Friday, May 25, 2007

2007 Writers on the Storm Quarterfinalists

Ladies and gents, it is with great pleasure that I present you the Writers on the Storm 2007 quarterfinalists. These scripts represent the top 10% of our 947 submissions.

A hearty congrats to everyone who made it. If you are a quarterfinalist, your script will be read again as we cut this list in half in order to select our 50 semifinalists, which we will announce on June 15th. We will then narrow the field further and announce the top 10 by July 6th and the winners no later than July 30th. The feedback forms will go out on or before 6/1.

If you did not make the list, that does not mean we thought your script was rotten! A great many scripts in the “pretty good” range had to be cut. Many of those are just one or two drafts away from being in the top 10 percent range. Others needed more work, of course, but as superagent Emile Gladstone says, “Screenwriting is a craft. It can be learned.” For many folks it’s simply an education process—how to most effectively turn those good ideas into a screenplay, format it properly, etc., which can take years and years to master (I'm still working on it.)

Of course we here at CI try to provide gentle guidance and steer everyone in the right direction and not disparage or insult anyone. If you are serious about your writing and are really embracing the process, listening to constructive criticism and taking it in--then you’ve got what it takes, whether your script made the quarterfinals of our little contest this year or not.

Without further adieu, hare are the 95 Writers on the Storm quarterfinalists for 2007. Nice work, everybody!!!

--Jim Cirile

A Crime by Valor and Arms Will Pepper
A Snowball's Chance in Hell by Gregory Lane
Alone by Tracey Thomas
Amazing Grace by Scort Burgin & David Robinson
American English by PJ Swinburne
American Game by Jeff McArthur
Angels of he Lost City by Patricia Little
Ariadne’s Thread by Steve Callen
Assisted Living by Marc LaBelle
Bedlam by Dennis Shutty
Beneath by Douglas Jackson and C.L. DiGiovanni
Bliss by Douglas Jackson
Blood Royal by Joe Fordham & Mark Ellis
Buried Secrets by Carlos Calvo
Canaries by Craig Cambria
Catching Bullets by Max Miller & Stuart Miller
Colored Water by Doug Pitman
Dead by 11 by Art Blum
Devils’ Wheel by Chris Blanchet
Dogs of War by Nick Gregory
Dolcino by William Hunter Duncan
El Abogado by Laqueta Lewis
Emotica by Christopher Fry
ESU: Emergency Service Unit by Rob Samborn
Exit Marlowe by Matthew Scarsbrook
Famous Neighbors by Patrick Baggatta
Felix the Flyer by Chris Canole
Fire & Shadows by Laura Francheri
Flashback by Darryl Anka
Fortune Cookie by Murray Spitzer
Foundations by Tom Basham
Freshly Popped by Megan Parsons
God Damned Angel by Alex David
Grave Consequences by Curt Burdick & Scott Burdick
Gruesome by Terri Zinner
Hooverville by Anthony Nathan
How the Hell Did I Get Here? By Arie Kaplan
Jackson Hole by Don Blach
Jake and Juliet by Wendy J. Gayner & Aimee Pitta
Jawad Jarrar - A Love Story by Veronica Kincaid
Kung Fu Movie 3 by JD Hoang
Lions by Dave Hackett
Long's Peak by Lyda Phillips
Lovelocked by Wehrner Ovalle
Lowlifes by Brian Buccellato
Manzanar by Alan Sproles & Lizanne Southgate
Middle Man by Jay Curcuru
Mortal Coil by Andrew Steven Harris
Ms. Hall of Fame by Raenell D. Jones
Night of Reflection by Chris Cambria
Nine Lives by Thomas W. Hibbard
Of Human Bondage by Matthew Scarsbrook
Origin by John Unger Zussman & Patricia Zussman
Pentagon Possessed: A Neocon Horror Story by Thomas M. Sipos
Pericles by Stephen Groak & Mark Savage
Play Dead by Don Rosenblit
Playing With Fire by Jay Tormohlen
Porkchop & Slim by Seth Schader
Pretending to be American by Peter Yesley
Rasputin by Laqueta Lewis
Resurrecting Angel by Leslie Flannery
Ritornare by Mark Porro
Sanctuary by Chris Cobb
SBF: Single Black Female by Monique Gramby
Seeping Lines by Karen Lukesh
Sole Pursuit by Jason Siner
Something For Me by Juan Sebastian & Jacome Moreano
Sons of Carthage by Anthony Nathan
Soul Catcher by Liz McDermott
Special by Kermet Merl Key
Spirit of Mischief by James K. Shea
Splintered Porch by Dennis Douda
Sultana by Laqueta Lewis
Sunnyside Up by Seline Raffel
Tear Drop Land by Joe Gadreau
The Crimson Mafia by Suzye Gardner Marion
The Cutting Wind by Ian Noakes
The Enginist by Tim McGrath
The High Cost of Parenting by Michael D. Smith & Tracy Poverstein
The Magic Ring by Henderson Smith & Brett Smith
The Magick of Time by Patricia G. J Joyce
The Man Plan by Donna L. Miller & Stuart Miller
The Red Sea by Rob Samborn
The Sailor's Loves by Marjory Kaptanoglu
The Strange and Thrilling Adventures of... by Tim Christian & Jeff Beals
The Town Clown by Linda Brumfield
The Ugly Princess by Henderson Smith
Tomorrow by Doris B. Gill
Twas The Night Before The Night Before Christmas by Lee Tidball
Vesna's Beach by Natasha Blazic
Virgin Marie by Krista Zumbrink
Wanting Mor by Chris Knight
Where The Dead Go by Mark Elliot Kratter
Whistler's Ridge by Cynthia Webb
Xs and O’Briens by George Krubski

