tag:blogger.com,1999:blog-239070502024-03-13T23:14:05.238-07:00STORMBLOGWelcome to Stormblog, the Coverage Ink/Writers on the Storm/Snap Judgment blog! We've set up virtual community so we can have a place to chat with you, and for to you ask questions, meet other writers, vent, plug, and whatever else you feel like doing. So come on in and set a spell, and feel free to call this blog home.Unknownnoreply@blogger.comBlogger489125tag:blogger.com,1999:blog-23907050.post-77276540825418663012017-06-26T14:05:00.000-07:002017-06-26T14:05:01.852-07:00WE'VE MOVED!<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;">Hi folks, effective immediately, the Coverage Ink/Writers on the Storm blog has moved to <a href="https://coverageink.com/stormblog/" target="_blank">our new site</a>. We will no longer be updating this old blog and eventually it will be phased out. </span></span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;">The new blog has all the exact same content. So please bookmark: https://coverageink.com/stormblog/</span></span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;">See you there!</span></span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;">Jim C. and the Coverage, Ink team</span></span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;"> </span></span>Unknownnoreply@blogger.com176tag:blogger.com,1999:blog-23907050.post-43298168392720643702017-05-30T20:47:00.000-07:002017-05-30T20:47:43.308-07:00Alien Choices<!--[if gte mso 9]><xml>
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</xml><![endif]--><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">by Tanya Klein</span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">It seems to be time for one of my
once-every-few-months soap-box rants. In other words, I’ve come to the point –
again – where just gritting my teeth at writers phoning it in isn’t enough and
I have to vent. What brought it on this time? The holiday weekend. I took the
radical step of taking a day off and catching a matinee of ALIEN: COVENANT.
Considering the more-than-decent reviews it received, I was really looking
forward to it. The good news: it’s definitely the third best of the series. The
bad news: considering the overall quality of the series (I’m excepting ALIEN
and ALIENS) that’s not saying much. </span></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">We wonder if Ridley Scott ever actually saw ALIENS. It would appear not.</span></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"> The movie gets a lot of things right. Unfortunately, it also
has a fatal flaw. Don’t worry if you haven’t seen the movie yet. I won’t spoil
anything for you. Frankly, I don’t have to, because a blind person could see
the ending coming… from a million miles away… while in a coma. In fact, there’s
even a scene in Act II that practically gives it away. And as soon as Act III
rolls around, anyone who was holding out hope that they weren’t going to go
down this hackneyed path was sorely disappointed. </span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">So this is what my rant is about: <b>bad choices</b>. Look, we all
make them. And if we were aware that a choice in our script is bad, we wouldn’t
be making it. Hey, that’s where script coverage comes in. We can’t see the flaws in
our own material. It’s quite natural. A second set of eyes can be essential to ferreting out the problems. But that begs the question: how come a
movie like ALIEN: COVENANT, which undoubtedly went through a long development
process (yes, I’m hoping they’ve learned something from the debacle that was
PROMETHEUS) can misstep in such a basic and near-fatal way? </span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">Well, there’s only one answer I could come up with: <b>hubris</b>.
Believing the audience won’t notice or won’t care (well, the latter might be a
distinct possibility). I can almost hear Ridley Scott saying: “Don’t worry, I
can sell this.” And he tried mightily with some choice close-ups and even going
so far as to include an (utterly false) beat of a character exhaling and
seeming relieved when they shouldn’t be. It was an inexcusable, big-time cheat, and we expect better from a director like Scott. </span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMhIMEjSD9JBOo8C57ZRUWniGm1w9pPFnOmhmpJv6XNZQOzpMJWQwqLaFCT29akbGnU5sbUxZFb_mWnebO9muD7Ti7MS03MoSPuFiVh_hl7ZZt9u23KJBQ1kh4VyzF2C7k1KZ2/s1600/Alien-Covenant-Xenomorph.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1300" data-original-width="1002" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMhIMEjSD9JBOo8C57ZRUWniGm1w9pPFnOmhmpJv6XNZQOzpMJWQwqLaFCT29akbGnU5sbUxZFb_mWnebO9muD7Ti7MS03MoSPuFiVh_hl7ZZt9u23KJBQ1kh4VyzF2C7k1KZ2/s320/Alien-Covenant-Xenomorph.jpg" width="246" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">No, he couldn’t sell it and it left a sour taste in my
mouth. I had a distinct “dude, how dumb do you think we are?” reaction when
leaving the movie theater. I saw some other scowling faces, which made me think
so did they. Methinks that’s not the
attitude you want in your audience.</span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">How can we avoid this in our own writing? For starters,
<b>let’s not underestimate our audience.</b> They’ve seen every trope in existence at
this point – many times. BREAKING BAD trusted that the audience was smart, and it paid off in a big way. Nowadays, much more so than in the past, we’re being
bombarded from all sides. Wherever you look, there’s scripted entertainment.
Not only on TV or in the movie houses, but on your tablet, your smartphone,
and, heck, even in the back of a cab. Whatever we feel like watching, it’s at
our fingertips to be streamed at our convenience. In other words, there’s
nothing the audience hasn’t seen yet, and they can smell a trope from miles
away. So if you’re currently looking at
your script and thinking, “Hmm, I wonder if they’d buy that?,” then I feel the
need to point out that if you have to ask the question, then the answer is
probably <b>no</b>. </span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">There were also some other minor quibbles I had with ALIEN:
COVENANT. Did anyone involved with this production bother watching ALIENS? The conclusions of both movies had elements so similar as to be tiresome. Or
were they trying to rip off their progenitor? Possibly neither scenario is
accurate. Maybe they simply didn’t care, which would point to the above-mentioned hubris. </span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">Moral of the story? Don’t underestimate your audience. Don't think you can "sell" the hokum. Do
that extra draft and don’t settle for mediocrity. Rant end. <a href="https://www.blogger.com/null" name="_GoBack"></a> </span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><i>Tanya Klein is a Los Angeles-based writer/producer and a partner in <a href="http://www.coverageink.com/" target="_blank">Coverage Ink. </a></i></span></span></div>
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Unknownnoreply@blogger.com8tag:blogger.com,1999:blog-23907050.post-55244471605507065992017-05-17T02:13:00.001-07:002017-05-17T02:29:04.423-07:00SO HERE'S THE SITUATION <span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><span style="font-size: medium;"><span style="font-size: large;">Writer/Producer</span></span></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><i> <b>Jamie Rhonheimer</b> has been killing it in the situation comedy world for almost two decades. You may have heard of some of the shows he's been staffed on, like <b>"Will and Grace," "How I Met Your Mother," </b>and most recently Netflix's <b>"The Ranch."</b> We caught up with Jamie to ask him how he keeps it going and to find out what recommendations he has for writers interested in TV and sitcom writing.</i><br /><br />by Jim Cirile, <a href="http://www.coverageink.com/" target="_blank">Coverage Ink</a></span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><b>Jim Cirile:</b> Tell everyone a little about your background.</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlHOw1Hjw98zb5MQFR3C6Kt9Guso2g1noe0gbI8H4Ghj0DCOTFSxySpfRTJBUwpnx1IJcTavvjTiPjAlGtKOjz6Zx6DpRIHf5LOCszeaV5ZWfjjYdVsQXvSLzEntxGQsWbupKs/s1600/rhonheimer__120907161047.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlHOw1Hjw98zb5MQFR3C6Kt9Guso2g1noe0gbI8H4Ghj0DCOTFSxySpfRTJBUwpnx1IJcTavvjTiPjAlGtKOjz6Zx6DpRIHf5LOCszeaV5ZWfjjYdVsQXvSLzEntxGQsWbupKs/s400/rhonheimer__120907161047.png" width="391" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><b>Jamie Rhonheimer: </b>I'm originally from Colorado. I went to college at Syracuse University and moved out to LA right after graduation, and was fortunate enough to know exactly what I wanted to do -- write sitcoms. And when you know what you want to do so clearly, the only question really is what's the best path to get there. I had a friend who had graduated a year before me and was out here working on sitcoms, and he explained the path from breaking in as a production assistant, then moving to writer's assistant, to writer.<br /><br /><b>JC: </b>Did you always know you wanted to write for TV?