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I'm actually planning to attend this year. I've been to the Selling to Hollywood Conference and compared to that one (at least on paper), it's a great savings. The participating hotels even seem to be reasonable. As for the seminars, they seem to cover far more ground. For over a $400.00 savings for the conference plus seminars alone, it seems to be a great deal. Will let you all know if it turns out otherwise.

Just curious about psuedonyms nowadays. How important do you think they are? How many of you are using one and why? I've been contemplating using one. After all how many people would be able to remember a name like mine, let alone how to spell it?

Just wondering how you all have gotten your agents. I will need one soon and was wondering what has been the most successful approach statistically amongst the writers here.

In many of the books/magazines I've read and seminars/conferences attended, I've heard that you'll eventually be pigeon holed into one genre.

I've been recently reading that all that is now out the window. The new "trend" is to write in all genres to showcase your abilities.

Has anyone heard otherwise? What is expected?

In many of the books/magazines I've read and seminars/conferences attended, I've heard that you'll eventually be pigeon holed into one genre.

I've been recently reading that all that is now out the window. The new "trend" is to write in all genres to showcase your abilities.

Has anyone heard otherwise? What is expected?

LOL Was hoping no one would notice or point it out. Yeah, I was tired that night.

Actually I got the dreaded "Cannot find site" warning when I hit enter. Tried refreshing a couple of times to no use. Then I used the back button that took me to my post (still intact). I was worried it didn't take (had this happen on other sites where posts vanished if this occured), so I hit enter again.

And Voila two identical posts served with a side of deja vu.

Now for my next trick....

I was just thinking. Too bad this site doesn't offer a chat room.

Then again, I don't think we'd ever be able to get offline and write anything.

Nevermind.

Wow... what a ride for all. This is going to be fun (and I mean that in a not so fun way).

One of my concerns is that these large agencies are only looking for money generating scripts (like what'$ in it for us). I just don't want to be lost in someone's money making machine. Agents never used to be like that from what I read. What happened?

Another concern is that eventually, I'd like to direct also. I don't want to wind up being denied the opportunity because some big agency is packaging my script with a hot new director with no credits.

Okay, done spewing parranoia. Back to your regularly scheduled postings.

I was just checking out the brochure for the Expo and Eva Peel will be giving several two hour seminars on various days. John Truby will also be doing at least one two hour seminar on genres.

Just thought you all might like an FYI on it.

The only request I've had from a producer and a director recently have been to write a one page synopsis containing each act in its own paragraph.

This was after I had submitted my treatment from an idea I pitched them long before and well after I submitted a completed script. All of which I thought was odd. After all that, they passed anyway. Oh well.

Oh, and the best part is I got paid for none of my work... lol.

Yes, I'm planning on it. There will be people there like John Truby, Eva Peel, Syd Field, Michael Hauge, Greg Beal, etc. It's worth the money and costs far less than other conferences. I'm actually online now looking for a hotel.

What's wrong with an organization sponsoring it? I don't get Terri's comments. If some of the lectures are from said organization, does it really matter since many buy said organization's industry related magazine? Besides, there are 239 lectures (not including the free panels included in the base price -- I counted...lol). So I'm sure if you wanted to avoid the sponsor's speakers, you could.

I will see you there.

Sorry, I assumed that's who you were refering to. But even so... 44 lectures out of 239 could easily be avoided.

As is, after poking about on the net, I may not be able to attend though I would like to.

An independent producer friend of mine recently asked me if I had a horror script available. He gave me three elements he was looking for in a script. I had one idea that was a period piece but he said it would be too expensive for him to shoot. Did I have anything else? I told him to give me the weekend. I pitched him an idea he loved and wrote a treatment for it.

He introduced me to the director who wanted to feature an actor he knew and would be a bit older than the other primary cast. The one stipulation was "young cast".

To shorten this long story, I was able to add a new character through brainstorming with the director on the phone. This being a collaborative art, I was more than willing to accomodate. The character added more depth, dimension, suspense, and drama which strengthened my script.

Needless to say, they ultimately passed on the script. They were only working with a 60k to 80k budget. (hmmm make a mental note: ask the budget of the movie BEFORE I write the script next time....lol). Now I cannot imagine the script without this pivotal character that was added as a request.

I guess what I'm saying is, if it feels that the changes fit, do it.

Damn, and I don't fly in until the 16th. I knew I should have left on Wednesday instead.

See you at the Expo though.

All booked up and ready to go. See you all there.

I think I read somewhere a while back (months ago) that they totally folded. I don't think they are reimbursing any subscriptions either. Someone correct me if I'm wrong.

The Ring

ONLY the first ten minutes or so of Ghostship (the rest moved too slow on the gore).

Elvira Mistress of Darkness (okay, so this one's not so much horror but the guys should know why I listed it).

Young Frankenstein (hey, it's still a horror pic no matter what).

Attack of the Mushroom People (60's Japanese flick).

Children Shouldn't Play With Dead Things. (okay, the dialogue and acting needs lots of work, but just the thought of the ending still gives me shivers).

The Horror of Party Beach. (the ending is a little lame since most people know that liquid sodium chloride is salt water, but the gore and premise make up for it).

The Others was a nice little cerebral one as well as the Sixth Sense.

And (of course) the one I just wrote...lol.

An antagonist can also be more than just a person as in Man vs. Nature and Man vs. Self (correct me if I'm wrong). In My Big Fat Greek Wedding, I believe the antagonist is herself. She's standing in her own way by creating reasons (cultural, geekiness) to not find love. She overcomes this in the end and wins.

Can someone please clarify something for me concerning The Gotham Group?

Upon doing some research for suitable representation, I stumbled across some confusing WGA information. The WGA,west's website doesn't list them at all, while the WGA,east's website lists them as a signatory (there were other discrepencies between the two websites as well).

How can The Gotham Group be a signatory when they are listed here as a production company for two of the movies they are representing (Arthur Spiderwick's Guide to the Fantastic World and Creature Tech)?

I thought agents were forbidden by law to produce movies. Are they a management firm? If so, then is the WGA starting to sign management companies as signatories? When did this happen? I thought the WGA only listed agents as signatories.

Thanks

Hmm... perhaps you're the antagonist to your own script? Just kidding, of course.

Although I agree with your list, I must insist that half of #19 be reviewed. What's wrong with flimsy negligee? (besides the fact that it's just wrong for men with hairy backs to be sporting such an outfit.

I'd like to add a few more.

Never, EVER, investigate anything, just get out... you've already heard that curiosity killed the kitty cat.

Never where high heeled shoes. This applies to men as well.

And what ever you do, don't open ANY doors.

Sorry, couldn't resist putting my two cents worth in.

My guess is that some of those spineless, corporate, conglomerate CEO's don't want to take chances on new things. They'd rather go with a sure thing.

It seems to me that anything coming out of the UK is about the most original things floating around lately.

Just a hunch.

I'd like your opinions on which conferences you liked and were most helpful that you'd recommend to myself and others. Please also list an online site if they have one.

It's that time of year to where I need to plan my vacation time accordingly. Hopefully, this will be the last year of that.

I'd like your opinions on which conferences you liked and were most helpful that you'd recommend to myself and others. Please also list an online site if they have one.

It's that time of year to where I need to plan my vacation time accordingly. Hopefully, this will be the last year of that.

Oh, and could you please give me a rough date span of the conference. Like first week of August, etc.

Please ignore this one and post to the other posting of the same topic name. (This thing lacks an edit/delete function.)

Frankly, I only think you need to be in LA if you're a writer mainly accepting writing assignments for rewrites. Agents, I feel, urge you to move so they can set up these type of assignments and make money off commissions. After all, it's easier to get 10 - 15% off an assignment than to try to sell a spec script from a relatively unknown. Cynical comment on my part? Maybe.

Just keep some extra money set aside for meetings and let producers know you will be in town on such and such week if they want to meet with you. Just don't say you're going to be in town 3 weeks after the date they wanted to originally meet with you or else they will lose interest. I'd say within a week.

I'm not planning to move from Cleveland to LA anytime soon. There are just way too many bizarre stories to absorb and get script ideas from here as opposed to LA.

Okay, okay. I'll have to fess up to why I really don't want to move to L.A.

I'm afraid they'd whisk me away to a plastic surgeon for lyposuction. I can picture it now. My agent calls the producers to play along in a fat intervention and BAM!! They've got me in a straight jacket and in the back of some truck being smuggled into Mexico. After all, why would they pay premium dollar for a Beverly Hills doctor? I'm only the writer.

No, no. I'll stay here in Cleveland where everyone is fat like me.

It may be lucrative to accept writing assignments but it gets you little to no credit.

Did his agent fight for him? You would figure they would considering that the credited writer gets residuals. It's all about $$.

You just have to decide what kind of writer you want to be. Do you want to make a living rewriting others' work, or do you want to do your own thing?

Besides, it's the studios fault for accepting a substandard script anyway. Since it's about a subject in the public domain (I'm assuming since it's been over 20 years), they should have gotten a better writer to begin with.

But then again, studios could give a damn about the writer.

Wow... and I thought I was the only one who felt like that.

However, it really isn't just the one person. There seems to be a little cyber clique going on around here.

I've asked several questions in the past that may have seemed trivial to most on here, but to me they were important. I was taken aback by some of the snide responses but ignored them.

I highly doubt now that I will be renewing any type of membership because of it. Why pay to get insulted? I can get that anywhere for free.

Here's a thought. Somewhere in the beginning of this thread it was mentioned that one of the only things they are looking at rather than a spec is novels.

Well, we're all writers, right? I say, if that's what the market is like, adapt. Turn all your spec scripts into novels. You've already got your story, plot, climax, protagonist, antagonist, etc. outlined for you. And you've got a good 100 or so page headstart. Just expand and pad it with exposition, inner conflict of characters, their thoughts and/or thought processes, etc.

Get it polished and published, retain movie rights, and when the studios come sniffing around, sell yourself as the screenwriter. I'd get a great entertainment attorney from the beginning to look after your interests ($$). Get paid several times, once for writing the book (and royalties), once for selling the movie rights (get yourself attached as screenwriter), and then for screenwriting, (oh, and make sure you retain live production [theatre] rights). I wouldn't feel guilty, they're (producers and studios) are creating their own mess.

It's kind of like reverse adaptation. Look at Sidney Sheldon and his career after Hollywood used him and spit him out. We've got the tools to adapt, fight back, cope, ride out, weather.... however you want to phrase it.

When you got lemons, make lemonade. Not that I'm saying any of our material is lemons. Just an optomistic figure of speach.

Now get to adapting those scripts. :oP

Paula:

I never meant to imply that writing a novel is easy, or that getting it published would be easier than screenwriting. I'm mearly trying to give all of us a boost and not think that all is doom and gloom. Just trying to open up a window where the door seems to be temporarily closed. Hell some of everyone's script ideas may even make a good magazine article, short story, or novella and not necessarily a novel (that's my bad for not mentioning those forms in addition). But you've got my point exactly as far as producers pointing to printed matter.

And it may not be easy to write a novel, but we're all writers and if we believe in ourselves and our material as we all should, then it wouldn't hurt to try to transform those specs collecting dust into gold.

What kind of writer's conference did you attend? Was it strictly for screenwriting or did it encompass all types of writing?

If it was a screenwriters conference I wouldn't be surprised at the agent's negativity toward novel writing because most agents either represent screenwriters or they represent (in print) writers. There are very few who represent all. And if it was a screenwriting agent, it doesn't surprise me that they steared you to "How to" or "Self help" book writing because, after all, they probably have books of their own and that's all they know. And if it was a literary agent then shame on them for being so negative. Would you sign with someone who kept telling you they can't imagine who would buy a novel at this time the trend is such and such? No. Besides, like I mentioned, I neglected the short story format. Break in at the literary magazine level (there's no pay, but you're published and lots are very reputable).

Yes it's tough, but keep trying.

Alyssa:

Please write your heart out, don't be discouraged. You've got a good idea as far as finding material and adapting it. But finding the right story match that any producer would be interested in and making a connection is just as difficult. There's no easy way to break in. Besides, most of these other authors are probably only willing to option it for a short time period. I don't know about you, but I don't have the $$ to pay another author to option or outright buy screen rights to their material. Plus you risk a pass by a studio on an article you have optioned the rights to to just come in and wait till your option expires and they snatch it up after you've pitched it too them. They have time to wait, do you? And all the hot topics are probably going through bidding wars anyhow. That's why I recommended our own material being adapted into other formats. BUT if you have the extra $$ to option and have strong convictions and are truly passionate about the story you've optioned, by all means, do it. Do it. Do it. Do it.

Now I don't want either of you thinking I was singling you out. But you both raised valid points that I wanted to address.

In 1997 I had a column and wrote articles for an online ezine (I just probably said something redundant), but the zine folded before the guy could get it up and running. I still have the rights to my work and over the years I was trying to see how I could readapt the material. The ezine was in the vein of The Onion (a tabloid satire). I wasn't sure if I wanted to go to another ezine, or turn it into a Dave Berry type legit syndicated column, or even a comic strip. I finally decided to turn the material into a pitch for a half hour comedy show. I now have the option to shoot the pilot myself as an indy and try to shop it to the fests and open doors that way or just wait and pitch it once I'm established.

Bottom line is ... Don't let anyone tell you you can't do anything. Just try to do it.

Oh, two other point I forgot to make was that it only takes one shot to break in. So pick the best script you have and adapt it to something else. Whatever you deem fits (ie. play, poem, short story, novel, etc.) and once that's successfully accomplished and you're selling your screen rights and long since completed spec script, you can try to sell them other specs.

I don't know about you guys, but I've been noticing the novelization of movies by the studios. You get no profits because you've sold all rights to them with your spec.

Thanks for the clarification Paula. In any case, I'd never sign with any of those agents. That's just far too negative.

As for self publishiing, the one screenwriting conference I attended (think it was at ScreenwritersExpo2) a panel of producers poo pooed on self publishing because they are considered 'vanity' presses. But it doesn't mean that we shouldn't try that route either. After all, you made a very good point on some being picked up by publishers. I also know of a woman who self published her book on her experiences during WWII who has the attention of Steven Spielburg now. So you never know.

But since Hollywood's tunnel vision seems to be geared at print media, we should try, nonetheless, to adapt our specs into other formats and once those are hopefully picked up present your "spec" as an adaptation.

There is plenty of material that has been adapted over the years. Cats was inspired by a poem, turned into a play, and then into a movie. Grease, Hedwig and the Angry Inch, and My Big Fat Greek Wedding were all plays turned into movies. The Raven by Poe was a poem. The Dead by Steinbeck was a short story. American Splendor is a comic book about a regular joe not a superhero.

Out of all of these, for anyone not having the patience for writing the novel or fear they can't write a novel, I recommend the short story or poem format. Only because as screenwriters we are accustomed to writing tight and both of the print formats also demand tight writing. There are so many prestegious little and literary presses out there. Literary Latte, for example, is distributed in NYC coffee houses for free. Perhaps a dramatic piece you're writing about a passionate subject can be turned into an op-ed piece for a magazine or newspaper.

Or maybe the time has come for writers to create their own studio. That's what frustrated actors did under the old days of being under contract and created United Artists. Perhaps, then we'd be getting somewhere?

I don't know. It sounds like you're trying to "direct the actors". In that instance, I wouldn't do it.

The long pause of eternity thingy above sounds better.

Isn't Tony Robbins supposed to be the best? At least he was in Shallow Hal.

I'd suggest saving your money and just motivating yourself by reading the trades. Script Magazine, Creative Screenwriting, Fade In, Variety, Hollywood Reporter, etc.

I agree with Gil and David. You don't even need the beats (especially between putting the gun to his head and closing his eyes).

I feel that the actor knows to milk a very dramatic scene like that. Besides, reading it as if I were placed in that same situation, I too, would stall before pulling a trigger (it's human nature).

In all the books/indy mags I've read over the years, POV went out with camera angles. It's considered a camera angle and therefore not acceptable. Just like saying Close Shot or Angle On Jeff. It's directing the camera (not supposed to be our job). I think that's where this studio person is coming from.

Here's a way to write what you want:

INT. BEATER CAR -- NIGHT

The brief light of a door opening in the apartment he's staking out catches his eye. Benson grabs the binoculars off his dashboard.

BINOCULAR LENS -- TARGET APARTMENT

Through the moonlit windows of his client's house, it's clear that she's not alone. Benson adjusts his focus.

The two silhouettes seem to embrace, then struggle. One of the figures raises a large object above it's head and hits the other with it.

One figure scurries out the door.

Benson shifts over to the front door of the apartment building. Out pops a man.

INT. BEATER CAR

Benson lowers his binoculars. Could it be? It's his client.

The man scans the area for any passers by. Benson slumps down in his seat as if he won't be noticed.

Benson's car will be lost in the string of curbside parking. After all, a Pacer isn't that uncommon. Okay, now I have to get back to my writing. I need the practice....lol

In all the books/indy mags I've read over the years, POV went out with camera angles. It's considered a camera angle and therefore not acceptable. Just like saying Close Shot or Angle On Jeff. It's directing the camera (not supposed to be our job). I think that's where this studio person is coming from.

Here's a way to write what you want:

INT. BEATER CAR -- NIGHT

The brief light of a door opening in the apartment he's staking out catches his eye. Benson grabs the binoculars off his dashboard.

BINOCULAR LENS -- TARGET APARTMENT

Through the moonlit windows of his client's house, it's clear that his client's wife is not alone. Benson adjusts his focus.

The two silhouettes seem to embrace, then struggle. One of the figures raises a large object above it's head and hits the other with it.

One figure scurries out the door.

Benson shifts over to the front door of the apartment building. Out pops a man.

INT. BEATER CAR

Benson lowers his binoculars. Could it be? It's his client.

The man scans the area for any passers by. Benson slumps down in his seat as if he won't be noticed.

Benson's car will be lost in the string of curbside parking. After all, a Pacer isn't that uncommon. ******************

Okay, now I have to get back to my writing. I need the practice....lol

Appologies for the repost.... I made a small mistake and also the system tagged my last response to my last action line.

Yes, it's very amateur and should never be used.

That's what your scene description, as well as your action line, is supposed to do -- describe.

In other words it's being redundant because the readers, actors, directors, etc. know that the none dialogue lines are supposed to be visualized.

Yes, it's very amateur and should never be used.

That's what your scene description, as well as your action line, is supposed to do -- describe.

In other words it's being redundant because the readers, actors, directors, etc. know that the non-dialogue lines are supposed to be visualized.

Okay, I need to go to bed now.... I'm starting to double post...lol

In the last few conferences I've attended, (Cont'd) is becoming a thing of the past. The agents and studio reps have stated it just slows down their reading of the material like the camera angles used to do.

Unfortunately, my puter program (an oldie but reliable one that I like -- Hollywood Screenwriter), doesn't allow me to erase it and puts it in there anyway.

But the standards will change again shortly so keep up with them as best you can.

Wayne:

I totally understand your frustration over contradictory information. However, you should not be quoting something that you've claimed is from a 1998 edition of Trottier's 3rd edition book.

Now just take a step back and look at what's wrong with that last sentence right there. Deep breath, now (and this in no means is a jab at you whatsoever). I'm just saying take a look at the entire picture.

You're quoting something from a book published in 1998. I DO agree with you and the book that CONT is a thing of the past. BUT, think about it. 1998? Wayne, one month time lapse in Hollywood is old news. In other words, things develop and change quicker than a computer upgrade.

Another thing wrong with my second sentence above, is that who is Trottier? Really? How many scripts has he written? So, he's a "guru", big deal. They're a dime a dozen all with their own "How to's" published and traveling workshops. Granted, if it weren't for these gurus, then those of us, myself included, wouldn't know anything about screenwriting format. Trottier is not God, nor is Seger, nor am I. So, being out of the "Hollywood loop", it's places like this that we can sift through the sand to find the golden advice. Sure some on here come off as know it alls, but who cares? Remember to take all this advice and sift, and compare it to the things you know and read. Perhaps even bring your experiences and views to the table (but don't try to get frustrated over someone else's grandstanding).

The last thing wrong with my second sentence above, is that it's Trottier's "3rd edition". That should tell you a lot right there. It's taken him at least 3 times to convey the latest (if you consider 1998 latest) changes in the industry.

Now the only reason I picked on Trottier is because you've referenced him in multiple posts. I can say the same about any guru. I wish that Syd Field (who started this "How to" mess) would update his book Screenplay which is laden with now what would be considered bad advice. I just wish he'd take out the camera angles at least in the back. Or put some kind of disclaimer not to use it, but it's posted for our benefit to see what it would be like.

Now with all that said, I feel the BEST way to keep up with what the latest "trends", "styles", or "formatting" issues, it would behoove all of us to go to screenwriting conferences to learn what is currently acceptable. That's what I try to do. I take at least one trip a year, if not two to select conferences.

Now everyone play nice in the sandbox. Okay?

Understandable. Just don't let it get to you (well, not to much at least). You'll only make your head explode. Have a Fosters and chill for a while. And if it helps, ignore everyone.

Wayne:

Do you realize that lashing out like this isn't noticed by those industry professionals that do take the time out to see what we newbies are up to?

You're making yourself look bad, mate. Don't let petty little things get to you. If I were an established director or producer or studio rep and came online to read this stuff, I wouldn't hire you at all. Why? Because you're coming off like someone who will be difficult to work with on an assignment and wouldn't take notes and adjust the script accordingly. Be very careful how you let others perceive you. Granted, this MAY be uncharacteristic of your personality (giving you the benefit of the doubt), but that's not what others see.

You've even accused me of being "Another non-reader!!!". I take offense to this only because I was staying on topic of this particular thread. Your first two posts (back to back) NEVER referenced another thread. And, yes, there are times I do skim through other posts like some of the ones on this thread because they were personal pot shots and irrelevent (in my opinion) to you original post. You didn't do that till later and in your response to my post.

And, in fact, without initially referencing the POV thread when quoting Trottier YOURSELF (or so it seemed -- read your own posts, buddy), how is one to know what the hell you're ranting about? Besides, if you're ranting pertains to another thread, continue it there. I don't have the time to go hunting for your very vague references on "someone" said in another thread crap. I have better things to do with my time (like writing -- my script) than to try to make sense out of someone's petty postings. Back to my "someone" reference above, I think we'd all appreciate it if you are going to accuse us, to name names and not be so vague as to imply or implicate this entire community.

But hey, no biggy. I figured you had a bad day. So I let it roll down my back. But enough is enough. Quit lashing out at everyone and anyone. It's not pretty or professional.

Okay, sorry everybody. I just needed to rant.....lol

Isn't Formosa what they make counter tops out of? Oh wait, that's formica. Nevermind. LOL

I'm in the middle of another one, then I'll enter Nicholl with two scripts.

Two main industry magazines that everyone should be subscribing to (Variety and The Hollywood Reporter)have help wanted sections listing jobs like the one you seek.

Good Luck.

Two main industry magazines that everyone should be subscribing to (Variety and The Hollywood Reporter)have help wanted sections listing jobs like the one you seek.

Good Luck.

I can name a ton of them.

The entire 'Thin Man' movies. Topper Some Like It Hot The Time of Their Lives (albeit an Abbott & Costello movie, it's one of their more 'serious' pieces) Here Comes Mr. Jordan (precursor to Heaven Can Wait)

Actually the 30's were great for this kinda drama with slapstick.

Basically, the rule of thumb doled out in seminars and conferences lately, is to never inundate the agent/producer/manager/lawyer with a barage of e-mails/phone calls/follow up letters. It wreaks of amateur behaviour.

If you don't hear from the people you've submitted to after a reasonable interview (say 2 months), then take it as a no and, at the most, send a very brief letter that you will now start sending your script elsewhere.

This solves two things. First, you're reminding them in a polite way that this is their last chance (but please don't use that phrase in your letter). Second, you are being courteous and above all professional. After all, this is a business relationship not a date (and if it were a date, it would be stalking if you kept at them).

Whatever happened to Emily Post and decorum?

Anyhoo.... take it as a no by all accounts and move on. Do you know how many other management companies are out there? Then why bother wasting your time with someone who is not interested? Maybe they don't like your style or genre. Don't take it personally. Find someone else out there that you click with.

Now I'm feeling like Dr. Ruth.

um, I meant interval not interview. Don't know what happened there.

I don't know. I read your list of "improvements" and just think to myself how some writers can do it. Not that there's anything wrong with it, but it's not MY cup of tea. If I attempted to force myself to do half the things you listed, I'd be hanging off the nearest bridge. And there's absolutely nothing wrong with what you're doing as long as it's working for you. I just find them to be distractions from actually writing the script.

My writing style (which works for me) is extremely unconventional compared to the rituals I've read here and in the industry zines like Script, Creative Screenwriting, etc. as well as the typical books.

