's sister, a recovering addict (Anne Hathaway), has already earned critical acclaim after opening in New York and Los Angeles. (It arrives Friday in Washington.)

It's somewhat strange to think of Lumet, 41, as an industry newcomer, since she has spent her life in the presence of cinematic greatness: Her father is the revered director Sidney Lumet, of "12 Angry Men," "Dog Day Afternoon" and "Network" fame. He's also a guy who, as his daughter explains, has issues with dishwashers.

-- Jen Chaney

Is the father in "Rachel Getting Married" anything like your dad?

In terms of character-pilfering, the closest one is the character of the father. I stole the dishwashing lunacy and I stole my dad's penchant for giving everybody on the planet a meatloaf sandwich. He is this maniacal maker of sandwiches. I mean, you could show up at his door having never seen him before and he'd say, "Oh, you hungry?"

The dishwashing lunacy inspired an important scene in the film. Tell me about that.

My dad's this director, but it's not like you would come home from school and Elizabeth Taylor would be under the sink. It was pretty normal. But sometimes you would have famous people in the house.

So one night, Bob Fosse was over for dinner. My dad is loading the dishwasher and Bob Fosse looks at him and goes, "You know, Sidney, if you put the containers from Zabar's in the upper level, you can get 10 percent more stuff in the dishwasher." Then the two of them -- who you would presume might have something better to talk about -- went off for about an hour about whether the tines go up on the forks or the tines go down, and where do you put the butter dish, and this whole insane drama. And I didn't remember it because I was a prescient 11-year-old who thought, wow, I will use this someday. I remembered it because it was completely psychotic and disturbing behavior.

I understand your dad gave your screenplay to Jonathan Demme, who ultimately directed "Rachel Getting Married."

I essentially extorted my dad. I was like: You will never see your grandson again unless you get this script to Jonathan Demme. And eventually it paid off.

Were you hesitant to ask him to do that?

I live on [West] 95th Street. And there are probably 15 screenwriters on my block who are freaking geniuses, right? And they can't get the right person to read their screenplay because it's so freaking hard. So I'm not dumb. You have to have a connection and you have to use it.

http://www.washingtonpost.com/wp-dyn/content/article/2008/10/10/AR2008101000693.html

FADE IN:

EXT. GREAT SMOKY MOUNTAINS - HILLSIDE - DAY

A YOUNG MAN and his FATHER fight the elements and a powerful wind. They awkwardly make their way along a wooded mountainside as the storm builds around them. Leaves and debris swirl in confusion.

SWIMMER (V.O.) Darkness knows no boundaries of time or place. It is always waiting with a fresh face to take wind. To carry off the weak and infirm, and destroy those no longer strong enough to repel it.

It was the first morning after the darkening began. I was just a chunk of a boy in them days. My father, Connor, and me set off to search for the sacred plant people. Potent ginseng man root, to help us prepare a protection.

The wind was a fierce and wild thing. And the sky began to close upon us.

THE SKY Grows dangerously dark. Billowing clouds crowd the horizon choking off the sun. Thunder CRACKS sending tremors through the heavens.

SWIMMER (V.O.) (cont'd) It was darkening such that one could not see where black cloud ended and back sky began.

Black cloud, upon black cloud, upon black cloud, upon black sky, ever pressing on and roaring with a belching, thunderous laughter, like the moan of a dying creature.

It was the first time in seven ages of man that the quietude at the Pinnacle Of The Big Silence had been shattered.

Then, the sky ruptured, and fire streaked the blackness as the RAVEN MOCKERS fell upon us.

The judging process has little real value in my opinion. Seems to me there's enough judging from readers and competitions. I would suggest "discussion," if anything, to consider varying responses, viewpoints and approaches.

Patrick,

Sometimes it's effective to work BACKWARDS from your resolution or epiphany to identify the steps that could have brought you to where you want to be in the end.

Start at the end and trace your steps back one at a time. What came before this circumstance, and before that one, and before that one...

What obstacles did your character have to overcome, and why... in the chain of events ranging back to the beginning.

Well, what you say is true. But another thought to add here is that if you are not born with connections, you can work to develop them. One thing is certain. Without strong referrals it's almost impossible to get a script read in Hollywood today. It's gotten that bad. They won't even open the emails, letters or packages, except in very rare cases. And sometimes, even having modest credits is not enough. It's, unfortunately, a game of who can be the most trendy and the next "hot" ticket to megamillions, rather that what would make a good film, or who might have promising talent. Studios and producers don't want to develop you, nurture you, massage your career, or screenplay. They just want to punch the ticket and collect the cash. And they attempt to do that by focusing on proven entities and the buzz. It's all about the buzz. Whether there is any merit to the buzz, or not. And, that is the disappointing part. And, that's the business in a nutshell. Now, people like us still do write for the love of it, and still do aspire to opportunity and success, but it is a long and winding road that many continue to pursue no matter how difficult, and without reward. And as studios and distributors have consolidated to a small handful, the odds of penetrating their rosters become ever more distant. Yet, once in a while there is a brief opening in the window of opportunity, if one is vigilant and assertive. But you usually need a boost to make it over the edge and through the opening. So relationship building seems to be the key to opportunity.

You may want to note:

"The DreamWorks principals will have one of India's largest entertainment conglomerates set up its new $1.2 billion film company. Mumbai-based Reliance ADA Group will invest $500 million equity and provide another $700 million in debt through J.P. Morgan Chase toward the new venture, which will produce a slate of about 6 films a year."

The New York Times - October 21, 2008

In Hollywood, the Wall St. Plots Will Thicken

By BROOKS BARNES LOS ANGELES Just a few months ago, Lifetime Television started adapting the Candace Bushnell novel ''Trading Up'' into a movie, figuring an aspirational story about the entitled rich and their limousine culture nailed the cultural moment.

The setting would be New York, of course or, as it is described by Ms. Bushnell, a city where ''the streets seemed to sparkle with the gold dust filtered down from a billion trades in a boomtown economy.''

Time for a rewrite.

Suddenly, across Hollywood, the stock market is not such a sexy subject anymore at least not in a yearning sense. ''Overnight, it was like the script had been written two years ago,'' said Arturo Interian, Lifetime's vice president for original movies. Mr. Interian is still keen on the movie, with one major revision: fewer discussions about stock, more about playing it safe with bonds. And how about throwing in a pariah chief executive?

As they have watched their 401(k)'s shrivel in recent weeks, entertainment executives have started to grapple with how best to reflect the global economic crisis in movie and television story lines, or whether to bring the topic up at all.

The last time Wall Street stumbled badly when the high-tech bubble burst Hollywood delivered movies like ''Antitrust,'' featuring a Bill Gates-styled villain who literally kills for profits, and small-budget efforts like ''Boiler Room,'' about soul-destroying stock hustlers.

Not long after the 1987 crash, Wall Street villains were so plentiful that no one blinked an eye when the reason given for Patrick Swayze's murder in ''Ghost'' was that an office mate simply wanted his computer password.

This time around, some television outlets like Lifetime and the ''ripped from the headlines'' television series ''Law & Order'' are trying to remain as topical as possible by tweaking their programming and marketing on the fly.

Martha Stewart has already incorporated a new money-saving segment into her daily how-to program. Ms. Stewart said in an e-mail message that she had directed her company to develop content that would ''get viewers through these tough economic times.''

At 20th Century Fox, a blue-collar television comedy called ''Two-Dollar Beer'' is suddenly prominent, while the movie division just escalated production of a previously announced sequel to ''Wall Street,'' Oliver Stone's 1987 portrait of out-of-control corporate raiders. A new writer will reshape the sequel's story line to reflect the recent turmoil of the financial markets.

Other pockets of Hollywood are going in the opposite direction, looking for scripts that offer pure escapism. Film studios in particular are saying that they want more silly comedies and even musicals. Ideas set in fantasy worlds are ''all some studios want to hear about,'' said Paul Haggis, the Oscar-winning screenwriter whose next film is a James Bond picture, ''Quantum of Solace.''

The modern movie and television factory works much farther in advance than it did in decades past, limiting the ability for studios and networks to quickly reflect the economic chaos on screen.

Studio movies often take up to three years to move from conception to release because of the increasingly complicated financing required by soaring production and marketing costs. Films about the 2003 Iraq invasion, executives note, did not start arriving in force until 2007.

A typical television series is prepared about seven episodes in advance, which is not a big change from years past, but the allotment of those episodes has shifted drastically. Networks broadcast so many reruns between fresh episodes a cost-saving strategy that anything produced now has almost no chance of being shown until February or March.

''If we put in references to the economy now, it could be totally outdated by the time those episodes air,'' said Mark Pedowitz, president of ABC Studios, which produces the drama ''Dirty Sexy Money.''

Mr. Pedowitz said he envisioned no tweaks to the format of that show, which revolves around a fabulously wealthy New York family. (It may be a moot point anyway; the series is struggling in the ratings and faces cancellation soon if its audience continues to decline.)

CW, which runs ''Gossip Girl,'' about Upper East Side private school students, says the show's plot will continue to be as soaked with Wall Street money as ever.

The businessman villain has been a film archetype since before the talkies. Indeed, in 1917, the Triangle Distributing Corporation released a silent picture called ''Greed,'' part of its ''Seven Deadly Sins'' series, in which a stock market schemer leads a young couple astray. Hollywood has often had trouble coming up with true bad guys, but diabolical business people dot the American Film Institute's list of the top 50 movie heroes and villains of all time. (Gordon Gekko from ''Wall Street'' is No. 24.)

