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Once you have at least two commercial specs to market, it'd be a good idea to spend as much time as possible in Los Angeles in order to network and gain exposure. I didn't and it's taken my career much longer to take off, but now that it has, I find living outside Los Angeles an advantage. Not just creatively, when I fly to LA, which is often, my marketing time is extremely productive.

Well, Janet, have you ever considered taking a screenwriting class? If three professional script reviewers told me I suck, I'd make a serious effort to master the craft or seriously consider doing something else with my time. You're fighting an uphill battle anyway. Dance musical? Wake up and smell your ballet slippers. After reading the sample pages of your script on this site and the comments you posted that your script reviewers made about your talent level, I'd would consider moving on to something more rewarding.

The last thing I would do is post OVER AND OVER again about how unfair this business is and how unjustly I've been treated. Do you have any idea what kind of an impression you have made with the pros who read your posts? Not good, sista, not good.

Well, Dan, I mean Jake, this BB can be a valuable tool for an new screenwriter but often turns into an ugly shooting gallery.

So I assume option "A" of taking a class or two in order to learn the craft that so many of us have worked so hard to master is off the table? Guess that only leaves option "B."

Jake, you left out the next to last word in your post. Insert "like" before shit.

And take some bloody classes. Learn to be a better writer. A professional screenwriter must master skills such as subtext, set-ups, reversals, irony and a ton of others in order to get the attention of producers who can make your movie. Never forget that it all starts with concept. Think commercial and leave the obscure genres like a hard to sell minority dance musical to seasoned pros who know what they're doing and have the clout to push their projects.

AND STOP YOUR CONSTANT WHINING. No one needs a reputation as a chronic complainer.

Congratulations, Joseph! Bravo!

Too bad Jake doesn't work around the clock. What a schmuck!

Who gave Charlie Manson the acid?

Evie -

This one belongs on the wall of a public toilet stall, not on these boards. However, considering the source...

Not a fan of hers either.

Are straight people allowed to attend as well?

Congrats on the new addition, Irin.

More bullshit from another sad source.

Talkin' shit and wastin' everyone's time.

More shit.

Here's a logline relative to this thread.

Aspiring screenwriters reveal their narcissistic tendencies as they continuously congratulate themselves for their minor accomplishments on a public forum while others choose to exercise a degree of humility.

Not you, James.

Evie, how does it feel to make a fool out of yourself every time you post?

Let me be the third to congratulate you.

Anyone know a link where one can download the PDF legal form to acquire true life rights?

Cheers, Stephen. I'm actually looking for the form that trumps your state laws. I'll check out the WGA site. Much appreciated.

Thanks, Ron, works a treat.

Evie,

Knew this thread was yours before I opened it and saw your name. Same old, same old.

Noticed that 100% of your past posts have dealt with endorsing this specific service. What's up with that? Are you associated with them in some way? Why should we be influenced by your recommendation when you've never established yourself in any other way?

Most likely an instructor is using your loglines as examples.

It's human nature to look at a car wreck.

You have absolutely nothing to lose by phoning them for the follow-up. If they haven't read it yet, perhaps your call will serve as a reminder and they'll read it over the holidays.

Be aware that Hollywood has slowed down considerably until after the New Year.

Wow, this is one fucked up thread!

Connie, get off your damn soap box and keep your bullshit opinions to yourself. This site is for screenwriters, not idiots who insist on crying about stuff they don't know anything about.

Evie, I don't know who is the bigger bigot, you or Connie.

I have no respect for either of you.

Evie, your two cent contribution is grossly overvalued.

Love triangle comedies are great! Been in a few and written several.

I'd phone them and refresh their memories. Be polite and try to start a relationship. Tell them how you understand they must be busy but you just wanted to do a followup. If they haven't read it yet, talk them into promising to read it over this or the next weekend. Remember, don't be pushy, be passionate. It's not just your script you're selling, it's you. You want to make them think you're the guy or gal they want to work with. Above all, be professional and end the all sooner than later.

Or lead her back to the barn and lock her in her stall.

If your spec is High Concept you'd be foolish to post it. If your story isn't High Concept, then you're gonna have a difficult time selling it these days.

Darn! Should'a entered my script "Humility, Press Two."

Janet, you're a sexist. Some men can write just as emotionally as women. Didn't you see "As Good As It Gets?"