For instance, I don't want to see another 3 x 5 card as long as I live (a suggestion of 'How to Write a Script in 21 Days'). Don't ask, I just wanted to pick up a few tips but came up short.

Nor do I enjoy writing outlines. At the risk of sounding uncooperative, I recently told a director on a writing assignment that I took on that I refused to do another outline. "I'm ready to write the script, I don't want to waste anymore time." I'm finishing the first draft as I write this. I really wouldn't recommend doing that. I'm surprised I actually won my arguement.

Names are easy to me. I just think of the character that was created and think what's most appropriate. Like you'd no sooner name a tough bully Nigel rather than Butch. Unless, of course, his name MAKES him the bully that he is to defend himself on the playground, then Nigel suits him. And if all else fails, there's tons of baby naming books available with meanings.

I NEVER force myself to sit and write on a schedule. I have a deadline and I know when it's to be met. Other than that, I have no set 'writing time'. I find, personally, that I need to be totally relaxed and zone everything out. Eventually, I'll get to the laundry (that's why I have a ton of clothes). I eat off paper plates so as not to think about the dishes in the sink. Sometimes, I just get up and leave because the cat wants too much attention or something's on TV. That's when Starbucks, the park, or even the local pub (yeah, I write in a darkened corner sometimes).

But most important of all, I NEVER put pen to paper or fire up the puter with 'insert your screenwriting software here' ready and waiting UNTIL I've totally flushed out my story.

I know who my main characters are, what their flaws and strengths are for both antagonists and protagonists. I know my ending, first and foremost. I know what my title or working title already is. I know what happens in everystep of the way. The setup, the end of act one, the entire act two, my midpoint, the plot point that begins act three and is the catalist for the ending, the climax, the tone of the story, etc. In other words, I wind up developing the story out in my head at least a month or two (sometimes more) in advance until I have all the kinks worked out. This includes poking holes into what may seem plausable at first, etc. (Luckily I have a lot of dead time riding the bus to work and home from my day job).

Now as I begin to write, I just play the movie in my head and write down what's dictated to me. I can churn out a first draft script at this point in a matter of 5-7 days if I'm uninterupted and feel relaxed. However, the day job does play a key factor in and if I'm stressed from that, I don't write. Why? All I'll write is crap that's forced and it will feel so on the page. So if things DO happen (and they always will), I leave a two week margin to write it to give me lee way for some me time (shopping, lounging, TV).

I guess what I'm saying here, is that IF you should decide that forcing yourself into a routine is not for you, then don't do it. I'm not saying that everyone should try what I do. Because what works for one, doesn't work for all.

So don't take this post as a negative on Sue's method. I'm just saying that if you find yourself forcing yourself to write outlines, or sticking to a daily schedule, then don't do it.

I hope this post makes sense to someone out there.

Now I need to get back to my assignment so that I can turn in that first draft (took a vacation day to go to the park with the notebook).

I've been dying to see it. Where is it being shown?

I've bit my tongue until I finally watched this film. Which I highly recommend BEFORE you post anything supporting any viewpoint, you should. Otherwise you're just talking out your ass. No, not because you're against or for it, but because you haven't seen it in order to give a fair opinion.

I love people who say "and that's FACT." (Curt) Show me your damn source. You can't, can you? At least in the movie Moore DOES back up his facts.

Now before I go on, here's my take on the Documentary. I found it informative because our news media is NOT doing it's job by uncovering connections such as Mr. Bath who's name was censored by Bush in order to cover up a connection with the Saudi's. The proof was on the screen shown in the documents of Bush's National Guard transcripts. One was released years ago originally with the name there, and suddenly this year when Bush released his military records again they at least caught the name and blocked it out before releasing it. Why block out someone's name that means nothing to the rest of us? AH!! Well, you see, there is an obscure connection of this man handling Saudi money in Texas. Where are the Bob Woodward's of our era? This is bigger than Watergate.

There is actual film footage of Bush Sr. schmoozing with the Saudi's (why? because they are in bed with them financially). All you nay sayers out there try to explain THAT one.

And Allysa, dear, at least Moore is making movies. Where are yours?

The ONLY beef I find with the film is that it was presented in far too light of a tone on a serious subject matter. Perhaps this is why you anal retentive conservative types don't accept the facts held within it. Time to get some laxitive and free your minds and think for yourselves than be robots of the Bush regime. A friend I went to see it with, however, liked the lighthearted tone. Why? "Because documentaries are 'boring' in his opinion and it made it more palitable." (quoting my friend here). Perhaps it's good that it was filmed in this style, it will reach more people who don't like the traditionally dry documentary.

Well, this is all I have to say. And it will be my only post. I refuse to rebuttle someone's fillabustering on this thread only because they continuously want to SLAM their narrow minded opinions down our throats. Especially if they haven't seen the film.

Too bad Bush can't help you prove this wrong by suing Moore for slander. You know why he won't do it? I bet the facts then would be investigated and found to be true (my opinion).

Just another Republican for Kerry/Edwards 2004.

(too bad he didn't name Bill Clinton as Vice President).

OOPS!! I eroneously named Alyssa (my deepest appologies, dear... seriously).

I meant on commenting on Sue's post just above Richard's.

So, Sue, where are your movies? Hmmm?

Richard, don't bother, it's useless. Curt's a dermatologist and is only working to get under your skin...lol

I swear, if those of you (and you know who you are) that have spent so much time and effort spooling fiction on this thread put more effort into your screenwriting, then maybe you'd get representation, or manage to sell a script. Oh, wait, you don't have scripts. You're wasting time online rather than writing the blockbuster.

Later, got a meeting with a Director and Producer.

Oh, forgot.

Vote Kerry/Edwards 2004.

Denise, I'm sorry to hear about your ordeal on that day. But don't assume you had to be there to be effected on that day. NYC wasn't the only place hit. So was DC. So were the people effected in California, yes, California in San Francisco and in L.A. where the planes that were hijacked were heading.

David Angell, a marvelous producer, was on one of those flights. Although he is the most recognizable name, he wasn't the only one in the industry on those planes.

Those of us here, in Cleveland, were effected as well. Cleveland? Yes, Cleveland. After the two planes hit the WTC one was in the middle of turning around in Cleveland air space and broadcast on our airwaves. The damn company I work for refused to let us evacuate our skyscraper while the plane was heading back this way. Who knew who the target was? And if the people on that plane fought back, would they just strike any skyscraper along the way to their target to settle for anything? Many in my company left against company "orders" to stay and work. I mean, come on, how lame can greedy corporate America be? After all, the mayor of Cleveland already gave the order to evacuate. Who were these corporate mongrels to usurp the mayor?

Well, it just so happens that the people on the plane I'm speaking of, did fight back. That was the plane that crashed outside of Pittsburgh.

So don't tell me that you HAD to be in NYC to be effected.

This movie isn't so much about 9/11 as it is about the Bush/Bin Laden/Saudi connections.

Okay, sorry folks but I just got a little urked at what others assume that I felt.

Oh, and BTW, you didn't even need to be in Cleveland to get effected on 9/11. All you had to be was an American (and not even that... human).

I went to #2. And you're actually saving a load of money. Compared to most other conferences, you save about $400.00 or more just for the conference and with far less options/seminars and speakers.

This one's even throwing a trip to Paramount after the conference for extra money. However, it's a wise investment.

Plus you can always find cheaper hotel rates if you're renting a car.

You can't beat this kind of exposure to the industry.

Oops. I meant that the Expo has far more options/seminars and speakers than any other conference I've attended.

I went to see it Saturday and held back commenting on it.

I think the reason most people are not satified by it, is because we've all come to expect too much of MNS and all the hype that Hollywood execs are putting behind his movies.

All of his movies have been really psychological thrillers rather than horror. This one seemed to be more of a continuation of Blair Witch Project than anything (I was really disappointed in that crap).

However, on the other side of the coin, it really isn't that bad of a movie. Maybe it should've been reserved for cable perhaps.

It reminded me of those old period piece B horror movies where there's noise coming from the locked attic and the husband swears it's the new wife's imagination not knowing it's his invalid, disfigured twin brother, etc.

The movie's ending had about 4 major problems that I could see making the whole story implausable, but I won't post it here so that I won't spoil it for others. If interested in my opinon on the ending, then just click on my name to get my e-mail addy and/aol IM name and I'll let you know.

I still think it was a decent movie, but not great.

Let the thread die. Nobody cares anymore.

Linda,

Last year I stayed at the Stilwell Hotel (big mistake). The Figueroa Hotel is an old one that looks like a carbon copy of the Stilwell outside (tiny and on the small side). Was there for a gathering by the Expo and wasn't too impressed with it either.

This year I already booked at the Wilshire Grand. And if memory serves correctly, it's a more modern hotel within decent walking distance to the Convention Center (about 10 minutes).

See you there.

Actually the deadline was today. "Postmarked no later than 8/21/04." Got mine in. I'm just hoping to at least get the software. I need an upgrade. The old out dated one I'm using keeps crashing on me when I try to save it.

Anyhoo, good luck everyone.

Just curious if anyone is entering this competition. It's a reality show with a $25,000 prize and rep from either CAA or William Morris for a year.

I briefly considered it, but they want you to devote 10 weeks in LA if you're one of two finalists. Frankly, I don't have that luxury. I live from paycheck to paycheck (these bills are rediculous) and I pay rent. I'm single and live alone so there's no one to pick up the slack in order for me not to become homeless let alone loose my job (because they wouldn't hold it for me) over an uncertainty.

Besides, it seems as if they're depending on the writer to shoot it as well as edit it (or be involved in post production). I don't see that at all as realistic. I bet it's for drama of the "reality" of it.

Don't get me wrong. If I had no cares in the world or responsibilities, I'd do it.

Hey Sue,

My employer is a regional medical insurance company (like Blue Cross). I highly doubt if they'd hold a job for me. But it wouldn't hurt one to ask for a leave of absence. I only have 6 days vacation left for the year which I was saving toward the Screenwriting Expo 3. I'd have to look into my company's policies on unpaid leaves of absence. I know I can take up to 5 or 6 months. But I don't know what stipulations they'd give me (i.e. medical leave only, etc.). We also have a program where I could "work from home", but I'd have to set a computer up in LA and work that job while also doing "the show". I don't know how that will play out with Bravo either.

The contest pays for hotel/airfare for the duration of the reality series. So no problem there. BUT I'd still have to pay rent back home to keep my residence which someone pointed out that they'd pay me appearing. Now if they did that and paid me during the show so I can keep paying bills at home, then I'd have no problem. Thing is they don't mention anything outside of the grand prize money.

And lastly, I have two cats. Most of my friends are allergic. They'd probably look in on them. For me to be gone for ten weeks they'd need someone to spend sometime with them, not just look in on them. This can be dealt with also.

I have 18 days to check in on policies at work, pet sitting serves, and non allergic friends that could stay at my place.

Thanks

If anyone else has suggestions, I'm open to them.

I'm just wondering if it's perscription or street... LOL

Hi Terri,

I'll be going again this year. I've taken time both before and after the conference to also do some looking around as well as make time for extra events after the conference (see Expo3 for details). However, I'll be traveling with one of my friends.

If you'd like pointers of what to see/do for a quick day, I'd suggest Paramount Studios for a real studio tour, Pink's for Lunch (across the street from Paramount), and then up to Hollywood Blvd. for some shopping as well as the Walk of fame and Chinese Theatre.

Perhaps we can do lunch during the conference. There's a great Asian restaurant right on Figueroa (I thought it was better than the one I went to in Chinatown and it's walking distance from the Convention Center).

Why even bother sending a querry at all? Has anyone read the latest edition of Creative Screenwriting? There's an article titled "How do I get a damned agent?"

One agent on the panel states this, "Not to be egomaniacal, but everybody who's on this panel -- it takes a lot of time and effort to break new talent. We don't necessarily have to do that anymore. It's extremely hard work, and we work hard enough. Why shouldn't we enjoy the success of the years of time and energy we've put into building our reputations?"

Where exactly does that leave a writer then? (CS continues) It's all about the referral.

Well, excuse me for a moment while I go off on a tirade... LOL. What if, perhaps we don't know anyone in tinsel town? We're fucked!! And here's my take on agents just collecting their 10 percent, I'm not the welfare department, I'd expect an agent to work hard for me. If Hollywood wants fresh voices then quit being so damned elitist and arrogant!!.... Okay, tirade over...LOL. (Now I'm probably on somebody's shit list... fuck 'em).

That's the reason, for the first time, I've entered a script competition and considering this Bravo reality show... to get an agent. I recently sent a querry before this article came out to BWCS. Granted, they are one of the biggies out there, but it was only a querry. They promptly sent a form letter back to me with my querry and SASE stating that they don't accept unsolicited letters. Fuck 'em.

I also sent a querry to an agent I met at several conferences. Not until now, have I been ready for an agent. At the time of those conferences, she stated that we could querry her and to reference that we met her or took her seminar at such and such conference. She hasn't replied yet and it's been over a month. So if you're planning to land an agent at the conference of your choice, beware, you may be lied to (gasp, not in Hollywood?, you say).

To make matters worse, all these agents don't respect us anyway, whether we be the lowest of the low, writer, to actors, and even directors. They just want their damn 10 - 20 %. Bottom line.

Don't believe me? Then you haven't read the latest edition of Fade In. It's all right there in the article titled "Agents Anonymous".

An excerpt goes like this, "While agents have to please the studios, they especially have to please star clients who bring in the bulk of an agency's profits. Case in point: the recent fiasco over a film adaptation of the Booker Prize-winning novel 'Life of Pi'.

Despite it's critical success, the book languished without being sold to Hollywood until million dollar scribe Dean Georgaris obtained the rights. He then pitched it to Fox 2000 topper Elizabeth Gabler, who liked his approach to the story and bought it for 20th Century Fox. Supposedly, Georgaris was so passionate about the unusual and uncommercial novel that he agreed to adapt the work for half his normal quote.

Several weeks later, after Georgaris had written his first draft; he was stunned to discover in a meeting at Fox that he was off the project because A-lister M. Night Shyamalan decided he wanted to make it.

Sources close to Georgaris say he was heartbroken over the matter - especially because Shyamalan was represented by the same agency. The studio may have been responsible, but Georgaris was never told of the switcheroo by his agent.'

Now that's a problem I see with these larger agencies that "package" films. The article goes on to say that Georgaris left his agency and went to CAA. His old agency? UTA. I'd never trust them after reading this. Another article in the same Fade In interviews Georgaris and he tells more about it.

But there you go folks. We can't get in and by the looks of it, once you are in, be careful.

Damn, I'm jaded and I haven't even moved to tinsel town yet.... LOL

I've decided not to enter (this year at least). Although I got permission from my employer, I've been having a hard time trying to get someone to house sit for me at the last minute if I were to be a finalist. So, I will plan on entering next year.

Besides, I keep on putting this one project of mine aside that I really want to finish. Although I've ultimately decided not to enter, I had started writing my sit com. I've found that being used to screenplay formats, it was slightly awkward typing in teleplay format even though the two are close.

I'll get back to finishing it up and polishing it in January.

Good luck to those who have entered.

Life insurance is a totally separate entity on it's own here in the U.S. I've worked for several insurance (medical) companies in Ohio and Rhode Island and none of them offer Life in addition to the medical.

Generally most medical insurance companies also offer vision and dental as a package. Depends on how your employer chooses the plan. The employer may go with 'X' for medical and vision, but with 'Y' for dental, while another may go for 'X' for vision and dental and with 'Y' for medical, and yet another may go with 'Y' for all three.

Furthermore, other types of insurance are generally offered by a different kind of insurance company. Like your short and long term disabilities, workers' compensation, and Life.

Of course, this is a simple explanation. Hope it helps.

I agree, it's what's on the page. However, when they call you in for a pitch meeting, wear something up to date, yet age appropriate (i.e. no belly shirts).

Honestly, I think it's all in the way you carry yourself. If you act 80, you're going to look 80. So when you pitch be lively.

Congrats guys!! I too, placed. But I really didn't want to be first to post...lol. I think I recognized a few more out there, but wasn't sure. See you guys at the Expo.

But did the toning down on the puppet sex to get an R rating really diminish the movie? ROFLMAO Please, if our government worries so much about simulated puppet sex with anatomically incorrect puppets, then we'll never win the war on terror. Sheesh.

Congrats Gil!! Hope you remembered to write a part in there just for yourself ;o) See you at the Expo.

If you think that's a problem, I use Hollywood Screenwriter (yeah I know it's ancient, yet still useful).

My program freezes when I try to manually save it to diskette and less often on hard drive. So what I've been doing is printing off the few pages that I was working on that day before saving my script or else it's bye bye. The good thing is that I can back up to the last time it auto saved and work from there if I forgot to print it before saving. It's a pain, but what can one do?

My theory is that it all depends on how much one has written in that session. I don't think that any programs out there can handle all our typing. I notice I don't have this problem when it's a couple pages. But when I'm on a roll to where my sessions last 40 pages, that's when my saving problem begins.

I paid for Saturday night. I was going to wait to see if I placed at all in the script competition. Since I made quarterfinals, I decided the investment was worth it for two reasons.

I entered the script competition due to some articles I read in both Scr(i)pt and Creative Screenwriting that it was practically the only way to get agents interested in reading your material for consideration. I tried querying a few in August before entering with no luck whatsoever. So my primary goal this conference is to schmooze agents (I'm still on the fence about managers though).

The second reason I chose the party vs. the pitch is that I really didn't want to miss a seminar that I wanted to attend just for a quick, cold impersonal brief encounter during a typical pitch meeting. Besides, I don't think we (attendees) have the choice of whom we pitch to. So I may be wasting time pitching to some company that doesn't handle the genre of the script I entered in the competition. On top of that, the party seems to be a more relaxed venue to casually walk up to someone, say hi, introduce yourself, get to know them, let them get to know you, and hand them a card without time constraints. Perhaps they will have a great lead for me as far as agents go that may not have been at the conference.

Anyhoo, that's the way I rationalized it. Now if I didn't enter the competition and didn't place (even in the quarterfinals), I probably wouldn't have bothered.

See you at the conference. Looking forward to meeting everyone and anyone from this board that's going to attend.

JP

Woo hoo!! Congrats, Jill for making semi-finals!!

See ya at Expo 3.

There's a nice Asian restaurant just past the Figueroa Hotel. We need to set a meeting place though.

Unfortunately, I didn't have as great a time this year as opposed to last year.

But that was because I was fighting off a serious sinus infection. Practically fell asleep in most seminars on Saturday. Hope no one noticed (lol). Even sightseeing after the conference was miserable.

I can't wait till next year though. We're going to have to set a place to meet.

He was at the Screenwriting Expo 3 giving a seminar on that topic. I thought he was good, Barb. I've decided to try my hand at going it solo. Why give up 10% to someone that expects you to find the leads anyway? You're just throwing away money.

And a Merry Yuletide to all.

(wish this thing had an edit feature)

And a Merry Yuletide to all on this Winter Soltice.

Have you tried Whorepresents.com? I know you have to subscribe now but they should have that info. I recall that they have it broken down by manager, publicist, agent, etc. when you search for an actor.

I'm wrapping up a script that I set asside to do a writing assignment last year (that I still never got paid for... grrr).

I was approached by an up and coming producer from San Francisco at the Screenwriting Expo3 to collaborate on a horror script. Sounds interesting but I'm very leary about doing it considering getting burned last year.

But I'm leaning toward writing the story of my mom's life and how she survived Concentration Camp during WWII. I'm just having trouble figuring whether I should write it as a fiction or non-fiction book. Most of the people are gone and documentation is very rare to track. So I'm leaning it on fiction as a "based on the life of..." story.

Any suggestions as to approach this? Also what should I do about the horror collaboration? The guy's willing to pay upfront, but I'm more concerned with his experience (and possibly getting burned again).

In a script that I wrote that placed in the quarter finals at Screenwriting Expo 3, I wrote all the characters in without race descriptions. Frankly it didn't matter what race any of my characters were.

However, I'm currently finishing up a religious comedy and I specifically indicate race only once in describing my main family. And I'm letting the dialogue, and tone of the script convey that this is an all black cast. Generally speaking, churches are mainly self segregated. For instance, I went to an all Hungarian church.

The reason I chose to set it within a black congregation? Personal prefference. Because if I wrote this same script within the confines of the type of church I grew up in, it would probably be a drama (lol). I just wanted to distance myself from that and take a light hearted look at the topics I wished to discuss in the script. Besides, there are many African-American actors looking for jobs.

Last year I wrote a zombie flick on assignment. The director wanted to specify that the main evil villain was a black man because he had a specific actor in mind he was writing the movie for. I set up the description of this villain as a witchdoctor from a tribe in Africa. Just by describing him so, there was no need to say he was black. (still waiting to be paid... beware when working with independents -- even if you are doing it for a friend).

Thanks Paula, that will help me decide on taking this other assignment from the producer in San Francisco.

As for the other assignment (last year's zombie mess) we had a percentage deal. I'd get 5% backend gross. However, the problems went deeper than that and I'm off the movie after turning in the first draft.

Basically, this director I was working with wanted to do a zombie flick based on a PARTIAL idea he had. We met for weeks ironing out the story line, etc. When it came time for me to write the damn thing he constantly called my 9-5 job every two to three days wanting to know how it was coming along (UGH!!!). That nearly drove me insane as well as nearly getting fired from a job I'm not ready to leave yet. Then when I incorporated everything into the script that he wanted and we agreed upon, he takes this first draft and starts shopping it around (UGH!!!). Now I knew this wasn't a great script and it needed work. By completing it the way he wanted it done, I was hoping to show him the major flaws in his logic (was just trying to play polite with others). I frankly thought that in doing this, he'd see for himself what needed to be fixed. The next thing I know, I'm off the assignment without pay to date.

One of the major problems was that he didn't want a large cast so keep the zombies on campus down to about 25 people at most. Come on, a zombie movie without a seeing a mob? (28 Days Later didn't have this and it sucked).

So, it was a little more complicated than how I put it, but you helped out with my decisions on this other assignment.

You can contact him from his website for Energy Entertainment. Can't recall the actual web addy but do a google search. He has a submission form you can fill out.

Sounds like a Supernatural Thriller to me. Supernatural for the Occult part and Thriller based on your description of mystery and suspense.

All this poor decission making by execs is coming back to bite them on their collective arses. NBC's Nightly News had a blurb on how they're in an 11 week slump. Nobody's going out to the movie theatres anymore.

However, they did mention that they are making their money back in DVD sales and rentals. So my guess is that as long as they're making their money back somehow they're not going to pay attention. The only ones hurting are the theatre owners at the moment. Do you possibly think that the theatre owners are going to start flexing their muscles by refusing to show just anything and start being selective about the movies they will show? Or do you think that their hands are tied? Just a thought.

I'm NOT a big Star Wars fan. Never have been, probably never will be. *GASP* (what sacrilege!!) I've never really seen what all the big hype was all about anyway. Now I can appreciate it's contribution to film (as in cutting edge special effects for it's time in 1978), but I'm not into it.

Now with that said, I think that Episode III was a hell of a lot better than the first two pieces of crap. And I totally agree about the dialogue. But at least this one finally cut to the chase and got down to business about Darth Vader's beginning. I've heard critics say that this is where Lucas should've started the prequels and I agree. It's like a writing a book and not getting to the heart of the story till the third chapter where the real story begins.

Finally, I think the reason for stretching this crap out was so that Lucas could have a jumping off point to launch his Star Wars TV series. Which no doubt will probably be from this point to when Luke is fully grown and we end back up to the original movie. And if this is the case, it explains all the lame holding back that Lucas was doing in the prequels. In other words, the prequels are just a teaser for the TV series.

Okay I'm done now. Everyone can bash the non fan.

I started getting interested in screenwriting 15 years ago when I was in college. We had an asignment to video a half hour show in English 101. The professor expected us to turn in the script along with the video and we just looked at each other. You want it in writing too?

That's when I went to Waldenbooks and got Syd Field's book Screenplay. It was about the ONLY book out there at the time. I was hooked by the format. The only thing was learning all those camera angles. Well, thank goodness camera angles fell to the wayside.

I also purchased a second book on Grants and Awards published by the Pen American Center. That's where I learned about the Nicholls which had just opened up to anyone (it used to be strictly for college students).

Due to a few roadblocks (moving to Ohio from Rhode Island, then being unemployed a few years later), it took me a while to focus on the craft. Don't let roadblocks stop you like they did me, or it'll be fifteen years later and you'll wonder where the time went.

In the meanwhile I bought more books by different "gurus" and got quite confused. Then I learned what advice to trust and what to ignore. I went to my first writer's conference in 1991, but chose something totally inappropriate. I wouldn't attend another one until 2000 (when I finally recuped from my bout of unemployment and got back on my feet). I would attend three more conferences thereafter.