Still, most Hollywood veterans advise against rushing too many businessman bad guys into production at least for now.

''In bad times especially, people do not want to see on the screen what they're living through,'' said Nicole Clemens, a longtime agent who runs International Creative Management's motion picture literary department.

Many people in the movie business hopped on the escapism bandwagon two weekends ago when the Walt Disney Studios picture about talking dogs, ''Beverly Hills Chihuahua,'' trampled two of the industry's biggest stars. Leonardo DiCaprio and Russell Crowe, starring in the terrorism-themed ''Body of Lies,'' came in a distant third behind the goofy family movie and ''Quarantine,'' a teenage horror movie. Last weekend, the talking dogs were in second place behind ''Max Payne,'' an action movie based on a video game.

Ms. Clemens said that she saw one exception to the warning against using too many business villains: the revenge picture. ''When people feel powerless in their own lives they want to see movies where protagonists are taking back the power,'' she said. ''But I still see no new trend for big business to be some new type of villain. It's been a villain for a long time.''

Movie historians note that the Great Depression led to a flood of carefree pictures. Shirley Temple tried to tap dance the nation's troubles away. The 1930s featured gangster films, lavish musicals (''The Wizard of Oz'') and screwball comedies in which the rich were portrayed as lovable fools.

Jeanine Basinger, chairwoman of the film studies department at Wesleyan University, said that studios had the best luck dealing with economic issues when they did so with subtlety. For instance, ''It Happened One Night,'' the 1934 Frank Capra movie about a spoiled heiress running away from her family, is a romantic comedy that hints at the social turmoil of the Great Depression: a wandering thief desperate for money; a passing train populated with hobos. ''Subtlety has always been the key,'' she said.

''Let's look on the bright side,'' said Bruce Berman, chairman and chief executive of Village Roadshow Pictures Entertainment. ''Bad times have spawned some really great movies in the past.''

Something more sophisticated in theme and story than mere brain chewing, I would think.

Perhaps a film such as "The Exorcist".

See article below, for a few more:

Film Notes Behind 'Behind the Mask' By Christina Talcott Washington Post Staff Writer Friday, March 16, 2007; Page WE38 Bethesda native Scott Glosserman made his horror mockumentary, "Behind the Mask: The Rise of Leslie Vernon," as an homage to classic horror movies. The story of a student filmmaker (Angela Goethals) who tails a wannabe serial killer (Nathan Baesel) is Glosserman's chance to indulge in a genre he loves while putting his Ivy League education to good use.

No, seriously. His senior year at the University of Pennsylvania, he took a class called "Conventions of Horror Film" and wrote a paper deconstructing Stanley Kubrick's 1980 classic, "The Shining." The Georgetown Day School alum (class of '95) says he took David J. Stieve's "Behind the Mask" script and "infused the film with some of the academia" about the genre. "Everything from the exposition to the physical traits of the characters to the tenor of the film, all of that was culled from horror convention."

After college, Glosserman found his way west, where eventually a savvy manager handed him Stieve's screenplay, and Glosserman fell for the story of Vernon, a man bent on avenging his mother's rape and his own attempted murder who's also happy to explain every step of the way to an eager young journalist.

Though Glosserman describes "Behind the Mask" as "a fun ride," an academic seriousness surfaces as he talks about the film: "I think it's very important that truly elevated horror -- of which, believe it or not, there are several examples -- does a good job of encapsulating some sort of social commentary about the wider world, either the political or the social climate."

He ticks off some examples: " 'Frankenstein' dealt with the totalitarianism of the time. Creature features of the 1950s commented on our fear of radiation and nuclear fallout -- 'The Blob,' 'Creature From the Black Lagoon.' The brutal films of the '70s dealt with the political climate and the Vietnam War -- look at 'Last House on the Left.' I will be so bold as to say 'Saw,' the original [2004] 'Saw,' could stand as a classic horror film because, looking back on that with some perspective, we can see that [film] as a metaphor for the beheadings we watched helplessly on CNN," he says, referring to the images of kidnapped civilians beheaded by insurgents in Iraq.

"Without being too serious about what I was doing, I would be lying if I didn't say a small part of me wanted to say to the greater audience, 'Hey, horror is a genre worthy of cinephilic study like any other.' "

Then he laughs, remembering why he's talking in the first place: To promote a movie in which an apple press is used not just for making cider. The how-to-be-a-psycho-killer exposition and scenes of mayhem aren't the only nods to the genre; Glosserman also gave key roles to two horror-film stars: Robert Englund (Freddy Krueger in the "Nightmare on Elm Street" series) plays Doc Halloran, Vernon's nemesis (his "Ahab," in horror-convention parlance), and Zelda Rubenstein (the medium from the "Poltergeist" movies) plays the librarian.

"We always, always had Robert Englund in mind," Glosserman says. "What is a true horror homage without [him] involved?"

As for Rubenstein -- "the all-time great film harbinger of doom" -- Glosserman says, "my casting directors just did a brilliant job of tracking her down."

He laughs and adds: "When we premiered at South by Southwest [Film Festival] and she was revealed for the first time, some horror fans were on their feet cheering. Someone yelled out, 'I thought you were dead!' "

Before you do anything or pay anyone, get some fellow writers to read your work and comment. Join a writing group, or make friends online and get some useful and supportive feedback. Later, you can pay for professional therapy.

If you are NEW, now is not the time to worry about consultants and agents.

I visited the midwest, once.

"Actually Randy's quirk (or flaw) is that he is emotionally (sometimes physically) attached to an engagement ring that he never got the chance to give his girlfriend before she died. The new girl he starts to fall in love with (April) has just been proposed to, but she separates from her boyfriend to think things over. During this period is when Randy must let go and give up that ring he clings to (which represents his past obviously) in order to tell April he loves her."



One ring to mend a heart, one ring that guides him, one ring to bring new love, and ever more to bind him.

Screenwriter John E. Johnson dies

Scribe was Screenwriters Assn.'s exec director

By VARIETY STAFF - Posted: Fri., Nov. 14, 2008, 3:35pm PT

John E. Johnson, executive director of the American Screenwriters Assn., died Nov. 2 in Cincinnati after a brief illness. He was 51.

Born in Maine, Johnson began his film and TV career as an actor in the film "Simple Justice," worked as a casting assistant on the film "This Train" and wrote screenplays, stage plays and radio dramas. He formed the American Screenwriters Assn., which sponsors the ASA International Screenplay Competition, and has spoken on screenwriting at numerous conferences.

In 2000, he negotiate ASA's acquisition of the Selling to Hollywood conference, which is now known as the ASA International Screenwriters Conference.

He is survived by his wife Margaret, a daughter, a son, his mother, a brother and a sister.

Tarantino's doing it with "Inglorious Bustards"

oops, make that Bastards -- or as Tarantino writes, "Basterds".

http://www.deadlinehollywooddaily.com/index.php?s=The+Watchmen&submit=Search

http://www.aarp.org/

You may know someone interested in this opportunity.

FYI -- From linkedin

Chris Garrity Senior Communications Manager, Netflix

Netflix Film Competition - $350,000 package including $150K cash grant. Have a script? Apply today

Chris Garrity from Netflix communications here, writing to let you know about a national search for the next great independent film-maker that we launched last Thursday. The ''Netflix FIND Your Voice Film Competition'' will award one aspiring filmmaker the means, guidance and resources to make a full length, narrative film. Actor and director Josh Brolin is serving as Honorary Chair and panel judge. The winner's film will be given a $350,000 prize package and distribution online at Netflix. For more information on the contest and to enter the competition, go to:

http://www.netflix.com/findyourvoice

Get cracking if you are interested in submitting a script, as the deadline is February 9th .

I LOVE romantic comedy!

http://mysterymanonfilm.blogspot.com/search?q=character+arc

More here:

http://mysterymanonfilm.blogspot.com/2008/03/case-against-character-arcs.html

These videos may be of interest:

WGA and Academy Award nominated screenwriters share secrets to their success

http://www.youtube.com/watch?v=q4ZGiI0UFrA&feature=PlayList&p=C58A976BEEC05887&index=0&playnext=1

Discussion of Frost/Nixon

http://www.youtube.com/watch?v=TUOr9NK0Pcg&feature=PlayList&p=C58A976BEEC05887&index=1&playnext=2&playnext_from=PL

Many other WGA video interviews and links also are available on this YouTube page and at WGA.org.

http://www.mediabistro.com/fishbowlLA/magazines/fade_in_editorinchief_speaks_out_about_thewrap_story_111586.asp

A rebuttal regarding the Fade In screenplay contest, which may be of interest.

In Hollywood, Reshaping a Business Model That Emerged With the Talkies

http://www.washingtonpost.com/wp-dyn/content/article/2009/03/26/AR2009032603702_pf.html

From Deadline Hollywood Daily:

Marvel Studios has started a writers program. The goal is to put more than half a dozen film writers on staff, give them an office, and "work them like horses!" one of my sources says. I've confirmed this smart move. (Makes you realize how backwards Warner Bros is by comparison on their DC Comics film development.) --

Interesting discussion and comments here on the fellowship program, as well as comments on the Disney Fellowship:

http://www.deadlinehollywooddaily.com/what-a-marvel-ous-idea-for-screenwriters/#comments

An important new organization you all should be aware of....