</span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"> </span></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><b> </b></span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><b>JR: </b>I remember being in elementary school and we were given a survey that asked how many hours of TV we watched every day, and I (checked) the box for "8+ hours". I think the rhythms of sitcoms are kind of ingrained in me at the deepest level, and maybe I chose this career to prove to </span></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">my mom it wasn't all a waste of time. After college I was offered a job working for an advertising agency I had interned for, and it was a really tough decision because it would've been in Manhattan working as a copywriter for a good agency, but I felt like I had to give this a shot. So I moved to LA, as you must, must do if you want to embark on a career as a sitcom writer, and sort of just tried to work my way in. <br /><br /><b>JC: </b>So how exactly did you do that? </span></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><b> </b></span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><b><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><b><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUvD7MgIJM-TkRF4pqDijGnbpc5K_nkgUMOBmrBc8Bi5kkBebsc01rrDsaF_FlmfxIXl6fwyzkigZy-ZI9kFUb6CzRbOrsdVqShoNho2dH5XFztoryV36MdI_jUf_-qw8kaCH-/s1600/Shoppingspree.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUvD7MgIJM-TkRF4pqDijGnbpc5K_nkgUMOBmrBc8Bi5kkBebsc01rrDsaF_FlmfxIXl6fwyzkigZy-ZI9kFUb6CzRbOrsdVqShoNho2dH5XFztoryV36MdI_jUf_-qw8kaCH-/s400/Shoppingspree.jpg" width="400" /></a></b></span></span></b></span></span>JR:</b> I got my first PA (production assistant) job through a friend who was out here working on the CBS Radford lot and heard they needed someone. It was on a game show for Family Channel called <i>Shopping Spree.</i> It was very low budget; they didn't have prizes, they had <i>pictures</i> of prizes, and if the contestant won the prize, then someone had to go out to Best Buy and pick it up. But it was a good experience, and the best thing about it for me was it was shot on the CBS Radford lot, which was home to major sitcoms like <i>Seinfeld, Roseanne,</i> even going back to <i>Gilligan's Island. </i>After that, I got (another PA) job on an hour-long ABC cop show called <i>High Incident, </i>and then when the following spring came around, I still had my badge from CBS Radford, and I used it to sneak onto the lot and go door-to-door with resumes to all these sitcom offices. <br /><br /><b>JC: </b>Ha! I love it. <i>Carpe diem.</i><br /><br /><b>JR: </b>And it worked! I was able to parlay that into a PA job on an NBC sitcom called <i>Union Square. Union Square</i> was one of the first shows to really sully the time slot between <i>Friends </i>and <i>Seinfeld.</i> It ran for 15 episodes before it was cancelled, so that was a good work experience for me. I was able to move from that right on to the production staff of <i>Two Guys, a Girl, and a Pizza Place, </i>still as a PA. And all the while I was learning to be a writer's assistant, and trying to train and shadow. <br /><br /><b>JC: </b>Step two.<br /><br /><b>JR: </b>Right. The following year <i>Two Guys, a Girl, and a Pizza Place </i>came back, but there were 5 people that were ahead of me for writer's assistant jobs. So I was pretty aggressive again with getting my resume out, and lo and behold, someone that I had worked with at <i>Union Square</i> had heard about a writer's assistant job on a new show called <i>Brother's Keeper</i> on ABC. And that guy actually lied to the people at <i>Brother's Keeper </i>and told them that I had been a writer's assistant on <i>Union Square,</i> not a PA. So they brought me in, assuming that I had this experience, and in fact made me the head writer's assistant, which was terrifying and definitely a trial by fire, but it worked out. </span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><br /></span></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoVh_rn8ApwpQCZwFsIw87U_hXX2BoEpXTx7wQA0ImKsnxtxsRvPHusiC2kvO8vSGJlZT89HJD4lB0HZ7NqThlhMg_QrRdJroA1bV1lXvLMlUmnjL_jdcqdLfp4ZWVoi-g33FN/s1600/Yes+Dear.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoVh_rn8ApwpQCZwFsIw87U_hXX2BoEpXTx7wQA0ImKsnxtxsRvPHusiC2kvO8vSGJlZT89HJD4lB0HZ7NqThlhMg_QrRdJroA1bV1lXvLMlUmnjL_jdcqdLfp4ZWVoi-g33FN/s400/Yes+Dear.jpg" width="322" /></a>Brother's Keeper </i>got cancelled, so I went back out into the market and got another writer's assistant job on <i>Stark Raving Mad,</i> another NBC Thursday show. And then the following year I got a writer's assistant job on <i>Yes, Dear. </i>I was there that first year as a writer's assistant and I began pitching more and more in the room. By the end of the year, I had convinced the showrunners to let me take a crack at writing an episode. So they teamed me up with another writer on staff, and we wrote what turned out to be the season one finale. The following year they brought me on to the writing staff. I was on <i>Yes, Dear</i> three and a half years.<br /><br /><b>JC: </b>Okay, so I'm curious -- writer's assistants are just supposed to take minutes and keep their mouths shut, right? So how does one know when it's okay to pitch an idea?<br /><br /><b>JR: </b>Nobody is ever looking to you. And the room is very rarely stumped. So the challenge is, when you have an idea, you almost feel like a surge of adrenaline and you just have to wait until the right moment. You just kind of wait for a spot where it's okay to jump in and make yourself heard. Edging yourself in is a challenge, but you know the more you do it, and the more that you succeed, the more confidence you get and the easier it is to do it the next time. If you're pitching once a week and 75% of your material is getting in, you'll make a very positive impression. Over the course of my first writer's assistant job at <i>Brother's Keeper,</i> I pitched maybe a dozen times. And I was getting stuff into the script, but even if I hadn't been, they were good enough jokes and ideas that I made a favorable impression. And then on <i>Stark Raving Mad,</i> I was pitching more like once, twice a week, and getting stuff in and doing well. By <i>Yes, Dear,</i> I think I had more confidence and was pitching like, a couple of times a day, maybe. And I think that's what gave them the confidence to bring me on to the staff.<br /><br /><b>JC: </b>You were a staff writer on <i>Yes, Dear,</i> but by the end you were a co-producer. How does that work in TV?<br /><br /><b>JR: </b>I started as a staff writer, then story editor, then executive story editor, then co-producer. The way that it works is that everybody on a writing staff has a specific title, and some people have the same title, but the writing staff is made up of people on different levels and your level reflects your experience. Your first year as a sitcom writer your title will be “staff writer.” Your second year your title will be “story editor.” Your third year your title will be “executive story editor.” Then “co-producer,” then “producer” then “supervising producer” then “co-executive producer.” It’s just that simple. If your career goes cold, maybe you’ll have to take a step back in levels, or if you have to jump from one show to another you might have to stay at a level to lock down that next job, but there is no strategy based on producer levels. It’s just the title you get based on your level of experience. <br /><br /><b>JC: </b>Tell us a little bit about <i>Will and Grace. </i>Must have been an incredible gig.</span></span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Returns fall 2017 to NBC.</span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><b>JR: </b>Absolutely. During staffing season, they were looking for new writers. They had four slots they were looking to fill, and they met with everybody in town. It was definitely a job that was sought-after. I had actually just written a spec of <i>The Ali G Show</i> on the advice of my agent. There's no story in writing a spec like that, it's just jokes and bits. And only in hindsight do I have this perspective, but I think it was great for me, because it showcased just pure jokes. And they liked it. Also, one of the showrunners had done a pilot a couple years prior that I had been the writer's assistant on. I think I had some good second-party recommendations working in my favor. I was as surprised as anybody when I got the call. It was a great, great break for me. It was like being traded to the Yankees in the middle of their World Series years, and you're just hoping to find some way to just make some sort of contribution. But it was a great experience for me and it definitely changed my career.<br /><br /><b>JC: </b>And the hits just keep on coming. From there, six years on <i>How I Met Your Mother?</i></span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><i> </i></span></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNpGys3o9oe75PEyYERX_wbzpxKbHsakteaa9xkgfOb3Xs4LeiQ6L_Pt1Ul4v3BTuT68Zf_ZE_EewhYu1LjrmJxO9DcTwp3_qj7R40-mqhjTJkxl0WgGB88nr82U1nE6xpXsZk/s1600/How_I_Met_Your_Mother_Poster6.