Sure you did.

Check out Scott Rubenstein's "How to Write Your Script and Deduct the Expenses Off Your Tax Return." It's from the Screenwriting Expo Seminar Series #032. Scott covers all the bases. I believe it's available online and at the Writer's Store in Santa Monica.

Paula, I think I paid ten or twenty bucks for the DVD. $69.95 is the John Edwards tape.

I know for a fact that late entries in some comps aren't given equal consideration. I've read for contests and that's simply the way it is sometimes.

Janet, you sound as if you've advanced in numerous comps. Have you really?

Congratulations, Janet. Exactly which twelve contests were those?

I've seen some of Janet's placements too, Irin, but not twelve.

I'm not targeting you, Janet. Even though you do tend to paint a bullseye on your forehead. I'm simply debating your point and feel you're not qualified to make the statement that it doesn't matter when you submit your script into a contest. As I said, I've judged contests so I know firsthand. It DOES matter.

I wasn't referring to the Nicholl or Champion contests. Those are much more organized and reputable competitions and I have no firsthand experience as one of their judges. I can only speak from my knowledge as a reader for three other comps that I can't name. I know for a fact that all the entries we received after the deadline extensions in two of these comps were not given equal consideration. My original intention was to debunk what I consider bad advice and encourage people to enter contests as early as possible.

Right on, Janet.

I'll miss his terrific sense of humor.

RIP Steve

How 'bout "The Dumbest Idea I've Ever Heard?"

If it were up to you, how would you portray minorities?

Of course there are exceptions, but it seems to me that Hollywood has a propensity to be politically correct.

Here's the deal. A wolf and mermaid are not a commercial visual mix. All your clever titles won't change the fact that a producer will not be able to readily see an appealing or intriguing image with this hybrid.

The biggest problem all aspiring screenwriters have is concept. IMHO this creature won't make producers think "Wow, what a clever idea."

Two words: HIGH CONCEPT

Couldn't agree more.

If there are to be commercial breaks, the standard would be 7 Acts.

Heather's right, VO does not apply here. I prefer (filtered) but I've seen recently produced scripts with (OS) as well.

Just goes to show that you can't believe what's in that bible either.

I guess this reader never heard of Mel Brooks or Charlie Chaplin.

Regina,

Your price per pitch is the same as Virtual Pitchfest but VPF lists the specific producers or reps you have the option of targeting.

With your background I assume you're well connected in the reality TV world but who are your target feature producers?

So, Janet, you seem to have appointed yourself the ultimate authority here based on your lack of success. I think you're pointing your finger in the wrong direction. Your concept/logline is the problem. IT'S NOT COMMERCIAL.

For example, the winner of the first Extreme Screenwriting contest was immediately signed by a WGA agent as a direct result of the comp and his very commercial high concept. I personally know several writers who have gotten reads from Red Inkworks and Acclaim. For the most part, these contests are run by honest hardworking people who genuinely care about helping aspiring writers but frankly many of you don't deserve it.

For all you EXPERT critics who have been slamming these contests, you're making a big mistake. Hollywood is a small town and if you act like an amateur you'll be treated like an amateur.

You need to act professionally and keep biased negative opinions about others in the "biz" off the public forums. If you must, do it in private.

James,

I'm certainly no expert in porn but Jenna J's film was called "So I Married A Porn Star." It was a take off on Mike Meyers' "So I Married An Axe Murderer."

I believe Eric Sentell changed the title of his comedy from "I Married A Porn Star" to "Carmen Sutra" shortly before it won a top prize at the most recent the Action On Film contest. I've been told it's bloody hilarious.

The Writers Store uses Federal Express.

Why is it that anyone who disagrees with you, Janet, is automatically accused of being someone else? You seem incapable of conducting yourself professionally. You don't reach out, you lash out. We have a black list at my office of aspiring writers who are to be avoided at all costs. Guess whose name is at the top?

The last film festival I was involved with had short film entries ranging from 0:17 seconds to 32 minutes.

Is this the chat room for "Jersey Shore?"

Define intriguing.

Never heard of such a thing. Ring them up and politely ask why.

This explains so much.

Tell him/her to please knock it off. Use it as a lesson that screenwriters need to be bold.

Or as self-destructive.

I personally know of more than one case where results were postponed because a judge was late turning in his/her batch of scores. It's easy to blame the organizers but most likely they're simply doing the best they can with what they've got.