Help an Orphaned Screenwriter Succeed During National Foster Care Month

NATIONWIDE--During National Foster Care Month this May, you can support screenwriters striving to succeed in Hollywood and Independent film production. More than a million developing screenwriters struggle each year, facing a difficult transition into the motion picture industry, without the emotional or financial support of directors, producers, and studios.

"With the support and encouragement they deserve, foster screenwriters can flourish and become contributing members of our communities," said Sofar Sogood, executive director of Screenwriter's Orphan Foundation of America (SOFA), an organization dedicated to helping screenwriters transition from foster care through career preparation, pitch meetings, sale, production, and distribution of their films. "SOFA gives them the tools and confidence they need to prosper." Their motto: "Get off the SOFA and into Hollywood, now."

SOFA awards development funding and provides mentoring, academic coaching, and care packages to foster screenwriters in a family-like network of support.

Here are things you can do to help a SOFA screenwriter succeed:

Sponsor a SOFA scholarship. Every year countless hopeful applicants vie for attention, adoption and funding through film festival entries, dream-maker seminars, pleas to angel investors, Academy Foundation submissions, production company queries, and studio pitches nationwide. You can short-cut their road to success by sending funds now.

Your donations cover ink-cartridge replacement, reams of paper, official brass brads, seminar enrollment fees, pitch festival admissions, online script submission fees, script doctors, and bondage and discipline training for screenwriters struggling to make ends meet and to do well at home, in their day jobs, and in therapy, all at the same time.

Open your company's doors to writer-for-hire relationships through SOFA's "Screenwriter's Don't Bite, But Many Suck" program to help foster screenwriters gain acceptance and overcome a multitude of personality disorders and social dysfunctions.

Volunteer to coach a screenwriter through SOFA's national online "ment-o-ring" program, the only one of its kind in the country. By dropping them an email saying, "I really meant to ring you up, and discuss your screenplay."

Rally your company to support the SOFA Care Package Program through a cash or in-kind donation, or organize an event to pack and ship gift certificates, dry goods, wet wipes, chocolate and cookies to writers across the country.

Needlepoint a Heart-Shaped Writers Rejection Notice. From September through December, SOFA's Heart-Shaped Writers Rejection Notices program collects needlepoint rejection letters crafted in the shape of red hearts and made by volunteers to include in its Valentine's Day care packages. Ninety-five percent of foster screenwriters age-out in Hollywood, with more than half dropping out in the first year. However, SOFA reports that more than five percent of its scholarship recipients graduate to low budget films, a rate exceeding that of their peers in the general public.

Visit http://www.linkedin.com/in/josephkenny to learn more.

Evie,

Look into entering this festival: http://pviff.web.officelive.com/default.aspx

Peachtree Village International Film Festival (PVIFF).

It's run by Len Gibson, in Atlanta. It was formerly the Sweet Auburn International Film Festival (SAIFF).

PVIFF 2009 SEP. 24-27, Atlanta, GA

PVIFF is committed to the idea that the international film community is a powerful voice in our society, and increasingly plays a vital role in connecting not only the local communities they serve, but the world globally.

PVIFF has partnered with the African American Cinema (AACG) and, Hispanic Cinema Museum (HCM) and other alliance partners to begin to leverage selected brands across various integrated markets comprised of thousands fans, consumers, filmmakers, executives, and leaders from various cultures throughout the U.S. & abroad. To view festival archives visit: www.black-cinema.org

Good folks. I was a finalist in an earlier competition.

You can enter through withoutabox.com

Studios keep aiming young as adults avoid movies

By Carl DiOrio Carl Diorio Tue Apr 21, 1:48 am ET

LOS ANGELES (Hollywood Reporter) — Pricey, star-driven thrillers and dramas will struggle for profitability as the recession intensifies a trend toward youth-dominated movies that can open big.

That's the consensus after the weekend's soft opening for Russell Crowe-starring thriller "State of Play." The Universal film, about an investigative journalist, is the latest in a series of misfires by adult-oriented releases. The movie rung up just $14.1 million over its first frame, meaning the Americanized adaptation of a British miniseries must perform significantly overseas for the $60 million production to break even.

The picture's travails reflect this rude awakening in Hollywood: Older demographics may be resisting the recent enthusiasm for moviegoing. Certainly it's been months since anything has caught fire at the art houses.

But it's the ill-fated outings of studios' highest-profile adult fare that has stirred the most concern.

"Not as many adults are going to the movies because of the recession," a highly placed studio executive lamented. "More and more, it's the kids who come out and support the pictures over opening weekend, and not as much the older adults."

The good news is that this year's ticket sales are pacing ahead of last year's by a healthy single-digit percentage, and box office is up by a double-digit margin on a calendar-year basis. In fact, the market has been so robust it can produce even the odd adult-driven success: Fox's Liam Neeson-starring "Taken" -- produced for under $30 million -- rang up $218 million in worldwide box office after unspooling in January.

"The success of 'Taken' has a lot to do with the audience rooting so hard for Liam Neeson to find his daughter in the picture," Fox distribution president Bruce Snyder said. "The audience involvement is great. That personal involvement doesn't happen often with these kind of movies. It's more common in the younger movies, but that emotional note is important to hit."

IN SEARCH OF A HIGH CONCEPT

Marketing also figures prominently in any success or failure at the box office.

"Adults are a harder audience to motivate, and the problem with some adult movies is compounded by their not being high-concept films that you can boil down to 30-second spots," a top studio executive said. "With 'Taken,' it was, 'You took my kid, motherf---er, and you're going to pay.'"

A succession of adult-oriented box-office laggards has been noticeable for at least six months, though the trend was in evidence with 2007's critically lauded but commercially constrained "Michael Clayton." Warner Bros. rung up less than $93 million worldwide with the George Clooney film.

More recently, Universal absorbed a bottom-line hit with its Julia Roberts/Clive Owens-toplined "Duplicity," a mere $39 million domestic performer through five weekends that's unlikely to compensate with outsize foreign coin. Warners registered a similar sum with the thriller "Body of Lies" -- an October opener starring Crowe and Leonardo DiCaprio that performed better overseas, but only by a modest margin -- while Sony's political thriller "The International" unspooled over Valentine's Day and raked in less than $50 million worldwide.

With films like "State of Play," critical praise is nice but goes only so far. If the kids don't take notice, then it's fingers crossed for a successful DVD release to stanch some of the inevitable red ink -- though adult thrillers also have been a tough sell on shiny disc as well.

The worrisome trend is likely to put additional pressure on studios to rein in production costs on adult-skewing films where possible, including deals with actors.

"If these things were made for a reasonable cost, it wouldn't be a problem," a studio executive groused.

"Not a lot of them break through," acknowledged another top distribution executive. "With an R rating you're playing to an older audience, and the subject matter has to be something besides politics. People at the moment are kind of fed up with that stuff."

Warners did notably well last year with Clint Eastwood's older-skewing but leggy "Gran Torino," a neighborhood-vigilante tale of personal redemption. Like the avenging-father thriller "Taken," "Torino" was a crowd pleaser with emotional wallop. The picture grossed $237 million worldwide.

"Material-wise, I thought 'State of Play' was too 'been there, done that,'" a studio executive mused.

The comment echoed sentiment heard repeatedly last week when pre-release interest in the movie prompted forecasts for a limp bow.

"The opening was better than expected," a Universal publicist noted Monday.

(Editing by Sheri Linden at Reuters)

I think it's like a briss.

Also, be sure to verify that any meetings will be face to face.

If they propose face to anything else, pass on the meeting.

Mexican health chief says swine flu cases are leveling off as more people go horizontal.

New Swine Flu Homeland Security Program: Curly-tailed people turned away at U.S. border crossings.

Last night, drank two bottles of Burgundy worrying about Swine Flu. Today, woke up with wine flu.

Thank you. I'll be here all week.

Pigs now wearing masks in presence of people.

Obama calls Mexico president about swine flu. "Soui, Soui, Soui, Soui."

Hollywood contemplates classic film remake: Swine Flu Over The Cuckoo's Nest

It could be worse. At least they didn't send the screenplays back in a litter box.

Film Friends: I invite you to join the new group - "Hollywood Movie Deals" at Linkedin. Connecting people to get films made.

If you are, or become, a member of linkedin, you can find the group by searching for "Hollywood Movie Deals" in the search box. Easy to join.

I was sent this video link tonight by Marvin V Acuna, a Hollywood manager and producer. It features comments by Harlan Ellison. He's a little angry (Ha!), but makes a compelling argument ;) God bless Harlan Ellison. Hahaha!

http://thebusinessofshowinstitute.com/blog/656/harlan-ellison-pay-the-writer/main-content/

I can't tell you what was said at the "Produced By" Conference in the Gordon On Gordon: How To Be A Great Producer panel because the organizers at the last minute disinvited journalists to it. Just like they did with James Cameron. But it was funny and profane -- and not just about Watchmen. (Did anybody ask him when he's going to be sued by Warner Bros?) So be satisfied with this pic of Larry Gordon (Die Hard, Field of Dreams, Hellboy), Mark Gordon (The Day After Tomorrow, Saving Private Ryan, Grey's Anatomy), and moderator Vance Van Petten, Executive Director, Producers Guild of America.

By Nikki Finke on Sun, Jun 7th, 2009 at 06:21PM | Link | Email | |

1 Comment »

It was a raucous, highly entertaining recollection from both esteemed producers about their experiences in the business—how they each got their passion projects made (Field of Dreams, Saving Private Ryan) and how much the movie business has changed during both their tenures.