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNpGys3o9oe75PEyYERX_wbzpxKbHsakteaa9xkgfOb3Xs4LeiQ6L_Pt1Ul4v3BTuT68Zf_ZE_EewhYu1LjrmJxO9DcTwp3_qj7R40-mqhjTJkxl0WgGB88nr82U1nE6xpXsZk/s400/How_I_Met_Your_Mother_Poster6.jpg" width="400" /></a>JR: </b>When I was on <i>Will and Grace</i> I met a lot of great writers there. One of them was a writer named <b>Greg Malins</b>. It was the final year of <i>Will and Grace</i>, so the next year everybody went back out into the market. Greg was hired to be kind of a high-level support for <b>Carter (Bays)</b> and <b>Craig (Thomas,) </b>who had created <i>How I Met Your Mother.</i> Greg didn't know anybody on the writing staff, and he wanted there to be at least one writer on the staff who he knew and trusted, and that he wanted it to be me. And I owe my entire career at <i>How I Met Your Mother </i>to Greg. He fought for me and made it happen for me. It was great because we started at the beginning of the second season, since the first season had been during the final season of <i>Will and Grace. </i>And it was a show that I watched and was a fan of, so it was such a thrill to go over there and work on it. And at that point in time going into season 2, the show wasn't a hit, it was kind of scraping by a little bit, but we had this sort of us-against-the-world mentality, and everybody who worked on the show loved it. I got to be there for this great ride over the next six years. I was not there for the final two seasons. I had moved on at that point. </span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqq002O5xFQhYbTOHhH7PL-v-mqlLGlimazh6FL2rs1LVlXIEvHgus0yI8ZXzLwpptHdtJOHJNcBr7lVGmgogqvabO-Pc0tfpb74oY4OMk3rOV52Qt7JzsNKVwOSGxTuV0Ugbo/s1600/how-i-met-your-mother.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqq002O5xFQhYbTOHhH7PL-v-mqlLGlimazh6FL2rs1LVlXIEvHgus0yI8ZXzLwpptHdtJOHJNcBr7lVGmgogqvabO-Pc0tfpb74oY4OMk3rOV52Qt7JzsNKVwOSGxTuV0Ugbo/s640/how-i-met-your-mother.jpg" width="640" /></a><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><b>JC: </b>The series finale was a bit controversial. <br /><br /><b>JR:</b> It was something we talked about as early as season two, because we knew that we needed to shoot the children before they got older. That was shot during season two, so we always knew what the ending was, and I think it was the right ending for the show. I understand why audiences were a little bit polarized on it, but in my mind it was absolutely the right ending for the show. <br /><br /><b>JC: </b>Jumping ahead to the present, how did you get <i>The Ranch?</i><br /><br /><b>JR:</b> I met with the showrunners, <b>Jim Patterson</b> and <b>Don Reo,</b> and we had a great meeting. I had a few different connections to Jim. One is through one of my best friends – a guy I’ve been friends with since junior high. He’s a writer out here who has worked with Jim and gave me a nice recommendation. And two years before, I had worked on a show called Bad Teacher. The showrunner, Hillary Winston, had worked with Jim as well, so both of those people gave me nice recommendations. We had a good meeting and they took a chance. I’ve been here for the whole run. It’s really cool. Working for Netflix is every bit as great as advertised. <br /><br /><b>JC: </b>They have a reputation as being creator-friendly. </span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><br /><b>JR: </b>They are very hands-off and let the showrunners make the show they want to make. On a typical network show you’re submitting to a production company, a studio and a network, for every episode, a two-page story document, then a six-to-eight-page outline and then a fifty-page draft of a script. Each one of those entities at each step of that process gives notes. So there is constantly work to be done in terms of addressing the notes. Netflix asks for none of that. When Netflix comes to a table read, it’s the first time they’re learning anything about an episode. <br /><br /><b>JC: </b>Nice.<br /><br /><b>JR: </b>There’s a lot of trust, and it’s really great because it allows us to do what we want to do, trust our gut, and follow our visions. Working for Netflix is great. For a typical network show, you’re delivering about twenty-two minutes, and with Netflix they’ve told us the sweet spot is between twenty-six minutes and thirty-two. There is the luxury of telling a story a little more slowly. When you find a cool dynamic or a cool moment you can hang out there a little longer than you can on a network show. </span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><br /></span></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJrXeg1vzMazSsCLS2krUj8_bmTtSFYSCZrx436Z808JGOdQdaSrumWUxSK7YYAMRQH7pLw70Q3OOOr4TnuQmywydF8LuiUr_SH32MzVkx36oa6cZOUmnUJvXxHbMII0V7VEyS/s1600/asston.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJrXeg1vzMazSsCLS2krUj8_bmTtSFYSCZrx436Z808JGOdQdaSrumWUxSK7YYAMRQH7pLw70Q3OOOr4TnuQmywydF8LuiUr_SH32MzVkx36oa6cZOUmnUJvXxHbMII0V7VEyS/s400/asston.jpg" width="246" /></a>JC: </b>Even the best network sitcoms sometimes feel rushed or condensed. The beauty of <i>The Ranch</i> is that it flows so much better. That model almost feels like Sitcom 2.0.<br /><br /><b>JR: </b>I totally agree. Having more time allows you to go to deeper dramatic places. Also, because it’s Netflix, there’s an emphasis on serialization. Netflix wants a show where at the end of an episode you’re dying to know what happens next. It’s not like a typical network sitcom where every episode starts and ends with the characters in the same place. In our show, things are constantly evolving and changing for our characters. New challenges come up. We’re looking for, not cliffhangers per se, but moments of drama that make people want to immediately click into the next episode. Everybody on our writing staff comes from network TV, so we’re using the same muscles, but we’re getting to stretch them in new, challenging ways. <br /><br /><b>JC:</b> How do you plan out the show arc on <i>The Ranch?</i> <br /><br /><b>JR:</b> At the beginning of each season we talk about big picture ideas, things we want to do that year. Netflix orders twenty episodes at a time and is dropping ten at a time, so we’re sort of looking at them in 10-episode chunks. So for each ten episodes we’re talking about places we want to get to by the end of the ten. We’re currently starting production today on episode 36 of 40. Of the 10-episode chunks within that, twice we’ve had a goal in mind and gotten there. The other time we had a goal in mind and we just sort of felt there were a lot more stories to tell on the way, so where we thought we were going changed. I think you have a goal in mind and you develop toward it, but you also want to be flexible and have an eye toward what’s working. If there’s something that’s working and you discover there is more to say or tell along the way, it’s good to have the flexibility to change the plan. </span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGfdaWkBllQdY39ff8nLTVN4stjklbAZArAwtgVxhN7gv_XFCPX32PrfMooKa0EFnL-61920-n5hE9V7fGj75FRaAltk57Pn-FBYOMGecrDcLY7G8oJmwSk29UfU24fjL_Vz06/s1600/kelso.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGfdaWkBllQdY39ff8nLTVN4stjklbAZArAwtgVxhN7gv_XFCPX32PrfMooKa0EFnL-61920-n5hE9V7fGj75FRaAltk57Pn-FBYOMGecrDcLY7G8oJmwSk29UfU24fjL_Vz06/s1600/kelso.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGfdaWkBllQdY39ff8nLTVN4stjklbAZArAwtgVxhN7gv_XFCPX32PrfMooKa0EFnL-61920-n5hE9V7fGj75FRaAltk57Pn-FBYOMGecrDcLY7G8oJmwSk29UfU24fjL_Vz06/s400/kelso.jpg" width="300" /></a> </b></span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><b>JC: </b>How are scripts and credit doled out to the writing staff?<br /><br /><b>JR: </b>On this show, everything is done as a group. On a typical show, individual writers are assigned individual episodes, and they go off and write the story outline and script and then bring it back to the writing staff, and then it’s written by the group. On this show, stories are broken by the group, which is typical, but then a smaller group will be assigned to go off and write it in a smaller writer’s room. The smaller group generates the draft. The showrunners might give a few rounds of notes to get it into shape, and then, before it goes into production, the showrunners decide who will get credit on the episode. It’s such a collaboration on this show that it’s hard to pick apart anybody’s individual contribution besides a joke here or there. <br /><br /><b>JC: </b>Do you feel it's important to always be creating your own material, especially when working on someone else's project?<br /><br /><b>JR: </b>I'm not happy unless I have a (personal) project that I'm working on. It's therapeutic for me to write. I typically find that when I finish a pilot or screenplay or something, I always find myself immediately thinking about what I'm going to write next. On the most basic level, I write because if I'm not writing, then I'm not happy and I feel like I'm wasting time. On a business level, I've reached the point in my career where I'm well-known enough in sitcom writing circles that the importance of my samples is less now than it used to be. So as a staffing tool I don't need to be writing new samples. But my goal remains to get my own show on the air, and it's very important to be always generating new material.<br /><br /><b>JC: </b>Is it hard to find time to work on your own projects?</span></span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Rhonheimer also worked on this 2012 show.