All the while, I read, absorbed, and self taught myself how to screenwrite. I finished my first script within a couple of months and three minor rewrites in 2003. I entered THAT script in the Screenwriters Expo3 Screenwriting Contest where I at least made quarterfinals. That isn't bad for a first script being entered into it's first contest. Yes, I avoided entering Nicholls all this time because I knew deep down that I didn't have my skills honed. I entered that same script (with new found confidence) into the Nicholls this year and Scriptapalooza.

Last year I took a writing assignment from an Indy Filmmaker. This year I'm polishing up my third script (for perhaps another contest before summer's out) as well as finishing up a first draft of my fourth script.

All this and an Indy Filmmaker I met during a Networking Party at Expo3 wants to hook up to collaborate on a script (another assignment). Besides that, I'm getting prepared to write a book based on my parents surviving concentration camp (at least get it started).

All this and a full time job to boot. Just don't wait too long before you write your first script.

Regards,

John

It was a better version of M. Night Shamyalan's movie Signs. Am I the only one that noticed the similarities?

It doesn't surprise me.

However, it seems that the WGA needs to also work on getting writers of animation into the union as well. They've been waiting longer.

They don't think. That's why they're Marketing/Distribution people.

Oops.

*Did I say that out loud instead of using the voice in my head, again?*

Damn.

I'm developing this idea for a show. It could easily be on any of the networks, comedy central, HGTV, or even PBS.

It would be great to get it on PBS just for the novelty of it. Then I got to wondering.

Just how DOES one get a show onto PBS? Who would you approach? Would approaching a local PBS station be enough to pitch an idea (probably not me thinks)? Should one contact the PBS lising in the Hollywood Directory?

Do any of you know the answers?

Thanks everyone. I did check out the PBS site (very helpful). I obviously have lots of planning to do before even pitching this thing. One thing I did find interesting on the PBS site is that they didn't discourage contacting local stations as local stations sometimes air their own programs (and I wouldn't mind this thing starting out that way either).

I do, however, have an opportunity to segway into pitching this idea. The local station produces cookbooks and sent out a call for entries. Some of their entrants will appear on set to demonstrate their recipe submission. The cookbooks, in turn, are sold to raise money for the station. So I'll start by submitting those to get my foot into the door and hopefully I'll be tapped to demonstrate. If not, I'll have an opening by the submissions I sent.

The show I plan to pitch will practically cost nothing for the local station to produce. Besides, there's loads of programs produced by WGBH in Boston. Why can't WVIZ or any other do the same?

Anyhow, thanks to all for your info and comments.

You can go through his website to submit a synopsis of your script. Other than that dunno.

Terry,

I don't know about LA, but they've been advertising the hell out of The Island in the Midwest. I have to say that I've seen at least two to three ads a day (if not more) for it. I just wished the studios wouldn't show the whole damn movie in a minute.

They just give too much away in the ads. Makes you want to not go see it because with each collective ad that they show you've practically seen the whole thing.

Well geez, Terry, just don't mention the name of the company why don't ya?

Come on who is it?

IF they do post it online you could probably find it through their website.

http://www.oscars.org/nicholl/

But, frankly, I don't think they will post it as Richard stated that there are thousands of entrants and the quarterfinalists will probably be in the hundreds.

Relax, have some herbal tea and a bubble bath. I know from experience that mail from LA will get to me in three days. And if they are officially announcing it tomorrow, then I know not to start looking for mail until next Wednesday from them.

I didn't make it, unfortunately, and I think I know why.

My computer had been acting up last November and I had a friend of mine tinker with it to clean it up. He did a good job for as much as he could do, but the deadlines were looming and I urged him to return it so I could make some of the deadlines (Scriptapalooza and Nicholls). I managed to get one good copy printed off (or so I thought) and I sent them off. A few days after the nosles on my printer clogged rendering my printer pretty much useless and there is absolutely no way I can get to them myself to clean them. UGH!!! I actually didn't discover the faulty copy until a week after I sent them off. Oh well, too late. It slightly stretched a line of dialogue on about 8 pages before the end and at another place 3 pages before the end.

I can kiss the Nicholls goodbye now.

I was hoping it wouldn't make that much of a difference.

On that note, can anyone recommend a printer that they've been satisfied with that's lasted more than a year or two? I currently have an Epson Stylus CX5200. Oh, and naturally, cost is a concern. I can only budget up to $300. for one. This one cost me $200.00 about a year or so ago.

Has anyone noticed the new trend by the studios?

I've been noticing more and more that the studios are sending out the actors onto talk shows (both radio and tv) to promote the release of the movie's DVD so they can recoup monie$.

Earlier in the week I saw a commercial for Oprah and her guests were Ashton Kucher and Bernie Mack. I was wondering, what the heck were they doing on her show together? Guess Who's Coming has been in and out of the theatres a long, long time ago. Then I saw a commercial yesterday that it's just been released on DVD.

Hmmmm. If this trend continues, and they are relying on DVD rentals and sales, then WGAw is going to have to seriously think about fighting fiercely for those residuals since that's where the money is going. Don't you think?

You know who's good at sports type movies (actually the specialize in it) is Mayhem Pictures. They did that movie Mystery Alaska about hockey, and The Rookie based on a true story.

If you need the address I have an HCD that I bought in November, so it's relatively updated. Just E-mail me.

Connie,

First of all, congrats!!!!

Filmmaker's List? Do you mean there was another list besides that one? Where's that at?

Oh, and thanks for the recommendation, Paula.

I'm going out and about today to do some window shopping.

And as predicted above, I didn't make the first cut in Nicholls either. Oh well.

That's about it for entering competitions for me. Too many people enter and it's subject to the judges' tastes as well. Besides, it can be very costly and time consuming.

I'm going to concentrate more on getting a manager. I've too many things to write and too little time to putz around waiting for a career in screenwriting to begin.

Connie and Ron,

Thanks for the advice and pep talk. I guess I was just a bit disappointed and had high expectations that the script would at least place in the QF in either contest.

It was a commercial horror script with minimal locations (about 90% of it took place in one location). The same script made QF in the Expo3 Competition last fall and was going to be considered for the Writers Bootcamp award (which I had to bow out of due to distance).

That's why I thought that maybe it wouldn't do that bad in either Scriptapalooza or Nicholls. Guess not.

It's just that I was kind of wondering out loud in here. When does entering contests become more of an obstacle in getter your career started vs. being a catalyst in starting one's career?

Most of these competitions don't allow you to earn more than $5,000 on a sale/option. There are 5 months left in the year to do nothing but write while waiting to enter the Nicholls again. I have pleanty of ideas to keep me writing for years. I've actually had time to write two more scripts this summer (I'm polishing them up now). But I'm getting nowhere if that's all I'm doing and not nurturing the business side of it.

Article after article all I read is how agents lament over writers not devoting time to do the business side of things. Perhaps part of the problem is that we're being conditioned to neglect the business side of things while trying to break in via the contests.

At the Expo3 Conference Ivan Reitman told us how he got his start by rising to the top together with others starting out at the same level. I met a young film school student at a networking party at the conference who wants to hire me for an assignment. So I'm taking Ivan Reitman's advice to heart.

Besides that, I had an idea to create my own production company. I plan on partnering with a fledgling film program at Cleveland State University and PBS to create a show.

Now all I need is a manager (I'm giving up on agents) and will be concentrating more on the business side of things these next five months.

After all, not all writers in the WGA were Nicholl Fellows.

Terry,

A while ago I think you mentioned what went into your pitch package. Would you care to repeat for us what you put into yours? Thanks.

Scr(i)pt Magazine has a couple of great articles in their last edition that may help you.

The tips given in the article Seven Steps to Getting A Literary Manager can easily be used to approaching Prodcos too.

The other helpful article I've read so far is Spec Sales What Are They? How Do They Work? Are They A Myth? It gives an eye opener to the current marketplace.

Oops, obviously I don't watch Oprah...LOL.

But the statement still holds somewhat true. They're using the rerun to coincide with the DVD release just to boost sales.

I admit that I'm a Howard Stern junkie and I've noticed the same trend of actors coming on his show just to promote the DVD release of a movie. Howard's the only thing that get's me through my boring 9-5 job. Not gonna appologize for that.

Ben,

In order to avoid unwarranted negative attacks, I'm afraid you'll just have to adopt a blanket generic reject of "Thank you, but no thank you." policy across the board.

It's going to be hard to separate the crazies from the rest of us writers in order to feel out who can and cannot handle constructive criticism.

Just my two cents.

I'd like to ad an addition to my original two cents making it four. So I hope you can break a nickel.

Anyway, I think it would be less stress and more productive for you to only offer critiques to potential clients. As for the rest that you won't take on, just send them the polite but brief brush off.

Then you can also use the brief critique on the potential clients to see their reactions. This can give you a clue as to wether you'd want to be in business with this person or are they going to be a pain in the proverbial ass forever. If they are going to be a pain, then you can further weed these from the ones that took the criticism and there you have your client base.

Some people just have to hone their craft more and study. They know deep down they're not ready. Some people are sloppy and see if they can get away with a minimum rather than working hard at it. And for these types of people there's no explaining anything. They will try to break you into taking them on arguing their way into being signed with you.

After all, as Terry pointed out, there are too many scripts floating out there to give all of us an individual critique.

I think David has a good point when he mentioned the rise in ticket prices.

Frankly, my hunch that the studios raised them so high was so that they can try to recoup the money they put into the film within the first weekend. This eliminates them taking chances at not breaking even. I mean, look at Fantastic 4, it was No. 1 the first weekend and dropped quickly.

This way the executive in charge of the greenlight won't get fired so quickly for making poor decisions be it the cast, script or director.

Just a thought.

Sue,

Check out the latest prodco on Writers Wanted. They're looking for religious scripts. It's Jump Off Film Works out of Miami.

If you're looking for an agent for literary representation, I suggest looking at the WGAe website. You can access it through www.wga.org Look for the link for the East division.

Also William Morris is receptive to blind novel submissions (but they won't take scripts -- go figure).

And then there's WGA's rival, AAR (Association of Authors Representatives). You can find them at www.aar-online.org

As for the French thing, you're on your own and you'll simply have to do research. Perhaps look for agents in Montreal.

I read within an article in Screenwriter that agents can now produce. When did this change? The agent being interviewed is a WGA signatory. His company is an agency and managemant company. Does that make a difference? And I thought it was either/or not both.

Can someone please clarify this for me? Now I'm totally confused.

I recommend the Screenwriting Expo4!!! It's not just a conference but a conference, pitch session, and networking rolled into one big event.

I've gone the last two years and it's the most economical and in depth conference I've ever attended.

Besides it's in November just before Thanksgiving.

I won't be entering this year. Printer problems galore.

Didn't realize that. I've wasted too much time already trying to replace the Inkjet I had with a Laserjet (that I'm returning tomorrow because THAT doesn't work... UGH!!!).

The time I've wasted with these printers has taken away from my last minute polishing. As the newest script stands, it's not quite ready and I'm just too damn frustrated to concentrate to polish it up.

Peter,

Nope. I bought a Brother HL-2040 from OfficeMax. It's going back tomorrow. The test page printed okay, the software seemed to download alright, and the USB cable was connected, but the software refused to recognize that the printer was attached.

When I finally found a phone number on their website (hard to locate), I had to call twice because the Customer Service Rep said she couldn't transfer me to talk to someone about the software.

When I did everything the other Rep suggested, he recommended using a parallel cable instead. I told him that was too much trouble to go through and that I'd just take it back for a refund. He agreed that was the best to do. They said for some reason that brand is not so compatable with the WindowsME or Windows2000. So don't buy a Brother if they even recommend taking the product back.

Granted, it was on sale and a "cheap" fix until I could afford a much more reliable brand like HP. HP seems to be top of the line from what the sales reps were telling me at the store. You should be safe with your selection. Let me know how you like it so I can look into one too.

Oh, well. Live and learn. You really have to spend money to do it right the first time.

I can't wait for the Brothers Grimm either. I'll probably wind up watching that along with Skeleton Key next weekend.

Also can hardly wait for the next Harry Potter and The Chronicles of Narnia (The Lion, the witch, and the Wardrobe). Tim Burton's The Corpse Bride looks good too. (Need to satify the inner child...LOL).

I agree, Constant Gardener looks extremely intriguing. I think marketing got it right this time around. The way the commercial is cut is very well done.

That's another one on my list.

Linda,

I have one small but important request. Absolutely no offense intended at all and I apologize ahead of time if I do offend you. And this request is to anyone else doing the same in here.

But could you please, Please, PLEASE, write in paragraphs!!! It's very daunting to see such a long post and want to read it. I do read most if not all posts on this BB whether or not I respond to it.

After a long, hard day at the day job, it just drains the energy from me when I try to read through a post like this.

Thanks

I really would hate to burst your bubble because you do have a good idea, BUT... something like this already exists in L.A.

It's called The Office. It's not just a workspace, but meeting place for groups and coffee shop with a courtyard to boot. They're online at:

http://www.theofficeonline.com/intro.htm

The following is cut and pasted from their contact page:

Address: 256 26th Street, Suite 101 Santa Monica, CA 90402-2524

Phone: 310-917-4455

Fax: 310-917-4454

Email: For general questions, inquiries: Click here For our suggestion box: Click here

Hours: Monday 8AM-6:30PM Tuesday-Thursday 8:00AM-11:00PM Friday 8:00AM-10:00PM Saturday & Sunday 10:00AM-6:00PM

Holidays: We will close for the 4th of July, President’s Day, Easter, Memorial Day, Labor Day, Thanksgiving day, Christmas and New Years.

We ask that you call first (310-917-4455) in case there has been a schedule change.

Maintenance Days and Special Events: Please check the website for Special Events.

On a note, however, it seems if you tweak the idea a bit to make it more of a lounge, it may work. And also, just because McDonald's was first, didn't stop Burger King from coming along.

Hope this helps you.

John

Hey, I'm all for it. Seeing as I don't drive and take the bus anyway. I'll gladly boycott and not pay for gas.

Okay, sarcasm well intended.

Linda,

Thank you very much for not taking my comments personally. Sometimes it's hard to gauge how people would react especially when it's in on a cold message board.

John

Aw, c'mon. When you beg us to tell you how badly it sucks, it just takes the fun out of it.

But on a more serious note...

I don't get it. Plain and simple. Why?

Because your logline tells me nothing about your story. I read it and find myself saying "And?"

First off, you really should start by making this statement:

"[insert title here] is a comedy thriller about a boy trying to impress his father..."

Honestly, I see your logline as a setup. When I get to the point about the space shuttle I scratch my head and go "Huh?". If I were a producer, it would be a definite pass.

Oh, and I may have second thoughts about putting the space shuttle into any script as the shuttle program for the most part is scrapped. Wait till they come out with the next rocket to space or place your story on the space station.

Richard,

Sounds like you've got a good political thriller idea buried in 9/11. Run with it.

I heard that the studios are doing this to curb the pirating of their movies. But what they really fail to realize is that it's more likely their own employees making the illegal copies, not someone with a camcorder in the theaters (although that also happens).

This will only hurt the movie theaters. I would like to see a group of up and coming independent production companies or studios (perhaps distributors fit into this idea somehow) market their products to theaters at a lower ticket price. For example X Movie Company releasing all their movies for a dollar or two less at the box office. Or even giving the theatres a bigger split. I'd just like to see the monopoly on ticket prices busted somehow. Any thoughts on how to do this?

Agree, looks great. How many pages maximum can you submit from a script?

So far, I only have one script that placed in the quarterfinals of Screenwriting Expo last year. I do not intend to enter any more scripts in any other contests. Are you going to offer a similar service for script excerpts of non contest scripts?

I'm not attending this year because I need to use the money for other items like a new PC, etc.

I may attend it next year depending on what my writing needs are. If I concentrate more on novel writing, then I'll more than likely go to a conference more suitable for that and I only attend a maximum of one conference a year.

Two questions:

1) Do YOU have the rights to the novella? Or are you expecting the writer to obtain the rights?

2) Is this a writing assignment? Or are you expecting someone to write this on spec?

I guess that's more like 4 questions.

Good to hear you're finally getting things together. Good Luck. Take care of yourself. Keep taking your medication.

If you can afford to, go to the Expo 4. It costs less than $100.00 and you'll get a lot out of it. They have pitch sessions (which are a little extra), hopefully that can help you promote the scripts you already have written.

I mailed a query two weeks ago today (so it should've gotten to LA no later than the following Wednesday) and still a week and a half later, no response.

I didn't include an SASE but my e-mail address, cell number, home phone, as well as my home address (naturally) was all in the letterhead.

I'm taking this as a pass. So now on to soliciting the next Manager. However, I'm totally fed up with the "wait". So I'm going to send multiple queries whether it's kosher to do so or not.

Personally, my time is more valuable to me than anything else so why waist it. To hell with "protocal"....LOL

"Personally, my time is more valuable to me than anything else so why waist it. To hell with "protocal"....LOL"

er

I meant waste not waist....Ugh...LOL

Fonta,

I totally agree and second everything Terri said. When I originally wrote about pitching, I meant to pitch your polished scripts (and I totally assumed you polished them already) that you already have.

In reading your response, it appears that you may not be ready to pitch anything yet. And I mean this to be constructive criticism. I'm not trying to bring you down at all. If anything, I'm trying to protect you from the industry's perception of you based on what Terri posted because that is the truth.

First, you should ONLY pitch a script that you have already written. It should be polished to perfection and in proper format. You need to prepare a one to two line logline that totally encompasses the story and the feel of the story. You should never pitch anything that you don't have written already.

You seem unsure of what occurs at these pitch sessions, so my advice is to buy a book that also covers what pitches are, etc. before even attempting to try one. The Expo 4 has a seminar on what pitches are, what to do, how to do it, etc. Maybe this will be a good learning tool for you.

About the Expo 4. Yes, it's relatively cheap. And by relatively, I mean what may seem cheap to me could be very very expensive for you.

And I do agree with Terri, at this point you need to look out for yourself and make sure you're living situation comes first. Baby steps. The Expo is annually and since you live in LA, it's not the only thing available to you. You mentioned you get SSI. Well I don't know about LA, but in Cleveland there are low rent high rises for people on SSI and the elderly (I'm not talking projects either). Look in your area for something like this to get out of the shelter situation you're in. You should qualify.

I have a friend in Rhode Island that has constantly drifted in and out of one relationship after another. No sooner does she leave one than start the other. This has been going on since I met her in 1988 (more than likely her whole life). I'll give you the same advice I gave her. You don't need a man. You don't need to depend on anyone but yourself because you're the only person who will ever give a shit about you, bottom line. You can't depend on anyone. It's time to start standing on your own and relying on noone to get you through life. Unfortunately, my friend hasn't talked to me much since then. But the truth hurts.

Now with that all said. I hope you can find a program for low rent high rise before you do anything else. A roof over your head is paramount to anything else. You need peace of mind to be able to survive, much less write.

Once you've accomplished that, don't throw in the towel. Keep writing. I've been buying books and studying the script format for over 15 years. A few years ago, I finally attempted to write and polish my first script. It made quarterfinal in last year's Expo competition. The same script didn't fair so well in Scriptapalooza or Nicholl. I've gotten two writing assignments from using this same script as a writing sample. So it just goes to show you that this whole thing is subjective. I still haven't found a Manager or Agent yet. That's my next goal. And I'm not sure I will move to LA (at least not for now).

I hope this helps. Really. Take care.

"The very first screenplay I ever "solo" wrote was about the sports hero who tried to kill me. That may not seem like much, but considering that football players (depending on the area of the country) are considered Gods, he's the one who became the victim, not me--and for years, my life was HELL!"

Let me guess. His initials are O.J.?...LMAO

I couldn't pull it up either. Perhaps your stalker reads these boards and wound up taking it down? Things like this bother me.

I have the same problem but with relatives (siblings) who have nothing better to do than harrass people and create problems to fill the pathetic void in their lives because they have nothing better to do and no friends. I'm currently embattled in a court dispute with two sisters who've decided to attack my learning disabled sister and have the audacity to take HER to court. Well, I won't stand by for that shit. I helped my learning disabled sister to get an attorney through Legal Aid (area attorneys offering pro bono assistance). The sad, pathetic thing about it is that the two evil sisters are 58 and 56 years of age and I'd wish to hell they'd grow up already.

That said, my worst nightmare would for them to constantly try to sue or harrass me once I've got my carreer on the way as a means of extortion. You just can't let things get to you as I will have to do the same.

Well, I like some of the fonts...LOL

Okay, now with that said, this is obviously the ramblings of a lunatic caught in their own dillusional downward spiral.

Ignore it since it really makes no sense at all to anyone who's not in the know of what this maniac is rambling about. They don't even say exactly what they are responding to. You could replace your name with anyone on this board and it would make equal sense. None.

On that note, if you wouldn't have supplied us with the site/link, I don't think anyone here would have found it. In other words, it's not easily accessible.

Brush it off.

I don't know about anyone else, but, frankly, I'm tired of Hollywood egos.

And Terri, you're such a Dickey ;0P LOL

Who is William Goldman? j/k LOL

Hey Sue,

I thought Ronco stopped making the bedazzler (or do they still hock them on TV at Christmas?)...LOL

I second that, Randy.

And if I were a producer "lurking" about this sight reading, I wouldn't hire you, Fonta, because you're coming off as a very difficult person to deal with. If you take the constructive criticism people post on this BB that badly, then it will appear that you would be far worse taking notes from the producer or studio regardless on how well you may write.

From what I see right now, I wouldn't hire you or buy a thing from you.

Whatever happened to etiquette and decorum?

The unfortunate thing is that the WGA agent signatory list has been taken down on their website for months now. They expect to have the list back up after October 31st according to their site.

I'd hate to say this because industry people may be reading, but I won't hold back.

It appears that the only thing Agents/Agencies are there for is the 10-20% handout. It doesn't look like they do much of anything anymore. Because of this I've decided to hunt for a manager instead. It's been stated in articles and books that I've been reading that managers basically do what agents used to do over 10 years ago. They take on clients and nurture their careers, not see where they can simply make money off the next sale.

It's kind of sad. Since agent's counterparts in the publishing arena still nurture their clients and their client's careers.

(Okay, I'm sure I pissed some agents/agencies off by now and I've been black listed).

I think the main squabble over Treatments in another thread were whether or not you could use it to make a sale. And I don't agree with that.

HOWEVER, I totally agree that a treatment for your own use could help guide you or keep you on track while writing your script.

Like la la, I too detest writing outlines or treatments. But that's only because I have a half hour bus ride to and from work every day. Initially, when I come up with an idea, I will totally think it through.

I think of characters, plot, possible plot twists, believability of story line, beginning scene, climax, probable endings, dialogue, character acrs, story arcs, the beginning, the middle, the end, etc. This can take me up to three months worth of bus trips (not joking). Then when I have all the "ingredients" I mold them into scenes and then string the scenes together using Sid Field's Paradigm diagram as outlined in his book.

When all is said and done, I usually find no problem writing how I picture the "movie" in my mind down in script format.

Now I've also written a ten page treatment before writing the script. When I did this I found that it does keep me more focused and on track. At one point, I misplaced the treatment and continued writing anyway. When I found it two days later, I went back to compare it to my script. I did miss a scene. It wasn't a crutial one at all, but I liked how it connected the previous scene to the next. It flowed better. So I backtracked and added it. Thankful that I had done the treatment to help me.

Now what I do, is I take my ideas and put them in a book. I flush them out in these notebooks that I felt comfortable with. From there, I take the bits and pieces and I'll either write the script refering to that, or type out a quickie treatment. It now depends on my comfort level with the storyline whether I write one or not.

Just my two cents on how I operate.

No, but I recently bought a book titled Television and Screen Writing From Concept to Contract by Richard A. Blum for just that reason. I needed to know what goes into making a Bible and he covers that in Chapter 17: How to Create a New Television Series. I bought it from Barnes & Nobles for $31.95.

You can also go to the publisher's website and order it direct. www.focalpress.com

Hope this helps.

Amen, Randy.

And I think the proper terminology is poser not pretender...LOL

If historical things aren't your cup of tea, why don't you pull a James Cameron?

I mean, use the historical backdrop wrapped around your own fictional tale.

I've been researching webhosting sites for some future websites I'd like to launch.

One thing occured to me is that you could've reported her to her webhost long ago. I'm sure she was in some kind of violation of their terms of use policy.

YW, Randy. I knew what you meant even if noone else did.

OIFF is the Ohio Independent Film Fest, I believe. It's held in Cleveland November 7-13th, I believe.

Hey, Deb!! If you have a second on November 9th, you should pop over to a networking party on W.78 and Lake (just a few blocks from the film fest). It's hosted by www.artistschair.com. Go to the site and sign up. See you at the party or at the fest. For more info on the party go to the website.

It's one of my favorite movies. The whole thing just gels pretty well.