The essential gist studios don't care about story, they care about numbers; nobody buys 'great ideas' anymore, just great packages; and that every aspiring producer should understand the fear facing a studio executive to greenlight a movie. Saying yes is akin to pushing a button that 'blows themselves up' because the risks are so high and if that yes decision results in a failure, they're history.

The most interesting (and frightening) insight was in how long it took each of them to get Field of Dreams (L. Gordon) and Saving Private Ryan (M. Gordon) made—something like 12 years and 9 years respectively.

http://www.deadlinehollywooddaily.com/produced-by-larry-gordon-uncovered/

From entertainment and securities attorney John Cones at Hollywood Movie Deals group on lnkedin:

http://www.linkedin.com/profile?viewProfile=&key=26724141&authToken=g4wh&authType=name&goback=%2Eanh_1973983

Avoiding "Business Plan" Scams

HOW FILMMAKERS CAN AVOID THE ''BUSINESS PLAN'' SCAM

By John W. Cones, Attorney

A great deal of misinformation about the usefulness of business plans in raising money for a film project has been floating around in the film industry for years. Some of it is simply misinformation, while in other instances, the use of that misinformation rises to the level of an actual scam. The scam goes like this: a business plan consultant, someone who prepares a business plan for a filmmaker's use in raising money from investors, knows that there are situations in which a business plan is not the appropriate document with which to approach investors, yet encourages the filmmaker to pay him or her a fee for the preparation of the business plan anyway. This is not to suggest that all business plan consultants engage in such unethical behavior, but the only protection for the filmmaker is to know when a business plan is appropriate and when it is not. Here is a short list of guidelines to separate fact from fiction:

1. If you are seeking to use a business plan for the purpose of raising money from investors (as opposed to merely using the business plan as a planning exercise), then from a legal point of view, a business plan can only be used to raise money from one to several active investors (see definition of active investors at #4 below).

2. A business plan cannot be legally used to raise money from passive investors — that requires a securities disclosure document (a private placement offering memorandum for a private/exempt offering or a prospectus for a public/registered offering), since raising money from passive investors, by definition means a security is being offered and sold.

3. A business plan is not needed to obtain financing for a film project from film industry sources. They only need a producer's package, which at minimum consists of a completed script, a budget and evidence of attached elements (e.g., director and lead actors).

4. Active investors are defined by law to be people (a) who are regularly involved in helping make the important decisions associated with the project; (b) that are capable of participating in the decision-making in a meaningful way (i.e., they must have ''knowledge and experience'' in the relevant industry — in this case the film industry); and (c) the documentation between you the producer and the active investor must clearly authorize the investor to participate in those important decisions (see the two federal appellate court cases cited below).

5. A business plan is not an investment vehicle. No one can buy shares or units in a business plan. Thus, even if a business plan is the appropriate informational document with which to approach a few active investors, it must be paired with the right investment vehicle (see discussion of the appropriate active investor investment vehicles in my book: ''43 Ways to Finance Your Feature Film'', Third Edition, published by Southern Illinois University Press in 2008.

6. From a practical perspective, if you choose to go the business plan seeking a few active investors route, give some serious thought to the question as to whether your prospective investors are people you actually want to allow to be involved in helping you make the important decisions associated with a creative venture like a feature film.

Sources and Additional Reading:

Consolidated Management Group, LLC versus the California Department of Corporations, 162 CA4th 598, 75 CR3d 795, 2008 (as reported in the California Business Law Reporter in its July 2008 issue).

Dictionary of Film Finance and Distribution — A Guide for Filmmakers, John W. Cones, Marquette Books, 2007.

Forty-Three Ways to Finance Your Feature Film, Third Edition, John W. Cones, Southern Illinois University Press, 2008.

Williamson v. Tucker, 645 F.2d 404, 5th Cir. 1981.



http://www.linkedin.com/groupAnswers?viewQuestionAndAnswers=&gid=1973983&discussionID=4071613&goback=%2Eanh_1973983

Ok, You've gotta see this. Watch the triplets "dance"!

Solid Potato Salad - The Ross Sisters (1944)

http://www.youtube.com/watch?v=-mVpGmoES3w

Once you view it, you are "automatically followed," to use a Twitter terminology.

ROCK 'EM, 'SOCK 'EM! 'TRANSFORMERS 2' OPENS TO $390.4M WORLDWIDE! That's $200M Domestic + $190.3M International! But 5-Day Debut Can't Beat 'Dark Knight' ...

more at: http://www.deadlinehollywooddaily.com/

Academy Receives Record Number Of Entries For 2009 Nicholl Fellowships

A record 6,380 scripts are in contention for the Academy of Motion Picture Arts and Sciences' 24th annual Don and Gee Nicholl Fellowships in screenwriting competition. Entries have come from all 50 states, plus Washington, D.C., and from 46 other countries. The Academy will award up to five fellowships of $30,000 each in November.

The competition is open to screenwriters who have not earned more than $5,000 writing for film or television. Entry scripts must be the original work of a sole author or of exactly two collaborative authors. Entries must have been written originally in English. Adaptations and translated scripts are not eligible.

This year, scripts have come from across the United States as well as from Australia, Austria, Bahamas, Bermuda, Brazil, Brunei Darussalam, Bulgaria, Canada, Costa Rica, Czech Republic, Denmark, Dominican Republic, Egypt, France, Germany, Greece, India, Ireland, Israel, Italy, Japan, Malaysia, Malta, Mexico, Netherlands, New Zealand, Nigeria, Norway, Pakistan, Philippines, Qatar, Russian Federation, Singapore, Slovakia, South Africa, South Korea, Spain, Sweden, Switzerland, Taiwan, Thailand, Trinidad and Tobago, Ukraine, United Arab Emirates, United Kingdom and Venezuela.

(more at link)

http://broadwayworld.com/article/Academy_Receives_Record_Number_Of_Entries_For_2009_Nicholl_Fellowships_20090706

Fantastic. What did you get to eat?

The irony is: you could qualify to win a highly sought after Iriny.

But, those who do not make the final cut would most certainly be Irouties.

So what will it be for you? An Iriny or an Irouty?

Stop gazing at your navel and submit today.

Thank you, Jean. U2. And congratulations on being selected Grand Marshal. Will you wave to us from the Canole float?

I entered AOF in the Another Old Fogie category which they have cleverly renamed Fantasy. Yikes!

How did they know? These folks are good!

Way to go. Something's in the air!

I smell an Iriny and an Irony brewing!

I can't answer this on spec.

I need at least a three-question deal.

As in the preference for briefs or boxers.

http://blogs.indiewire.com/thompsononhollywood/2009/09/19/toronto_film_festival_winners_and_losers/pem Toronto Wrap: Indie Bloodbath

Also want to note, lots of time and thought were put into the CRAFT & CAREER newsletter.

I studied playwriting with Jerome Lawrence author of "Inherit the Wind", "Mame", "Auntie Mame", "First Monday in October" and other great works for the stage with his writing partner Robert E. Lee. He also wrote teleplays and screenplays, and adaptations of his stage plays for the screen. I used to meet with him and five other playwrights weekly at his home in Malibu to read and review the works in progress of the participants in the group.

Lawrence once told me the "premise" of "Inherit the Wind" was that: "one man does not have the right to tell another man how to think."

The original play was written in response to the climate of anxiety and fear fed by McCarthyism and anti-Communist sentiment during the 1950s. This premise, that "one man does not have the right to tell another man how to think," was the dramatic force or principle that was underlying the story. And, from which all its elements arose. The argument of creationism vs. evolution and the "Scopes Monkey Trial" became the vehicle used to illuminate the premise in a metaphorical fashion. It is a story about conflict in American culture.

The "concept" of that same play and film would summarize how its premise was to be executed in the ensuing drama. (The following is from an NPR summary): "A young schoolteacher runs afoul the law when he introduces his science class to a concept called evolution. At his trial, two of the most brilliant orators of a day square off to debate evolution versus creationism. That true story from the 1920s is the basic plot of "Inherit the Wind."

So, this plot drawn from a true story, with its brilliant orators and compelling conflict, employs the arguments of evolution vs. creationism and the drama that those arguments bring forth to explore the premise that one man does not have a right to tell another how to think.

A compelling premise -- meaning a principle, belief or argument underlying your drama (or comedy) gives it greater meaning and resonance and serves as the fuel to propel the story forward in a dramatic way. It becomes the "covert force" which gives meaning to the drama that radiates from below and beyond the "overt" veneer of the plot. In powerful stories the premise will be supported in all the elements of the plot and characters which will illuminate the story's premise and its epiphany, a point of realization for the drama leading to its resolution, and the lessons, feelings and belief we take away from it.

The "essence" of what makes a compelling drama and the ways it is created has not changed from old school to new school. Drama is composed of the same elements it always has contained throughout history.

Those elements if properly applied will result in the creation of powerful dramatic stories in any genre that will stand the test of time.

What may have changed is the way certain individuals seek to explain these elements or label them. And sometimes the labels are misapplied by those seeking to evaluate or develop dramatic work, who themselves are not dramatists.

As writers our job is to create great dramatic stories. Once we have accomplished that, it matters little how development speak seeks to describe the work. I have yet to meet a great development executive who could create a story to compare to a great dramatist.

That said, one has to be aware of the ways others in the industry may utilize and exploit these terminologies, but in your fundamental job of creating riveting dramatic stories, the core elements are timeless. I'm not speaking about screenplay structure, but of story structure. If you create a great dramatic story, it matters little how the elements are analyzed or described by others. But, others will be compelled to consider it, and study it, and remember it, because of the ways they are moved by it and the lessons it leaves behind.