Thursday, May 24, 2007

Great American Pitchfest Interview

By Jim Cirile

We sat down recently with Signe Olynyk and Bob Schultz, partners in the Great American and Great Canadian Pitchfest, arguably the Rolls Royce of pitch festivals. The next Pitchfest rolls into the Universal City Sheraton in Los Angeles the weekend of June 22nd. Over 70 companies are slated to attend. And unlike other pitch fests that limit you to 4 or 5 meetings, with Great American Pitchfest, the average is 12-20 meetings, sometimes more! If you’ve got material you’ve honed to perfection (you have honed it to perfection, haven’t you?) and are now ready to approach the industry, there is no better, stronger, faster way to meet a whole room full of industry than the Great American Pitchfest.

Coverage Ink has been to many pitch fests over the past decade, but we really like the way these guys run their ship. That is why we approached them to be a cosponsor for our Writers on the Storm contest. Like CI, these guys are writers themselves and really do care about bringing quality and opportunity to the emerging writer. For more about the Pitchfest, including companies list & bios, and to enroll, please visit their web site HERE.


Jim Cirile: Hi, guys. Tell us how this ball got rolling.

Bob Schultz: It was all Signe’s brainchild. I was at another event, and so was Signe, and she was trying to find volunteers to help the first Great American Pitchfest. She had already done one Great Canadian Pitchfest.

Signe Olynyk: This whole thing was really borne out of frustration. I went to other pitch fests, and I attended as a participant.

JC: So you’re a writer also.

SO: Yeah, I’m a writer and a producer.

BS: All of us who are involved with putting on the Pitchfest are writers. We pride ourselves on being by writers, for writers.

JC: Ooh! Just like us. In fact, that’s the Coverage, Ink slogan. Hey, copyright infringement!

BS: What I meant is for writers, by writers.

JC: Oh, okay. That’s a totally different thing then.

SO: We tell people this isn’t our Pitchfest, it’s everyone’s Pitchfest. We’re writers. We developed an event—well, for ourselves, really. We were trying to find something that helped writers and the producers connect in a way that we didn’t feel was being done.

JC: I’m a long-time veteran of a lot of pitch fests, and I’ve made a lot of good long-time industry contacts from them. Some people you sit with are a waste of time, but others, you really can make a connection. What weren’t you seeing from those other pitch fests that you wanted to bring to the Great American and Great Canadian Pitchfests?

SO: Well, let me give you some background on how this thing started. I was at the Screenwriting Expo the first year as a participant. I think the Expo is one of the best events out there for screenwriters, a fantastic event—if you’re a screenwriter, you’ve got to go.

JC: Plug, plug, plug. Go ahead.

SO: (laughs) I have no affiliation with the Expo.

JC: I do. It’s okay.

SO: Anyway, I really admire that whole event, but what I had a problem with was their pitch fest. I attended as a participant, and I stood in line that first year from 5:00 in the morning till 2:00 in the afternoon. You’re dressed up, you’re wearing your heels—well, maybe just me and Bob…

BS: Hey!