I think the scene you're talking about is a happy accident that I'm glad they kept. You can't stage anything that looks that pure.

On another note, another movie I love is Better Off Dead.

The sad part about it is that I bet she hates reading and has never picked up a book to read for pleasure during a vacation or weekend in her short life.

I think it's about time writers start uniting and create a ton of our own production companies very much like the actors did back in the day to buck the system (i.e. United Artists). But that's just a nice dream.

I'm talking about getting a whole slew of writers to band together and start a studio or two. The problem with individual writers with prodcos is that they are looking out for themselves, their best interests. Let's face it, they have to. But strength lies in numbers.

As for Mary Pickford movies, I have seen them relatively recently. I think like at 2 or 3 am on a Saturday or Sunday evening (well morning). But I can't remember which channel I saw it on, or whether it was on a particular cable channel (haven't had cable in a year). If cable, I'd stretch it to say it was on something like Turner Movie Classics.

"I don't think that Studio Hollywood will change until the Independent side of the business become all the award winners and take a huge chunk of the weekend Theater sales."

Unfortunately, the studios are the main distributors to most movies. They're still going to make money and not learn a damn thing.

They'll either wind up buying the movie from the indie filmmaker giving them a tiny profit and make money off the box office and sales, OR they'll take the majority of the profits according to whatever distribution deal the filmmaker agrees to.

So, they'll never learn because they don't have to.

But Terri, then how do you explain the latest Kevin Bacon movie coming out? Not the Woodsman, the newer one.

He (Kevin Bacon) was on Howard Stern promoting it and they were talking about censorship, etc. The new film has no rating because (according to Bacon) they wanted to slap an NC-17 rating because of the twist ending which had gay overtones to it that's all!! I mean c'mon people grow the hell up already. Then he was booked to be on Regis that same day to promote the same movie and, while on Howard, got told they canceled him. I wish people would stop it with the morality trip bullshit already.

And then there's also the Woodsman while we're at it. They'll show Charlese Theron (however you spell it) in Monster all over the US, but they won't widely distribute the Woodsman? It's dealing with equally compelling subject matter.

I bet this is what it felt like when Midnight Cowboy was running in theatres.

Oh, and I forgot to mention that Kevin Bacon also stated that when he went to the ratings board himself to stand behind the movie, he mentioned that there was a priest on the board. A priest!!!!

That's why he opted out for the no rating on the movie.

It reminds me of that Italian film Cinema Paradiso. We're going to revert back to the beginning of that film with all this self righteous censorship.

I could very well be wrong and I sure do hope so. It appears, according to Rich's posting, that the only time that ZG does accept someone's script they automatically attach themselves as producers. I see in none of Rich's examples any time that they've repped the writer and sold it to a studio without being producers.

Frankly, this is the type of Manager I feel everyone should run from. It appears that this type of manager is only in it if it makes money for them rather than taking on clients and nurturing their careers (which is what managers were created for... to pick up the slack from the agents).

I mean, is it just me who feels like this? I sure hope I'm wrong, but for now, this is my gut reaction.

Has anyone gone to their site recently? It appears that they've revamped the layout etc. It takes forever to load and I hate it.

I can't even find the area for agents. They had a note out that a new updated list would be posted after October 31st. Anyone have success lately?

Just a word of caution, not that we writers need more anxiety or skepticism with the studio system.

I believe it was just this past summer that Fade In: magazine did an interview with Dean Georgaris (A list writer getting close to 1 mil deals if not more). Dean loved the book Life of Pi and bought the rights to it to adapt for the screen. He pitched it to the studios and got seven figures for it.

He WAS repped by UTA... UNTIL UTA sold him up the river and stabbed him in the back (hey they're never gonna rep me so I don't care about digging up dirt). Why? Because Mr. M. Night Shyamalan whom UTA ALSO repped and wanted to package him as the director, BUT M. Night insisted on writing his version himself. This, after Dean had turned in his version. Thus "dissing" Dean and kicking him off the project. The very project HE brought to the studio and agent.

Dean immediately left UTA (you'll have to read Fade In: for more details). How's that for someone pulling the rug from under you? It's bad enough when crap like this happens to newbies, but you think you'd at least be safe when hitting the A list of writers.

Anyhoo, M. Night is no longer on the project. Dunno why, but I just hope that project is cursed. (Insert evil laugh here).

Don't believe me? At least check it out on the Who's Buying What section of this very site!!

Too late, Terry, I be damned long ago...LOL

Anyhoo, go check out where Life of Pi stands now. Look it up on the Who's Buying What section.

You'll be happy to know that it was taken away from M. Night totally. I guess things are starting to tarnish for him. He surely can't be THAT busy after his last flop.

I see The Village as one of those old '60's period style horror where it's really a tease and not horror at all. Like when you find out that the bump in the attic is the old disfigured spinster aunt pacing and get let down from an actual scare.

Yes, I meant Troy... I didn't think I was THAT tired when I typed that but I guess I was...LOL

Anyhoo, there was a period movie made in the late '60's early '70's about a disfigured woman locked up in an attic. Turned out that she had acid thrown in her face meant for someone else. It was set in the mid 1800's. Can't remember the title.

And, yes, I agree that these old horror movies are entertaining but far from today's gory standards. My favorite was Beast in the Cellar (which my brother just bought for me... just waiting for a stormy night to watch it.

Anyway, I feel The Village is not as good as the modern Sixth Sense or The Others but rather ranks among the '60's horror flicks. In other words, it's not worthy of the big screen but for those old Saturday afternoon matinees on TV with outrageous hosts (like The Ghoul, SuperHost, Elvira or MST3000). It wasn't that good.

I say, next time you get an envelope slid over to you, slide it back and say, "I want what's behind door number 3 instead." And if they're too dumb to recall the reference, then eat in peace and leave them befuddled on the way out.

And if they say, "okay.", then take the envelope, hold it up and say, "let's just see what I traded in." Rip it open, read the dollar amount out loud and add, "my, I'm glad I chose door number 3 'cause this fucking sucks."

Okay, so I love getting speechless reactions out of people...LOL

The first half is fine. To me it evokes desperation, need, adrenaline (sp?). But why would he/she go home? That would be the first place the authorities would look or wait. Also it would be awesome if you could have it be a female prisoner. That would be a nice touch from the typical guy escapee. Besides, you could strongly market it to agents and studios as a vehicle for Hilary Swank.

The second half of the logline does nothing for me. What elements? I think of the weather as "the elements". So it's raining, it's snowing... who cares? For me, it doesn't add to the prison break. Nobody cares about nature being an obstacle. You're going to need a far more powerful obstacle (antagonist) than just the weather.

USS Valdez (FF-1096) Newport, Rhode Island 1985-1988.

I do. I think Frederick Mensch does an awesome job keeping it up to date daily. I do not subscribe to Variety or Hollywood Reporter on a regular basis because I just plain old can't afford it.

Who's buying what is the next best thing for me to use as a tracking tool to see what's selling, who's an active agent/manager, is a trend cooling or starting or maintaining, etc.

You mean, I'm not me? Hell, then wake me up from this nightmare.

I'm watching THE CONTEST episode as I type this right now.

Try the Writer's Guild website. They should have it listed.

Too late, I've already started making Cleveland the next Hollywood...LOL

Marketa,

It appears that the Czech television industry is in it's infancy. I would have to say that your timing couldn't be more than perfect for starting your career. I envy you (in a good way);o)

Why do I say this? Because television in this country got started in the very same when until it defaulted to Hollywood and the current system, but that's taken decades to get to this point. Your Czech industry seems to be at the same point that American television was back in the late 1950's and early 1960's.

Our individual television stations in various different cities had lots of air time to fill with few shows being aired from Hollywood or New York (especially in the 50's). So local stations came up with some of their own individual programming to fill in empty and unpopular time slots. I'll give you a couple of examples.

Long ago, a fellow by the name of Bob Keeshan hosted a children's daily hour long morning show called Captain Kangaroo. This was a nationally sydicated show. In the meantime, in Cleveland, Ohio where I grew up and currently live, various local stations produced children's programming for the morning and afternoon. We had Romper Room (for preschoolers) hosted by Miss Sally aired in the morning. Also aired in the morning was Woodrow the Woodsman (short lived). Replacing Woodrow's show when he was canceled was Captain Penny (similar to Captain Kangaroo). Captain Penny was dressed as a Railroad Engineer and had a sidekick named Jungle Larry (who brought in zoo animals). Lastly, there was Barnaby which aired in the afternoon for kids coming home from kindergarten. All of these programs were shot in Cleveland for and by the local stations for programming. I'm sure this also occured across the country at the same time period (when TV was relatively younger). Romper Room and Barnaby outlived the nationally syndicated Captain Kangaroo, but only by a few years.

Another example was when Rock n' Roll was still in it's infancy. You could find local programs popping up across the country. In Cleveland there was the program called The Beat (which just did an aniversary show from the Rock Hall of Fame this fall). The Beat, just like other programs similar to it, was hosted by the local ABC TV affiliate weatherman Don Webster. The Beat is most famous for being the very last live performance of Otis Redding (Sitting on the Dock of the Bay) before his plane crashed into the lake on his way to Detroit from Cleveland one winter afternoon. A piece of the plane exists inside The Rock Hall of Fame today. However, another similar show programmed originally out of another local venture in Philadelphia, PA called American Bandstand hosted by Dick Clark would supercede all others and rise to national syndication.

Another example is the old Saturday afternoon horror movies hosted by each community's local outrageous host. Usually another person of the local news station's staff as in the case of Super Host. We still have Big Chuck and Lil' John on Friday Late nights. Nationally a few would become recognized like Elvira (I don't know where she is from, sorry) or even Mystery Science Theater 3000 is a more modern example. However, the original guy that started this kind of dead and dying genre is Ghoulardi (later known as the Ghoul). And he was from... Cleveland. He would later move out to Hollywood. These types of shows often had little skits between the commercial breaks and the horror movie spoofing the latest show or movie by the host. For instance, SuperHost was dressed in a baby blue sweatsuit, with an SH similar to Superman's S on his chest, and a red silk cape and black Converse High Tops with the tip of his nose painted red with lipstick. He would spoof the Bionic Woman by sporting a blonde wig and large falsies in several skits. The skits were called the Moronic Woman. It was hilarious.

So you see, Marketa, not everything started in our Hollywood long ago. They do nowadays as Lorelei has posted. That is true to fact in today's day and age. But way back as short as 20 years ago, there was local programming. Even to this day, there is limited local programming. On Sunday afternoon for a half hour, there is this local Cleveland program called Golden Opportunities. It's hosted and produced by a local semi retired lawyer giving tips to the community about such things as facts about getting flu shots, health issues, investment issues/advice, low impact exercise. But local programming is very rare anymore. I am attempting to create my own production company and produce my own TV show out of Cleveland in 2007. I haven't announced it to the board yet, because it's in the planning stages and I don't want to jinx it.

When I read your posts between the two of you, it brought back all these memories I had as a child and when television was in it's infancy. That's how I picture your television situation in the Czech Republic, Marketa, in it's infancy which is a great place to be at. You will be known in history as a pioneer in years to come if you stay focused and rise to the top. I sincerely wish you the best of luck. Feel free to e-mail me. I speak Hungarian if that's easier for you than English.

Marketa,

It appears that the Czech television industry is in it's infancy. I would have to say that your timing couldn't be more than perfect for starting your career. I envy you (in a good way);o)

Why do I say this? Because television in this country got started in the very same when until it defaulted to Hollywood and the current system, but that's taken decades to get to this point. Your Czech industry seems to be at the same point that American television was back in the late 1950's and early 1960's.

Our individual television stations in various different cities had lots of air time to fill with few shows being aired from Hollywood or New York (especially in the 50's). So local stations came up with some of their own individual programming to fill in empty and unpopular time slots. I'll give you a couple of examples.

Long ago, a fellow by the name of Bob Keeshan hosted a children's daily hour long morning show called Captain Kangaroo. This was a nationally sydicated show. In the meantime, in Cleveland, Ohio where I grew up and currently live, various local stations produced children's programming for the morning and afternoon. We had Romper Room (for preschoolers) hosted by Miss Sally aired in the morning. Also aired in the morning was Woodrow the Woodsman (short lived). Replacing Woodrow's show when he was canceled was Captain Penny (similar to Captain Kangaroo). Captain Penny was dressed as a Railroad Engineer and had a sidekick named Jungle Larry (who brought in zoo animals). Lastly, there was Barnaby which aired in the afternoon for kids coming home from kindergarten. All of these programs were shot in Cleveland for and by the local stations for programming. I'm sure this also occured across the country at the same time period (when TV was relatively younger). Romper Room and Barnaby outlived the nationally syndicated Captain Kangaroo, but only by a few years.

Another example was when Rock n' Roll was still in it's infancy. You could find local programs popping up across the country. In Cleveland there was the program called The Beat (which just did an aniversary show from the Rock Hall of Fame this fall). The Beat, just like other programs similar to it, was hosted by the local ABC TV affiliate weatherman Don Webster. The Beat is most famous for being the very last live performance of Otis Redding (Sitting on the Dock of the Bay) before his plane crashed into the lake on his way to Detroit from Cleveland one winter afternoon. A piece of the plane exists inside The Rock Hall of Fame today. However, another similar show programmed originally out of another local venture in Philadelphia, PA called American Bandstand hosted by Dick Clark would supercede all others and rise to national syndication.

Another example is the old Saturday afternoon horror movies hosted by each community's local outrageous host. Usually another person of the local news station's staff as in the case of Super Host. We still have Big Chuck and Lil' John on Friday Late nights. Nationally a few would become recognized like Elvira (I don't know where she is from, sorry) or even Mystery Science Theater 3000 is a more modern example. However, the original guy that started this kind of dead and dying genre is Ghoulardi (later known as the Ghoul). And he was from... Cleveland. He would later move out to Hollywood. These types of shows often had little skits between the commercial breaks and the horror movie spoofing the latest show or movie by the host. For instance, SuperHost was dressed in a baby blue sweatsuit, with an SH similar to Superman's S on his chest, and a red silk cape and black Converse High Tops with the tip of his nose painted red with lipstick. He would spoof the Bionic Woman by sporting a blonde wig and large falsies in several skits. The skits were called the Moronic Woman. It was hilarious.

So you see, Marketa, not everything started in our Hollywood long ago. They do nowadays as Lorelei has posted. That is true to fact in today's day and age. But way back as short as 20 years ago, there was local programming. Even to this day, there is limited local programming. On Sunday afternoon for a half hour, there is this local Cleveland program called Golden Opportunities. It's hosted and produced by a local semi retired lawyer giving tips to the community about such things as facts about getting flu shots, health issues, investment issues/advice, low impact exercise. But local programming is very rare anymore. I am attempting to create my own production company and produce my own TV show out of Cleveland in 2007. I haven't announced it to the board yet, because it's in the planning stages and I don't want to jinx it.

When I read your posts between the two of you, it brought back all these memories I had as a child and when television was in it's infancy. That's how I picture your television situation in the Czech Republic, Marketa, in it's infancy which is a great place to be at. You will be known in history as a pioneer in years to come if you stay focused and rise to the top. I sincerely wish you the best of luck. Feel free to e-mail me. I speak Hungarian if that's easier for you than English.

Marketa,

It appears that the Czech television industry is in it's infancy. I would have to say that your timing couldn't be more than perfect for starting your career. I envy you (in a good way);o)

Why do I say this? Because television in this country got started in the very same when until it defaulted to Hollywood and the current system, but that's taken decades to get to this point. Your Czech industry seems to be at the same point that American television was back in the late 1950's and early 1960's.

Our individual television stations in various different cities had lots of air time to fill with few shows being aired from Hollywood or New York (especially in the 50's). So local stations came up with some of their own individual programming to fill in empty and unpopular time slots. I'll give you a couple of examples.

Long ago, a fellow by the name of Bob Keeshan hosted a children's daily hour long morning show called Captain Kangaroo. This was a nationally sydicated show. In the meantime, in Cleveland, Ohio where I grew up and currently live, various local stations produced children's programming for the morning and afternoon. We had Romper Room (for preschoolers) hosted by Miss Sally aired in the morning. Also aired in the morning was Woodrow the Woodsman (short lived). Replacing Woodrow's show when he was canceled was Captain Penny (similar to Captain Kangaroo). Captain Penny was dressed as a Railroad Engineer and had a sidekick named Jungle Larry (who brought in zoo animals). Lastly, there was Barnaby which aired in the afternoon for kids coming home from kindergarten. All of these programs were shot in Cleveland for and by the local stations for programming. I'm sure this also occured across the country at the same time period (when TV was relatively younger). Romper Room and Barnaby outlived the nationally syndicated Captain Kangaroo, but only by a few years.

Another example was when Rock n' Roll was still in it's infancy. You could find local programs popping up across the country. In Cleveland there was the program called The Beat (which just did an aniversary show from the Rock Hall of Fame this fall). The Beat, just like other programs similar to it, was hosted by the local ABC TV affiliate weatherman Don Webster. The Beat is most famous for being the very last live performance of Otis Redding (Sitting on the Dock of the Bay) before his plane crashed into the lake on his way to Detroit from Cleveland one winter afternoon. A piece of the plane exists inside The Rock Hall of Fame today. However, another similar show programmed originally out of another local venture in Philadelphia, PA called American Bandstand hosted by Dick Clark would supercede all others and rise to national syndication.

Another example is the old Saturday afternoon horror movies hosted by each community's local outrageous host. Usually another person of the local news station's staff as in the case of Super Host. We still have Big Chuck and Lil' John on Friday Late nights. Nationally a few would become recognized like Elvira (I don't know where she is from, sorry) or even Mystery Science Theater 3000 is a more modern example. However, the original guy that started this kind of dead and dying genre is Ghoulardi (later known as the Ghoul). And he was from... Cleveland. He would later move out to Hollywood. These types of shows often had little skits between the commercial breaks and the horror movie spoofing the latest show or movie by the host. For instance, SuperHost was dressed in a baby blue sweatsuit, with an SH similar to Superman's S on his chest, and a red silk cape and black Converse High Tops with the tip of his nose painted red with lipstick. He would spoof the Bionic Woman by sporting a blonde wig and large falsies in several skits. The skits were called the Moronic Woman. It was hilarious.

So you see, Marketa, not everything started in our Hollywood long ago. They do nowadays as Lorelei has posted. That is true to fact in today's day and age. But way back as short as 20 years ago, there was local programming. Even to this day, there is limited local programming. On Sunday afternoon for a half hour, there is this local Cleveland program called Golden Opportunities. It's hosted and produced by a local semi retired lawyer giving tips to the community about such things as facts about getting flu shots, health issues, investment issues/advice, low impact exercise. But local programming is very rare anymore. I am attempting to create my own production company and produce my own TV show out of Cleveland in 2007. I haven't announced it to the board yet, because it's in the planning stages and I don't want to jinx it.

When I read your posts between the two of you, it brought back all these memories I had as a child and when television was in it's infancy. That's how I picture your television situation in the Czech Republic, Marketa, in it's infancy which is a great place to be at. You will be known in history as a pioneer in years to come if you stay focused and rise to the top. I sincerely wish you the best of luck. Feel free to e-mail me. I speak Hungarian if that's easier for you than English.

Sorry about the multiple posting. Don't know what happened. I only asked it to add the message once, then the site froze up on me.

Hey, I'll bite. I'm planning to create my own prodco in January anyway. Perhaps my fledgling prodco can partner up with you to create some programming. I have some ideas brewing already. Let's talk Marketa.

Okay, I have a much better understanding on how your country's TV system works. It's still quite similar to ours. Let me explain.

Up until 20 years ago or so, we too only had three national TV stations ABC, CBS, and NBC (we call these networks over here). Plus a couple of local stations which really didn't matter much. Not unlike your situation is now.

However, and I'm sure Terry or Lorelei can correct me if I'm wrong, there were laws or regulations placed on the industry barring the three networks from creating their own programming so that they don't create monopolies or some other valid reason. It wasn't till very recently these laws or regulations were lifted so that the old networks could compete with the cable channels. Film companies like Disney, Fox, Universal, Paramount and Warner Brothers were barred from owning networks so that they do not monopolize the air waves with only their films or programs that they produced. Now all of those companies own national stations. Disney owns ABC, Paramount owns a newly created network called UPN, Universal owns NBC, Fox squeezed into the market creating the fourth national network opening the door for Warner Brothers to create a new network the WB along with Paramount as mentioned.

Our film companies also used to own their own chain of theaters until those too were deemed monopolistic. They as I can tell are still barred from owning chains of movie theaters.

It seems that your system in the Czech Republic has bypassed this and has allowed the "networks" over there to own their own programming all along. Thus no need for the third party of a production company as was needed here due to our laws.

Interesting.

No, I've given up on script contests for Lent. And I'm not even Catholic...LOL

At $50 average a pop to enter contests where the first round of readers only skim through the first few pages, isn't worth my time, money, or hard work.

I will focus my energies in creating my own opportunities.

I will be looking forward to hearing from you as well as hopefully doing business with you.

Is it a site that anyone can do? In other words, is there anyone on this site that could pick up where they left off and create another competing site?

I've been using Hollywood Screenwriter for a long time just for the formatting. I've been looking into switching and getting into the 21st century with the rest of you...LOL.

I'm looking into getting Movie Magic myself rather than Final Draft. Heard bad things since the original inventor sold it off (beginning with version 6.0). There was an article in one of the screenwriting magazines this past summer addressing FD vs. MM. Perhaps you can find that and read it to help you make up your mind.

Also on a final note, both of these software companies offer other industry related software like Final Cut Pro (for editing). Movie Magic has software for budgeting as well as another for scheduling. So if you're thinking of going the filmmaker route, you might want to stick with one brand and it's software options. Check out WritersStore.com

As for me, I'm going with Movie Magic when I upgrade.

My personal opinion is that Managers and especially Agents want writers to write in a specific genre because they are too damn lazy to get out there and hoof it for you.

It's easier for them when they get a request for romance or horror that particular people immediately pop up in their heads rather than them taking the time to look in their files to see which writers can do what.

They're all just looking to make a quick buck off our hard work. Bottom line, corporate mentality.

Okay, done ranting now...LOL.

I wouldn't be at all surprise that it is being banned by the theatre owners in the Bible belt south.

You cannot count since December 9th since it only showed in LA and NYC then. It's been slowly being released nationwide in a tier fashion. It wasn't supposed to open here in Cleveland until January 6th, but opened this past Friday. It has been selling out and I finally got a chance to see it today in a very crowded theatre showing on two screens.

It's not due for official national release until January 6th. It was very well done and Heath Ledger does deserve best actor. A really great performance.

LOL, Earl, way too funny.

Indies, is Hollywood shorthand or slang, for Independent Production Companies. These are your Independant Filmmakers trying to break in on their own with or without Studio help.

Hmmm... Seems to me that someone sounds homophobic with a slight touch of Box Office envy. LOL

Sorry, couldn't resist.

It doesn't work for me. I'd like to know HOW he accidentally awakened the presence.

Agree about the redundancy as well and the mention of him being a father and not mentioning the children in the logline.

Try something like this:

A recent widower unwittingly awakens an unholy presence in his attempts to contact his deceased wife.

And if you must mention the children, then something like this:

A recent widowed father attempts to protect his children from an awakened,unholy presence when paranormal phenomena begin to manifest shortly after his wife's death.

Something along those lines. Like if the kids unleash the evil with a ouija board, mention that in the logline, etc.

Earl and Randy,

Will you just get over yourselves already? Quit being so sensitive and anal retentive.

My post was obviously meant out of humor and nothing else and therefore was not out of line. It was a joke, duh.

You need to stop taking things way too seriously. Perhaps that's why you can't get over the gay theme. And let's face it, if it weren't for that, we wouldn't be having this thread discussion. I've NEVER seen another movie's Box Office draws disputed so vehemently as this one's. That's when we need to ask, is it because of the gay theme?

And for the record I never called anyone homophobic. I merely stated that someone SOUNDS homophobic. There's a difference. Besides, it was stated in a light-hearted joking way.

Here's a quarter, get a sense of humor.

Most of these so called advocacy groups like the American Family Association are nothing more than one or two people sending mulitple letters making it look like it's hundreds of thousands of people.

Poor pathetic idiots are just people on a power trip trying to control what the rest of us watch, listen to, say, etc.

Hopefully things will change and the passive majority will say enough already.

I too am disappointed. I'm watching it as I type. It COULD be a good show.

I think the main problem with it, is that it has waayyyyyy too much going on. It comes off as contrived. It seems like the actors are just going through the motions rather than putting more into their characters (too two demensional). It's very very forced. Both the story lines and the acting.

And I too see too much comedy in it for what's being advertised as a drama.