Jim has many fine points to share. This is merely a discussion of the questions raised. Discussion is good and fruitful.

Janet, all the titles you listed sprang from elements, dialogue, thematic components, or metaphorical references, in the stories and screenplays from which they were derived. Those emanating from books and plays would have been read, seen and studied by many before the films were released. The titles create thematic resonance for the works.

(from various online references:)

Lion in Winter: combines the image of the British royal lion with the winter of old age and adversity.

Gone with the Wind: alludes to the Civil War's causing the disappearance of a Southern way of life, as if it was blow away by the wind.

One Flew Over The Cuckoo's Nest: "refers to a shock therapy-induced recollection of a childhood game the Chief played with his grandmother. The game centered around a quixotic chant whose elements represent (the film's) 3 main characters, and their respective conflicts and polarities." (more interesting discussion at) http://3.ly/jE6

Inherit the Wind: is drawn from the quote - "He that troubleth his own house, will inherit the wind". Meaning, one that brings trouble into his community, will eventually bring trouble upon himself.

"...the title of the play is drawn from Proverbs 11:29: "He that troubleth his own house shall inherit the wind: and the fool shall be servant to the wise of heart" (KJV). It occurs twice in the script: first, Brady uses it to admonish the Rev. Brown when he zealously prays condemnation on his daughter, who has urged compassion for Cates. Brady seems to be telling the Rev. Brown that such a prayer is "troubling his own house" and cannot result in good; it is, therefore, an appeal for moderation of the Rev. Brown's zeal at this point. Significantly, only the first half of the verse appears at this juncture. In Act III, however, Drummond recites the entire verse as a kind of "eulogistic" summing up of the late Brady's life when Hornbeck suggests that, by quoting it earlier, Brady had written his own obituary. In this instance, Brady would be foolish by troubling the "house" of the nation in his crusade against Darwinism. Brady, in death, has "inherited the wind"- that is, received nothing-because he has rejected the truth in favor of falsehood (the "pleasant poetry of Genesis," Act II, Sc. 2)." http://3.ly/oTz

To Kill a Mockingbird: "the novel's title and its main theme is made explicit several times in the novel: after Tom Robinson is shot, Mr. Underwood compares his death to 'the senseless slaughter of songbirds,' and at the end of the book Scout thinks that hurting Boo Radley would be like 'shootin' a mockingbird.'

A Clockwork Orange: "Author Anthony Burgess claims the phrase comes from Cockney slang, and refers to anything queer, strange, or unusual. Another Burgess quote from a Rolling Stone article explains it this way: "The title of the book comes from an old London expression, which I first heard from a very old Cockney in 1945: 'He's as queer as a clockwork orange' (queer meaning mad...). I liked the phrase because of its yoking of tradition and surrealism, and I determined some day to use it."

Man On The Moon: The biopic borrows its title "Man on the Moon" a song by the band R.E.M. from their 1992 album Automatic for the People. The song makes numerous references to the comedian Andy Kaufman, including his Elvis impersonation and work with wrestlers Fred Blassie and Jerry Lawler. The song was released as a single in 1993. Cat on a hot tin roof: refers to behaving like a cat would if they were on a hot tin roof, in a hurry to get away. "Maggie is the cat on that tin roof. And this 'tin roof' is her marriage to Brick. She proclaims to Brick, 'I feel all the time like a cat on a hot tin roof.' And Brick replies, 'then jump off.' Their marriage is hot, because it is full of anger, hatred, and argument incited by Brick, and it is full of Maggie's lust and, to put it mildly, sexual frustration." http://3.ly/XG2

A Streetcar Named Desire: There is an actual streetcar named ''Desire'' that Blanche takes on her way to the Kowalskis'. So she is literally brought to the Kowalski place by ''Desire,'' which is a metaphor for her desire; and her sexual escapades that ruined her reputation and drove her out of another town. http://3.ly/XpX

Julie,

Thanks for your comments. I'm not in disagreement with your points.

Perhaps my meaning was not made fully clear. When I said: "it matters little how development speak seeks to describe the work," I meant that the terms and preferences others may employ, and whether they call a theme a premise, or a premise a theme, in their eventual development discussions or elsewhere shouldn't affect our job in fulfilling the requirements for "writing" a compelling drama. The building blocks of drama include the same essential components they always have. My comments were directed at the creation and writing of powerful dramatic stories, which in most case must be undertaken before the sale of the work.

Many writers get confused regarding the ways to structure and build a powerful story, and give it resonance. The loosely applied and shifted labels of dramatic structure that many utilize sometimes adds to the confusion, especially for those trying to learn the essential elements of drama.

I merely wished to point out that the core elements remain the same, no matter what they are called. And, the elements referenced have been utilized by great writers for centuries.

I fully agree that putting on the selling hat is necessary. Even in the conception of the story and writing of the screenplay. Of course, people want to create works that will find an audience.

So, once a great story is completed, we shouldn't be troubled if development executives choose to call the premise a petunia. We can agree it is a petunia if we find that label will help to sell the work. And we can study their "street" lexicon to master the pitch and presentation of our work so we are speaking in the same language.

If a writer has a great story and has gone to the Berlitz school of development speak, and that helps them to make a sale, then, huzzah! Success and fame will flourish.

I'm sure most of us would gladly call a premise a petunia to make the deal. But, without a compelling story, we'll likely never get to the deal, so the potency of your drama (or comedy) will be of extreme importance both in the art and commerce of screenwriting.

All that said: one should follow her or his own course in these matters, and whatever works in helping to advance your writing, your visibility, and your success.

http://blogs.indiewire.com/thompsononhollywood/2009/09/29/indie_future_mechanic_offers_some_answers/pem

Indie Future: Mechanic Offers Answers

Always one of the smarter players in Hollywood, ex-Fox studio chairman Bill Mechanic (now owner of the production company Pandemonium LLC) gave a keynote speech Tuesday morning on the future of the indies at the Independent Film & Television Alliance Production Conference. Is he looking for a job (there's a big opening at Disney, where he used to run home video)? Maybe.

In any case, his analysis of what's going on is strong. As always, Mechanic fights for the interesting, challenging and original over standard-issue formula fare:

It's disrespectful if not downright dumb to think audiences can't tell the difference between the original, which occasionally might even have some fresh faces, and the copy, which almost always is populated with retreads. It's like thinking you can sell yesterday's news under a different banner.

AND

While use of the internet and video games have dominated leisure time activities, movie consumption is down or flat over the same period. And, more to the point, you can see that there is a 21% drop in film going amongst the core target audience and a 24% drop in the next key category, 25-39 year olds.

And yes, these charts beg another question: if the audiences are shifting, why isn't the product shifting as well. Name 5 mainstream films this year that successfully targeted an over-30 year audience. In that way, Hollywood in the broadest sense of the word is much like Detroit. It's a manufacturer's mentality that reigns, seemingly indifferent to the consumers it serves. Ignore whether the consumer likes our product as long as they buy it.

Market it and they will come.



The full text is on the jump.

I was asked to address you this morning with my observations on the present as well as the future state of Independent Production.

But before I begin, I have to relate the story of a close friend of mine, who's a leading heart surgeon.

He said he'd recently been involved in a very trying and emotional six hour piece of open heart surgery where he and a team of people fought valiantly but unsuccessfully to save a patient.

Afterwards, my friend entered the Doctor's locker room where one of his colleagues was staring absently into the void, clearly spent from the ordeal. He tried to cheer him up but the colleague turned to him and asked why he was not more distraught.

My friend answered with a smile:

At least we weren't asked to save Independent Production.

Well, the truth be told, we may not be heart patients but we aren't that far away. We have too many insignificant movies clogging our distribution channels. Tightening economic conditions are sending sharp pains through our systems. Our blood supply from heretofore vibrant markets such as DVD and TV seemingly have evaporated in front of our eyes.

The question we must as is if the condition is fatal.

In all candor I would say only to some.

Those who ignore the warning signs. Who don't adjust to the threatening conditions. Those producers and distributors who pretend there is nothing wrong.

9 years ago, I was a healthy and occasionally happy studio executive. I had taken Fox over a 7 year period from a doormat to the #1 studio and before that had spent 9 years at Disney building a then-dormant minor player into a muscular and, for the first time in its history, a real force in the studio world. I left Fox with 5 of the Top 10 films in history and departed Disney with 19 of the Top 20 Videos ever and as the #1 International distributor.

I had fought with Rupert Murdoch over my desire to create a business for Fox in the world of animation. He felt no one could compete with Disney. Nevertheless I started up Fox Animation. ANASTASIA was a start, it made money. TITAN AE a misstep, and lost. Even though that is the nature of the business, that not everything works, he didn't want to wait for ICE AGE to finish production. I didn't have a foot out of the door before Fox tried to sell off the film. Luckily for them, they couldn't get a deal done.

At the same time, Peter Chernin thought I was taking too much of a chance with X MEN. He called it my $70mm art film, since everyone knew that not only were comic book movies dead but you certainly couldn't start one in a concentration camp. That wasn't comic book fun. Maybe not, but most comic books are dark, so it was a question of being relevant, of being grounded.

Ironically, both films have lasted longer at Fox than I did and are now the most valuable franchises in the history of that studio, throwing off billions of dollars of profit.