JC: Hopefully not matching.

SO: And to be honest, I was so frustrated by that experience—I missed all my training sections because I was in line waiting for my meetings. And then when it’s time for the meetings the next morning at 9:00, suddenly it’s 9:20, then it’s 9:40 (and there’s no movement.) Now there’s this backlog of people piling up in the room. They have these scheduled times, but nobody knows what time they’re really going in anymore.

JC: Now you’re talking about the first year, and it was completely disorganized on every level back then. It has gotten much better since then. I was coordinating the CS Open, and we had no idea what we were doing that year either, but now it runs like clockwork.

BS: That’s my favorite part of the Expo, by the way, the CS Open.

SO: The biggest difference is with our event, you don’t get a scheduled time. You don’t have to wait on line to book your time. What we do is we have 70 to 100 companies in one room, spread throughout. In the hallway outside, we have 70-100 corresponding lines. So let’s say you want to meet with Disney at table 30, you would get in line 30, and you would also turn to page 30 in your booklet, where you’d read a full profile about that company, their credits, what they’re looking for, the stars they have relationships with, really specific information.

BS: If you check out our web site, all the profiles from previous Pitchfests are up there.

SO: What you won’t find online is the contact information. You have to register to get the contact info for the executives.

JC: So how do you prevent somebody from taking 45 minutes once they sit down and grab somebody’s ear?

SO: We do have a general time, which is 5 minutes. But if that executive wants more time with you, all we do is hold the line. The execs can take as long as they want.

BS: We found that our participants, instead of being frustrated because they’re delayed, everyone’s really excited, because it means someone has generated interest, and everyone’s sort of rooting for each other.

SO: Plus writers are meeting on the lines, saying, “I just met with that company. What are they like? What are they looking for?” So they’re sharing a lot of things. We’ve had a lot of long-term relationships that have developed as a result.

JC: That also means a writer is not necessarily limited to only, say, four meetings.

SO: And in fact most of our participants get 12 to 20. There are some people who meet with every company there. I’m not kidding. They just keep getting in line. I think a lot of people just stop because they get tired.

BS: In the beginning, we have a lot of people who are rushing, because they are accustomed to rushing (at other pitch fests). So in the beginning it’s rush, rush, rush, and then after lunch and by the end of the day, we have people sitting down and saying, “You know what? I’m done, and there’s still half the day left.” They’re satisfied to the point of exhaustion. And I feel like that’s why we’ve had a lot of success getting return customers and production companies, too, because they get bang got their buck. The 20 pitch number that we throw around is not one of these extremely rare occasion things. It happens quite frequently.

JC: So tell us about some success stories that have come from all of this.

SO: We’ve got about 30 success stories—actually it’s higher than that, and these are just the ones we know of. We really rely on our executive and our participants to tell us. We’ve got over 30 confirmed success stories, and that’s where participants have sold their screenplay, had an option, or they sign with agents or managers or have been hired for writing assignments.

BS: My first internship, my first writing assignment for actual money, all came from the Great American/Great Canadian Pitchfests. I started as a volunteer.

SO: Most of the volunteers we have become a big part of our team, because they see (the benefits.) Lorene Lacey, same thing—she found an agent out of it.

BS: I’m going to be in LA next week doing some scene work on a film, and I met them through the Pitchfest.

JC: A lot of times companies will send the lowest guy on the totem pole—the plant guy, for instance—to pitch fests see if there’s anything out there, but these people aren’t really decision makers. I know that frustrates some writers. But on the flip side, eventually those guys will work their way up, and this is a chance to get in on the ground floor.

SO: We get a mix. We get studio execs who attend. Some of our best support has come from one of the execs at Fox.

BS: Also Imagine, and we get actors and their production companies, so we get someone who’s one person removed from the celebrity.

SO: I work really hard at making sure the people we have are credible. I also produce, so the contacts I have, I’m using them. I go to all the markets—NATPE, MIPCOM, and I meet these people and work really hard at establishing my relationships with these production companies.

BS: We also offer classes on pitching, so we’ve built a reputation with the decision makers so they know that a large percentage of the pitches they’re going to get are (not going to waste their time.) And we treat them like VIPs across the board. It gives us credibility. I feel like we do a really good job of getting decision makers at those tables who can actually make decisions. The people are pitching to someone who can affect their careers.