</span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><b>JR: </b>The challenge is, when I get home, to find the energy to shift gears and work on my own stuff. And I feel like that challenge dates back to when I was a PA, because as a PA the only way to ever advance is to be working on your own stuff. And it'll never be harder than it was then, because those were 12 or 14-hour days. I'll never complain about having a steady job though. It's tough because for me it means going home, maybe taking a hot shower, taking the dog for a walk, something mindless that lets me do some mental housekeeping, just releasing the day and giving myself a mental break, then I can come back and attack fresh. And the longer the day, the harder that is to do. I always feel like, if I'm in a writing groove, then everything else comes second, including sleep. Whatever you're working on in your free time is typically something you're passionate about, so shifting gears and working on that can be invigorating. <br /><br /><b>JC: </b>Jamie, a million thanks for your time and so many yuks. Any advice for our readers interested in TV comedy writing?<br /><br /><b>JR: </b>Get a job as a PA on whatever kind of show you want to write. The best way to learn, in my opinion, is by working on one of those shows. Working your way from PA to writer’s assistant and seeing the process from inside is incredibly valuable. For a lot of people that’s not realistic, and I get that. So in terms of developing your comedy chops, take improv classes. Put yourself in a position where you have to think on your feet. Hopefully you can grow those muscles a bit. The key is to put yourself in situations where you can learn firsthand. It’s hard to just sit down and be funny, so the more time you can spend surrounded by people in comedy, the better off you’ll be. </span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><br /></span></span>Unknownnoreply@blogger.com3tag:blogger.com,1999:blog-23907050.post-41419736327217351172017-05-03T01:45:00.001-07:002017-05-03T01:47:07.971-07:00The WGA's Take on What Happened to the Movie Biz<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzrK4iRi0dZuj2FU3NWOmcl1Z1htqCMNSYiddKrPvyKgYOhqR-H4fuqR5N-7oXO5eI8xJHuwaN7vR6gUUIg9l8DuSKSDTfUSnc2P1hyphenhyphenRH8fUVV6QvC5ekOJlwTBOOW1hkbyNDU/s1600/wga_negotiators_2017_celebrate.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzrK4iRi0dZuj2FU3NWOmcl1Z1htqCMNSYiddKrPvyKgYOhqR-H4fuqR5N-7oXO5eI8xJHuwaN7vR6gUUIg9l8DuSKSDTfUSnc2P1hyphenhyphenRH8fUVV6QvC5ekOJlwTBOOW1hkbyNDU/s640/wga_negotiators_2017_celebrate.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">WGA Negotiators celebrate. Photo credit: <i>The Hollywood Reporter</i></span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">At the 11th hour, the WGA avoided a costly writer's strike with a new deal -- and pulled off some decent gains on the TV side. Alas, they weren't so successful when it came to features, and basically walked away with <i>bupkis.</i> But we can't really complain -- TV is where it's at nowadays, and it makes sense to hit hard on TV since that's where all the growth is. </span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">Still, as the WGA notes itself in the following article (removed from the WGA website but still available via Wayback Machine,) features have been on the decline as a revenue stream (not to mention creativity and originality) for writers for years. Rapacious business practices, pathological cheapness from the studios (who no longer even finance their own movies,) one-step deals and nickel-and-diming writers at every turn has basically destroyed the whole middle tier. Whereas formerly there were plenty of pro writers making a good living in the $300-$600K zone with rewrites and assignments -- generally multi-step deals which ensured the writers got paid for a draft as well as a polish or two -- many established writers have seen their quotes evaporate and are now forced to compete with baby writers with no quote, who are happy to make WGA minimum. This means lower commissions for agents and managers as well, forcing them to take less chances when it comes to material and signing clients.</span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">In short, it's a microcosm of America -- with the erosion of the middle class via unchecked corporate greed, leaving only the ones on top and the ones on the bottom. </span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">Check out the article <a href="https://web-beta.archive.org/web/20170427153229/www.wga.org/members/membership-information/contract-2017/bulletin/what-happened-to-the-screen-business-2" target="_blank">right here,</a> and be aware: it ain't the '70s anymore...</span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><a href="https://web-beta.archive.org/web/20170427153229/www.wga.org/members/membership-information/contract-2017/bulletin/what-happened-to-the-screen-business-2">https://web-beta.archive.org/web/20170427153229/www.wga.org/members/membership-information/contract-2017/bulletin/what-happened-to-the-screen-business-2</a></span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">-- Jim C.</span></span><br />
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<br />Unknownnoreply@blogger.com3tag:blogger.com,1999:blog-23907050.post-78770241033496858372017-04-20T01:43:00.000-07:002017-05-03T01:48:03.194-07:00We Review Queries for Free. We Don't Write Them for You. <!--[if gte mso 9]><xml>
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</xml><![endif]--><span style="font-size: large;"><span style="font-family: "arial";">As many of you know, we here at <a href="http://www.coverageink.com/" target="_blank">Coverage Ink</a> will review your query letter for free. That means simply, you send us the query which you are planning to blast to the industry. We then give you our feedback. This generally means letting you know if you could say things more compellingly, if the logline is getting it done, if it paints a clear enough picture of you, and of course, whether there are any typos or grammatical issues.</span></span><br />
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<span style="font-size: large;"><span style="font-family: "arial";">Yet every week or so we'll get an e-mail from someone who interprets this as "we will write a query for you at no charge." This is not only untrue, but more importantly, wrong-headed. <i>How on earth can anyone else write an effective query letter for you?</i> </span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 12pt;">
<span style="font-size: large;"><span style="font-family: "arial";">A query letter is as much about you showing your <b>writing voice</b> and a tantalizing hint of your backstory as it is about the script you're pitching. Heck, anybody can write a <i>"Dear Agent, my name is ____. Here is my story idea" </i>letter. Those will generally get deleted before the end of sentence one.</span></span></div>
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<span style="font-size: large;"><span style="font-family: "arial";">No, you need to sell them on YOU first -- then your material. </span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiC42ohpJp8_h1BkqXNZaY7eOe9d7zSvoaUkNYlzyHjIZ7GqN6fVExILVVvo3lVCHLyFKjZcMD-r9gFhWncRKyOV1vVeRTNOrmFvlvi93vjDmgQz3DRDRQbKwRZprtQbIW5p-SZ/s1600/queery.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="476" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiC42ohpJp8_h1BkqXNZaY7eOe9d7zSvoaUkNYlzyHjIZ7GqN6fVExILVVvo3lVCHLyFKjZcMD-r9gFhWncRKyOV1vVeRTNOrmFvlvi93vjDmgQz3DRDRQbKwRZprtQbIW5p-SZ/s640/queery.png" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: large;"><b>Dear Lord, no.</b></span></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<span style="font-size: large;"><span style="font-family: "arial";">Here's
how it should go:</span></span></div>
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</span><br />
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<span style="font-size: large;"><span style="font-family: "arial";">1.
Paragraph 1. Introduce yourself in a fascinating way. <b>What is the coolest or
most unusual thing about you?</b> Make yourself seem like someone they absolutely
want to hang with or find out more about. Then ask if you can pitch them a
script.</span></span><br />
<br />
<span style="font-size: large;"><span style="font-family: "arial";">2.
Paragraph 2. Logline. You can use up to three sentences. Make EACH WORD COUNT.</span><span style="font-family: "arial"; line-height: 115%;"> </span></span><br />
<br />
<span style="font-size: large;"><span style="font-family: "arial"; line-height: 115%;">Our good friends over at <b>Blake Snyder's "Save the Cat!"</b> have an indispensible logline format tool you should avail yourself of. Different genres have different logline requirements. </span></span>
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<span style="font-size: large;"><a href="http://www.savethecat.com/tools/your-logline-template-for-each-save-the-cat-genre"><span style="font-family: "arial"; line-height: 115%;">http://www.savethecat.com/tools/your-logline-template-for-each-save-the-cat-genre</span></a><span style="font-family: "arial";"> </span></span><br />
<br />
<span style="font-size: large;"><span style="font-family: "arial";">3.