But they also were, along with FIGHT CLUB, the leading reasons I was shown the door. My bosses couldn't deal with the unconventional choices like those and others such as BRAVEHEART and THERE'S SOMETHING ABOUT MARY because the films weren't pre-sold and thus seemed less predictable. This despite the fact that these unconventional movies guided Fox to the 5 best years in its history.

When I left, a few of the other Majors called to see if I were interested in running their shops. I thought instead it was time to do things on my own, to not work for companies that no longer wanted to be in the film business, that no longer thought enough about the future to not gum it up. Easier to raise money and worry only about making good movies which could make money.

Needless to say I was naïve. I thought raising money would be easy. I didn't exactly foresee such things as the Silicon Valley bubble bursting, or the economic meltdown, or the Madof scandal. But then I guess the Captain of the Titanic thought the Atlantic was smooth sailing. And Batman thought the Joker would be a laugh.

When I first made the decision to go off on my own, Larry Gordon said to me something that I've never forgotten. He said running a studio is a great job but a terrible life. Producing is a great life but a terrible job.

9 years as an independent producer provides a great perspective. It also cause heart palpitations.

Here's the one key thing I've learned: there is no such thing as an independent producer. There are only dependent producers.

Dependent on distributors, financiers, and bankers, and distribution channels that understand the needs of the market even less than the corporations that own the studios.

Which makes a truly independent producer even more truly dependent because the alternatives to the studio system are in many ways more difficult, not easier.

Perhaps even more than the studios, those with the controls over whether or not a movie gets made independent of the studios do so almost with less attention to the movie itself.

Part of that is due to outsiders who always seem to come into the business believing they can do better and yet rarely have an idea of what they are doing. Attorneys and financial analysts picking movies is a recipe for disaster. They can tell you all day long what hasn't recently worked, but in truth, haven't the experience or the knowledge to do anything different than has already been done.

That's been the oddest lesson of this period for me. That the independent world, which should be aiming to do things better and different from the Studios, doesn't have that as a mandate at all. If anything, the only thing that independent distributors and financiers look for is the SAME. Maybe costing a little less than the Majors, but they want what the Studios want, or in FIGHT CLUB speak, they want copies of a copy.

I now understand that unconventional choices like X MEN and ICE AGE would barely have a prayer getting made independently. Why? Because at the time, they didn't look like anything else.

It's disrespectful if not downright dumb to think audiences can't tell the difference between the original, which occasionally might even have some fresh faces, and the copy, which almost always is populated with retreads. It's like thinking you can sell yesterday's news under a different banner.

The exception to the rule is DISTRICT 9, which didn't try to compete with the Majors with special effects or stars or plot. Instead of feeling recycled, it was fresh and is now one of the year's best and most successful pictures. But lot of credit has to go to Peter Jackson since it was undoubtedly his clout that got the film made.

Following the lead of the Majors, presumes that they know what they want. It presumes they have a fix on their audiences.

I would say that's anything but true. Admissions are down over the past few years and, perhaps most troubling, the audience that Hollywood spends the majority of time focusing on, the under 25's, are the ones finding other things to do.

Take a look at this shift over the past decade. While use of the internet and video games have dominated leisure time activities, movie consumption is down or flat over the same period. And, more to the point, you can see that there is a 21% drop in film going amongst the core target audience and a 24% drop in the next key category, 25-39 year olds.

And yes, these charts beg another question: if the audiences are shifting, why isn't the product shifting as well. Name 5 mainstream films this year that successfully targeted an over-30 year audience.

In that way, Hollywood in the broadest sense of the word is much like Detroit. It's a manufacturer's mentality that reigns, seemingly indifferent to the consumers it serves. Ignore whether the consumer likes our product as long as they buy it.

Market it and they will come.

And don't worry if they don't come back. Accept 60% drop off rates as the norm, saying it's all about wide openings.

3 years ago the Lakers all-but sold out every game even though they had a lousy team. Since Jerry Buss is a smart owner, he knew if he didn't fix things, no shows would eventually turn into season ticket non-renewals. He did what he needed to do to make it the hottest ticket in town again and a no-show today is a no-no.

When was the last time you heard anyone either from a studio or an independent talking about improving their product, of creating positive buzz and expanding the audience?

Here's one basic question to ask yourself: If the most popular film in history was TITANIC and it did so by weaving together interest in all demographic pockets as well as pulling in non-film goers, why in the last 12 years has no attempted to do the same?

TITANIC was #1 at the box office for 15 consecutive weeks. It not only spurred on record year in theatrical attendance, and had the biggest video in history, but also generated the biggest Oscar telecast in years. A good movie, like a good team in sports, makes everything around it better.

An independent couldn't and shouldn't make movies of that scale but it should make movies as individualistic and compelling. Certainly there are good examples among some of the smaller independent films-SLUMDOG MILLIONAIRE being an easy choicethat actually do stand out and succeed because of their quality and their uniqueness.

But as you can see from these next few charts, the independent world was no more concerned with the consumer than the studios. With the influx of hedge fund money, the past decade saw a glutting of product, again most of it with no idea of who it was for or how it could be sold. Whether some of these movies had artistic integrity or not, there is no question there was no audience appeal.

From the low water mark of 1990, there has been a 50% increase in the number of pictures and even since 2000, nearly a 25% increase. And most of the influx came from non-Majors, rising from 150 in 1990 to 450 in 2008. That, my friends, is insanity.

Remember that through this entire period, the only growth at the box office has been inflationary, which means more films were fighting for a share of a flat box office. Over approximately this same period, the biggest hits took even a greater share of the box office pie, meaning the independents, even with a vastly greater number of releases, are taking a dramatically smaller percentage of the available money.

Let me get out the rest of the bad news, though I'm not telling you anything you don't already know. The next 2-3 years will be even worse, not because of the flood of new releases, since that is already abating, but rather due to the effect the over saturation has had combined with the economic downturn.

New money is going to be hard, if not impossible to find. Ad sales are down, so TV networks around the world, other than cable, aren't buying. Add in a confused video market, and it's going to be tough.

To my mind, the next few years will be about survival.

If it's any consolation, it will be harder on the Studios than the independents. Not only is it harder for big companies to change, to adapt, but there are legacy issues in terms of personnel. And within the next few years, their big market advantage, the bricks and mortar of their distribution operations, will become a disadvantage in the democratic age of digital. I would assume at least 2 of the Majors to be sold or consolidated by the middle of the decade.

Before I turn to why I don't think this is all fataland in fact, might be a boonlet me address one more item, video. I get asked a lot if the problems are systemic. My answer is not necessarily. That we would reach a point of maturation in DVD is natural and logical, but too much of the downturn is completely self-imposed.

Like much of the bad decision making that has helped take a lot of the profit out of the business, the air was let out of the tires by the studios themselves. No top management of a studio really cared what was going on over the past few years other than was their budget being met.

No one asked whether their units should be pushing Blu-Ray in the face of an economic melt-down or even whether or not Blu-Ray was going to be the next big ap to the general consumer. They simply accepted the idea that they could resell their libraries at higher prices.

So no one asked what impact dropping the price on their existing DVD's would have. I mean if I can buy TITANIC for under $5 in some stores, why am I so eager then to rush out to pay $30 or so when it's released on Blu Ray? Is the quality difference that great? How many formats are yet to come?

No one asked what buying great movies at cheap prices would do to new releases, which may not be as great. Give a consumer with less expendable dollars a choice between LEGALLY BLONDE for $5 or ALL ABOUT STEVE for $20 or $30, which do I want to buy?

Simply said, the studios have destroyed the price-value relationship in video, particularly when low priced rental alternatives have sprung up everywhere.

And then add in the absolute flooding of TV product from the beginning of time into the market, and you have the conditions that have absolutely killed video as the key profit center of new movies.

Ok, so in the face of all this, why can I say this is all good news? Because a lot of waste is going to be cleared from the marketplace. Excess product will go away, the people who don't take the business seriously will go away. Hopefully those who make crummy movies will also go away, but that may just be a personal wish.

In 1984, I went with Michael Eisner and Jeffrey Katzenberg to Disney as perhaps the 4th employee of the new regime. Disney at the time was barely a film producer much less a major distributor. Before we could execute the plans to transform that company into one of the Majors, I was asked to prepare the presentation to the Board of Directors. A lot of capital was at stake.

The numbers, like some of those we've discussed today, were overwhelmingly negative. In truth, the film business has never been an easy one to master. More companies fail than succeed. But what I presented, and this is still one of the absolute truths of the industry, was that it was only a bad business on average. If you expect to be an average performer in this world, you can expect to fail.

Those without the ambition or the brains to figure their way through these tough economic conditions are going to be the heart patients who cannot be saved. No one has a birthright in this business.

It is a game for winners. And those who win today will win to an even greater extent than at almost any point in the past. The flattening of the box office is only true on a macro level. For the individual film, the sky is the limit. Even though there's more piracy of the hit picture than any other, it's still that same hit picture that can score giant revenues in all the ancillary streams.

Those who will win will be smart about what they make and how they sell their films. They will hopefully make good films but perhaps even more key they will make unique films that stand out, which means they will not have to compete against the bulk of the films for talent. They won't look like all the other films so they won't have to spend as much money marketing them.

It's not that the buyers aren't there. Consumers, TV outlets, Retailers and, yes, even Pirates want what works.

Don't believe me? Ask Summit about TWILIGHT. Ask Searchlight about SLUMDOG MILLIONAIRE. Ask Screen Gems about DISTRICT 9. Ask Focus about CORALINE.