Delays are frustrating for everyone and the last thing a contest contestant should be doing is bitching about that comp on a public board like this before results are announced. If an organizer reads a derogatory post, it could very well prejudice the decision process.

Talk about ignoring good advice. At least you're starting to realize that Hollywood may not be the right place for you.

For micro productions, I use a DBA.

Martin, you should try to get A list talent attached to your western.

A.L. tries to give you good advice and you're rude about it.

This isn't the first thread like this you've started. Seems like an exercise in self-pity.

You want to break break into Hollywood, pick a genre besides musicals and come up with a commercial concept.

If someone offers you constructive advice, be grateful, not defensive.

Don't advertise your failure. Focus on your successes.

Once or twice would make its use inconsistent. Myself and a majority of the pros I know feel it does not slow down the read.

Marketing a spec before it is absolutely positively as good as it can be.

A weak concept.

Overwriting.

On the nose dialogue.

Lack of subtext.

Boring characters.

Why should I care?

What are you, like a hundred years old?

Since you're naming names, I NEVER thought David Letterman was funny. Jay Leno used to be.

Ironic the asshole would mention vaseline.

Derek Ladd at Proof Edge is excellent.

That's Beaux Carson's company. Did Beaux's creative exec Darby Connor ask for money? Never known her to do anything like that. I would definitely pass. To my knowledge, other than a low budget drama about a rapper's murder, they don't have any real credits.

Irin's right, it's not advisable to pay a rep or prod. co. to read your work.

If a producer requests your project and steals all or part of it, you have documented proof it was legitimately placed in their hands and firm legal legs to stand on if action is necessary. You can't expect VPF to do what you're asking. It's sheer paranoia.

Have any of you people actually used VPF? If you have, you'd know that you're guaranteed a timely response by whoever you query. When a producer, manager or agent agrees to take queries, they're given a specific selection of standard responses. I happen to know numerous screenwriter's who have had great success on that site and not one of them had to wait more than a week for a response from their chosen target.

Here's an idea, know what you're talking about before you post negative criticism online.

Apparently you have no idea how Hollywood works. VPF provides a direct line to a producer, manager or agent. You're dreaming if you think any credible Hollywood professional will agree to your demands. Welcome to the real world. If you want an answer, contact the producer, manager or agent yourself after a reasonable amount of time. For ten dollars a pitch, you're expecting way to much.

Nick, you are so right. You have absolutely no idea. If you did, you'd know that VPF offers access to the real players, not nameless interns. Try doing some research before you add your two cents or that's all your opinion will ever be worth.

This is copied from the VPF website.