Maurizio,

It sounds like this is a VERY LAZY agent. It seems that one of your scripts caught their eye and they know exactly who to sell it to in order to make their 10% - 20% commission on. It also seems that they are not interested in you as a person or client and nor they care to invest time getting to know you. It also appears that they are only interested in making money rather than actually repping clients because they'd take the effort into trying to sell whatever else you had.

I say, run and fire them. Go with a Manager who would rather help nurture both you and your career.

Just my two cents worth.

Film rights to what? And is this guy from Ohio... sounds familiar.

5 days.

How long from concept to reality?

5 days. The script wound up being quarterfinalist in Screenwriting Expo 3's contest. The first competition I've ever entered.

Oh, and there was minor touching up on the rewrite (one rewrite). I've gotten writting assignments with this script. Now if I can only get PAID writing assignments.... grrrr.

Anyway, it's all irrelevent as I'm bypassing the Hollywood system.

Okay, so the one script took me 5 days. Really. What can I say? I was really hyped and into the story I was spinning when I pitched it to a friend of mine. I got into one of those things to where I couldn't stop. I must admit, it's rare. But having a photographic memory of similar places helped me to create the setting.

Now another script took me three months and that's because the jackass that hired me to do the assignment kept calling me every three days, then every other day to see where I was with the first draft. That pissed me off to no end. He'd heard of my 5 day ability and just totally crushed my creative flow. Needless to say, his harrassment led to a lack luster first draft.

I've written two other scripts this summer. One took a week the other about 19 days. But the one that took me a week I started writing in 2000 and put down because Kate & Leopold came out. So I decided to finish it anyway as a writing sample.

Right now I'm working on an internet project and I just got a contract for another assignment to start in late February.

Now if I can only get a manager and get paid, I'd be happy.

I like Sex In The City, and I can take or leave Desperate Housewives, but I don't like the Book of Daniel.

It desperately wants to be like 'Housewives', but it's too contrived and both the acting and writing are too forced.

Every character is way out there and seem to need to be reigned in with ritalin (except the priest, he's got his own bag of goodies). Even in real life, there isn't that much going on with everyone in a family. While one person is up another is down. There is balance and simetry, but not in this show. Even the guest characters are too outrageous. If this is being intended to be a comedy, then where's the straight man? Costello had his Abbott, Laurel had his Hardy to keep him grounded, even the Three Stooges had a straight man to keep them grounded (usually with the stooges it was everyone else around them that played the straight man).

And speaking of which, I agree that this priest character sucks. It's not the fact that he's a priest or that he's the dad. It's the fact that he's supposed to be the main character and is absolutely passive.

This show sucks and they better fix it fast or yank it.

The movie is not about gay sex. Don't assume, you know the saying. You'll make more of an ass out of you than me.

If the movie were nothing more than gay sex, it would be rated XXX and be at an adult video store with no story line, a lot of grunting, and cheesy music.

Furthermore, a disenting opinion is welcome. However, one should go see the movie in order to do so. You can't make damning comments about a movie when you don't even know what the hell you're talking about.

You can find acting talent at this site:

www.artistschair.com

There is a category for voice over talent in the search area for talent. Hope this helps.

Comander in Chief is not canceled, just on hiatus. It was on the news yesterday afternoon. It's coming back late Spring. I highly doubt that they will cancel it with Gina Davis getting a Golden Globe for it.

I, for one, refuse to enter anymore contests. I've only entered three in my entire time trying to break into the system. The first one I entered was Screenwriting Expo's of 2004 and my script made it to the quarterfinals.

I thought for sure it would get to semifinals at least because I was being considered for a prize that I couldn't accept (you had to be able to live in LA or NYC for a year). Needless to say emails were a bit misleading concerning that contest (and I won't go further in detail). I'm sure they have all the bugs ironed out by now.

Anyway, I decided to take the same script to see how it would do in Nicholls and Scriptapalooza in 2005. It didn't even make the quarterfinal which didn't surprise me because it's a highly commercial horror script.

So after that, I decided to never enter contests again.

First, I don't need validation because I know I can churn out a darn good script. I've gotten a couple writing assignments with using this one as a writing sample. I have a contract sitting on my desk as I type. Now if only I can sell this one or get an agent or manager to take notice.

Second, if I keep tying up my scripts in these neverending contests, then how am I to get them sold. Getting a career started for me is far more important.

Third, even placing as quarterfinalist has gotten me nowhere when mentioned in queries. Also it's assumed that even if you make quarterfinals in the bigger contests producers are beating down your door to read your script. Never happened (and the Expo's contest is rising as one of the key contests).

Fourth, it's not cost effective. Say if I wanted to enter three of my scripts into various contests throughout the year. I keep spending $40.00 to $50.00 a pop for entrance fees. This can total up to $1,000 or more. I'd rather use that money to invest in another computer, software, camera, conferences, trips to LA, Hollywood Reporter subscription, HCD catalogs, etc. instead of blowing it all.

With that said, I've decided to start my own prodco this year. I'm already working on my first project and will keep you all posted once all the dust has settled down. There's just sooooo much to do on the producing end of things before I make official announcements.

I'm taking things into my own hands and screw all the damn rules for breaking in. I'm trying something different. Hope to buy some of your scripts soon.

I think trees stand unless they are felled.

Eh, if you wanted to do something really radical, I propose a conspiracy.

In order for a word to become a part of the English language (according to those keeping watch in Oxford, England), a new word must be published at least five times in different publications by other than one person. Thus allowing it entrance into the Oxford Dictionary. It's their process, not mine.

That's how the word muggle (from J.K. Rowling) got in.

Just a thought to open another can of worms....LOL

You can also check a website called Rotten Tomatoes. They track box office, etc.

No offense, but I don't subscribe to magazines of the like of Vanity Fair or Cosmopolitan, for that matter. And I highly doubt that I'll buy it just for this article.

So could you please go into detail on it in this thread?

Write something character driven with the least characters possible.

I've got a script that I can easily shoot for 10k (or a little more) that involves three to four generations of women. Most of the other characters are extras. Independent filmmakers can get away with paying nothing for extras, and people will do it just to be on film.

Keep the locations to a minimum too. And you can get a crew for relatively free but you have to feed them well. Sometimes you can approach a nearby college for unpaid interns for crew and extras. Just make sure in either case for the crew that you at least pay the DP.

So I believe it can be done.

Hell for that kind of money I can even do a small half hour short and still have money left over.

Or use the money to make a move to LA, if you haven't done so already. And pound the pavement to get a job in the industry somewhere until you've broken in.

Quoting Terri:

"... I think most of us are around the same age bracket--in the prime of our lives!"

I beg to differ. I'm only 29 and a half years old. Only my cats and I know the real truth and they're not talking.

Anyhoo, has anyone read the latest Scr(i)pt? Lots of interesting articles in there. I especially found the article on Nicholl semifinalists. The article seems to give it a positive spin, but honestly these guys seem to be struggling as much as anyone on this board. And, as Terri put it, they are relatively our age.

And another article focuses on writers taking things into their own hands.

And within another article it seems as if nobody is taking any time to read anything and relying on other's opinions (i.e. readers).

I'm just thinking it's hard to even get someone to read it.

So I'm trying something different. I'm going to create a poster based on my script and have it placed on 4x6 postcards with my logline and contact info on it and send it to agents, managers, and producers in a mass mailing. That should get someone's attention to request my scripts.

Sorry, I'm done rambling and ranting now.

Thanks for the heads up, Terri. I was just commiserating on the frustration of just getting SOMEBODY to read a damn script already. Those articles I read about nobody giving a damn to read anymore, then turning around and saying that they can't find scripts sent me over the edge a bit.

I mean, what is it going to take to get people that don't like to read, whose job it is to read, to read your script already? A pop-up picture book? Nah, I take that back, it's too long. Perhaps a pop-up picture brochure.

I'll still try the postcard trick. It's better than sending out one query letter at a time waiting for results. In the meantime I'll have to give it some serious consideration in turning my scripts into books. But as a writer, I know certain topics or ideas fit better as a script or book or short story, or play, etc. I just hate the thought of writing something that I feel is written in the format that I felt was right for it initially without having to revisit it in another format. But whatever it takes.

Troy, loved the website. That was my plan with the postcards. To give them my contact information to request a script and to point them toward a website with more info.

Oh, well. Happy hunting everyone.

LOL, Terri. Chaneling Roseanne Rosannadana?

I admit, I'm one of those people who keep typing Terry instead of Terri. Problem is I know too many people named Terry. But thanks to being corrected, I do try to watch how I spell it when I address Terri. I've been doing good lately...LOL

It may sound petty to the newcomers here, but agents, producers, and managers get easily offended and will not give you a chance to get a second impression. So you should be thanking Terri for giving you the opportunity to practice.

Here's a suggestion.

Since two of you are leaving from the same area (according to your posts). Why not one of you fly out to LA now and stay with friends while scouting for an apartment? The one staying behind, will pack for both. When you've found the place and it's time to make the permanent move, fly back and help with the move.

I know it sounds easy, but I know it's more complicated than that. But if you can pull it off, do it.

Another idea is to get LA realtors to fax, e-mail, or mail you some examples in different neighborhoods for you to get an idea of what's out there. Try to learn more about neighborhoods that catch your eye and budget by asking the native Angelinos here on the board.

And I have a website saved in my favorites that might help. I'll post it in another post. This thing has crashed on me today already and I don't want to have to type this post over again.

Okay, I found it. My favorite apartment website is www.Apartments.com

When you go to the sight, click on the map of California. When the new map loads, select #3 for Los Angeles. This will bring you to yet another map breaking down the LA area. I find it very helpful to use (especially for an outsider). And you can select more than one area to search. Or narrow your search even more. Say by selecting #2 that gives you Central LA. You get another map that breaks down the neighborhoods. Stay away from Crenshaw, South Central and East LA, for example. You can select more than one neighborhood to search at a time.

Select your amenities, number of bedrooms, types of rental. Then you can sort by price once the list comes up.

Anyhoo. I hope this helps.

Go to the Writers Guild of America/west website. The standards are based off of the union agreements.

This is the reason I haven't posted much lately. If it were near my renewal time, I'd have to give it some serious consideration.

Tired of people running amuck with every single thread. Grow up people. You know who you are. As for the rest of you, I apologize for my own out burst just now.

Oops, I posted that last message under the wrong thread. Again, apologies. I'll cut and paste it to the appropriate thread.

Too bad this thing doesn't have an edit button.

This is the reason I haven't posted much lately. If it were near my renewal time, I'd have to give it some serious consideration.

Tired of people running amuck with every single thread. Grow up people. You know who you are. As for the rest of you, I apologize for my own out burst just now.

Does anyone monitor this board? I think it's temporarily needed. Are you listening, Fred?

They are also trying to appear legit by taking out ads recently in Scr(i)pt and Creative Screenwriting.

They do not list any individual agents at all on their site when I went to check them out a couple weeks ago. Usually I like to compare the Agency or Agents (especially since they preport to be a new agency) to the sales here in Who's Buying What just to check out a track record. Since they offered none, I'd stay away. Far away.

So, if you've seen it, what do you think?

Personally, I figured the main puzzle out less than a third into the movie (I'm seeing it again tomorrow and I'll time it, if necessary) as well as another character's motives (don't want to give too much away).

I felt they gave too much "on-the-nose" visual clues for you to figure out things.

This film is a needless 2 and a half hours long. The third act drags way too much for dramatic effect. What they accomplished in the last 45 minutes could've been wrapped up in about 10 minutes. Ron Howard and Akiva Goldsman give you a nibble and stretch the hell out of it unnecessarily and do it over and over and over in the last 45 minutes or so.

So if you hear people complaining about they never thought it was going to end already, this is the reason.

It's still a good movie and I'm seeing it again tomorrow. Frankly, I found absolutely NOTHING blasphemous about it. I'd probably feel different if raised Catholic. But frankly, the movie Dogma really pushed the envelope if you want to compair the two.

Okay, as I stated in my original post, I went to see it again today.

I timed how far into the movie did I figure the mystery of the code out. There's a scene at a picnic table in a park in 30 minutes of the movie that gave me a clue. Then another scene an hour into the movie confirmed my suspicions and it was proven correct by the end.

The biggest on-the-nose visual clue about a particular character happened in the beginning of the movie because the camera focused on it. And wouldn't you know, a scene right after that openly introducing the Opus Dei Bishop to us was another character wearing the same item (you could barely see it in the shadow, but it was there). Later in the movie when the character revealed his true self it came off flat.

If you're not good at puzzles, mysteries, unraveling conspiracy theories, etc., then you might be taken by surprise. However, those who are savvy at such things, this was easier to put together than a jigsaw puzzle.

Sorry for being so vague in my posts, I just don't want to spoil the movie for anyone who intends to see it.

I agree United 93 is awesome.

About protesters. I think it's pure attention getting for those that have nothing better to do and believe everything they are told by others without looking into the matter themselves and making their own decissions.

The reason I say this is that both on Friday and Saturday when I went to the same theatre to see the movie there were no protesters in site at all. Neither at the street entrance to the shopping plaza nor the theatre. On Friday there was a news reporter rapping up in front of the theatre as I approached it to get my ticket. No one else.

Then on Friday night to my surprise the same news station that had the reporter outside of the theatre roled footage on the news that night of 5 to 6 (mostly senior citizens) standing at the street entrance. I got to the theatre for the second showing, where were they then? If they are so loyal and concerned for others' salvation, then why weren't they out there all day (or at least while the movie was playing all day to warn everyone? Publicity, there fifteen minutes, whatever the motive it was only to get on TV and the station played into it for sensationalism. Period. When I left the theatre as the first evening shows were starting to fill, again, no protesters.

When I went, again, the next day. No protesters.

I, for one, don't believe they are protesting for concerns of the salvation of others. Bologna.

As a last note, I did not intend for this thread to become political in nature. So please refrain from doing so or create your own thread. I was simply trying to get others' opinions on their experience watching the film.

Paula, I think it's all about ego's and pissing contests between the networks that's been going on ever since TV's creation.

As for the list, I agree that most of that was crap weeding itself out.

But I'd also like to point out that most of the shows on that list are UPN and WB which were both bought out by CBS under the new CW network. Makes me wonder, now there are a lot of independent channels out there abandoned due to the merger. Will another wannabe network emerge? Or will the abandoned channels (due to the merger) start developing their own programming here or there with local talent like in the old days. This also presents an opportunity in a way.

I see Windfall on the canceled list before it even airs. However, they are beginning to heavily advertise for it here. It begins airing June 8th. So I don't think that ones on the list anymore.

There's one they use here in Ohio a lot for filming. I think it's near Columbus. I'll have to look and see and get you correct information.

That's why one should only pitch finished scripts when pitching ideas to studios.

Sorry, I posted before reading the article.

Correct me if I'm wrong, but it appeared in the article that they (the studio, et al) liked the pitch and idea but didn't want to pay the writer, so they stole the detailed idea and ran with it.

If this goes in favor of the plaintiff, then it appears that copyright law is being revisted to include ideas. No?

YES!!! Thank you, Rob. That's the one I was thinking of.

Not to worry about Walt. I heard they are going to get Gary Coleman to replace him if the kid gets any taller. LOL

Just what can they do for you besides going over your contract and negotiating for you?

Are they able to sell your scripts (i.e. find a buyer for you) as well?

Can they submit scripts to studios/prodcos on your behalf?

Say you don't have an agent but all you have is the attorney and the studio will except it from representation. Does the attorney really count as representation?

Can I go to an entertainment attorney and ask them if they'd refer me to an agent since most good ones will take on new writers via referals only?

I've discovered that a large firm from my area is listed in The Hollywood Representation Directory. Before I approach them, I don't want to go in too green asking basic questions.

I'm going to be using them for other things (i.e. I've got a contract for them to look over, production company set up, etc.), but I was curious as to if they provide agent like services to boot if necessary.

One. But I already had two assignments offered on top of that and an offer to collaborate with another writer on their treatment. The one that I did complete at the time made the quarterfinals of Screenwriting Expo3's competition.

However, I never would've approached ANY agent at all if I didn't have such a strong response to my first script used as a writing sample. And I've only approached less than five agents because of the lack of writing samples to show.

I've recently completed a script for one of the assignments. So with permission, I can also use that as a writing sample. As for the other assignment, I've recently completed an outline after months of ironing out the storyline with the producer.

I've also decided to start my own production company this year as well as a publishing company (there's a reason for both at this time). However, I am operating these as a sole proprietorship for now so that I can gather items for a TV series I will be producing (soon). After things settle with the assignments, I will file for incorporation.

So now things have escalated to where I NEED an agent or some kind of representation to help sort things out.

I bought an HCD for representation last fall. Perhaps I'll go the Entertainment Attorney route (see my other post).

So I'm busy, but still unpaid and I've not yet broken into Hollywood.

Well put, Terri. I totally agree. I've been studying screenwriting since I've first heard about the Nicholls in 1989 and the only book available on the topic was Syd Field's Screenplay.

And it's a damn good thing I didn't enter my first competition until a couple of years ago when I felt comfortable with the format. I feel far more confident now especially the feedback I get from my writing.

However, now for the hard part. Getting it to the people who count for representation.

NOOOoooooooo!!!!

I can't believe they're going to make a sequel to that flop, The Dukes of Hazard.

NOOoooooooooo!!!! Not again!! UGH!!

Just when you thought they hit rock bottom with a sequel to "Dukes", they out dumb themselves... again.

It's bad enough they're remaking Conan the Barbarian, but where are they going to find another foreign body builder to take the lead? Worse yet, who the heck they going to dub him? Matt Damon?

Er, I meant

"... who the heck they going to get to dub him?"

Now I need dubbing... sheesh.

Speaking of dubbed body builders, has anyone seen Elvira's Haunted Hills where she spoofs that? It's friggin' hillarious.

In the DVD extras she explains the Romanian they got to play the lead in that movie couldn't speak English to say his lines, thus prompting the opportunity to spoof. She needs to do more movies.

I've been having a retro film fest at my house with DVD's purchased over the weekend.

On the menu was Animal House, The Ghost & Mrs. Muir, Hush, Hush, Sweet Charlotte and I just capped it off with The Trouble With Angels.

I've got one question. The copy I bought lacked the scene where Mary Wickes (Sister Clarence) gets the school bus stalled out on the railroad tracks just barely getting clear. Anyone else have a copy? Is yours missing that scene too? Or could this have been in the sequel Where Angels Roam, Trouble Follows?

Thanks.

Oh, Terri, go on...

No, really, go on, don't stop now, j/k LOL

I really have to thank Terri publicly for being such a big help, and taking her personal time out to help others when asked without hesitation.

I've been trying to teach myself the screenplay format for 15 years reading tons of books, conferences, and magazine articles. I learned more from Terri in a dozen or so e-mails than I have ever learned from all these so-called gurus.

She will definitely be in my acceptance speeches. Okay, I'm thinking way too highly of myself now...LOL.

But really, guys, I can't say how much I appreciate her help. There are no words to express my gratitude.

Thanks.

She played lots of nuns so how can you expect me to get them straight? LOL

Thanks guys. I'm going to have to buy the sequel next pay (intended to anyway).

I must be getting old since I can't keep these oldies straight...LOL

Now Terri,

You know better than that. We're not even supposed to imply out of wedlock sex under this Bush regime...LOL

Speaking of which, I can't believe the hypocracy of conservative America. Tonight on the news, there's this woman who was asked to leave a store because she just whipped it out and breastfed her baby. So she's on a mission. Give me a break!!

It's these same conservative people who object to seeing Janet Jackson's breast on TV!! Come on!! The hypocracy of it all.... UGH!!

It's more like, if you can't wait till 10pm, then just go down to the mall anytime of day.

The logline doesn't make much sense besides being too long. Why is their boss waging war against them? Does the boss pit one against the other? How does he wage war against them? Ad campaign? Set up? And I'm not getting what kind of genre this is from the description. Is it a drama? A comedy (doesn't seem so)? A thriller?

I would write something like...

Morgan Clarke and Sydney Ryndall coworkers, confidants, and friends to the end, have everything to lose when, Mr. Boss, their witless boss pits one against the other as revenge for going over his head. Half way through battling each other, quite badly at that, they realize who the real enemy is and unite forces in the name of truth, justice and office lackeys around the world to battle the evil uber boss.

Something like that. Of course I'm just throwing in whatever to use as an example. But see how much more clearer this is compared to what you wrote? I also added a bit of humor to hint it's a comedy. You should perhaps write the title of the movie as well "Such and such is about..."

Now if I could only improve on my own loglines....

Never put quotes in a logline.

"Personally, I thought a story inspired by this incident would make a hilarious script. (Well, not hilarious for the poor, dead guys!)"

Been done long ago. It's called Arsenic and Old Lace.

No on continuous.

She can talk to herself out loud and answer out loud. If you don't want her doing this in front of people, you can only do it when she's alone.

Or you can have things talk to her in front of others (but naturally, she's the only one to hear it).

Or you can have her talk to her image in a mirror and have the mirror answer her. Lots of possibilities. Just use your imagination.

Um, Luke...

You need to post this at the Expo's website. This website has nothing to do with the Expo except for the fact that it advertises it.

We are all aspiring screenwriters and filmmakers like yourself.

There's a new book out (yes, another one) called How To Be Your Own Script Doctor.

Whew!! When I first read that I thought it was me. Thanks for reminding the rest of us we're sane, Terri. LOL

P.S. To at least respond to your topic, Randy, I'd have to disagree with the old adage "write what you know" because I'd have to kill many people to do my research. LOL

Hi guys,

Been gone for a few weeks and was surprised to see that no one has brought up this topic yet. So I decided to throw it out there. Yeah the fall schedule hasn't begun yet, but there have been a barrage of commercials promoting loads of new shows.

Here's a brief list of new shows that I could recall from all the commercials out there. One or two have started already.

Kyle XY Just Legal Shark Standoff 6 degrees Ugly Betty The Class Kidnapped Vanished The Nine Heroes Studio 60 Fashion House Justice

I'm sure there are some I missed, so feel free to add to this thread.

So..... what are your opinions on these shows so far? Any predictions based on the commercials?

The ones I find intriguing are Heroes, Studio 60, Kyle XY, and The Class.

I want both of you to turn in your Man Cards.

Forgot to mention Twenty Good Years.

Sorry about the previous post. That's NOT the way I typed it out.

8oP

It's not my typing. I typed all those shows in a column and this stupid bb's program bunched them all together.

Add Smith to that list.

I think you're all just missing the whole point. It's not just about snakes, or the fact that they're on a plane. It's about snakes on a plane. That's what makes it soooooooo cool.

And get this. Not just one snake but snakes. Tons of snakes. Big snakes, little snakes, snakes that bite a lot. Fat snakes, skinny snakes, even snakes that ate that dog Spot!!

And to misquote a line from Will & Grace, "I haven't heard so much hissing since a balloon popped at the Macy's Thanksgiving Day parade."

Okay, I'm totally done being facetious now....LOL

There's a premise?

Actually, I'm siding with Paramount.

Fuck Tom Cruise!!

There's a line in the Whoopi Goldberg movie, The Associate, that's apropos for Nicole Kidman.

The Tim Daly character encounters Whoopi for the first time since she quit at a Thanksgiving Day party.

He says, "Laurel, you look great!"

Whoopi answers, "I hear it's what happens to women when they leave bad relationships."

Yes, indeed Nicole does rock after dropping that baggage. I just hope she's learned her lesson and steers clear of scripts like Bewitched and Stepford Wives in the future.

OH GOD NOOOOOOOOOOOOOOOOOOOOOO!!!!!!

It suddenly dawned on me.

Everyone, quick, brace yourselves for Battlefield Earth 2, now that Tom's going to pony up the money to make his own movies.

Forget it!!! Any writer worth his/her salt that's been studying screenwriting should know this by now. Don't waste our time with simple questions, Ben.

Only the Executive Producer (i.e. the writer/creator of the series) holds the copyright in order to write a movie based on his series.

Why don't you try to be original for once, Ben, instead of coming up with ideas on riding on another established writer's coat tails. The rest of us don't do that.

My apologies to all other writers on this BB for ranting at such a stupid question. Also this admonishment wasn't meant toward all new writers that are just discovering this field. It's just meant for Ben because he's been here a while and should know such elementary things.

Ben, you've answered your own question already. So why bring it to the board?

You've stated at the end of your post that someone interviewed in CS has already tried it. So there you have your answer.

Go do some research. Get a HCD, go through some attorneys listed, and ask if they are willing to shop your script for you. Some might and some might not.

Don't be lazy.

Dear Fred,

I'm the last person to be telling you how to run your website, but lately there have been "problems".

As much as I hate censorship, there comes a time when the message boards need to be monitored more closely. There are other websites I am a member of that do this only for the sake of the site thriving. If the webmasters cannot monitor the site personally due to it's size, I've seen them get trusted volunteer monitors to keep the peace. How do they accomplish this, you may ask? They delete unnecessary threads posted by "posers" that seek nothing more than to create a rift in your website. Sometimes, it's just a post and not the entire thread.