Let me conclude by saying that the challenges are great. Technological innovations often hurt before they help, it takes resources to fight the sense of entitlement that breeds piracy, it takes skill and experience to know what FDR really meant when he said: We have nothing to fear but fear itself.

Great achievement! Congrats!!

EXPOSURAMA FINALISTS for 2009

http://www.exposurama.com/#/announcements/4535721792

Thank you and best of success to all!

80 is the new 70's.

Variety -- Posted: Fri., Oct. 9, 2009, 11:57am PT --

The Tao of Tinseltown Hollywood finds yin & yang of opportunities By PETER BART, MICHAEL FLEMING This is a moment of both angst and opportunity for Hollywood filmmakers.

Major cracks have opened up in the studio infrastructure. There have been regime shifts at three studios, bankruptcy looms over another, costs are being cut mercilessly and both production and development money is hard to come by.

Another cloud hanging over the biz is the uncertainty about the long-term viability of the traditional business model that sends pics through a pipeline that starts with the box office and wends through various video-on-demand, pay TV, DVD and other TV licensing windows.

At the same time, the overall pace of production is finally picking up among studios and indies, after setbacks from the WGA strike and the economic crisis. While there's agreement that the old system doesn't work, the filmmaking fraternity is doggedly finding ways around the system -- indeed, creating a new system.

The show must go on, after all.

Talent agents report that some of the encouraging signs are coming from outside the studios. While producers complain that the studios are choking off development funding, several outside sources are moving into the breach:

Jerry Bruckheimer has closed a deal for a $20 million fund with Barclays Bank, which will augment the $10 million or so in development funds that Disney accords him.

Producers Walter Parkes and Laurie MacDonald disclosed a deal last week providing a $10 million revolving fund from Imagenation Abu Dhabi. The money will fuel projects the husband-and-wife team produces under its first-look deal with DreamWorks.

DreamWorks, of course, is being principally funded by Reliance Big Entertainment, the India-based company that's hatched development deals with Brad Pitt, Tom Hanks, Jim Carrey and other stars. Reliance is providing up to $2 million in development funding per star and has helped acquire some 10 projects thus far with the aim of co-financing their films.

While the majors are cutting development spending and, in two or three cases, putting many projects into turnaround, most are diligently filling their production quotas for 2010 and 2011. Publicly, studio chiefs consistently put out the word that there were too many releases in 2009 and predict fewer production starts next year, but nonetheless there is robust activity around town.

At Warner Bros., for example, six films are either in production or are about to start shooting. The pics represent a mixed menu, ranging from Clint Eastwood's "Hereafter" and Christopher Nolan's "Inception" to Todd Phillips' "Due Date" and Ben Affleck-helmed "The Town."

The slate includes such tentpoles as New Line's "The Hobbit" (in partnership with MGM) and "Green Lantern," as well as films from helmers as diverse as George Miller ("Fury Road"), Ken Kwapis ("Everybody Loves Whales") and Zack Snyder ("Sucker Punch").

Fox, Paramount and Sony all have at least six films skedded to start through summer, as does MGM, which plans to rouse itself after a sleepy 2009. The newly reinvented DreamWorks has nearly that many. Even Disney and Universal, which are in a period of transition due to the exec changes (see story, page 6) have healthy-looking slates.

All are promising varied fare, with more cost-conscious pricetags.

The production starts are helping allay the paranoia felt by many in the creative community stemming from the studio upheavals of recent weeks.

A few months after management changed at Paramount, new regimes were installed at Disney and Universal. Disney Channels chief Rich Ross took over the movie division from the abruptly ousted Dick Cook at Disney, and cutbacks were disclosed at its prestige-picture maker, Miramax. The studio's future will rely on the branded projects that come from Marvel Entertainment, Pixar and Jerry Bruckheimer.

At Universal, the rumor that started last summer finally came true, when chairmen Marc Shmuger and David Linde were deposed. Adam Fogelson and Donna Langley took the reins, at a time when NBC U might well be spun off by General Electric to another owner like Comcast. And MGM is trying to stave off bankruptcy, as studios contemplate making a play for its film library and franchises like James Bond and "The Hobbit."

Not surprisingly, the upheaval is taking its toll.

Talent agents feel lucky to book an actor client into a picture, even at a discounted salary, while a cash break backend as first-dollar gross becomes more elusive than ever.

Agents repping scribes say the WGA strike obliterated established quotes for all but the top-tier screenwriters. They are agreeing to take-it-or-leave deals from studios that call for lower pay, one-step deals and tighter deadlines for writers to deliver under.

Financiers and distributors of independent films are feeling their own pain. A palpable lack of acquisitions action at the Toronto Intl. Film Festival left financiers shaking their heads. Dealmakers felt less like brokers and more like matchmakers as they struggled to place a film with a distributor, even without much of a minimum guarantee or P&A commitment.

"There is a perfect storm going on here," says one veteran talent agent. "Studios have devalued the star system, as the DVD business goes by the wayside. Right now, it feels like there is just no oxygen, and we are all like fish, gasping to stay alive."

Moreover, dealmaking in the movie and TV biz has never been more complex than it is in an of ever-expanding exhibition platforms, industry vets say.

"All of the challenging aspects are also the opportunities," says attorney Ken Ziffren. "I think we're in a transitional phase, and what's happening is that the windowing of the product is changing with the effects of new technology."

Some feel that once the excess is washed out of the system a new Hollywood order will emerge, bringing fewer films, tighter costs.

Observers say some of the most encouraging signs are coming from outside the studios.

Todd Wagner, who with Mark Cuban co-owns 2929 Prods., just made a first-look deal with Bedford Falls partners Ed Zwick and Marshall Herskovitz, who were without one since Warner Bros. cut them loose two years ago.

"At face value, the studios are closing down first-look deals and making fewer movies, and they are not buying material," Wagner says. "That's exactly the time for someone like us to come in and position ourselves to acquire quality projects and be patient during a very difficult transition time."

Also, more artists are gambling on themselves.

In the wake of Todd Phillips' decision to wager his salary and gross that he would turn "The Hangover" into a hit with no stars in the cast and a $34 million budget -- sources said he will make $45 million when all the revenue is counted -- more filmmakers are gambling on themselves, particularly on projects that are important to them.

Last week, for instance, Michael Mann used his own coin to acquire the Susana Fortes novel "Waiting for Robert Capa," seeing it as the angle he needed to realize his long-held dream to make a film about the famous war photographer. Mann just set up the project at Columbia. A director who makes exquisitely visual adult-themed pictures at high budgets, Mann this time is determined to make the Capa film as a gritty, lower-budget effort.

When Steven Soderbergh set his latest film, the espionage thriller "Knockout," with Relativity Media, he waived his traditional upfront and gross salary so that the picture could be made at a $20 million budget. Soderbergh, who needed to make that deal because he cast the mixed martial arts fighter Gina Carano in the title role, will own half of the movie, sources say, and use that stake to surround the newcomer with established talent.

http://www.variety.com/article/VR1118009758.html?categoryid=13&cs=1&nid=2564

Congratulations Mike, for your winning screenplay!

I was lucky enough to get a bit of recognition too, and look forward to the exposure all of the winners may get in the coming months.

Best of success to you.

Joseph

http://news.yahoo.com/s/nm/20091103/film_nm/us_oscars

Oscar screenplay race lacking originality

By Steven Zeitchik Steven Zeitchik

LOS ANGELES (Hollywood Reporter) — Awards season might have an originality issue.

Since it was introduced 70 years ago, the Academy Awards' original screenplay category has been a breeding ground for fresh new voices, launching careers and solidifying the legacy of writers as diverse as Orson Welles, Billy Wilder and Paddy Chayefsky.

But this year the category looks as thin as a supermodel on a crash diet.

The Coen brothers' "A Serious Man," Quentin Tarantino's "Inglourious Basterds" and Bob Peterson's and Tom McCarthy's "Up" are likely near-locks for noms. That leaves two slots, one of which could go to Scott Neustadter and Michael Weber for their quirky breakup story "(500) Days of Summer."

Beyond that, the voters are going to have to look farther afield. Almost certainly vying for attention are the duo behind the "Star Trek" update, writers Roberto Orci and Alex Kurtzman, who also count cinematic tour de force "Transformers: Revenge of the Fallen" among their 2009 credits, though the Academy could qualify it as adapted. (The writers branch will meet in the coming weeks to make rule determinations.)

The field has changed pretty dramatically during the past several decades. The last time Tarantino was nominated (in 1994), he went up against Woody Allen, Richard Curtis and Peter Jackson; this go-round he could end up pitted against "The Hangover" scribe Scott Moore (most recent credit: "Ghosts of Girlfriends Past"), who's also jockeying for a spot.

If this were just a down year, that would be one thing. But the lack of established writers is catching the eye of many in the development community as something more permanent.

"I think you can look at the state of the category as a direct result of studios' reliance on known brands and the death of the spec market," says one agent.

Original screenplays used to comprise the bulk of what Hollywood did. But ever since the studios became obsessed with remakes and sequels, there's been a depletion of new plot ideas that might have populated the category.

About the only fresh material these days comes from purely personal stories such as "A Serious Man" and "(500) Days" -- movies that come together only through an alignment of the planets and despite a highly unreceptive climate.

When execs at Sony passed on "(500) Days" -- joining nearly every other studio in doing so -- they asked Neustadter if he and Weber could pen "The Pink Panther 2" instead.

"I was like, really? Have you read our script?" Neustadter recalls (though the pair did end up doing a draft for the "Panther" sequel).