Paragraph 3. Conclude by asking if they would like a look. Then end with a
callback to your first paragraph. For example, perhaps you said you just spent
6 months in </span><span style="font-family: "arial";">Tibet</span><span style="font-family: "arial";">
studying with the Dalai Lama's personal chef Floon Bingleflarb. So in paragraph
3 you’d callback to that with: “Thanks again for your time, and by the way, I
have an awesome yak eyeball goulash recipe I'd love to whip out on you sometime.”</span></span><br />
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<span style="font-size: large;"><span style="font-family: "arial"; line-height: 115%;">Get the idea? If you have any
screenwriting accomplishments of note, you can mention them in paragraph 1, but
mostly they’re looking for people with amazing life experience that they
wouldn’t mind getting to know and working with.</span></span></div>
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Unknownnoreply@blogger.com4tag:blogger.com,1999:blog-23907050.post-26102906886193813022017-03-24T18:17:00.001-07:002017-03-24T18:17:17.344-07:00Handy "Heroic Journey" Structure Chart <div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDpf8IFEE59skLxBGzYzf7DsqPGB6zry9NKXUWc8LgSEZqfS0B0YklSWlxHnZVdnOI2BAXOBBrjoKhu4SxTS5fgR0OePua7BZ5Rs_j5HgPwQpAntaFOSrGlrgxEx44ja0bmwWI/s1600/heroic+journey.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDpf8IFEE59skLxBGzYzf7DsqPGB6zry9NKXUWc8LgSEZqfS0B0YklSWlxHnZVdnOI2BAXOBBrjoKhu4SxTS5fgR0OePua7BZ5Rs_j5HgPwQpAntaFOSrGlrgxEx44ja0bmwWI/s1600/heroic+journey.png" /></a></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;">Well, hello, AWESOME! Many thanks to Storyboard That for this super useful graphic. </span></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;"><br /></span></span>
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;">And what is this thing? Why, it is your feature screenplay structure at a glance. We here at Coverage Ink are big fans of the <b>Hero's Journey</b>, aka mythological structure for movies. Most contemporary movies are based on it, as are bestselling screenwriting how-to books <b>"The Writer's Journey"</b> and <b>"Save the Cat!"</b> So many of the feature scripts we read would be improved if they simply knew and followed the principles of the hero's journey. </span></span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;">Please, folks, don't reinvent the wheel. It's been around for a long time and it works really well already. That said, you're welcome to springboard off of it and do your own thing, by all means. But you need to know your rudiments first before you can solo. </span></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;"><br /></span></span>
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;">Now this graphic may take a bit of explanation, so for that we send you off to the aforementioned two books. Ingest them, savor them. Then rejoice in knowing that the guesswork has been taken out of movie screenplay structure. You can pick them up at <a href="http://www.writerstore.com/">www.writerstore.com</a>. They are required reading in Hollywood. Do yourself and your writing career a big favor and learn this stuff cold.</span></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;"><br /></span></span>
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;">--Jim C.</span></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;">Coverage Ink</span></span><br />
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<br />Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-23907050.post-15723757596848401852017-03-18T15:09:00.004-07:002017-03-18T15:09:38.709-07:00Scriptfest Early Registration Discount <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyzc2fsZvhojBdHgwvPx3TPPAcScKDUBq4M5oxcbdfst7eOPPwrA0XTP2maZk9fdXIizi8jl1KaGHbkzWp_KYytlhgaIU304fzKpCqhmVxzG9NsJ4mk0EmguX3hGOE_sQ9PRpM/s1600/Jim+panel+still.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="312" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyzc2fsZvhojBdHgwvPx3TPPAcScKDUBq4M5oxcbdfst7eOPPwrA0XTP2maZk9fdXIizi8jl1KaGHbkzWp_KYytlhgaIU304fzKpCqhmVxzG9NsJ4mk0EmguX3hGOE_sQ9PRpM/s640/Jim+panel+still.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Coverage Ink's Jim Cirile moderates the Agent/Manager panel at 2016 Scriptfest</span></td></tr>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;"><b>Scriptfest </b>returns June 23-25 at the Burbank Marriott, and <b>we couldn't be more excited</b>. As many of you know, we here at <a href="http://www.coverageink.com/" target="_blank">Coverage Ink</a> have enjoyed a wonderful relationship with <a href="http://www.scriptfest.com/" target="_blank">Scriptfest</a> (formerly Great American Pitchfest) for over a decade. We've moderated a series of kick-ass industry panels, bringing no-BS information to the people, direct from the top agents and managers in the biz. This year will be no exception. Yep, there is a ton of knowledge to be gleaned courtesy of a plethora of speakers, panels, and workshops.</span></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;"><br /></span></span>
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;">But what Scriptfest is really about, of course, is<b> pitching</b>. Sure, there are other pitch events, but no one holds a candle to Scriptfest. It's the biggest, and it's the best. A roomful of execs, just waiting to hear about your projects. If you've been frustrated by the lack of response to queries and feel like no one in Hollywood gives a crap, and that to break in, you need personal connections -- you're right. <u>Scriptfest is your chance to even the odds</u>.</span></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;"><br /></span></span>
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;"><a href="http://scriptfest.com/home/register/" target="_blank">So head on over to Scriptfest </a>and use this discount code to save 10%: </span></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;"><br /></span></span>
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;"><b>WRITERJUDY10</b></span></span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;">Then start getting those scripts shiny and ready to rock. Connections are only half the battle. It's got to be on the page. When you get the go-ahead to submit, you have one chance to blow people away. Most great scripts take a lot of elbow grease. So <a href="http://www.coverageink.com/" target="_blank">visit CI</a> and empower yourself with top-shelf analysis from <b>Coverage Ink, the Industry Experts.</b> Then get in there and make 'em cook.</span></span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;">See you all in June!</span></span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;">-- Jim C.</span></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;">Coverage Ink </span></span>Unknownnoreply@blogger.com3tag:blogger.com,1999:blog-23907050.post-7506750602857877192017-03-05T14:23:00.002-08:002017-03-21T21:17:17.779-07:00GET REPPED NOW POSTPONED<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVFEp6zIMI0jhwUhn31HblOG45iu5Gau0L_H7-fQeMH2QQFNGqZ1VmTrCbbjT3zD99rMmgdXrkZwulfFtx2_fr-2wqYgAUNcpyRWqmP2UaoZBs01nJQq8sJXY7hzIUb6DVcU7v/s1600/GRN+square.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVFEp6zIMI0jhwUhn31HblOG45iu5Gau0L_H7-fQeMH2QQFNGqZ1VmTrCbbjT3zD99rMmgdXrkZwulfFtx2_fr-2wqYgAUNcpyRWqmP2UaoZBs01nJQq8sJXY7hzIUb6DVcU7v/s320/GRN+square.JPG" width="320" /></a></div>
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;">Hi folks, <b>we've postponed Get Repped Now for the time being</b>. We were going to bring it back Spring 2017, but we are going to have to put that on hold until further notice -- likely summer or fall.</span></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;"><br /></span></span>
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;">We are currently in the final phase of production on our new animated feature film MALEVOLENT and rebuilding our website, and those efforts are taking up all our available bandwidth. Animation is inordinately time-consuming, and we're aiming to have MALEVOLENT done this summer.</span></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;"><br /></span></span>
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;">Our apologies for everyone who was planning on resubmitting for Get Repped Now, but we will bring it back as soon as we can manage. In the meantime, we're still waiting on results from the last go-round or GRN. One script has been escalated at Industry Entertainment, and another one has drawn the eye of a development exec who is helping us shop it, so we are now in to several more places beyond our original five managers. And another manager has also requested one of the pilots through word of mouth.</span></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;"><br /></span></span>
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;">As soon as anything changes, we will post it right here. In the meantime, we are still here for analysis and development help as always.</span></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;"><br /></span></span>
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;">Jim C.</span></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;">Coverage Ink</span></span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-23907050.post-53467145162320759572017-03-02T02:11:00.001-08:002017-03-02T02:18:37.285-08:00Work the Problem<div style="text-align: left;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><b>Screenwriters bend over backwards to contrive events rather than embrace the path of greatest resistance.</b><br /><br />By Jim Cirile<br /><a href="http://www.coverageink.com/">www.coverageink.com</a></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikpF5gQGzsbCJwup3rCWoHp5dSkJA3cbVG8s7z6O0HjCwV2tQofCoIbKXRJep11KC22_PLWPkfNGwvxZhxrNhiw7Oyfzh62zGqU7AxX2czAWHsdGmrVmU3JKJvmMWZQd-5AAOX/s1600/Work+the+Problem+art.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikpF5gQGzsbCJwup3rCWoHp5dSkJA3cbVG8s7z6O0HjCwV2tQofCoIbKXRJep11KC22_PLWPkfNGwvxZhxrNhiw7Oyfzh62zGqU7AxX2czAWHsdGmrVmU3JKJvmMWZQd-5AAOX/s640/Work+the+Problem+art.jpg" width="640" /></a></div>