SUCCESS STORIES

ScriptCoach client Veny Armanno's script "Burning Down" has reached the semi-finals in the Scriptoid Writer's Challenge comp. VPF client Hallie Tassin was signed for representation by VPF manager Stephanie Rogers. VPF writer Leena Pendharkar wrote and directed the feature "Raspberry Magic" which was produced by Leena connecting with manager Heidi Ifft on VPF! Heidi said "yes" to Leena's pitch via VPF, liked the script, and then sent the project to her client, actress Meera Simhan who loved it, and then showed it to her husband, actor Ravi Kapoor, who also loved it. With both actors attached, the funding for the project came within six months! The film is now doing well on the festival circuit! VPF clients Todd and Tim Wynn's feature "very_little_time" was picked up for distribution and released to Walmart, Best Buy, Borders, Barnes and Noble, and fye. Literary manager Kailey Marsh has signed VPF client Dustin Benson for representation. ScriptCoach client Bob Huffman optioned his script "A Canoli for Nona" to Triboro Pictures. ScriptCoach client Craig Bottrell's script "Stutter Punch" was just optioned by producer Jeff Wald's AIRA Entertainment. VPF client Matthew Altman optioned his script "Djinn" to VPF's Film Engine. VPF clients Todd and Tim Wynn's scripts "Inventor's Day" and "The Perfect Deal" both won Silver Ace Awards at the 2010 Las Vegas Film Festival. VPF client David Santo was signed for representation by VPF's 100% Terry Cloth. VPF client Linda Andersson's script "This Christmas" was optioned by VPF's Minor Distractions Entertainment. VPF writer Curtis Ray optioned his script "Jenny/Jennings" to VPF's Creative Entertainment Group. VPF client Karen Mueller Bryson's script "Monsoon Season" was optioned by VPF's Minor Distractions Entertainment. VPF client Davin Affrunti has partnered up with producer David Marchetti of Orange Universe Films to pen an original comedy script called "Retired." ScriptCoach/VPF client Jim Croke was signed for representation by Caliber Media's Julian Rosenberg. Creative Entertainment Group has optioned VPF client Jennifer Green's script "Ana Boy." Creative Entertainment Group has optioned VPF/ScriptCoach client Sandy Greenberg's script "An Uninvited Guest." VPFer David Erickson's script "The Country On The Corner" was one of six finalists for the $25,000 2009 McKnight Screenwriting Fellowship award. VPFer Brian Hill's script "Fort Defiance" was a Finalist in the 2008 Screenplay Festival comp. VPF client Brian Hill's script "Lightning and Shadows" (co-written by Dee Power) has been optioned by Road's End Films. VPFer Paul Byrne's script "Precious Second" won September's Hollywood Scriptwriting Institute's screenwriting contest. VPFer Ryan Schube was picked up for representation by Polaris Entertainment's Nyle Brenner. The Johnson-Roessler company has optioned VPF writer Andrew Tonge's script "The Bordwells." VPFer Evelyn Brooks' script "Boomerang Kids" is being repped by VPF pro Stephanie Rogers. VPFer David Doyle's script "The Reckoning" was a semi-finalist in the 2nd Annual StoryPros Awards comp. VPF clients Tim and Todd Wynne's scripts "The Perfect Deal" and "Pants" are both finalists in the WriteMovies.com International Screenwriting comp. VPFer Joany Kane was signed for representation by Imprint Entertainment's Michael Becker. VPF clients Todd and Tim Wynn's script "The Perfect Deal" has been selected as a semi-finalist for the Spring 2009 VisionFest Feature Screenwriting comp. VPF client Mark Winzer's script "Dressed in a Black Flag" won first place in the ReelHeart International Film Festival. VPF client Mark Winzer's script "The Interview" was the winner of the Cinema City International Film Festival screenplay comp. VPF clients Todd and Tim Wynn's script "The Perfect Deal" is a Finalist in the WILDsound Interntional Film Festival. ScriptCoach/VPF writer Georges Salo has optioned his script "P.A.T.U." to Select Services Films. VPF client Davin Affrunti optioned his script "Strung" to Filmplane Entertainment, with Director/Producer Austin Anderson attached. VPF writer Richard Dane Scott's script "From Here to Virginity" is attached to producer Danny Manus. VPF client Mark Winzer's "Dressed in a Black Flag" was the winner of the 2009 winter screenplay comp at the WILDsound International Film Festival. ScriptCoach/VPF client Jay Lombard's script "Mark of Cain" is attached to VPF producer Howard Rosenman. VPF client Amy Biven was signed for representation by VPF company Principal Entertainment. VPF client Karen Steele's screenplay "The Perfect Gift" garnered the the only Honorable Mention award in the 2008 Holiday Screenplay Contest. ScriptCoach/VPF client