All this would be troubling enough if the Oscars existed independently of the realpolitik of Hollywood. But the current lack of original screenplays might reinforce the negative trend: Studios don't produce many, the Academy doesn't have many to choose from, and then the category loses stature, further disincentivizing studios from greenlighting those types of movies.

Because the category is relatively free of the politics of the acting categories and depends upon a more defined group of voters for its first-round selection than does best picture, original screenplay has an uncanny way of reflecting the movie zeitgeist.

When socially realistic, auteur-driven pictures such as "Chinatown" and "Network" were being cultivated by the studios in the 1970s, they won original screenplay Oscars. When such indie pics as "The Crying Game" and "Fargo" were taking the film world by storm in the 1990s, they won the prizes, signaling and fueling the renaissance of offbeat fare.

This year could see the same. If movies such as "Star Trek" and "Hangover" are in the mix, the current vogue for big-budget remakes and low-budget broad comedies will be reflected. The Welleses and Wilders of today just might be Kurtzman and Orci.

Thank you. I was quite pleased, of course, when Exposurama honored The Swimmer Manuscript and so many other fine screenplays.

But, I was particularly thrilled to get the call from Peter Jackson after the newsletter went out ;)

Good job, Irin. Congrats!!! Was Ellis the first place award? ;)

Irin, you're faster than google! ;)

There is a massive churning of leadership and management going on in Hollywood with downsizing and restructuring of agencies, production companies and studios; and other major changes in their business models. The film business is changing rapidly and no one is yet able to predict how these changes will ultimately play out.

Many executives have been released from their duties and some are relocating. This is perhaps the biggest overall migration and vetting of executives in modern cinema. You will still find contacts, of course. But, any list in print probably won't last long without requiring constant updating. Just this week for example, Disney restructured its operations. Same is happening elsewhere at a variety of studios such as Universal which is about to be sold. Producers have had their studio deals terminated. And, consolidation or the shuttering of businesses is still ongoing, while other new entities are making an effort to adapt to the new conservatism and cost consciousness, lack of funding and loss of audience in certain markets and genres.

Across the boards it is a time of change. Doesn't mean you should not try to make contact. But lists you pay for may not be current one day to the next. Read the trades -- Variety and Hollywood Reporter, as well as Indiewire and Deadline Hollywood Daily and other industry publications to keep abreast of these transitions as reported.

from: Queens Chronicle

Film festival fraud? by Willow Belden, Editor 11/13/2009

Several people who have been duped out of thousands of dollars are saying that Marie Castaldo, the founder and executive director of the Queens International Film Festival, is a scam artist.

The festival, which opened Nov. 12 in Astoria, is in its seventh year, and numerous individuals who provided labor and equipment the past several years say they weren't paid and are owed big bucks. According to published news reports, Castaldo, who has a string of aliases, has also been sued for failing to pay workers at a film festival she ran in Narrowsburg, NY in 2000, and for breach of contract after bouncing a $35,000 check for a private party in Los Angeles in 1997.

Castaldo did not respond to repeated requests for comment before the Astoria festival and during the opening ceremony. When reporters from Fox News began questioning her Thursday evening at the opening, she took off running down the block. Among the individuals and businesses Castaldo allegedly stifted is Ballyhoo Central, a Queens advertising agency which provided programs, posters and other promotional materials for QIFF in 2007.

The president of Ballyhoo, who declined to be named for fear of retribution, said she ended up fronting the majority of the bills at the printer's and wasn't reimbursed or paid for her time. The month before the festival, having already shelled out several thousand dollars, she pressed Castaldo for payment.

''She gave me a sob story that she was going through a nasty divorce and her soon-to-be ex-husband had wiped out her account,'' the Ballyhoo president said. ''She kept saying she'll give me a check later. ... It never happened.''

Dan Nuxoll, the program director at Rooftop Films, which provided projection equipment to the festival in 2007, had a similar story, though with a lower price tag. Nuxoll said Castaldo promised to pay half of the $2,750 fee they had agreed upon on the first day of the festival and the other half on closing night.

Nuxoll was reluctant to sign up without a down payment but finally agreed, since the festival had a legitimate-looking website, a five-year history in Queens and support from various elected officials.

The first night of the 2007 festival, Nuxoll said, Castaldo told him she had forgotten to bring a check but would pay him the following day. Each day she had another excuse, he said, and on closing night she disappeared. When he tried calling, her voicemail mailbox was full, and eventually the phone was completely disconnected, Nuxoll said.

Nuxoll said he then talked with other member's of the festival's supposed advisory board, but many told him they had nothing to do with the festival, and others said they were also having trouble tracking down Castaldo. Nuxoll's assistant eventually tracked down Castaldo at a restaurant in the city where she worked. ''She said her father died and she had a nervous breakdown,'' Nuxoll said.

Eventually, Nuxoll gave up, but the following year he got an email advertising the festival, so he called the number on the website, told the intern who answered the phone his story and asked for Marie. She returned the call at around 1 a.m.

''She's furious that I called and is flipping out,'' Nuxoll said. ''She said: 'Let me tell this: if you come down here tomorrow, I have some men here who are going to make you regret it.'''

The following morning, she called, apologized and said she'd work out a payment plan, but Nuxoll said the checks never came, and her phone was eventually disconnected again.

Nuxoll isn't the only person who claims to have been verbally threatened by Castaldo.

James Hill, the head projectionist at the festival last year, says Castaldo owes him $1,000. Hill said Castaldo agreed on a price $250 up front, and $1,000 on the final day but she wouldn't sign a written contract. By the end of the first two days of work, Hill says he hadn't seen a cent of money and still didn't have a contract, so he threatened to quit. Eventually, Castaldo signed his contract and presented him with $250 in cash, but the remaining $1,000 was never paid, hill said.

A week after the festival ended, Hill called Castaldo and threatened to contact the press if Castaldo didn't fork over the rest of the money. Castaldo's husband, Richard Castellano, who was sentenced to a year in prison in 2001 for scamming residents of Monticello, NY out of several thousand dollars, then allegedly called Hill. ''He gave me veiled threats,'' Hill said. ''He said: 'You're not to talk to anybody. Do you understand that?'''

Hill and Nuxoll told of numerous other ''victims,'' including one single mother from Erie, PA, who allegedly wired $5,000 to Castaldo and came to New York to work for QIFF, thinking she would be reimbursed and paid an additional $1,000 only to be left high and dry for the full $6,000.

The ploys appear to be recurring this year. Kerry Wallum, who is in charge of organizing the closing night musical performances and tribute to Levon Helm, said he is owed approximately $15,000. According to Nuxoll, several big-name singers and actors slated to appear on the festival's final evening were misled by Castaldo and are considering not showing up. That claim could not be verified at print time.

Castaldo also seems to be avoiding reporters. The Chronicle received no press releases or phone calls announcing the festival, and Castaldo did not respond to repeated calls and emails requesting interviews and information prior to opening night.

On Thursday, about an hour before the festival was set to open, Castaldo flashed a winning smile but said she had to work with her volunteers, so interviews would have to wait. About half an hour later, she said she had to pick up someone, so interviews would still have to wait.

Castaldo didn't speak or even appear on stage during the festival's opening ceremony. It is unclear whether or not her absence was planned, but in the back of the auditorium, one festival worker whispered to another that some reporters had started asking questions and Castaldo had taken off running.

The reporters, from Fox News, confirmed that when they asked Castaldo about the allegations against her, she took off down the block. They followed her for several blocks and said she denied all queries.

Later in the evening, upon request, an assistant called Castaldo and reported that the festival chief was ''in meetings.'' She did not reappear at the festival within the next hour and a half.

It might seem surprising that the alleged con artist would be able to pull off the same scams seven years in a row in Queens. But her self-described victims say she's just that skilled.

''She's good at what she does,'' Nuxoll said. ''She moves around a lot. ... She moves her venues each time, and she gets different supporters.''

The Ballyhoo president said she considered suing Castaldo but has not done so because she fears legal expenses would be prohibitively high.

Hill said he and several colleagues contacted the district attorney last year about pressing charges against Castaldo but were told their claims were too small for the DA to handle.

The festival is set to run through Nov. 15.

©Queens Chronicle 2009

http://www.zwire.com/site/news.cfm?newsid=20388239&BRD=2731&PAG=461&dept_id=574908&rfi=6

See the video regarding Queens Film Festival Frauds

Updated: Tuesday, 24 Nov 2009, 10:11 PM EST Published : Tuesday, 24 Nov 2009, 10:11 PM EST

MYFOXNY.COM - The Fox 5 Shame spotlight is focused on the founder of a local film festival. Arnold Diaz reports that some former employees are blowing the whistle on a woman with a long history of dirty business.

Some people say that the founder of the Queens International Film Festival uses the event to line her pockets. Arnold confronted her about the claims, and now a local councilman is asking authorities to investigate her business practices.

Video:

http://www.myfoxny.com/dpp/news/shame/091124-queens-film-festival

and previous article:

http://www.zwire.com/site/news.cfm?newsid=20389457&BRD=2731&PAG=461&dept_id=574903&rfi=6

I've recently entered the ultimate contest for a screenwriter. The prize: Life.

There are some wonderful people in this world. A few of them are listed at this website.

www.friendsofbigjoe.com

More discussion and information here:

That Amazon Studios Screenplay Contest: Heavenly Or Hellish? Scribes Weigh In...

http://www.deadline.com/2010/11/that-amazon-studios-screenplay-contest-heavenly-or-hellish-scribes-weigh-in/