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<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>SNEAKY PETE kicks heaping mounds of gluteus. </b>In case you haven't seen it yet (and what are you waiting for?) <b>Giovanni Ribisi</b> is TV's newest con man. Wearing his con lifer status as a badge of honor, Ribisi's character Marius is a startlingly clever professional liar with just enough reluctant heart to win us over. Co-created by <b>David Shore</b> ("House") and freaking Heisenberg himself, <b>Bryan Cranston</b>, the show weaves a complex series of intertwining plotlines that spool out at breakneck pace. You know you're watching a great show when at the end of an episode you can't believe 50 minutes just whizzed by. <br /><br />Sure, the acting is terrific. <b>Margo Martindale</b> is fabulous as the unglued family matriarch. <b>Ben Vereen</b> is endearing as an old con frenemy. And hey, Cranston himself as the bad guy, delivering savory, messed-up soliloquies? Oh yeah, he is the danger. But the secret to why it all works may boil down to one of the stated themes of the show itself: <b>"work the problem."</b> In true "Breaking Bad" fashion, things never go according to plan. And that, friends, is a beautiful thing.<br /><br />+++</span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVso96m_Z5ObB_Pr3LyyqRDBiTRDzdMwc3IKvfpQpEBvYGmQJ_uUawiIuv9OnKhoe2GKx8F1_UE3Sr7AFmUx7iZcBT63-S_9Z8WCWc6jI5_P3HI03TUDXQhvlQjTmni9q3stxz/s1600/margo.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVso96m_Z5ObB_Pr3LyyqRDBiTRDzdMwc3IKvfpQpEBvYGmQJ_uUawiIuv9OnKhoe2GKx8F1_UE3Sr7AFmUx7iZcBT63-S_9Z8WCWc6jI5_P3HI03TUDXQhvlQjTmni9q3stxz/s320/margo.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Everyone in this family has secrets. </span></td></tr>
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<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">In "Sneaky Pete," Ribisi has one week to come up with $100K to pay off the mobster (Cranston) holding his brother hostage. He assumes the identity of his former cellmate (the titular "Pete") and plans to rob the family safe. If you think he simply ninjas in after dark and cracks that puppy, incorrecto. In his way are a series of unexpected roadblocks that spiral out of control. When we finally do get that safe open, naturally things don't go as intended. And that's the whole point. "Sneaky Pete" is a "one step forward, five steps back" kind of show. Every attempt to resolve a situation creates a plethora of new ones. There are so many cons-within-cons and interweaving subplots that in the hands of lesser writers, it would likely all collapse like a half-baked poop soufflé. <br /><br />The heart of every screenplay or teleplay is conflict. As they pounded into our heads in screenwriting school: <b>There Must Be Conflict in Every Scene.</b> Sometimes that means manufacturing some, such as with an insolent waiter or a nosy jackass neighbor butting in. Because if you have a scene where everything is rosy, unless it's ironic, or the conflict exists in subtext, it likely won't be super engaging.<br /><br />Yet we writers often make things way too easy on our characters. We use contrivances, coincidences to get from point A to C, leapfrogging over all the obstacles that might realistically pop up and impede that path. To obfuscate our manipulations, we avoid having characters ask obvious, logical and/or important questions, hoping the audience won't catch on to our trickery. Hey, we have the story planned out a certain way, and that way is etched in granite (or index cards, as the case may be.) Problem is, Deus ex machina -- <b>the hand of the writer</b> may be apparent. Not the best way to keep an audience engaged. No, we want to see our characters dealing with unexpected awfulness that screws everything up. It's precisely those pressure cooker situations that glue us to our seats.</span></span><br />
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<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Besides Cranston, the key unifying element of the storytelling in "Sneaky Pete" and its spiritual brother "Breaking Bad": <b>shit goes south</b>. Seldom can a character accomplish a key task without something going horribly wrong, forcing unforeseen detours and seemingly sidetracking the narrative. Again, these are paths we writers often resist going down. Yet it's by throwing monkey wrenches into the gears and forcing our characters to think their way out of awful jams that the brilliance emerges.</span></span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">I'm sure everything's going to work out great for these two.</span></td></tr>
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<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">To avoid spoiling "Sneaky Pete," let's look at some situations from "Breaking Bad." Unexpected complications made that show. Take the fifth season train heist, for example. Walt's brilliant plan to rob the methylamine without anyone ever knowing it was stolen goes off without a hitch -- until a good Samaritan shows up at just the wrong time to push the stalled car off the tracks, thus freeing the train to continue on its way before the heist is complete. With the ticking clock now ratcheted up 300%, can the team pull it off in time? And then to "top the topper," as Blake Edwards called it, the little kid shows up on his dirt bike and gets a good look at everyone. The repercussions from what happens next completely change the character dynamic for the remainder of the series and set into action a whole new chain of events. </span></span><br />
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<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">The writers could have simply let Walt and Jesse dissolve drug dealer Crazy 8 in acid in Jesse's bathtub, and have it work perfectly. It would have been grisly and awful. But the writers escalated the sequence into a work of art by dealing with all the problems that could come from someone trying to actually do this. By the way, "Mythbusters" tried to melt a simulated body and bathtub in hydrofluoric acid. It didn't work. That's the writers, dialing it up. </span></span></div>
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<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">It's all explained eloquently as one of Marius' guiding principles. When a character gives him a litany of things that have gone wrong and complications that have arisen, making achieving his objective difficult, Marius responds, "So? Work the problem." Which means: whatever happens, no matter how bad, fold it into the ongoing narrative. Assimilate it. If you do that, nothing is a problem -- provided you never let 'em see you sweat.<br /><br />Writers, that means us.<br /><br />Rather than avoid the conflict, embrace it. Even if it takes you in a direction you didn't want to go, easin' on down that road may reveal new facets of your characters that make them pop. Be open to allowing the action to unfold organically. How does your hero deal with adversity? Can they think on their feet? Don't make things easy on them! <br /><br />The infamous Mr. Murphy once noted: "whatever can go wrong, will go wrong." Make sure this is true not just in real life but your writing as well. For us, whatever can go wrong MUST go wrong. </span></span><span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">It is incumbent upon us writers to find and utilize critical flaws in even the most well-constructed, bulletproof plan and make life as miserable as possible for our protagonists. <br /><br />Work the problem.<br /><br /><br /><i>Jim Cirile is a writer/producer and the founder of <a href="http://www.coverageink.com/">www.coverageink.com</a>, the longest-standing screenplay analysis/story development company in LA. </i></span></span> </div>
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-23907050.post-21307946437193410312017-02-22T14:47:00.000-08:002017-02-22T14:55:44.411-08:00Sundance 2017: Streaming Owns the Universe<h2>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirF1epOdj1XzBawqJ_U15uVWuzLTEyRRFswR_BvEgPZj1CsNTmyj18O5B9ceXNe7shSmyC4H4YccZSZXOHhjmild3PsNpSu9utaX-7GxeMGZbtKOe8ViNykJAaEL8Nn2awValP/s1600/IMG_0953.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="423" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirF1epOdj1XzBawqJ_U15uVWuzLTEyRRFswR_BvEgPZj1CsNTmyj18O5B9ceXNe7shSmyC4H4YccZSZXOHhjmild3PsNpSu9utaX-7GxeMGZbtKOe8ViNykJAaEL8Nn2awValP/s640/IMG_0953.JPG" width="640" /></a><span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Producer/<span style="font-family: "arial" , "helvetica" , sans-serif;">s</span>tory analyst extraordinaire <span style="color: blue;">David Whitney</span> puts on his roving reporter hat to bring us the skinny from this year's Sundance Film Festival. </span></span></h2>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdyECp2jQjF8CsLMi_A9J62Q9PhNQgVJxSiP7wIV5WCT_xLbZO-IVDq3h9_S5EXYYE35wq7-bIiz-iNwDQM3a2QuBF4SIUyw_St_emprds8QAKnxWkMr_9wzpmVxi22vC8RaIb/s1600/manchester-by-the-sea-poster.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="177" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdyECp2jQjF8CsLMi_A9J62Q9PhNQgVJxSiP7wIV5WCT_xLbZO-IVDq3h9_S5EXYYE35wq7-bIiz-iNwDQM3a2QuBF4SIUyw_St_emprds8QAKnxWkMr_9wzpmVxi22vC8RaIb/s320/manchester-by-the-sea-poster.jpg" width="320" /></a><span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">By David Whitney</span></span><br />