David Birkenhead's script "Soulmates" was a runner-up in the 2008 Scriptapalooza comp. VPF writer Chrissy K. McVay's script "Souls of the North Wind'" placed in the top ten in the action-adventure category of 2008 The Movie Deal! contest, while her script "Only Eagles Know My Name'" won an Honorable Mention Award. VPF client Jason Melby's script "Shark Tank" has been optioned by VPF's Select Services Films. VPF client Steve Hochman's script "Artifice" won honorable mention in the August, 2008 Script Savvy comp. VPF client Paul Byrne's script "Chasing Lucifer" was a finalist in the 2008 One in Ten Screenplay comp. ScriptCoach client Bob Huffman's script ''A Canoli for Nona'' won the 2008 Golden Brad screenplay comp. VPF client Michael Eging's script ''Song of Roland'' was optioned by VPF's Cine L.A. Scriptcoach/VPF client Pete Ferrari's script "White Boyz" has been optioned by Sinovoi Entertainment. VPF client Brian Hill's script "Dog Magic" was a semi-finalist in the 2008 Scriptapalooza comp as well as the 2006 Screenplay Festival Competition. VPF client Davin Affrunti's script "Strung" won Honorable Mention in the July 2008 Script Savvy contest. VPF client Jim Croke's script "Super Scout" is being developed by Mayhem Pictures. VPF client Malik Evans was signed for representation by Magnet management and Paradigm Talent Agency. VPF Paul Byrne's script "Between Two Worlds" was the winner of The Hollywood Scriptwriting Institute's 2008 comp. VPF client Todd Luongo was signed for representation by VPF's Barry Krost Management. ScriptCoach client Shamim Sarif recently wrote and directed the films "The World Unseen" and "I Can't Think Straight." VPF client Kevin Crawford's script "The Quantum Effect" was recently produced. VPF client Rod Spence optioned his comedy spec "Going Bridal" to VPF company Clifford Werber Productions. VPF client Jerrad Buford was signed for representation by The Muraviov Company. VPF client Bryan Murray optioned his script "Comanchero Moon" to Larry Levinson Productions. VPF client Bob Heske was signed by VPF company Rebel Entertainment. VPF client Kathy Deters was signed for representation by VPF company Little Studio Films. ScriptCoach client Dan Smith's script "The Phoenix" has been optioned to star actor Nick Cannon's production company, Mr. Renaissance. VPF client Sandy Greenberg optioned her script "Aged to Perfection" to VPF company Michael I. Levy Enterprises. VPF clients Cathy and Paul Bruno were signed by Max Freedman Management. VPF client Joseph Panicello was signed by The Stuart M. Miller Company. ScriptCoach client Dan Hart's script "Road Hog" won a gold medal at Worldfest-Houston's 2007 screenplay comp (in the action-adventure category). VPF Paul Byrne's script "Blood Trail" was a finalist in the 2007 All Access Screenwriting Competition. ScriptCoach client Kathi Wahed's script "Season's Greetings" was a semi-finalist in the most recent BlueCat Screenwriting comp. ScriptCoach client Peter Lancucki's screenplay "Carthage" was a finalist in the 2007 Script magazine Open Door Contest. VPF client Lynne Logan's script "Dying For Emily" was a finalist in the 2007 Writer's Place comp. VPF client Jenny Copeland's script "Tiananmen West" was an Honorable Mention winner in the 2007 Screenplay Festival Comp (in the action-adventure category). ScriptCoach client Rick Tobin's "Interrogation" won second place at the 2007 Terror Film Festival. VPF client Chrissy K. McVay's scripts "Only Eagles Know My Name" and "Souls of the North Wind" were semi-finalists in the 2007 Screenplay Festival competition. VPF client Kevin Crawford's thriller "Eden Valley Rain" was a finalist in the Second Annual FirstGlance screenplay comp. VPF client Kelly Parks script "Howard's Cross" won the 2006 International Horror & Sci-Fi Screenplay comp. ScriptCoach client Skin Mead's script "Hope Now" won the 2006 Revolution Media Screenplay Contest. VPF client Paul Byrne's script "Midnight Child" won the 2006 Hollywood Screenwriting comp as well as the 2006 Extreme Screenwriting contest (in the action-adventure category). VPF client Ashia Chacko's script "Black Box" was the winner of the 2006 Moondance comp's "Spirit of Moondance" award. ScriptCoach client Pete Ferrari's script "White Boyz" finished in the top 10% at the 2006 Austin Film Festival's screenplay comp. VPF client Danny Sheehy's script "Roses & Thorns" was a finalist in the 2006 Moondance screenplay comp. ScriptCoach client Clint Braly's screenplay "Zero Handicap" won 1st Place at the 2006 Hollywood Screenwriting Institute Contest. ScriptCoach client Steve Davis' script "Double or Nothing" made the top 66 out of 2600 scripts at the 2006 Fade In screenplay comp.