What am I referring too? People who post messages that aren't really seeking help, but seek to disrupt the online community we all have created by congregating at your site to share information and real help.

I've been a member of this site for quite a few years. A paying member. My membership expires soon and I am seriously considering NOT renewing due to these problems.

It appears as if everything's run amuck and there's no one there of authority to put a stop to it, nor care what's taking place.

Thank you for listening to me. I will also be posting this as an open letter on the site for everyone to see/read.

Sincerely, John Pusztay

I'm in the middle of rewriting this horror script. The first act is lagging and some of the characters are two demensional (which is why I think my first act is lagging in the first place).

I paid no attention to the characters I knew were going to bite the dust. I just chalked them up to what I call "fish food". However, that's come back to haunt me (no pun intended).

I did give a couple of characteristics to each one initially, but now I'm finding that that's not enough. I'll need to create a brief backstory for each so that I, myself, can treat them like real life people and have that come through in my rewrite.

I think that will punch up the dialogue and create more sympathy toward the victims to draw the audience into the story and root for the victims.

It's kind of odd but my main characters are totally fine because in my mind, before I put pen to paper, I already knew their backstories even though I didn't write them out.

I don't know if this makes sense, but that's the best I can explain it.

Try Mayhem Pictures. That's all they do is sports movies.

I'm doing some digging on this right now. I will copy a discussion on CE from another site called Rosa & Ashley's Message Board for Writers. Enjoy the cautionary tale.

From Thomas Lee Howell:

Has anyone else here had an offer from Damon Banks at Celebrity Endeavors? I can't find much information on him or the company.

Response From vincero71:

I have. There is a requirement to have another company do a written report. . The same company services also include top sheets and budgets. They charge close to $2000 US for the report (read by 3 industry professionsal they will not name until you pay for the report) and a budget. I have spoken to several producers and have found a similar query in hollywoodlitsales. All reccomend caution. Damon started using time is running out as a sales tool in his emails to prompt action to be taken. Apparently the company's founder produced the Pink Panther but there is nothing to suggest that in the company profile. Both companies have avoided questions relating to their credentials and who has used their services. Personally I'm exploring other avenues. As JP Barnum used to say "A fool and their money are easily parted...."

I will continue on another post as I may run out of space. This conversation took place July of 2005.

Part 2!!

Another Member JP Adds:

DO NOT CONDUCT BUSINESS WITH THESE JOKERS! THEIR SERVICES - IN ADDITION TO COSTING YOU THOUSANDS OF DOLLARS - SUCK! PLEASE LEARN FROM MY MISTAKE!

From vincero71 Asking:

Hey JP, what happened to you with these guys? Would you care to divulge? The more information we have about how these cretins operate, the more people we can save financially and emotionally.

From JP Cautioning:

They promised a lot, but delivered little more than the sh--iest coverage I've ever read. I'm not saying this b/c they (Studio Readers, a bullsh-- company which works in conjunction with C.E.) criticized my work either; I'm saying this b/c the coverage was a disaster. It was supposed to be a "development" package ($895), but it turned out to be a lure... they wanted another $2,000-$4,000 which would buy me a budget sheet and actor profiles. I cut my losses. My feeling is that they want to bleed as much money out of somebody as possible, and when you say "no mas," they stop returning phone calls/emails. If you have any specific questions, bomb away...

From vincero71:

Thanks JP. Your comments are really going to help out a lot of people. I think it's a low act that people leech on peoples talent for the sake of making a buck, not realising the hurt that they are causing. I bet there are more out there that have been hit by Celebrity Endeavours and similar setups. I am going to make it my mission to educate as many sites that host them as well and leave messages on as many message boards that writers access to warn them off.

From JP Adding:

Awesome. I have written proof as well, in case anyone ever questioned my credibility.

I hope this helps some people out there because I too was going to consider them seriously. Oh well. As a friend of mine told me... "You need to read the trades and see what money deals other prodcos are making with real financiers and pursue them." In other words, follow the money trail.

BTW, I am not the JP from the discussion I cut and pasted. I do not belong to that site.

Okay guys, here's yet another interesting thread from another website we all know of called Done Deal.

Instead of cutting and pasting the entire conversation as I did the other one, I will save space here and just post the link so I don't pollute this site with lengthy posts.

http://messageboard.donedealpro.com/boards/showthread.php?t=295

This warning comes from a blog called The Struggling Writer. (Part 1)

Scam Alert! The Struggling Writer has encountered yet another. In my opinion, this one takes the cake up to this point.

The group is called "Celebrity Endeavors" (http://www.celebrityendeavors.com)

Let me first say you can find NOTHING on the internet about them. No Better Business Bureau, No IMDB, no nothing. They claim to be around since 1985, working on "11 Academy Award willing films". However, you can find any mention of these films on their website. And to mention their website, every link on their front page points to their "about us" section. Which states:

Since 1985, Celebrity Endeavors has been about results. That’s what we’re all about. It’s that simple. We’re not talking about results in ambiguous terms – anyone can do that – but in terms that you can apply real numbers to. Results that can only be derived from dedicated professionals, industry know-how and business strategies that work for our clients - time and time again.

We apply creative thinking to everything we do. But, you are still asking what do we do? Its more like what don't we do for our clients of the entertainment & travel industries. Explore the information on our web site and contact us to learn how our award-winning professionals can assist you with your company's next business endeavors.

Here's the kicker. You CAN'T explore anything on their website! it's all ambiguous B.S. that gives general details. It's a joke, actually. Awards winning? Where?

More from The Struggling Writer Blog (Part 2):

The original email to me came from Info@celebrityendeavors.com and continued correspondence through that same email.

I'll make this quick. I've been shopping my screenplays out lately and this group emailed me wanting me to submit my script to them. After submitting, I endured countless ambiguous emails and phone calls finally culminating in "You need to get a budget plan put together through one of our associates- cost $3500". Uh oh. Red Flag! Money up front to be managed? Isn't that the number one no-no we get advised of when we start writing and submitting scripts?

They have an explanation. They don't manage per se - they follow the project from beginning to end. First they need a budget (shouldered by you), which they take to their select group of contacts. There they find a producer, director and talent. Then they make the film. When it's complete, they shop it to distributors. They get money from the distribution rights - 2%. You own your project from beginning to end. Sounds fair, right? Uh-uh.

At no point in time did they ever mention a contract in writing. They REFUSE to mention ANY contacts or films they've done. No references. Phone calls meant not being able to get a word in edgewise with their nasally sales-talking rep. I can't tell you how many times I heard "25 years and 11 Academy Award winning films", yet not one name. When you ask detailed questions, you get run-around answers. Emails said the same thing over and over again with promises of big time round table meetings in New York or Beverly Hills with A-list actors, directors and producers.

Yet, I can't find one person who's ever claimed to work with them.

Hmmmm.

I didn't fall of the turnip truck yesterday. So why have I not heard of them. Why haven't ANY of my personal industry contacts ever heard of them?

Part 3:

Graham Flashner - a REAL Hollywood name says, "I've never heard of them. They want to charge you $3500 to do a budget? I've never heard of such an arrangement-- that's generally not what managers do. Run, don't walk, from these guys. I haven't heard of Celebrity Endeavors, but if they're asking you to spend money on a coverage report, I would have nothing to do with them. If they like your script and are interested in representing you, THEY should be able to "show you what you need to concentrate on." Otherwise, sounds like they're looking to make a quick buck."

Quick questions to ask about them: Why can't I find nary a detail about CE's history and track record on the internet? Why can't I find CE within the Better Business Bureau? Why can't I find CE in IMDB.com? Why is the website registered under a private contact in Bellvue, Washington? I thought CE was big time in London, LA and NYC? Why nothing in writing up front? I've heard them mention "11 Academy Award winning films". Why aren't they mentioned on their webpage? Why do all my emails end up in the mailbox "info@celebrityendeavors" instead of real people?

In my opinion, they are a scam. Stay away from them. Save your money and take your risk in the open market. Pay your dues the right way like the rest of us.

I like all three (Jericho, Shark, and Studio 60 very much.

In addition to that I recommend The Class and Help Me, Help You for comedies. As well as, surprisingly, Ugly Betty. The Class is well done and better than Friends ever was. Don't let Ugly Betty's title or executive producer Selma Hayek keep you from watching this well made Dramedy.

I'm still on the fence about Heroes. It seems that they are milking the commerciality on this one and when that happens, it usually is a turn-off for me. In the next episode, one of the people discovers he's depicted in an illustrated novel (or Manga). So I don't know if they are going to release these in real life for the audience to catch some story lines.

What about Born Free and African Queen?

What about Born Free and African Queen?

They had to kill the father off on Supernatural because he wound up on Grey's Anatomy (although I think that's only going to be a short recurring role for him).

The problem with Supernatural and shows of yesteryear (I'll explain that term usage in the next paragraph) is that they don't want to depict anyone over 25 or 30.

Now, what I meant by shows of yesteryear, is that thank goodness it appears that the trend on casting only young people is over. Take a look at all the new drama's and comedies this year. Finally casts with mature people in it!!

BTW, I heard a critic on National Public Radio commenting on the new season a few weeks back. He stated that Network television has finally got drama right. He loved ALL the new shows and mentioned they all had strong writing and story lines.

So, does everyone think this is finally our turning point for good shows from here on out?

They had to kill the father off on Supernatural because he wound up on Grey's Anatomy (although I think that's only going to be a short recurring role for him).

The problem with Supernatural and shows of yesteryear (I'll explain that term usage in the next paragraph) is that they don't want to depict anyone over 25 or 30.

Now, what I meant by shows of yesteryear, is that thank goodness it appears that the trend on casting only young people is over. Take a look at all the new drama's and comedies this year. Finally casts with mature people in it!!

BTW, I heard a critic on National Public Radio commenting on the new season a few weeks back. He stated that Network television has finally got drama right. He loved ALL the new shows and mentioned they all had strong writing and story lines.

So, does everyone think this is finally our turning point for good shows from here on out?

I just find it odd that they immediately pulled their ad from the Writer's Wanted section of this site after I posted those comments from other sites about them.

Walter has a point.

It could be the old Twin Peaks syndrome.

There's a book out there called Writing The Second Act, Building Conflict And Tension In Your Film Script by Michael Halperin for $19.95 at Borders.

And if after reading that doesn't work, then you could acquire the services of Michael Halperin from the ad in the back of the same book.

Hope this helps.

I'm posting this message here just in case there are Cleveland writers that frequent this sight but never post.

There's a screenwriting group meeting this Sunday, October 22nd at 2pm at the Starbucks on Clifton Blvd. and W. 115th Street. Bring your scripts!!

I thought the first casualty of the season was Smith with Ray Liota?

Too bad, I liked Studio 60 for the same reasons Steven did. My non-biz friends loved the acting, especially Matthew Perry.

Not to worry, though. There are plenty of shows that have yet to debut like 3 lbs. (about brain surgeons) and I think it's called The Big Day (the show following the wedding day of a couple... good luck in figuring out next season when they're already married).

This is a great topic to share info on. This is what I've been up to lately (warning, it's not much and very boring).

I'm in the middle of rewriting a script that made quarterfinals in the Screenwriting Expo's 2004 competition. The first act drags a bit and I need to work on a little more character development with the minor characters. The story and theme are both strong.

At the 2004 Expo I ran into a fledgling producer from San Francisco. So I'm doing an assignment for him based on his idea. It's a paying job (not much, but still). I'm working on the treatment for it now and should have a first draft done by end of February.

In that same summer of 2004, I was doing another assignment for a local filmmaker and director. That kind of fell through when I gave the director what he wanted, rather than speaking up and fixing the story line.

Earlier this year, the same locals reapproached me to rewrite the same script adding a more fluid story line of my own while pitching the changes over the phone. I've been working on this off and on since this summer. I see this as being finally finished before end of March.

I just had to place it aside for a few months because I'm trying to infuse humor/horror in the right balance without making it too farcicle. Besides, I've been putting off the producer from San Francisco long enough on the thriller.

Part two (coming up)...

I've been anxious for all this to be completed already so that I can sell the script that made quarterfinals at the Expo.

I plan to take that money and put it into developing a few TV show ideas of my own. Earlier this year I've been making preparations into starting my own production company called The Forest City Film Company.

I plan on making movies/shows from the midwest (Cleveland). Eventually, I hope to make enough money to build a physical, permanent studio here.

I put the first show I plan to create on the backburner for now until all these other obligations are fulfilled.

I also have agreed to be a writing partner for someone else's project in Europe and hope to create a lasting bond/friendship to be able to film there as well as she here.

I've been doing a LOT of research (since I've never thought I'd be producing) on producing. My only problem is that I'm great at getting all the elements together, but where am I to get financing (especially in the midwest where the investors don't know squat of what they are getting into as far as returns goes)?

Okay now for the trivial....

What is everybody dressing up for on Halloween?

I've decided to go as Ugly Betty....LOL

Well, I did the math. And you get 4,000,000 people willing to pay an average of $6.50 to see it in 837 theaters. And that's only if they all saw it during a matinee.

So, we're probably looking at under 4 million people who saw it. If this is so, then that means hardly anyone in the country goes to the movies anymore. Since 4 million is basically 1.3% of the American population alone.

I'd like to join in on that thought. Merry Christmas, Happy Hannukah, and for those that celebrate the ancient ways, a Merry Yule.

This is the reason I haven't posted anything regularly in the last few months. Also I've been way too busy fulfilling writing assignments as well as doing OT in the 9 to 5er.

However, I'm compelled to add my two cents worth in this mess. I totally agree with Randy, D.Jay and Paula on this. I too am tired of posers. One can only imagine whom these people might be. It could be anyone from a bored high school kid to a WGA screenwriter just messing with those of us who haven't made it yet to someone with passive aggressive problems (finding a need to hide behind aliases) to Rush Limbaugh.

If Betty is real, then she needs to stop playing passive aggresive mind games with her husband. It's only holding him back. Also IF she is real, she needs to enroll the whole family into counseling and leave her problems to professionals of the psychological kind, not writers to find her answers. Further, I could care less about her fucking problems, I have my own. She'll find no sympathy from me because she deserves none from me.

AND FINALLY AND MOST IMPORTANT:

I personally come here to talk shop with my fellow writers. She is not talking shop NOR is she a fellow writer. She is merely distracting us from using this MB for what it was meant.

I will not stand by and let this MB be hijacked by people who don't belong here.

I do wish her well in finding a nice psychotherapist to help her find her answers.

With that said, I'm personally e-mailing Fred to have her blocked.

I don't do outlines. Never have, never will. I find them too confining. Besides, I work quite differently than most writers.

What I do is start with an idea, premiss, whatever and within 5 minutes develop a relatively full story line from start to finish.

Then for a month or so on my bus rides to the 9-to-5er, I think the entire story through starting with the thinking if the plot points are plausable, then the opening scene, and how to resolve it and if that is plausable. I develop the characters fully and some choice pieces of dialogue that may work. When I get a chance I write said line(s) on post-its at work or home upon arrival before they leave me.

Once that's thought over, I imagine the story playing out in my mind scene by scene. I place mental post-its on items that need research (like medical jargon, or intricate knowledge of say how an elevator works if needed for the story, or historic facts etc.).

Then I do the physical research when I get home from work. After studying, reading, and experimenting (if need be), I go back now to replaying the movie in my mind scene by scene as if I were viewing it on screen.

After I am relatively comfortable with all. I then will start what I call "dictating" the movie playing in my mind scene by scene. By this time I know exactly who, what, where, when, and how things play out. It's at this time I add the actual dialogue between the characters keeping the few post-its in mind. Dialogue can be relatively easy if you allow it to play out in your imagination. Much like children at play. If you observe them, they are creating dialogue between the toys they play with as they are playing.

See Part Two (since I'm long winded).

Part Two

As I stated in my last paragraph, I tend to just write the movie I picture playing in my mind.

Now I know I mentioned plot points. But I don't adhere to where they should appear on page. Like plot one should be on page 30, etc. I say balogna. You MUST let the story tell itself. If you force these plot points into specific places in your script, you only wind up harming your work than anything.

You have to remember, most of these so-called guru's writing these how to books, have never written a script that had been produced in their lives. I too have been caught up in buying and reading the latest until I woke up one day and about $1,500 later (yes, that many books). Sure they have index cards, pendaflex folders, paradigms, post-its, etc. These are nothing but gimics. I found these to be most frustrating only because I felt like I was wasting time writing about my script instead of writing my script when trying to follow their examples.

However, some writers may find their gimics helpful. To this writer they are a waste of my time. And I no longer buy books (well those books).

Now... when I got done with one of my scripts, using my own method described above, I wound up with a lean 93 page horror script that placed in the quarterfinals of the first contest I ever entered. There was nothing really to edit, trim or cut. The pacing was well done and I had a semi-complex dual story line running together and interweaving perfectly to mislead the audience on who the bad guy was.

With that said, I had a little problem with the first act. Believe it or not, acts 2 and 3 were perfect. It was my set up.... it dragged a bit and the pace needs picking up.

Now when this happens, I recommend putting the script away for a few months or so and work on other projects till you get it out of your mind. Why? Because sometimes we tend to be too close to our projects (or babies) and you need to shake it off. So by the time you approach it again, you hopefully have a fresh perspective.

I just went back to this script and got a eureka moment that will tighten and speed up the problem area in the first act. Do you recall the plausability factor I mentioned above? Well I had problems with one area. Now that I've thought it through, bingo,... new scenes, dialogue... and it's ready to ship out.

As far as outlines go.... I will write one (only if I have to) after the script is done. I will only write a treatment if I have new ideas flushed out and thoroughly thought through but don't have the time to pound out the script right at the moment. The treatment will then help me recall everyting quickly when I get ready to write that script.

On that note, I've recently heard interviews and read interviews where there are many writers out there that do not do outlines at all.

I've been strugling trying to whittle it down. And I think I've got it. So let 'er rip and tell me what you think.

Dead & Breakfast is a horror story of a group of frat guys that book Spring Break at a bargain only to find they have to survive the night or stay forever.

Thanks, Laqueta, I had something similar to that earlier and found it too wordy. I was looking to pare it down a bit.

Terry, I learned that "form" of logline, 'title' is a 'type of genre' about so and so. So that's why I posed it like that. How's this then?

A group of frat guys book Spring Break at a bargain only to find they have to survive the night or stay forever.

And Richard, to answer your questions, yes, yes, yes, and yes.

Actually the title of my script that I came up with long ago was used last year in a straight to video movie. That too was a horror script but about zombies.

If what you got out of it is that they may die and may become absorbed into the house, then I did a very decent job in my logline because that's what happens.

And no worries. It's definitely different than any other movies in the same theme out there already.

How's this then?

College frat guys book Spring Break at a bargain only to find they have to survive the night or are doomed to stay forever.

I don't quite want to give away that part of this is the house's doing because that's part of the plot twist. Nor do I want to give away the capacity of how they are doomed because that too is a plot twist. And they are part of what makes my telling of this type of scary story original.

Perhaps the original script was okay and the executives turned it into crap by getting it rewritten 50 kajillian times.

You have to take that into consideration too. Nowadays producers think of themselves as creative people when long ago they were just the money men watching the budget.

Stay alive.

Stay away from the following printers as I've had personal bad experiences with each.

Lexmark -- It just totally broke down right after the 1 year warranty period. This is a low end brand and if you just want to throw your money away every year, then by all means buy it.

Epson -- If you don't print that often (like every day or every other day) the nossels where the inks connect dry out over time and using the cleaning function does not clear them. Furthermore, the hoses that the nossels are connected to, are deep within the printer, so you cannot disassemble for cleaning (violates your warranty too).

Brother -- owned one for one day and returned it. Why? Because there was/is some sort of software conflict. Was on the phone for hours with a Brother tech that even said to get another brand. For some reason this happens very often. So the printer was useless because it couldn't communicate with my computer because the software couldn't somehow realize it was connected via USB port.

Your best bet is to go Laser instead of Inkjets (above). If you must still use an inkjet because of cost/more economical for you, then I suggest an HP ONLY because the nossels that tend to dry out are connected to the disposable cartridges and not built into the mechanism.

As far as Lasers go, I recommend an HP high end laser for about $500 or so B&W or $800 or so for color.

Hope my living hell with printers helps others.

Orlanda,

My first printer was Lexmark and broke down right at the day the warranty ran out. However, it started leaving streaks in my printed pages as well as fade so bad, it made the old dot matrix print look great. That was back in the late 90's, of course. They may have improved their products since, but I'm leary to try again.

Well, guys. Looks like I'm going to take one giant leap forward and plunge into producing my own movie. I really never thought I'd produce. Especially not this early in the game before I even made a first sale.

Our local Chamber of Commerce in Cleveland refered to as COSE (Council of Small Enterprises) had a seminar on the Pros and Cons of Agents given by its Individual Artist Network branch. There I met with the people of a local indy prodco and got the ins and outs of film production.

I've been toying with the idea of producing only since last year but didn't know how to go about it. I'm good at getting the elements together, but what I needed was inside info on how to finance. There are very few books out there on producing and none of them go into the actual nitty-gritty.

They directed me to some great information to look into as well as go through how they raised the money for their film due out in May. They also convinced me that I don't necessarily need an agent. It seems that once they made a name for themselves was the only time agents bombarded them for requests to rep them. They also stated that everything they've accomplished was without the help of an agent. They were going to relocate to LA from New York but came here two years ago and are permanently staying. The film industry is thriving here more than I realized. It's just kind of underground and not visibly out.

I also was fortunate to have one of the panelists looking for work as a DP on a project to do this year. So, I'll be sending him my script to review. They all encouraged me to produce and have it done by the end of the year. So here goes nothing.

So, I'm happy to announce the birth of The Forest City Film Company. Our first project will be Deadly Reservations.

Wish me luck. I'm kinda nervous, but then isn't that always the way it is once one delves into unknown area?

My theory is that the independent distributors these filmmakers used are being squeezed out by the big studios.

Also if a big studio get's their clutches on it to distribute, then they may be purposefully burrying these films so that the crap they have out don't get competition.

Just a hunch. Call me skeptical.

Thanks guys. Appreciate the support.

Good luck, Greg!!!

Let's all do something HUGE and noteworthy this year. Cheers to all!!!!

I have not watched the movie yet, but I did see Ebert & Roper in which they showed the clip where the pregnant woman with the baby was interviewed by the police and she pointed to a sketch artist's rendering on a bulletin board and identified him. Perhaps you missed that?

Don't worry too much that they get updated every quarter. I attended a workshop at Screenwriting Expo's conference and there was this one veteran screenwriter. During his workshop he said he's used the same one for about two years now. What he does is call the general number and talk to the receptionist (noting their name) to see if a particular agent still worked there. Reason for the name of the receptionist? Today's receptionist is tomorrow's agent. So buy one copy at least.

Use sites like this one to see who sold what to whom. You may see changes in the daily listings Fred posts. Other sites/magazines for agent updates would be Hollywood Reporter or Variety.

Also be wary of HCD. Even though it's a good resource, it's not the end all and be all of information. Listed in their Entertainment Attorney section was a very, very prominent law firm with headquarters in Cleveland (where I live and I thought ... wow). But if you go to their website, they do not represent writers per se. They represent the big guns like ABC, CBS, Fox. And all the names listed, I looked up in their website to see if any writers or individuals are noted... nada. So beware while there may be legitimate listings, they may not pertain to what YOU are looking for.

HCD does not list everyone. There are so many independent filmmakers and production companies out there that are not listed. Creative Screenwriting makes monthly mentions of prodcos. Not all are in HCD. My new prodco is not listed and I'm weighing whether I really want to list or not.

However, with all said, I would still purchase at least one copy. Go to the Writer's Store website where you can at least get it for $10.00 off.

Oh, another site to get information is Whorepresents.com. It's a pay site for about $10.00 a month, but well worth it.

You can always do a search on people listed in HCD to see who else they rep or work for. You'll be surprised how many people listed in HCD are not repping anyone.

Well, I'm not much for whiners either (read the post).

However, it is up to us to forge our own paths as writers. Is this the only job hiring writers out there? NO!!! Adapt. Write a book, send scripts to Canada, Australia, New Zealand, England, Ireland, etc., be a guru and write a how to book (you don't need any experience under your belt), write ads for ad agency (i.e. copy), etc. etc.

Or become an independent filmmaker and do it yourself.

I've come to know many screenwriters who've either found their own work or made their own work without the help of agents, managers, or studios. I've done so.

I see the people at Creative Screenwriting (actually former editors and columnists) who don't have screen credits of their own have stooped to promote their latest endeavor Hard Scrambled and begging you to support their producing endeavors.