SO: And I think we’re the only pitch fest that does this—we ask the writers who attend to tell us who they want to meet with, and we invite those companies. So if you want the producers of “Kill Bill,” we go after them. We can’t promise, but we do our best to get them there.

JC: Thanks putting on a top-flight event. Do you have any parting advice for writers who are going to attend the Pitchfest? Other than being a good writer.

BS: You can never be too prepared. Although you said aside from being a good writer, that’s critical. But just as critical is selling yourself. You need to know your story. I know a lot of people are nervous. They feel like they’re putting on a performance when they’re doing their pitch. But when you only have five minutes, it’s more about having a good conversation and being yourself.

SO: Building a relationship.

BS: Yeah. Writers need to know their story well, be comfortable talking about their story, be able to answer questions and have fun. When you’re facing someone who could change your career forever, it’s hard to just kick back and relax, but all things being equal, if the executive has the opportunity to go with a project where they have a good rapport with the writer, they’re going (to hire that person instead of someone they’re uncomfortable with.) So just be yourself and have a good time. If you have five minutes with somebody, and after 15 seconds they say pass, that doesn’t mean the relationship has to end. If you have a good rapport, somewhere down the line you could just pick up the phone and call this guy because you’ve established a good relationship earlier.

SO: People like to work with people they like. I’m about supporting writers. I say go to every event you can, even our competitors’, because you never know when you might meet someone who can help your career.

BS: And I say buy as many tickets as possible for our event.

SO: (laughs) I know I’m totally biased, but our event really is the best one out there. We’ve made it that way. I’ve sat on both sides of the table. I know the frustrations I felt when I went to pitch fests as a producer, and you have to fight to get your parking covered or get some coffee or water, or they don’t tell you the right room to go to. It’s communication and organization, and those are things we’re really good at. We really try to make this rewarding for everyone.

Showdown of the Godz effects diary

Thought you guys might appreciate a look behind the scenes at the making of a special effects shot for Coverage, Ink's upcoming short film SHOWDOWN OF THE GODZ. Thanks to modelmaker extraordinaire Chuck Reina for posting this!

Click HERE to visit the site.

Wednesday, May 16, 2007

Quarterfinalists Coming In...

Hello, Stormies!

Just a quick update to tell you all that we are in the last stages of reading all the submissions to Writers on the Storm and will have the quarterfinalists posted on Friday 5/25. Those of you who entered through Coverage Ink already know if you made it to the QF round or not.

I'm not sure why, but the overall quality of all the submissions this year seems to have gone up. Maybe it's because you all are rewriting and honing these things more than ever -- I hope so! Whatever the reason, it's encouraging. I remember the first contest I ever worked for, I'd pick up a box of scripts and we'd be lucky if there was one in there worth advancing. With Writers on the Storm, we have the opposite problem!

More soon, so sit tight. And great work, everybody!

--Portia Jefferson
WOTS Contest Coordinator

Friday, May 04, 2007

Interview with PREY Creator Michael Lent

by Jim Cirile

Many of you know Michael Lent from his dearly departed "Belly of the Beast" column in Creative Screenwriting. Since leaving CS, Lent has been a busy lad -- writing and producing all sorts of cool book and movie projects. His graphic novel PREY - Origin of the Species -- is now available at fine comic book shops nationwide. We're also proud to say that Coverage, Ink helped develop this project! We caught up with Lent to talk about PREY and a bunch of other stuff.

Click HERE to watch the PREY trailer!


Coverage, Ink: Can you give us a heads up on why you left CS and what you've been up to since?

Michael Lent: Two years ago, I went from columnist to Contributing Editor at CS so that I could focus exclusively on writing and producing. End result was that I joined the 33 Club. That is, producing three movies and writing three books in 24 months. I produced or co-produced Hard Scrambled, Witches' Night and Naked in America. The last two are in post-production right now. In addition to Prey for Marvel, I wrote two other books -- Christmas in Hell (Amazon Books) and a sequel, Christmas Letters from Hell to be published by Simon & Schuster in August '07. Currently, Brian McCarthy (Wide Awake) and I are collaborating on a cross-genre horror/Western film called Blackwater that we'd like to shoot in October.