<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span><span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>This year’s festival was less closed-off from the outside world than previous years.</b> If 2016 was all about the race to find a winner, then 2017 was the answer to that race. Like the presidential election, whose transition of power took place during the opening days of the festival, there was a clear winner in Amazon’s MANCHESTER BY THE SEA, marking the first streaming service nominations in a major award ceremony. This year the festival did not shy away or close itself off to the outside world. Instead, it embraced its role as a safe place for artists to share their visions of the world and tell their stories. It wasn’t closed off, but a part of the changing world around it. While hundreds of thousands marched around the world, Park City held its own women’s march. Storms, hacking and constant changes by the new administration kept Sundance in the news and its creators relevant. It embraced and took on the changes to the world and community instead of resting on its laurels. While the search for awards gold was still evident, the players, themes and content was ripped directly from the headlines. The festival was a part of the world at large in 2017 instead of creating its own insular community of artists. </span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEvhd9ZYJodQvj8CH7fGDXswHgE4xvvu54vVn5QMtkvtB6AIISJzXR2pzWZUJ3Vsj0jQJIfXIVsiqRCU-eAG7r8I3dMZkqAYJiS3MxjIVReqvT6eCIt7YsxXkNjHSBUl6_m6QH/s1600/big-sick-1-585x350.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="191" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEvhd9ZYJodQvj8CH7fGDXswHgE4xvvu54vVn5QMtkvtB6AIISJzXR2pzWZUJ3Vsj0jQJIfXIVsiqRCU-eAG7r8I3dMZkqAYJiS3MxjIVReqvT6eCIt7YsxXkNjHSBUl6_m6QH/s320/big-sick-1-585x350.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">"The Big Sick"</span></td></tr>
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<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Digital Dominance </b><br /><br />This was the year that <b>Netflix</b> and <b>Amazon</b> overtook the big studios. Amazon was the big winner, planting their flag early with a flashy acquisition of THE BIG SICK opening weekend. The streaming service went on to pick up a few more films (CROWN HEIGHTS and LANDLINE). Netflix flexed its own muscle before the film festival even started with its smart partnership with independent producers like XYZ whose Macon Blair directorial debut I DON’T FEEL AT HOME IN THIS WORLD ANYMORE opened the festival and went on to win the Grand Jury Prize in its category. It to beat out the major studio distribution arms, acquiring buzzy doc CHASING CORAL and TV veteran Marti Noxon’s TO THE BONE before the festival’s end. </span></span><br />
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<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Even a week after the festival, the streaming service made headlines with a rich deal for Dee Ree’s MUDBOUND. It seemed there wasn’t a bidding war that the two weren’t a part of this year, while traditional heavyweights like <b>Harvey Weinstein</b> and his <b>T<span style="font-family: "arial" , "helvetica" , sans-serif;">he Weinstein Company</span></b> counterpart were all but silent. Sure, <b>A24, Focus, Fox Searchlight</b>, and <b>Sony Pictures Classics</b> were in the mix, but they were always at odds with these two digital titans. Their inclusion in the festival is no longer a question but a certainty, and 2017 the year they dominated from the opening to the very end. </span></span><br />
<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /><b>Performance Anxiety</b></span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsyopF48yItcA8AXqruNSOU8GErnzFBH4U326QAjap7iA21kOfSZfIyna4kbLlwoiiyBNbQgvPD3jtCBWmzzmPXOIErtQOqE7TfgN-mqPEXAsrWAoMtyyi-C5tRqQCN5-fIKzE/s1600/Patti.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsyopF48yItcA8AXqruNSOU8GErnzFBH4U326QAjap7iA21kOfSZfIyna4kbLlwoiiyBNbQgvPD3jtCBWmzzmPXOIErtQOqE7TfgN-mqPEXAsrWAoMtyyi-C5tRqQCN5-fIKzE/s320/Patti.jpg" width="216" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">"Patti Cake$"</span></td></tr>
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<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">It’s hard out there for a pimp. 2017 was the year of the artist having the guts to get up on stage and cut open a vein. Every category featured comedians, rappers, writers, actors and singers doing what they do best. THE BIG SICK<span style="font-family: "arial" , "helvetica" , sans-serif;"> </span>was all about a comedian coming to terms with his relationship with a woman <span style="font-family: "arial" , "helvetica" , sans-serif;">who</span> was in a coma. Breakout performer Danielle MacDonald drove US Dramatic Competition’s PATTI CAKE$ to a huge <b>$10 million sale to Fox Searchlight </b>as MC Killa P. </span></span><br />
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<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Neon</b> made its big debut, acquiring Aubrey Plaza’s internet sensation INGRID GOES WEST, and Sony Pictures Classics fell for BRIGSBY BEAR, a dark comedy by Dave McCary. Performers ruled the festival in every category and across all genres, reminding us all that being an artist is hard business. <br /><br /><u><b>Actors + Actresses</b></u><br /><br />Each year, a new crop of actors emerge on the scene in Park City. Last year set the stage for the awards season to start with strong performances by Casey Affleck (in last year’s MANCHESTER BY THE SEA) and debuts by Anya Taylor-Joy (in THE WITCH). This year was no exception, with a slew of new performers breaking out. From TV stars (like Atlanta’s Lakeith Stanfield or Silicon Valley’s Kumail Nanijiani) to supporting actors in the independent world (including Melanie Lynskey from last year’s THE INTERVENTION or Danielle MacDonald from 2013’s THE EAST), the only unifying thread was strong roles anchored by even stronger actors. This year’s festival was all about supporting this diverse mix of talent in front of the camera. <br /><br />Here are a few of the performers everyone will be talking about: <br /><b><span id="goog_1066768090"></span><span id="goog_1066768091"></span></b></span></span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGFMG5fyCRrlsR5E4NkWyMfXOqFjg76A3DYwKSrH6e0nYnhgggAxBkK2c2uOC_Gaot5NaU5X_3aU0rCVvuQN_6lk_STlBjl0g0MHoi047OmSS29WrNbnp4Um6ZQlp1hqcE32vt/s1600/Timothee%252BChalamet%252BBreathe%252BPremieres%252BNYC%252BWuZeZIr8OsMl.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGFMG5fyCRrlsR5E4NkWyMfXOqFjg76A3DYwKSrH6e0nYnhgggAxBkK2c2uOC_Gaot5NaU5X_3aU0rCVvuQN_6lk_STlBjl0g0MHoi047OmSS29WrNbnp4Um6ZQlp1hqcE32vt/s200/Timothee%252BChalamet%252BBreathe%252BPremieres%252BNYC%252BWuZeZIr8OsMl.jpg" width="160" /></a><span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Timothee Chalamet</b> as Elio Perlman in Luca Guadagnino's CALL ME BY YOUR NAME. Until this year’s festival young actor Timothee Chalamet was merely a runner up to play Spider-Man in the most recent reboot. That is, until he held his own as a romantic lead opposite Armie Hammer in Luca Guadagnino’s most recent masterpiece. As Elio, an Jewish<span style="font-family: "arial" , "helvetica" , sans-serif;">/</span>Italian teenager who falls in love with the much older Oliver, an American tourist (Armie Hammer), Timothee carries every scene he is in. It’s a leading performance as strong as last year's THE WITCH. Best known for his TV work on <i>Homeland,</i> the next few years will see a lot more of the young star on the independent scene. He is starring in Blacklist script HOT SUMMER NIGHTS and is part of the ensemble in Greta Gerwig’s LADY BIRD as well as Scott Cooper’s HOSTILES. </span></span><br />
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<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Melanie Lynskey</b>
as protagonist Ruth Kimke in Macon
Blair’s I DON’T FEEL AT HOME IN THIS WORLD ANYMORE. Melanie truly had
her work cut out for her in taking on the lead role in Macon Blair’s
directorial debut. Macon, an actor himself, broke out in Sundance 2013’s
BLUE RUIN, a film he starred in with frequent collaborator Jeremy
Saulnier. The two having been friends for years have a strong bound. Not
the case for Melanie whose protagonist had to be both fun and funny as
well as vulnerable and scared. Without such a wide range of emotions the
film would not have been as strong a debut and her ability to do this
without such a close working relationship makes her performance even
more commendable. Her journey to recover her property which was stolen,
in the process befriending a neighbor (played by Elijah Wood) and
discover her inner strength is the strongest female genre lead to break
out of the festival since Jennifer Lawrence in WINTERS BONE. </span></span><br />
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<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU83lIlGH0KpMVXcCiR9tj5EUl-v1ZqUFbMmv4ZEuX1oyWWJZ1rD2tWTFOYr06rrNCeiqR0KrYTSxwwqJISVxgFXDJ5H-RI_5rK2Sp_aNONTs1XD69wve3nBNxFNF6yWaidMCp/s1600/kumail-nanjiani.png" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU83lIlGH0KpMVXcCiR9tj5EUl-v1ZqUFbMmv4ZEuX1oyWWJZ1rD2tWTFOYr06rrNCeiqR0KrYTSxwwqJISVxgFXDJ5H-RI_5rK2Sp_aNONTs1XD69wve3nBNxFNF6yWaidMCp/s200/kumail-nanjiani.png" width="198" /></a>Kumail Nanijiani</b> as himself in Michael Showwalter's THE BIG SICK. Kumail has been making audiences laugh for years on the stand up circuit. He’s already known for his strong work on the small screen as part of the ensemble of HBO’s Silicon Valley. But, this leading performance anchoring a film based on his courtship with his now wife (which the two co-wrote) won over audiences. The premiere was followed by a standing ovation that lead to an all night bidding war resulting in the film selling to Amazon for $12.5 million. It was one of the biggest sales of this year’s festival. None of this would have been remotely possible without Kumail’s vulnerability and humanizing role. His wife (played by Zoe Kazan) spends a majority of the film hospitalized in a coma with her parents (played by Holly Hunter <span style="font-family: "arial" , "helvetica" , sans-serif;">and </span>Ray Romano) stepping in to decide how best to treat their daughter with Kumail understandably out of his depth. </span></span><br />