Shouldn't they know how to pull that stuff off already and have had it sold/distributed by now for theatres?

To boot this recent issue is touting writer as hyphenate director. Seems like they ran out of angles to rehash old screenwriting topics that now they have to delve into getting wannabes hopes up of directing as well.

Sorry, just a venting.

That's exactly the kind of thing I'm talking about when it comes to these so called guru's who can't do it themselves.

**Whistles and rolls his eyes**

Yes it is. Which is why I've decided to create my own prodco and I am producing it myself.

Just because you have foreign locations in your script doesn't mean you need to seek out foreign producers.

Hi Randy,

What Barb said plus I have more to add. I'm in the process of doing this myself.

What you're looking for is NOT a deal memo as Barb pointed out, but it's called a "Private Memo". What the private memo does is alert high end investors with big time money to invest in your project. It outlines what's involved and most important also informs them that there is a possibility that they may not see a return on their investment or that it may be years before they do.

You will then need to set up an independent LLC like Barb said. This is the investor's LLC where they will deposit their funds for shares in the LLC. Sometimes these shares could be as high as $10,000 per share (you set that).

Now the deal that is made is between your prodco and this LLC. This protects both you (the filmmaker) and the your prodco. What I mean is your prodco goes into a partnership with the investor's LLC. This is a way of selling shares to make a movie without making your prodco go public and you losing ownership in your prodco. Better yet this investor's LLC is only good for this particular project.

You (or at least have a rep from your prodco) will probably want to be on the board of the investor's LLC to keep a pulse on what's going on. You will need to show accountability to the investor's LLC (your budget, shooting schedule, books for this project).

For instance, the name of my prodco is Forest City Film Company. When I get ready to do MY private memo with investors it will be called Franklin Castle Productions, LLC. Franklin Castle being the title of my script. They will be mentioned in the credits for the movie. Like Forest City Film Company in association with Franklin Castle Productions presents Franklin Castle.

MOST IMPORTANT!!!!!! You SHOULD/MUST do this through a licensed CPA that knows what a private memo is and/or an Entertainment Attorney. To do something like this without one or the other is stupidity.

Hi Paula,

Just bought a book called The Complete Film Production Handbook (third edition) by Eve Light Honthaner and it arrived today. It comes along with CD rom with all those forms plus the last 150 pages are tear out sheets of such forms.

You can get it from Focal Press at www.focalpress.com directly or order it from The Writer's Store.

When you start telling through the character's dialogue instead of showing.

For example:

Dark Highway -- Night. It's raining and a male good samaritan helps Lydia, our damsel in distress by the side of the road.

Good Samaritan Lemme give you a hand with that flat.

Lydia just finishing jacking up the car, stands from her crouched position. She's soaking wet.



offering to change her tire except for the fact that she has a body stashed in the trunk.

You can build tention through minimal dialogue and showing him opening up the trunk while she diverts his attention letting the audience in on why she's acting peculiar but not the guy. She seduces him away, he shuts the trunk without looking in it, then as he kisses her she hits him with the tire iron. She manages to change it herself while he's unconscious, drives off splashing him in the face as the tire hits a puddle. He comes to dazed and confused.

Now you can ruin all that action with a lot of crappy dialogue where he pokes in his head and they talk about her tire needing changing. Then she manages to talk him out of it by saying the spare is flat in the trunk too. (Yes, I'm being sloppy... just picture this part in dialogue format). She tells him she just called Triple A and reassures him she's alright. He leaves.

Now which one is more compelling?

UGH!!!! I hit enter before straightening out that example.

Anyway, I was attempting to show you a scene with minimal dialogue verses someone talking about doing something.

Anytime someone talks about action instead of doing it, is when you have too much dialogue.

Even though my last post was a mess before I had a chance to straighten it out, I hope you get the gist of it. Sorry about that guys.

Thanks Don, but I've a very long way to go before I can be congradulated.

Randy, I don't know about seminars per se, but I'm currently reading through the following that I'm finding helpful. Perhaps they may be of help to yourself as well.

Film Production Management 101 by Deborah S. Patz

It has such chapters as:

Budgeting & Breakdowns, Production Insurance, Completion Bonds, Interim Financing, Deal Memos & Long Forms, including an Appendix with sample forms.

The Complete Film Production Handbook, Third Edition by Eve Light Honthaner

This is similar to the above mentioned book, however, it comes with a CD-Rom with sample forms as well as tear out sheets with sample forms. This one is more technical and covers Uniond & Guilds, Deal Memos, Clearances & Releases, Foreign Locations more indepth.

The Insiders Guide to Independent Film Distribution by Stacey Parks

An eye opener and very informative. Right now my partner and I are in disagreement on how to handle distribution. I'm thinking of doing it myself rather than selling it to a studio. This book is one of the first on the topic and covers Getting a Distribution Deal, Self Distribution and Other Alternatives to Traditional Distribution, and the Appendix has a sample distribution deal.

I'd also like to mention Videomaker magazine. In the current issue they have Storyboarding Software Buyer's Guide. Included in their comparisons they also discuss screenwriting software.

And I don't know if this will help you out, Randy, but they are giving two one day seminars on The Basics of Video Production and Producing Documentaries. Now one of the topics on Producing Documentaries is Fund It. Granted this is geared toward the Documentary, but you might find something helpful in it.

You can go here:

www.videomakerevents.com or call them at 1-800-284-3226

These one day conferences are all over the country. Next one is in Virginia Beach, VA this weekend on May 12,2007. Atlanta, GA on June 2,2007, Cleveland, OH on June 9, 2007, Chicago, IL on July 14, 2007, and Boston, MA on August 4, 2007.

Cost: $139 to $169. Cleveland is relatively cheep to visit so I'd recommend that one.

Um.... Huh?

Without reading your script, I cannot give you any advice on what these people picked up on.

However, I can make one guess... and it's ONLY a guess. When someone does something that's indulgent, it's usually referencing something that only that person would like. Like self gratifying. It's a small possibility that the people who said this felt that the subject matter of your script was of only interest to you the writer and possibly not an audience.

Like I said, it's only a guess.

I did not see Grindhouse, so I cannot comment. All I can do is speculate and that wouldn't help. Sorry.

Hi Heather,

I've just been reading this book on film distribution and how it works. I think I mentioned the title in an earlier post directed to Randy. Anyway, there IS a way to get into Sundance without going through the process.

According to what I've just read in this book, if you are lucky to get a deal with a major film distributor, sometimes they will push it through Sundance.

I don't know how many of you are aware of this magazine. I haven't heard of it until I bought a copy yesterday.

The March/April 2007 edition is on Talent Agencies. Granted, it MAY be labeled that but when you open the publication, they breakdown whom these agencies represent and writers are amongst the breakdown in the chart. You get the feel that it's geared more toward actors, but there is information vital to all in the industry within.

It's only $9.95 and just like Variety or Hollywood Reporter has information on what's in preproduction, production, and post production.

It contains listings on Casting Directors, Unions, Guilds and Associations, and breaks everything down by NYC and LA.

So it might be useful to some of you looking for representation.

Furthermore, you can go to this website: www.subnow.com/rr/directories to order directories that are comparable to the more expensive HCD. Ross Report Directories only cost $17.95

Bill you'll find the answers to your questions at the website I noted above.

I'm sitting here watching the last few episodes of this great show before it's totally gone. It's been canceled, but I'm glad they're still airing the remaining episodes.

Anyway, this is the real point of the post, not the show. In tonight's show, the "suit" played by Steven Weber comes in to talk to the Mathew Perry character. He tells him of this new software developed to help executives pick scripts or show what needs to be added or subtracted to make it just so. 100 plots from various shows, jokes, etc. was downloaded into this "fictional" software so that you can scan a script and see if it's perfect.

Don't laugh.... just the other day this week on National Public Radio they were talking about music and how a similar software was invented to pick hit music. You can go to NPR's website and check out their archives for this week if you think I'm kidding.

It's scary that now, within the same week, I hear this in a show. Yes, it's a fictional show, BUT the reality is here (at least for music). It's only a matter of time that the talentless bean counters are going to use this forth coming technology to edge out writers.

Scary, isn't it?

I went to Selling To Hollywood Conference of August 2000 in Glendale, CA.

It was the first year ASA took over this conference. It's slower paced than Screenwriting Expo, but you get a lot more one on one with the speakers.

Steven, there was a show that revolved around an entire studio ironically called "The Lot" years ago on TNT or some other cable network.

It was well written and set back in the 20's when studios were run by moguls and everyone was under contract. They based the show on the old rumors, exploits, behind the scenes goings on from real stories.

You're wrong.

Just write your damn script with a good story. Period.

How the hell should Jim know about other contests when this is the only one he's in charge of?

Don't waste his time with stupid questions like that.

And the best way to submit to his contest is to follow the damn instructions!!!!

Poser.

I'm watching it right now as I type this.

First of all, they didn't even explain HOW they chose these particular 5 people. And why we'd only be voting on these 5. If we are voting only on these 5, then how did THEY determine who we should be voting on giving safety for the other 10.

I also hate the fact they have Michael Bay on there only to blatantly over promote the release of his newest movie. I particularly don't like him. He's giving the same bullshit to everyone to "find their style". These are new people, in time they will find their style or you will finally see their style.

UGH!!! I hope it get's canceled soon.

It appeared that they were reviewing their entry films and trying to pass them off as just being filmed.

Why in the world would these people go back to the nether regions where they came from to shoot their next short when they only had 5 days to do it and they are already in LA?

My point is, Bob, that this was a rediculous question.

Why? Don't try to categorize, or follow trends, or pigeon hole others work to see what works.

Just write the damn script. Period.

Now I agree with Paula about reading the scripts of others that you love to learn from them. But don't try to analyze trends. The only trend to follow is to start your own trend for others to follow.

Also in previous posts. This poser has asked questions in which he answered his own question.

I'm usually helpful on these boards but I refuse to be Politically Correct in order to stroke some poser's ego.

Post a serious question and I'll post a serious answer.

Totally agree with everything Walter wrote above. The one very useful thing I got out of one of my professors in college that I can apply to my writing is she used the phrase Economy of Expression.

Don't be too detailed in describing a room. If you do, then that might also be persieved as you trying to tell the set designer their job. Just list the items pertinent to the story even if it is a murder scene you can accomplish this. However, this may take multiple paragraphs which is totally acceptable as long as you stick to what Walter described as a 3 (up to 4) line rule.

For instance, in the movie I'm shooting this summer, the description of the haunted house exterior is as follows: It's a looming Victorian mansion with a Gothic influence. It is visual enough to get the reader's own imagination going. Visions of gargoyles, turrets, and craftsmanship may pop into mind depending on how the individual reader pictures what you meant by the phrase you wrote.

In other words, instead of writing she drank a Coke in her Hummer spilling it all over the Eddie Bauer plush seats. Write she spilled her soda all over the seats of her SUV. This leaves the reader to imagine what kind of soda, and SUV she has. And it might save you from a reader discriminating against your script because they prefer Pepsi and you wrote Coke.

This is an age old question that goes back to when Hollywood was established. Before movies theatre was King as was the Playwright. The Playwright is still King of his domain on Broadway.

However when producers went west and established Hollywood, they wrestled this power out from under the writer because they knew without writers there was and still is nothing.

I can't recall exactly what triggered the shift, but do some research to find a good book on the early days of Hollywood and you should find a more definative answer.

If you think the WGA and DGA is looking out for you're best interests, think again.

I strongly suggest everyone pick up the latest copy on FADE IN: magazine with Steve Carell on the cover.

What's worse is that the guilds are collecting these foreign levies (basically European residuals for writers and directors) on your behalf EVEN IF YOU DO NOT BELONG TO THE GUILD!! They are even collecting them on behalf of independent filmmakers which are usually not members.

Worse yet, they are holding onto this money after the seven year statute of limitations instead of allowing them to go to the state of California's unclaimed funds.

They claim they can't find everyone. My question is, is where are the agents and managers in all this? How come they aren't protecting their clients (us)?

Please read the article on page 25 by Stefan Avalos.

For a list of Filmmakers owed money, go to Fadeinonline.com

About The Writers Building.

Don't get seduced by the fancier web design so fast.

They are a pay site and I'm not sure if they always have been. However, even if you weren't a member they allowed you to browse around a bit. Some areas were restricted at that time for paying members only. All they required was that you have a pic of yourself to become a member.

I just tried to browse like you used to be able to do and they won't even allow you to do that without signing up. Sure you get the first 30 days free... big deal.

Anyway, I recall when I browsed a while back that they laid claim to such and such big named screenwriter but that screenwriter never made a homepage or posted any advice, etc. They just put his/her name on their list.

So be wary.

This site can suit your needs also. We are not as beginning as you may seem to think.

Several of us have moved on to independent filmmaking because (if you've been reading Sript, Creative Screenwriting, etc.) you'd know that for outsiders (i.e. non Hollywood) screenwriters, it's become extremely difficult to break in these last couple years. Even with contest winnings. So we've advanced to doing our own thing.

If you want/or need some feedback, there are plenty of writers here that will provide you with that. Just look at profiles to see who is open to helping you out.

Wow.... Thanks Erica. That looks like a very well organized site. Think I'll go over and check it out for a while.

Just hope you find the help you are looking for. Good luck.

Budgets are not the job of the screenwriter. That's for the producer to figure out.

As a writer though you know if your script might contain, CGI, other special effects, car crashes, etc. that would increase a budget. So the best thing you can do is guestimate.

Don,

Just because you place well or even WIN script competitions is no guarantee that agents, producers, and managers, etc. will come knocking at your door like rabbid zombies.

I had a script that placed well and got absolutely no calls. I know of a writer/director that moved here to Cleveland from New York City who has WON numerous screenwriting awards with the same results (no one calling). He finally got a hip-pocket deal with CAA through a friend begging on his behalf and they've done absolutely NOTHING to help him promote his career. Every job or lead he's gotten, he got himself. So he decided to become an independent filmmaker. He made a pitstop here on his way to L.A. but decided to stay because the cost of living is tolerable and it's cheaper to make movies here.

So it's absolutely NO guarantee that just because you place well, or even WIN script competitions that you will get the attention of anyone.

I agree with Paula and Heather. However, you must choose a competition where is specifically states that you WILL get feedback. Not all contests offer it.

Congrats.

Can you give us a logline and title for the two that made it? Or at least the link to the contest?

You really need to invest in reading some books about basic screenwriting. You should know by now that no two TV show scripts are going to be written in the same format.

Even if you've purchased screenwriting software, they will give you sample script formats for the most popular shows on TV at the time the software was developed.

Furthermore, you can go to such places as Drew's scriptorama and read samples there.

Read, read, study your craft and read. Don't be lazy. If all you do is ask questions and not bother to study your craft, you do not deserve to be a screenwriter.

Wow. Way to go cracking tough subject matter.

Bobby,

If Bill were to ask one coherent question, perhaps he'd get a decent answer.

His question makes no sense whatsoever (proof via Terry's response), and does not deserve attention.

I'm not sure what this idiot is asking. Why would a contest create the loglines for the entrants? Who wants to enter a contest for $50 or more and have it judged based solely on a logline? See, you can't decifer psycho-babble to tell what Helen Keller Jr. here means by his inane question.

He's just posting to post and I, for one, don't put up with people like that.

Now if anyone other than Bill were to post a serious question, then I'd be glad to give a serious answer.

You are oh so right Paula. How could Bobby clarify and repose the question that Bill G originally posted if they are not one and the same?

Kudos to Paula, Eric and Randy for seeing these posers for what they truly are... posers.

My points exactly as I've previously posted. Furthermore, I do not find it a coincidence that if you click on all the posts that person posted, you will find that they both (along with other personalities), began posting around the same time frame with no profiles (as Randy pointed out).

Alas Terry,

If he only HAD a brain, he could answer.

I vote he go fuck off.

Fortune Cookie says:

You're like a circle and make no points whatsoever.

I just wonder which personality told him/her to write it.

That is one little disturbed fuck.

The first one I entered was Screenwriting Expo's competition. I really had not planned on entering any competitions but decided to because I wanted to see how this script I had would place. I was going to the conference that year anyway. I made the quarterfinals and nearly made the semifinals (if I would've agreed to accepting a certain prize, I would have made semifinals... long story).

The following year I entered Nicholl and Scriptapalooza with the same script to see how far it would go in either of those since I did so well in the other. Needless to say, I didn't even make the first cut.

The script was a horror script (and most likely didn't get past the first rounds because of the genre). I've since gotten several writing assignments out of using this script as a writing sample.

Now I'm shooting said script this summer for release at a theatre near you next summer.

I don't think I'll enter another competition again. I'm confident in my writing skills for one and I'd be disqualified because I've started my own production company this year.

Besides, I know of another local writer that has representation and has won competitions time and again but has no offers for work currently.

A note of caution to all writers writing specs.

As I've been posting recently, I am in the process of producing and directing my own script. I have not in my wildest imaginings would have guessed that I'd be producing this soon. So over the past few months I've been reading, learning, studying what a producer does and how he/she does it.

In this one book I'm reading by an Entertainment Attorney, he has represented at one time or other investors and producers. He gives reasons he'd give investors on investing on a movie. Amongst his advice is (in no particular order): Avoid directors who are oblivious to audience appeal (i.e. marketable scripts), Identify the potential market of a film (avoiding films without name actors), etc.

So it matters what we write because the people buying and investing in our scripts keep these things in mind as well.

I personally know a screenwriter/director that owns his own prodco and has won numerous awards. He lived in NYC and came to Cleveland as a pitstop and decided to set up shop here instead of moving on to L.A.

All the leads he's gotten for work, he's had to work hard on his own. He's repped but they do nothing for him.

Contests are just a jump off to hoping to break in without guarantees. You have to keep the dream alive and moving if you want it. It just doesn't come and plop into your lap.

Randy

You have to remember too that those scripts were probably written by veteran writers or were writing assignments or had someone to champion their script for them like an agent or manager. Which in all of those scenarios would have bypassed a reader and gone straight to a decission maker.

We're all relatively no names with no one in our corner. So our scripts would go through a gatekeeper like a reader (whether it's a reader for an agent, manager, or studio). And the way readers are trained nowadays, it would be hard for a newbie like us to get it passed them.

Yes those are great exceptions to the rule, but under what circumstances were they done?

Just something to keep in mind and contemplate.

If Hollywood thinks it can reach out to the faith based crowd with movies like this, they are allowing their yes men to blow smoke up their collective asses.

These idiots don't get it. What the faith based want in a religiously based movie is the Bible put into film and not altered in any way.

A what if with comedy won't cut it with the anal retentive faith based crowd. These are serious hellfire and brimstone people.

The premise to this movie from the standpoint of the faith based crowd is so unbelievable it will never draw them to the theatres. Why? Because they are so fundamentally faithful that they believe the Bible word for word. And after the great flood, God promised that he'd never do it again. And as proof of his promise a rainbow appears after every rainfall. Yadda, yadda, yadda....

So that's why it doesn't draw the seriously religious crowd. It's not a real religious movie.

Now, with modern technology, if someone were to turn the book of Genesis into a movie with special effect of God creating the Earth and all in it and sticking to the story as in the Bible, then you'd have the faith based crowd lining up to see it. As with The Passion of The Christ (okay, it veered a little bit, but stuck to the main story).

Fuck that. I'm not sorry. And by all means, stay away if you don't have anything coherent or relevent to say.

Same here Terri... sorry about Isabel.

My Chloe is 21 and going strong... however, I really think she is going a bit senile for her age. I know it sounds funny, but it's true.

She'll be leaving the bedroom in the middle of the night and then call out to see where the heck everyone went to.

It's kind of funny and not at the same time.

Is there a book on kitty Alzheimers?

Linda,

I'd be honored, and I don't even need viagra. But you'll have to adopt my two cats too. It's a package deal.

Thanks for the info, Laqueta. I'll pass it along to all in my screenwriter's group and email listing.

In response to your question if I've had another that may have passed away, it's yes.

About four years ago on July 13th my diabetic cat, Ashleigh passed away from complications due to diabetes (series of two heart attacks). I gave her shots every day for five years. She was 14 and loved car rides.

Our first Thanksgiving (after only being together for 10 months) she kicked my sister out of the house because it was after bedtime. How? She sat next to me and meowed like an annoying car alarm nonstop and would occassionally turn to look at my sister. Jus one of many enjoyable memories.

Heather,

I'm sorry if you misread my post. And you shouldn't internalize a generalized statement and take it so personally.

Now when I mentioned anal retentive faith based Christians, I meant the small faction of fundamentist extremists with the loudest mouths that think they speak for all Christians. I was addressing on how Hollywood doesn't understand how to cater to this particular minority that THINK they are the moral majority. And when one wants to target a particular audience, they should be catering to the lowest common denominator. And in the Christian community when you want to cater to and appease to the likes of this lowest common denominator, you need to make a movie that is word for word ripped from the Bible. That is the only kind of religious movie these types will EVER condone or go see in droves in a theatre and that's what I was trying to say by secular Hollywood not understanding this.

Again, sorry if I've offended you but I'm not going to be politically correct just to sooth your feelings or anyone else's. You'll need to grow a thicker skin to deal with those Hollywood types if you ever want to pitch a religious script and they're not getting it.

I, myself, am a recovering Christian. Why do I say this? Because Religion in man made. God did not dictate or tell us specifically how to worship Him. Therefore utilizing my Philosophy classes from college... If religion is man made and man is falable, then religion is falible and therefore as imperfect as man.

I just wanted to welcome all the new people that have been posting recently. It's nice to see new "faces" and not just see the regular group of names posting all the time.

Good luck to all in the contests.

Hi Greg,

First off, you should never state that you are seeking representation. They know why you're contacting them (according to the articles on query writing I've read).

Second, don't just write that it "placed well". Name the contests and where you have placed in them. If they are lesser known contests, then do not include them. Only include national or prominent contests like Nicholl or Screenwriting Expo or Disney Fellowship, etc. Why? Because when agents where asked (again in numerous articles I've read) they could care less otherwise.

Third, you logline needs a little tweeking. "Unpicked misfit" is redundant, just leave it at calling them misfits. Again, "league championship" is redundant, just say championship.

I would chop everything else off after that. The pompous coach bit is interesting, but then where's the mention of their coach that takes them under his/her wing? It would be great if your story involves the pompous coach being the life long nemesis of their coach. However, as I've said, leave out the coach part altogether because it makes the logline too long and usually in these types of films something like that is a given. They can discover that on their own when they request your script.

Leave it off at...

... Thank you for your consideration.

Sincerely, Gregory Woodruff

gwspecs@yahoo.com (If you're emailing this I'd leave this out... they'll know your email addy).

Much better. Looks much more leaner now. I agree with Laquita... double space between the genre and the logline.

Also agree with Terry about this last line... "pompous coach who kept them off the real teams."

How about this instead..."pompous coach who tried keeping them out of the league."

I can't speak for this particular seminar, but in 2000 he was part of the first conference I ever attended.

I thought he was pretty good. Even bought one of his books. The particular seminar he gave at my conference dealt with developing characters.

Very short and simplified answer:

Neither get you work. You have to make sure you find it yourself or make it yourself. I can rehash a story about this one writer turned independent filmmaker that I know of whose Agent does nothing for him, but I won't.

Agents hash out your contracts AFTER YOU find work or make it (spec) and get someone's interest.

Managers guide your career. They are barred from negotiating contracts like your agent does. However they can point you in the right direction AFTER YOU find the work or make the work.

I would put it this way.

Grown siblings discover letters written by their long deceased mother wrote to them but never gave them. They discover that the letters were their mother's vision of what and who they'd become in life. Find out what they've become opposed to their mother's fantasy.

VERY GOOD, Orlanda.

My point exactly but I was too long winded...LOL.

Use Orlanda's logline.

Randy,

Me thinks you've been had by a possible poser. Profile or not.

John

There are various reasons people enter scripts to many contests.

I entered Screenwriting Expo's contest a few years ago and made quarterfinalist my first time out. I felt confident so then I was curious how it would place in Nicholls and Scriptapalooza and didn't make the first cut at all. So it's a crap shoot.

The reasons I entered were to see if I could at least make a first cut (which to me meant that someone liked my writing, or the story, etc.). And the first contest verified that for me. I also entered it to get exposure of any kind. Anyway I have had no luck in selling it so, I'm making the movie myself.

However, entering and placing and even winning in multiple contests does not guarantee anything either.

I know of this other writer from NYC that placed well and even won many competitions. Even with all that exposure, he could only get a hip pocket deal with an agency. They have done realatively nothing for him. He's found all his work on his own. So, he started his own prodco and filmed one of his scripts.

So, it could be a waste of time as well.

When you take the rule of thumb to keep descriptive lines of action to less than 3 or 4 lines, you want to use as little space as possible. My college professor used the phrase "economy of expression" in order to get us to be as brief and to the point as possible. So that said, the word black takes up less space than African American. Political Correctness is overrated and passe.