Writing the Belly of the Beast column was an amazing experience, but after 8 years and something like 60 articles, I felt like I needed go back into the field full-time and have fresh experiences without the pressure to write about them in a journalistic sense. Likewise, I've been approached by a publisher to write a "take this and use it right now" Breakfast With Sharks-styled guide (Lent's excellent book on surviving the screenwriting life, available HERE) specifically for writer/producers, but I've declined for the above reasons. Maybe in another year or so.

CI: Prey: Origin of the Species was originally a big action spec script. Tell us what happened with it as a script, and how did it become a graphic novel?

ML: This is a good story if you're like me and love deconstructing the business side of writing. In July, 2004, I wrote Prey as a spec and turned it in to my agent. I waited the mandatory background check 10 days and then called him. Immediately, my agent starts waxing poetic about how great the script is -- "fantastic action, strong protag, cool storyline and excellent dialogue" and so on. Then there's a pause that I've learned from experience means "But ..." So I say, "But ..." and he says, "But ... What you've written is a big, expensive summer event film that's gonna cost about $110 million to make. These days, all the big event films are coming out of comic books and graphic novels. It's a shame you didn't have one of those behind this script because right now, there are only a couple of places I can take this to [since most prodcos are maxed out at $50 million]. It felt like a trap door had opened under my feet.

I think a mistake a lot of writers make it to take such a death pronouncement at face value, lick their mortal wounds and then go back to the drawing board. Me, I'm pretty stubborn, like a pit bull with a pot roast. They say "no," I hear "maybe," and keep on going.

Rest of the summer I kept turning what my agent had said over and over in my brain. Like a lot of screenwriters, I had loved comics back in high school but then put them aside for more "serious" reading once I started college. I'd basically lost touch with that medium and world so had no connections, but being somewhat resourceful, in September of 2004, I pitched CS publisher Erik Bauer about interviewing all the movers and shakers like David Goyer, the Wachowski Brothers, Kevin Smith and Joss Whedon who were riding the stampede convergence of movies, comics and games. Basically, Erik was nice enough to let me go back to school on the company dime. *-) The 2000 word piece appeared in December, 2004 and was well-received. Some of the guys who were interviewed said, "Hey, if you ever need anything ..." You should never say something like that to a screenwriter 'cause you just know that we're gonna make you pay up. So one of those guys read my script and then gave me a hit list of mid level publishers which I went out to after taking another pass through on the script. Part of that pass included: submission to CI which came back strong and had some great suggestions; a table read with actors and a firing squad of fellow writers. I figured that I needed some heat on the project so gave myself two weeks to do a final polish and then submitted the script to the Houston Worldfest competition where I'd won two top awards previously. It won the Gold Remi, and with that in hand, I went to the hit list. This was May of 2005.

Basically my pitch was that I was a Hollywood writer/producer with an original series already in good shape for a movie. For any indie publisher interested in a toe hold in Tinseltown this project would make a lot of sense. For Atlanta-based Dabel Brothers, it did and we cleared contracts in two weeks -- about three weeks after I'd won the Worldfest award. I really clicked with both Les and Ernst Dabel, and by end of June, we were already hiring artists and rolling up our sleeves to adapt the screenplay to comic script form which Mike Raicht, a former editor at Marvel, took point on. Lance Laspina, with X-Men and mad game industry credits, handled art direction.

The process itself was very similar to being in production on a movie. Les, Lance and Mike gave me a crash course in comics and I got up to speed pretty quickly. We were working with talent literally all over the planet and with five issues to produce, there was always something coming in or go out. Every morning I'd roll out of my bed and immediately turn on the computer before going to take a whiz. There'd be work or emails coming from the Philippines, South America, the UK and all over the US. I LOVED it.

CI: It took two years for Prey to get released--but now it's out and distributed by a little company called MARVEL. Must feel pretty good. But what took so long?

ML: The book was due out last June, but by then Marvel had expressed interest in merging Dabel Brothers into its publishing family. Turtles on Valium move faster than corporate mergers, so we had to patiently bide our time until last September. After that, it was just a question of lining up our place in the Marvel pipeline.

CI: Tell us what you think of the book -- what do you love about it? Anything that could have been done better?