I'm sure there are plenty more that aren't listed.

The defense rests.

You don't need permission to write it but the producers will require permission to film the location.

Some people just can't admit when they're wrong. Eliminate the contests and there are some very impressive results. Unless reps, options, sales and productions don't mean anything to you.

If I was into dance flicks and musicals and one came out, I'd at least go see it before publicly condemning it. Who knows, you actually might end up endorsing it. My wife and I will see it this weekend just because of the award buzz.

That's the trouble with sites like this. Posters tend to come out against something before they really know what's what.

If this is your logline, try to condense it to one sentence and avoid using a character's name. Save that for the synopsis.

Janet, here's a few tips that may help.

Keep writing to get more scripts in your arsenal. It's a numbers game. The more projects you have ready for market, the better your odds of not only getting requests but also an eventual sale.

Cold call production companies who have produced projects similar to yours.

Target the assistants and cultivate them. Best results come from relationships first and then get down to business.

Be professional. Not just during cold calls but anytime you put your name out there in public, even these threads. The last thing you want is to develop a reputation of being difficult to work with. When you constantly complain or rant about things like how unfair Hollywood is, your lack of success and race bias, it's sends up a red flag. As you said in your post, bias is a bad thing. You don't want it working against you.

Take online classes like Screenwriting U's Pro Series or others. They will not only increase your skills as a screenwriter, they also offer the opportunity to develop friendships and contacts.

Consider writing a solid short and possibly producing it for a local film festival. It might even get you on IMDb Pro.

Volunteer at any film festival you have time for. It's another way to network and build relationships.

Hope this helps.

Unbelievable!

IMHO "True Grit" and "Sabrina" were much better than the originals. The worst remakes were "The Day The Earth Stood Still" and "Invaders From Mars."

I've seen the original "True Grit" numerous times before I saw the remake. Jeff Bridges and Matt Damon rocked. The Cohen brothers bring new life to everything they do. Janet, I wonder if you actually saw the remake. Like "Black Swan," you tend to voice your opinion on films you haven't even seen, which amazes me. As far as "Sabrina" goes, I've always been a big fan of Hepburn, Bogie and Holden and love their other work but the Bogart interpretation just felt stale to me. I just couldn't see him ending up with Sabrina at the end. Also, the actress who played his mother was hysterical. The dialog in the remake was so much sharper.

I never called you an idiot, Janet. Your posts speak for themselves.

Hope he doesn't OD before he gets his shit together. He'll never get insurance for a production if he doesn't clean up his act. No insurance, no shoot.

I really enjoyed "It's Complicated."

I've had friends who partied like rock stars. Their funerals were memorable. Self-destruction is self-destruction and a train wreck is a train wreck. I feel for all the poor folks on the "Two And A Half Men" staff who lost their jobs because some selfish fool is in denial.

Why do you continue to attack this wonderful site? You're like an annoying fly that just won't go away. Get a life or find a more deserving target for your disgusting mud slinging. Perhaps one you might actually know something about.

Hits are meaningless unless they result in script requests. Two and a half years and you're still putting all your hopes on this one non commercial script. You should have moved on and written at least another two specs by now. Ones that are more commercial. Perhaps most of the people who look at your logline do so merely because you go on and on about it in post after post. Wake up and move on. A writer writes, so write and stop whining. You're only cheating yourself and boring everyone else.

Tough love, Janet. That's all I'm trying to dish out here. You do yourself a tremendous disservice by constantly complaining and calling me mean every time I try to tell you the way it actually is. Believe it or not, I'm trying to be constructive, not destructive. I have nothing personal against you and frankly, wish you nothing but success. I've said it before and I'll say it again, this is a tough fucking business. No one in the biz wants to work with a cry baby or someone who refuses to consider good advice. This is not a site for whiners, it's a site for writers who are passionate about screenwriting, strive to be professionals and willing to learn from the advice and experiences of others. Try to be that and you'll benefit, refuse and you'll definite continue to fail. It's totally up to you.

Not a big fan of VO but there are definitely exceptions. How about "Goodfellows?" I loved the scene in the bar when all the thugs were introduced by their nicknames. Good stuff. I think without VO that film might have been over three hours long.

Take the offer to an agent and have them negotiate. A WGA signatory would certainly be best. It may only be chump change but there are agents out there who might hip pocket it. A deal on the table is a deal on the table. Consider someone like long time signatory Craig Wyckoff. He has his own micro agency in the valley.

Come on, Janet, that was a cheap shot. Last time I looked, Whoopi Goldberg was black and so is Chris Rock. I thought you were above that.

Looks like Sun is a rising star.

Final scene of "Sixth Sense," when we all discover Bruce Willis was dead the entire time.

Anything to do with sound needs to be described clearly so it can be duplicated in production. I know writer/directors who don't but only because they know exactly what it means.

Quite a rant. Andrew's always done a fine job for me.

"Moulin Rouge" over porn? Speak for yourself.