I usually tend to write my scripts without making them race specific. In other words, any actor of any race could play the part. However, I intend to write my next script specifically for an all black cast. My main character and opening scene involves them getting ready for church. I will only mention probably once that they are black (or not at all since I'm planning to film it myself). However, only mentioning it once will set the precedent on my script. We may be America, but we are segregated in most of the circles we socialize in (like church).

I'm assuming your script is a period piece a la Jackie Robinson because blatent racism and struggle in MOST sports is rare these days. Anyway, if your main character is black, I'd say so when you first describe him and leave it at that. You do not have to pepper your script in describing everyone's race. Let that come through in the way they treat him through their actions and leave it to the readers imagination.

Just way too many contests out there anymore. I'd just stick to the long established industry ones out there like the Nicholls, Disney, Columbus, etc.

Or even ones that are connected to LEGIT production companies that have not only produced a movie, but had wide distribution AND good reviews (D-Wars does not count... they sucked).

Just my 2 pennies worth.

Not impressed. Just another site that most likely gets a cursory glance from the industry.

If these guys want to target contest winners, they'll track you down from the contest itself.

Let me do some digging. I have a couple books that have sample standard release forms.

It does not sound right to me either. You are just one single person, they are a company expected to have insurance on top of being more capable of paying for their own lawyers if someone were to sue.

Sounds like this is a very small time operation not worth submitting to.

In the meantime find an Entertainment attorney and pay him/her to go over your release form for you.

Let's not try again.

Poser.

I can't make it this year, but plan to next year.

I think this is a great idea Heather and we should all try to meet at least once while out at any conferences. It is important not only to network with prodcos, studios, and the such, but also to network with our contemporaries.

I hear people in New Orleans still need help. Why don't you help them first? First come, first serve.

What an asshole... Not you Colin... The Motherfucker who wrote that shit. If I were you and had an attorney, I'd get to the bottom of who wrote that and sue them for slander, libel, whatever the proper phrase is. They can be tracked by IP address from Screenwriting Expo's computers via a warrant of some sort.

Many writers that are hired for assignments do take back end deals and don't get paid up front. How dare this idiot ASSUME you're getting paid. I've recently read several articles either in Creative Screenwriting or Script that state that well established writers are even taken advantage of if they want the job that bad by the studios or producers not paying them. So, again, how dare this moron ASSUME you've gotten paid anything substantially via options or assignments.

When you find out who this is, then please post their name in every writers website possible as well as the Writer's Beware column in Creative Screenwriting.

As the owner of a new production company, I'd love to have this person's name so that I may forever blackball them from submitting to me.

It's the same kind of underhanded shit the Religious Wrong Family Values people would pull.

Randy,

If you should decide to go through with the surgery, then I suggest coming to Cleveland to have it done. Cleveland is where they first performed them and where it's been perfected.

Like they say, if you want plastice surgery done, go to L.A. (or NYC).

So why wouldn't you go to Cleveland to have lens surgery done?

POSER

Stick around awhile Douglas and you will find for yourself who are posers wasting everyone's time on this board and who are not that help people with real screenwriting issues.

This idiot tends to post posts for the hell of it and ropes some naive person in with their serious input only to spin bullshit all the time. I'll be glad when Ben is gone. You will learn soon enough.

Douglas,

As mentioned by D. Jay, Paula, and Eric the problem with "posers" is they create more than one persona to defend themselves and gang up on REAL members with serious questions or advice.

When Randy saw your post, I'm sure it was just a hair-trigger reaction to "Ben" and he unfortunately assumed you were he.

The reason why I immediately wrote POSER after Ben's post was to be a warning to all you newer members.

I haven't been posting much lately myself, but I've been reading. I have noticed the welcome injection of a LOT of new members posting and helping each other. For a while there this place was stagnant with the usual people posting and helping. This all has been happening after we thought we got rid of "Ben".

Now suddenly "Ben" starts up again and I wanted to be able to stop his/her destructive behaviour before it got out of hand again. Thus me typing POSER after his new thread. And I will continue to do so under all the threads that he starts to warn people to ignore it (well at least you newer people who haven't had the pleasure dealing with these personas).

If anything, I urge any newer member to read all of "Ben's" threads to see for themselves how much of a distraction he/she can be.

Rany jumped the gun, but I hope you both can shake hands and make up. With that said, let's just move forward.

Are you serious, Paula? LOL

I'm sure Terry means Lon Cheney (SP?).

Terry,

I don't know the answer off the top of my head, but I'm sure you can find out by going to www.findagrave.com (One of my favorite sites).

Music inspires me to come up with some great script ideas. Sometimes even the title will do that.

Mark,

You as the writer have absolutely no say in the music put to movies. You're just going to have to deal with that harsh reality.

The only way you can have any say in it, is to make the film yourself. But good luck there as buying the rights to the music can be very costly and in most independent filmmaking be at least half your budget (if they are very notable songs indeed).

You MAY have a say if you've been invited to collaborate further during the shooting (depends on the director and producers). Best authority on something like that here is our latest celebrity Linda Weiss. See if she had any input.

John

Mark,

I take back part of what I wrote. In reading Rick's post, it triggered a possible way to incorporate music into your script.

As the writer you generally have no say telling the producer or director what music to use. However, as the writer you can "guide" the director and producer with music like you currently guide the camera angle in your script without mentioning camera angles.

Everyone knows not to use camera angles nowadays. So we've all adapted to writing our scripts in a manner to guide the eye of the camera.

It's possible to do it with music too. Here's an example of music that's inspired me to put the song The Last Kiss into a future script without as much mentioning the song at all. I've always loved that upbeat rhythm contrasting against a very sad story of a car wreck. I prefer the original by the one hit wonders as opposed to Eddie Vedder and Pearl Jams poor immitation with Vedder sounding like a goat in pain.

Anyway, I intend to use the descriptive lyrics to help me unfold a scene of a car crash identical to the one in the song by using action sequences to unfold in the time it unfolds in the song. There is a part in the lyrics where the guy's girlfriend says, "Hold me darlin' for a little while." which I see no problem in borrowing as dialogue paraphrased (or if they eventually catch on and get the rights to the song then they can use verbatim). Anyway the trick is to get that piece of lyric timed in with the music as well when the events of the crash unfold. This trick may trigger someone's memory into recalling the song. Also within the action sequence right after she says that he leans over to give her The Last Kiss (using the title of the song to entice the reader/director/producer into triggering their memory of that song).

I, on the other hand, will have noone to impress because I will be producing this future script of mine.

Any music that has a good visual storyline to it can be done the same way.

Say you're writing a cheesy Beach Blanket Bingo style film spoofing the genre. A song that comes to my mind for inspiration is The B-52's Rock Lobster which is just as quirky as spoofing a beach movie. Use the lyrics to unfold the action described in the song.

So this is one way to get away with using songs in movies (but I'd advise to keep it to a minimum). You don't want your movie to become a long music video either.

Frankly, I don't see this thing ending anytime before June when the Actors and Directors negotiate for some of the same reasons.

Why should writers put their heads out on the chopping block and settle for something less just to end the strike when the actors and directors may get their way for more money later on?

Okay, what did I miss?

For once the drama didn't circle around something I posted...LOL

Yes, Merry Christmas everyone and have a very prosperous New Year!!!

Here's to all aspiring and established writers alike on this MB.

It's because the lack luster "powers that be" in Hollyhood (yeah I spelled it right) are lazy and don't want to take chances worth taking.

In a way, I'm happy to see the end of formulaic happy endings.

I feel that whatever the ending be, either upper or downer, it should ultimately serve the purpose of the story written, and not seem manufactured.

I Am Legend is a remake of the old Vincent Price movie The Last Man On Earth in which people have turned into vampires and his blood had the antibodies to reverse the process.

I have the DVD... will have to see it again. In the end they decide not to accept his antidote and accept their evolutionary fate and in the process kill him as a mob in a church.

Unfortunately, most of us here on this board are not in the guild (yet) and are helpless onlookers. Let's just hope that guild members don't jump the gun and settle for anything because they need money. That's what the Studios are hoping.

It's all a waiting game and the Studios are not yet feeling the hurt because of the glutten of reality shows being slung at us, revivals of unaired episodes of cancelled shows (like Jericho, for one), bringing cable shows like Dexter to fill the gap, etc. for TV. And they've plenty of films to last the rest of the year that are being shot before the Actors and Directors join the strike in June.

Studios can hold out till the end of the year. I hope the guild writers can because as mentioned, it's about the long term, not now.

Eh, there's already a movie out there on this (very well done, I may add). It's called Identity with John Cusak.

The old timers here and the insiders will know what I'm talking about.

I believe a Royal Decree is in need here.

I hereby decree that Thomas Swan the Junior is nothing more than a POSER. If it acteth like a Poser, then 'tis a Poser it be.

Nay, Nay... Thomas Swan the Junior is far worse than any Poser we've encountered thus far. He's what we shall decree a Poser Wannabe since the truest of Posers use aliaseses.

Thus endeth this proclamation so mote it be.

Okay, I really couldn't help that last post.

I go away for a while to concentrate on my production company and look what happens.

On a serious personal side note to Thomas though, I'd like to remind you that even though the people who post here are newbies by and large for the most part, there are industry professionals that eaves drop on here from time to time. Furthermore, with the type of nonsense you do post, how are you going to get an industry insider to take you seriously? I know I probably won't accept any of your submissions in the future for my own prodco. Just food for thought on how we all should behave and play nice.

Have you seen Paula's You Tube video of her Burlesque-esque fan dance fully clothed in a Burka? WOW!!

Talk about talented.

The B-52's or nothing for me thanks.

It doesn't matter what you write, just write it well like J. K. Rowling, for example.

If you're in this profession for money, then you've chosen the wrong profession. Emily Dickinson did not see a dime.

Go flip homes or play the lottery or go to Vegas if you want to gamble and fulfil get rich quick schemes.

My point is, is that great writing will rise to the top like cream. Your idea does NOT have to be high concept. Look at the crap the studios are making. What the hell was Cloverfield?

Don't confuse gimmicks and scripts chocked full of special effects high concept. A great story is high concept.

A simple story about an individual's life or a glimpse into a portion of their life is high concept. Like Mrs. Pettigrew lives for a day or The Cat's Meow.

Focus on the story you want to tell. If it is interesting to you, it will come out in the way you write it whether you know it or not. Thus piquing the interest of the reader/studio/buyer.

If you force the story to fit a certain way/formula that will also be transparent resulting in a pass not only to your work, but possibly also you as a writer.

You know, this almost sounds like Kill Bill. The main character in that also struggles with amnesia after waking from a coma. Then it comes back to her in the chapel scene flashing back to how she wound up in a coma.

Do you have an outline? Do you at least have a drawn out Treatment? Do you know the ending of your movie? Do you know where you're going to?

Do you like the things that life is showing you? Do you know? Okay got a little carried away there.

We all have different writing habits. I don't do outlines, for instance. Regardless of your habits and how you write, before you put pen to paper, you should ALWAYS know your ending in detail.

Look at it like taking a trip. You know your destination in detail. You know you're going to Cleveland, for example, to see the Rock Hall of Fame. But if you don't know exactly where it is, you might wind up in a different Cleveland. Perhaps the one in Tennesee, or even Florida. There won't be a Rock Hall of Fame in any of those places.

I also love the writers that say, well I'm just going to start to write and see where my characters take me. There's nothing wrong with that as long as you know where your story's supposed to end up. Again, using the trip analogy, you just don't go in your car and take off. You might wind up stuck in the desert out of gas with no one around and the last gas station was on page 32, I mean twenty miles back.

You have to think of writing as a trip and the journey is from point A to point Z with a lot of mishaps along the way to getting in your way of reaching your destination. Like Adventures In Babysitting.

I never start putting pen to paper before I have the entire storyline thought out (usually on many a bus ride to and from work). When I do write, it just flows. Sometimes I write out a ten page treatment to keep me on track. However, I will divert from it if I find the characters are leading me down a different path. I don't divert too much or I may find myself down a deadend street to which my characters carjacked me. Again, road trip analogy, don't allow hitchhikers (your characters) to do all the driving or you won't get to your destination.

Sometimes I use Syd Field's paradigm example as a template instead of an outline.

Basically, your second act should be chocked full of obstacles that stands in your main character's way of reaching his goal and the end.

Hope this helps.

Hi Don,

I've gone in the past and stayed at the Stillwell on Grand just a couple of blocks away. It was $55/night and now up to $72/night according to hotels.com. I did not feel threatened at all. It is a hole in the wall, but you're only going to have time to sleep there anyway with all that's going on at the expo. It's designed in the same fashion as the Figueroa listed by the conference for $129.

Another year I stayed at the Wilshire Grand for $55/night but now it's $147.

At night the area does get desolate because it's the business district of LA. I walked all over and took the bus too. Even took the subway to Long Beach to see the Queen Mary.

Anyone raising money for a film should know that you should always use a private placement memo to raise the money needed for the project alone. There are differences, as stated above in the various types of PPM's out there under the SEC. You've got the under $1 mil, then there is one for $1 mil to $5 mil, and then there is another for anything over $5 mil.

What he doesn't say in this article is that a PPM allows investors to invest in your project and not your production company. A PPM allows investors to invest in a particular project without investing in your company. Okay, so I was redundant... sue me.

Whereas if you want to raise money in your company, you can sell shares in it using your business plan.

A business plans are typically used by other industries to raise money for their companies. For instance, I would think it very unlikely for Ford to get investors to invest in only one car type. They want the investors to invest in their company as a whole. So they'd probably use a business plan to present to their investors.

In the movie world that doesn't work out so well.

Also what he did not mention in the article is that you should ALWAYS have a business plan at hand. This gives you direction on where you want to be. It's kind of an outline on where you picture your company will be in X number of years marking milestones you wish to achieve.

For instance, I'm getting a prodco up and running for the first 3 years I expect to produce 1 to 2 movies a year. In 3 to 5 years I'd like to see it increase by 5 movies produced a year. In 5 to ten years up to ten movies a year. In year 5 I'd like to see if building a large studio from the ground up is viable. If not revisit the idea after looking at finances to try it again in year 7. Once a decission is made how long will it take to build said studio? Then once the studio is built, get into producing TV shows. Perhaps in year ten look into creating the next network. After that, perhaps develop a few cable channels. And so on....

Investors don't care about this unless they are buying shares in your company. If you just want them to invest in a movie project, PPM is the way to go. Do not hire these business plan consultants. Use an Entertainment Attorney or a CPA familiar with the way the movie industry opperates.

Also, Business Plans are useful in obtaining loans and tax credits from entities such as the city and state your company is based in. Most business people know and understand Business plans and proposals more than they do a PPM. Besides, a city wants to know where you are headed and how it will benefit them. However, you should always write a business proposal to submit when asking the city for assistance in guaranteeing a loan or providing a loan.

yes

This is why I rarely post anymore.

Irin has too many aliases. I'm reporting him to homeland security. LOL

Okay, now for my serious two cents. I agree with Irving.

On another note when watching DVD's rather than at the theatre what I like to do is after watching the movie I'll watch the deleted scenes. And then I'll sometimes watch it with the additional commentary accompaniment to listen in on the commentator's thought processes, experiences shooting a particular scene, etc.

Sometimes when doing this, even a fairly decent movie, I think to myself 'oh that should've stayed in. The movie makes more sense now watching that deleted scene.' Or 'too bad they didn't have enough budget to make sure that scene got in because it explains it better.'

Currently I'm watching The Wedding Date on DVD. And one scene I thought should've stayed in to show the guilt that was plaguing the Amy character. I think it could've softened her up a bit. Another scene that didn't make it due to continuity problems according to the commentary by Debra Messing was one that happened before the dance studio. She goes to pick up the ring and bumps into her ex (the best man) who kisses her and Dermott's character sees it. He gets jealous. I think this would've shown that he was falling for Debra Messing and explains the little angry bit on the dance floor a bit better. But due to raining on and off it couldn't be added due to continuity problems and low budget to shoot again.

Just my opinion on that particular film. However I still enjoy the movie as is and it makes a bit more sense at parts (at least to me).

It's the filmmakers responsibility to pay people, not you.

It's like asking the Gaffer if he would put the money up to buy your script before we start shooting.

Writers should never pay for anything. Especially representation.

The agent or manager will get their money from their cut when they sell your material.

I've been busy starting my own production company (that's why I haven't been here much lately) and I would never ask a writer to pay me to read their script for consideration.

The only time a writer should pay, is when seeking an experienced, well known, script doctor to review and advise. That or when entering a script competition.

Perhaps you should consider staying in LA until you are done producing your established friend's work. Don't look a gift horse in the mouth. He's really trying to help you out and what he's doing will open many a door for you.

The main problem with Hollywood is that it is far too nepotistic. They hire who they know instead of the people with the real talent.

I say try to hang around (if financially possible) for another year and definitely after this project is in the can. You need to get people to know your name and get your name out there with this project.

Frankly, I refuse to pay good money to see a remake. Especially if the original was perfect the way it was. This goes for Dirty Dancing, Footloose, Nightmare on Elm Street, Death at a Funeral, etc.

Hollywood is no longer an inovator of story. It hasn't been for a couple of decades ever since the corporations took over.

Heaven forbid if they ever attempt to remake Casablanca, Wizard of Oz, or Gone with the Wind, The Sound of Music. (yeah, yeah, Wizard of Oz was made several times over before the musical 1939 version... but it would be ashamed to remake it again the same way).

I would say short is anyone under 5 feet tall. Actually between 5 feet and 4 feet. Anything below 4 feet is a midget or to use political correctness dwarf.

Sorry, was feeling particularly ornery today.

Sorry, was feeling particularly ornery today.

Okay, who died and made you Websters...LOL

The WGA has no "teeth" legally. Always copyright it.

I heard that the studios are going to pull a stunt with Shrek 4 to see if people fall for it. I think it involves IMAX theatres only though. I heard they were going to charge something like $20.00 a ticket to see if people are willing to pay that much. If they were, then they will all raise ticket prices yet again.

As long as they pull this kind of stunt, the studios will never change because they will make up for bad movies at these outrageous prices and not loose any money. Therefore no risks and they can continue making bad movies.

Raise money for your films using a Private Placement Memo through an entertainment attorney or CPA (that knows how the industry works... you don't want a CPA that don't know squat).

Talk to your local and/or state film commissions. Write a business proposal to the Mayor of your town to see if they will help with free space to shoot your film, or even raise bonds to sell to help support your film.

However, you should always have a solid business plan written and prepared upon incorporating.

Good luck, from the owner of Forest City Film Company. You'll hear about us very soon.

Okay, I haven't been here in a while. Whatever happened to the section of this sight Who's Buying What that you had to subscribe to?

Nevermind. I found the article.

This will all change in the very near future. Mark my words. A change is coming to the "good ol' boys" Hollywood system.

Stay tuned.

Good post, Stephen.

A change is coming. Don't look to Hollywood.

Just curious as to how many of the old timers are still posting and or if we've lost any along the way. I've been super busy getting my prodco off the ground (this economy is not helping one bit). So I've been lurking and reading here and there.

Also has anyone either recently or in the past entered the Screenwriting Expo's Script competition and what their experiences were with them. And who is planning to attend the conference this fall?

Just in case nobody knows about this site (I'm sure you already do), it's worth a look. It's the Internet Movie Script Database.

It includes scripts to current movies as well as oldies. However, not everything is there. I was looking for Animal House's script and they didn't have it. So it's a crapshoot.

Go to www.imsdb.com It's a free site.

But I thought the world revolved around my cat. Now I'm confused.

Try waiting on tables at a good local restaurant everyone always talks about in your area. Not one of those 24 hour places either. A decent classy establishment. There's nothing wrong with waiting tables.

When I was living in Newport, RI, I made $100 a night in tips alone on Labor Day weekend. On a typical night I'd average about $25 to $50 in tips depending on traffic. Of course, that's a tourist destination. But I'm sure in a major city there are places the well to do tend to go (especially CEOs for business dinners). Target those types of restaurants.

Working in a hotel as a waiter also has it's advantages. There's always room service duty (people tend to tip a little more in my experiences), and you have a chance to work banquets when and if the restaurant is slow.

E-mail me with your agent's contact info. Will be looking for material soon myself. That also goes for Paula Smith and Janet Hogate.

Julia and the rest of my Moviebytes posters (not posers ... inside joke for you old timers), I intend to make my rounds on this board. But right now my time is limited on how much I can read to consider. I will post a more formal call for scripts when my time is more free. It's a long story. Let's just say, I'm intent on showing the industry how business should be done.

Irin, I am open to anything right now genre wise. What I'm looking for is something for me to produce while giving myself some time to write my own projects. I don't want down time while I write.

For now, something that is not too expensive. Ready to shoot. I do NOT believe in development. Either the script is ready or not. The story and/or situation your character is in must be plausible. Everything is on the table, even animation and musicals. Well, no documentaries (which really can't be scripted anyway).

Mind you, I'm just looking right now. So don't expect an immediate sale or option. I still have a lot to do on the business side of things (for me that's the time killer... ugh, but a necessary evil). It is after all called the movie BUSINESS.

Hold on to your seats everyone, this is going to be the beginning of an interesting and bumpy ride.

Is it just me, or does everyone also think these following so called comedians are not funny at all.

Russell Brand, John C. Reilly, Seth Rogan, Jonah Hill, Michael Cera, etc. etc. ad nauseum. I'm also getting tired of Will Ferrell and way beyond Steve Carrell.

I mean, I've never heard of most of these guys until some idiot in Hollywood decided to give them a role in a movie. It's like they are saying, "Here's someone funny, now laugh."

Sure they are goofy looking, but that does not a character actor make. Where are the modern day geniouses, like Abbott and Costello, Laurel and Hardy, Charlie Chaplin, Lucille Ball, The Three Stooges, Martin and Lewis, and Marjorie Main and Percy Kilbride? Now they had talent.

Am I jaded? Or has humor in America hit an all time low?

Neither Letterman or Leno starred in movies that I recall, so they don't count.

And, yes, I'm like 127 to be exact. You don't have to be old to appreciate the talented comedians of yesteryear.

Perhaps now may be the time for you to make the move to LA and get an industry job. Go to my other post (didn't want it to get burried in another posting just in case others might be interested).

I get emails from this site on a regular basis. There's going to be a job fair on 08/27/10 from 11 to 3. They also post volunteer positions too.

www.breakingintohollywood.org/jobs.htm

You have to RSVP and if you're not a member, then it's a very small fee ($5.95) to attend. I'll copy and paste some of the email I received on this below. Good Luck.

-----------------------------------------------------------------------

Are you looking for a JOB? If so, BReaKiNG iNTo HoLLyWooD invites you to meet one-on-one with Human Resources Executives from Warner Bros., CBS, Nickelodeon and Comcast Entertainment Group (E!, Style Network and Game Show Network) at... OUR NEXT EVENT: An "Industry Job Summit" on Friday, August 27th from 11:00am-3:00pm at the Showbiz Software Store in Los Angeles. Advance RSVP only. Space is limited, so register today! The fee to attend is only $5.95 for Non-BiH Members. BiH Members are always FREE. To RSVP for this event or for further details, view this link: www.breakingintohollywood.org/jobs.htm.

Congrats and good luck.

I started a new thread/post titled BreakingintoHollywood.org

I see we still have posers.

Okay now I'm confused. Did six people or personalities/posers surface for a refund? Just be facetious.

The year I entered the contest they didn't announce it till the conference leaving me hanging. In the meantime, they contacted me via email if I would consider such and such prize (which I had to pass on because it required that you live in LA or NYC).

So there I was thinking I made it to semi finals and then they announced it at the conference only to find that after all that I didn't make the cut. Makes me wonder if I would've accepted said prize if I would've at least made semi-finalist. Don't think that was fair to lead someone on like that.

Once I have an idea, I whip it into shape in my mind on many bus rides to and from the 9-5er. This "phase" of my writing habit takes anywhere from a few weeks to months or years depending on how long it takes to iron out the story, plot, characters, etc., even the dialogue.

Once the story is thoroughly thought out, I start to write. As I write, I visualize each scene. For me it's almost like meditating or going into a trance. I know that sounds strange, but it comes to me automatically. The experience is more like transcribing or taking dictation than it is writing as I see the story unfold in my mind.

I can write a polished script in under 5 days with a first draft in a day or two. But that's just putting it to paper. I consider what I do before that part of the writing process as well.

Here's a tip for those of you having difficulty with dialogue. Observe children at play (especially when they are playing with dolls or action figures). They are able to come up with effortless dialogue. Treat your characters like your own dolls or action figures and roll play what they would say in the circunstances of the scene you're trying to write. Put yourself in their shoes, and it will come easier. It works for me.