ML: I'm thrilled with Prey: the book. Publishers Les and Ernst Dabel moved heaven and earth to make sure we had the best people. The result speaks for itself. Excellent art and production values right down to the paper stock and custom fonts. No compromises. Creatively, the book truly is its own entity. Artists Bong Dazo and Alex Sanchez are hugely responsible for that.

It definitely takes a small army to make a book like Prey. The process has been such an amazing journey that after awhile the book assumes its own identity apart from the creators.

CI: But the party's over for big action specs, huh? The economics have changed so that big budget action specs rarely sell unless they are from source material, and even getting agents to shop them is like pulling teeth.

ML: That's very, very true. But with Prey, you can produce and print it for $50,000, which is a lot of money to you and me and even Marvel, but isn't much by Hollywood standards where a studio exec's annual bottled water tab can exceed the GNP of Ecuador. However, any time someone makes an investment in a project, Hollywood sits up and takes note. Having a produced graphic novel means you're that much closer and further along in the process because the book is basically a story board of the potential movie. Studios can truly "see" the movie Prey now. Also, movies like Sin City and 300 prove that you can green screen a stylized visual adaptation for about half the price of a traditional genre film. So suddenly, Prey is viable at $55 million and audiences will accept its stylized look because it makes visual sense, whereas it might not without the underlying graphic novel.

CI: Do you have any other graphic novel projects coming down the pike?

ML: Yes, we're doing an issue #1 of Blackwater for Marvel and Dabel Brothers imprint. And I've also agreed to do another Project X graphic novel that we hope will be right for Samuel L. Jackson.

CI: You originally developed this script with CI. Did any further development take place? What changes had to be made for the graphic novel format?

ML: CI was a crucial part of the development of Prey. Again, the results speak for themselves. Besides CI, I went out to five trusted readers, plus did a table read with actors and colleagues. Writer/director/producer Travis Pike of the Alameda Writers Group ( hosted a Whole Script group every couple of weeks and I workshopped Prey there. Community is so crucial. I built the project systematically and know that I had support the whole way. My name may be on the book but there are many, many people who contributed in large and small ways. To me, that's what it's all about. I love to create but the journey with my fellow travelers is really where it's at.

Adapting a screenplay into a graphic novel is a distillation process. Only the most quintessential visual and dialogue elements survive. Meanwhile, a little more exposition is required to help the 2-dimensional format along. Also, Prey the screenplay was written for a target audience of, say, 18-28, whereas most broad based graphic novels skew slightly younger. So we had to make script changes to compensate.

CI: Great stuff, Michael. We wish you continued success. Any parting advice for our readers?

ML: Never say die. Don't take crap from anyone who puts down your writing. Always believe in your work and have the patience and faith to make it all it can be. Give it every chance you can. Don't wait for your career to "happen." Modern Hollywood agents and producers aren't about building careers so much as validating success. That "success" isn't a sprint but rather an endurance race whose pace you alone set, which you run with your colleagues. That's what keeps me grounded when things get tough.


Thursday, May 03, 2007

Now THAT'S a Costume

I'm a comics fan, and my two favorite heroes have always been Superman and Iron Man, for completely different reasons. Supes because of his invulnerability, those iconic primary colors and his embodiment of both might and right... and Iron Man because the dude's an alcoholic and a regular joe (well, as much as a billionaire industrialist can be a regular joe) who builds himself his own freakin' superpowers. Totally different heroes, each representing a different type of wish fulfillment.

After the debacle that was last year's wretched "Superman Returns" costume... egads, could they have gotten a costume more wrong? Burnt umber instead of red, ugly pattern on the suit, teeny-tiny "S," obviously fake muscles and a rubber cape... I was a bit worried as to how director Jon Favreau's big screen version of Tony Stark's masterpiece of engineering would fare.

Let us know take a moment to bow down at the altar of Jon Favreau and designer Stan Winston. BEHOLD.

Everything about it is perfect. It's a fantastic amalgam of the Sean Chen/Patrick Zircher and Ari Granov Iron Man designs with a hat tip to the original '60s design by reverting back to the circular chest plate repulsor beam (never liked when the switch to the Superman emblem shape) and also incorporating some hinges to make the suit look as if it could actually work.

Winston hit a home run here. I can't wait for this movie! IRON MAN stars Robert Downey Jr. and Gwyneth Paltrow and hits theaters summer '08.

Read the article at Entertainment Weekly HERE!

--Jim Cirile