<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span><span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4s64bqGSnYlmOU7V6ma6Nv1p4JEl5-R1FvCPrBDRLci5hWMyumaldaa-CXIIE4-PcyTj8nNFYjwUYBe7tw18BQIviU_9pVEYIg7N5kpCiEZ22_wUw9eL05Md_v63cqdmrqvz1/s1600/lakeith_lee_stanfield_split.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4s64bqGSnYlmOU7V6ma6Nv1p4JEl5-R1FvCPrBDRLci5hWMyumaldaa-CXIIE4-PcyTj8nNFYjwUYBe7tw18BQIviU_9pVEYIg7N5kpCiEZ22_wUw9eL05Md_v63cqdmrqvz1/s200/lakeith_lee_stanfield_split.jpg" width="148" /></a>Lakeith Stanfield</b> as protagonist Colin Warner in Matt Ruskin's CROWN HEIGHTS. Lakieth has made a career as a stand out supporting player in both film (2015’s SHORT TERM 12) and TV (this year’s Atlanta). He could have coasted on his laurels and had a fine career as a bit player. Thankfully he didn’t as he took on the role of wrongly convicted youth Colin Werner who spent over twenty years in prison for a murder he did not commit. Lakeith brilliantly channeled the rage, frustration and fear of a young immigrant from Trinidad who was tied to the shooting of a neighbor in 1980’s Brooklyn NY. His humanity, hope, and struggles to continue to live, stay true to himself and connected to his family was the heart and soul of this harrowing tale. Without such a wide range this would have just been another run of the mill biopic but Lakeith pulled from his history of strong supporting roles to elevate this material. </span></span><span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT0yINXep7pBkefGQ0Edhx6etdLA_H9Yf7PKIBpV9SZKN5N4rRFO6piq0Ip-CYh1rq7C49cPLGBfbVM4cTAoD8RyW3DRuAqLw_Nh_83P13LiKe4d6j5N0PRdHZHnapE2CZCmi-/s1600/mcdonald.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT0yINXep7pBkefGQ0Edhx6etdLA_H9Yf7PKIBpV9SZKN5N4rRFO6piq0Ip-CYh1rq7C49cPLGBfbVM4cTAoD8RyW3DRuAqLw_Nh_83P13LiKe4d6j5N0PRdHZHnapE2CZCmi-/s200/mcdonald.jpg" width="133" /></a> </b></span></span><br />
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<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Danielle MacDonald</b> as protagonist Patricia Dombrowski aka "Killa P" aka "Patti Cake$" in Geremy Jasper's PATTI CAKE$. Accolades are one thing, but money is the great equalizer and PATTI CAKE$' <b>sale to Fox Searchlight for $10 million</b> is proof that Danielle’s performance is one of the strongest this year. The native Australian actress is so convincing as a New Jersey native that the film has been getting strong comparison to the classic hip-hop festival breakout HUSTLE & FLOW. Her strong lyrics, tough grit working several jobs and relationship with her male musical partners was the heart and soul of this musical odyssey through the world just the other side of Manhattan. MacDonald was the anchor, which made all this world. Her vulnerability as a daughter and granddaughter attempting to keep her family together while striving for her dreams of becoming a superstar MC whose persona is larger than her size. She is definitely one to watch, especially given that she isn’t represented by a major agency yet. </span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTKUiTemV5jAuM__N01Pb5Y5g3aVDdrr1nq5hhfhNMOEkbCehgC0Nh_nQhbkYfmAkD09qYR6VwI9NxEq9lziRcFIt05V2DWI_dXDuEwAUx4ZSebvM13paTki4lbEurF-Nvq_if/s1600/garance_marillier.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTKUiTemV5jAuM__N01Pb5Y5g3aVDdrr1nq5hhfhNMOEkbCehgC0Nh_nQhbkYfmAkD09qYR6VwI9NxEq9lziRcFIt05V2DWI_dXDuEwAUx4ZSebvM13paTki4lbEurF-Nvq_if/s1600/garance_marillier.jpg" /></a></div>
<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Garance Marillier</b> as protagonist Justine in Julia Ducournau's RAW. Going off to college is tough on anyone. The shift from youth at home to a free world of adulthood, <span style="font-family: "arial" , "helvetica" , sans-serif;">the</span> lack of structure that university provides can be a shock to the system for anyone -- let alone a monstrous cannibal. Recent years have seen a move towards more realistic, heartfelt and dramatic horror in the genre field. RAW is France’s answer to the conversation started in Sweden with LET THE RIGHT ONE IN almost ten years ago. None of this would have been possible without Garance’s breakout performance as the young woman discovering her new life away at school. The role and material is tough and demanding, yet Garance never seems out of her depth. She is beautiful, vulnerable, powerful and scary all while remaining human. A monster for the ages and a protagonist of our times – a woman embracing the changes she encounters upon entering the world of adulthood. <br /><br /><b><u>Directors to Watch</u> </b><br /><br /><b>Geremy Jasper</b> for writing and directing PATTI CAKE$. Geremy is already an accomplished music video director having been nominated for VMA’s for his work with Florence + the Machine and Selena Gomez. He is also a member of the Sundance writing and directing labs where he developed his first feature. A life long music freak Geremy wrote all the lyrics for his debut film PATTI CAKE$ which chronicles the life of a female MC in New Jersey. Its one of the strongest debuts in the genre since HUSTLE + FLOW and sold for $10 million to Fox Searchlight. His style is drawing comparison to that films writer/director Craig Brewer with its stripped-down, no-holds-barred look at the dog-eat-dog street world of blue collar hip-hop. </span></span><br />
<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span><span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtb0slhUYyt5fTus4LUzNI6-RCrZsiXR8lXTnetKvWyLnCgj6cpQwdNSOpXwWc4a17RdxF2kSbg1tuRRe1ed69T6CIywvDnMj8aMI1N4UK91QbcpbfkWn0UBQRRzkrSE0DaXh-/s1600/marti-noxon-dietland-tv-series-amc-cancelled-renewed-e1477685689117.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtb0slhUYyt5fTus4LUzNI6-RCrZsiXR8lXTnetKvWyLnCgj6cpQwdNSOpXwWc4a17RdxF2kSbg1tuRRe1ed69T6CIywvDnMj8aMI1N4UK91QbcpbfkWn0UBQRRzkrSE0DaXh-/s320/marti-noxon-dietland-tv-series-amc-cancelled-renewed-e1477685689117.jpg" width="213" /></a>Marti Noxon</b><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span>for writing and directing TO THE BONE. Marti is a force to be reckoned with on the small screen. Cutting her teeth as a writer on Joss Whedon’s <i>Buffy the Vampire Slayer, </i>she went onto co-create the show <i>UnReal,</i> an adaptation of a short film. That process allowed her to hone her directing chops taking on pivotal episodes of the show (now in its third season on Lifetime). For her feature debut, Noxon set about chronicling the struggles of a young woman with an eating disorder and the painful process that lifestyle entails. Drawing from her own past, her funny and heartfelt look at an all<span style="font-family: "arial" , "helvetica" , sans-serif;">-</span>too<span style="font-family: "arial" , "helvetica" , sans-serif;">-</span>real and painful disease was both heartwarming and bone-chilling in its delicate handling of the material. She is a creator to watch in either arena. <br /><br /><b>Taylor Sheridan</b> for writing and directing WIND RIVER. Taylor started his career as an actor on the <span style="font-family: "arial" , "helvetica" , sans-serif;">first two seasons of</span> <i>Sons of Anarchy<span style="font-family: "arial" , "helvetica" , sans-serif;">. </span></i><span style="font-family: "arial" , "helvetica" , sans-serif;">He wrote</span> lines for his character before scripting whole episodes of the show. Realizing that many of his favorite roles -- tough, no-nonsense protagonists who took on the system they were forced to live in -- were no longer being written on the big screen, Taylor sought to fix that. He went on to script SICARIO and HELL OR HIGH WATER. Having found success with those scripts, he turned his attention to directing, bringing along many of his collaborators (like producers Basil Iwanyk <span style="font-family: "arial" , "helvetica" , sans-serif;">and </span>Peter Berg, and actors Jon Bernthal <span style="font-family: "arial" , "helvetica" , sans-serif;">and</span> Gil Birmingham) for this first outing in the director’s chair. The film is an extension of his work on the page, proving he has the chops to direct his fellow actors. His narrative of timeless characters and themes butting up against a ripped-from-the-headlines world where good and bad still battle for dominance is made only stronger by his d<span style="font-family: "arial" , "helvetica" , sans-serif;">e</span>ft hand as director. <br /><br /><b><u>Writers to Watch </u></b></span></span><br />
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<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b> </b></span></span><span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjZcV7Lnl-YM6F7KB6txpjNwuYUwC7Erf78MfL1YMlJBOEKvUU9-U33wFYbDn3ayBXtTwPjOIqyT6qImBfr-EN1stHZO5GQMxDkCcaLFt_LMAJ73Emsvn0xNKr3Y-mS2U0mLuZ/s1600/Macon%252BBlair%252BTomogui%252BPhoto%252BCall%252BLondon%252BFnMpu3evAPzl.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjZcV7Lnl-YM6F7KB6txpjNwuYUwC7Erf78MfL1YMlJBOEKvUU9-U33wFYbDn3ayBXtTwPjOIqyT6qImBfr-EN1stHZO5GQMxDkCcaLFt_LMAJ73Emsvn0xNKr3Y-mS2U0mLuZ/s320/Macon%252BBlair%252BTomogui%252BPhoto%252BCall%252BLondon%252BFnMpu3evAPzl.jpg" width="213" /></a>Macon Blair</b> for his directorial debut I DON'T FEEL AT HOME IN THIS WORLD ANYMORE. Frequent Jeremy Saulnier collaborator and actor-turned-writer/director Macon is no stranger to Sundance. The X factor for him this year was forging out on his own with his directorial debut. Macon’s script was fun, funny and surreal in its look at the lengths a young woman will go to retrieve her stolen items. Like BLUE RUIN, it’s a strong debut that turns its lens on an unlikely action heroine. The dark balanced out with this great human touch. It's a strong debut for a fantastic storyteller. There is no wonder this was already picked up by Netflix and an award winner at the festival with its <span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Death Note</i>-</span>by<span style="font-family: "arial" , "helvetica" , sans-serif;">-</span>way<span style="font-family: "arial" , "helvetica" , sans-serif;">-</span>of<span style="font-family: "arial" , "helvetica" , sans-serif;">-</span>the<span style="font-family: "arial" , "helvetica" , sans-serif;">-</span>Duplass Brothers mix. Action/comedy. <br /><br /><b>Kevin Costello + Kyle Mooney</b> for BRIGSBY BEAR, which Kyle starred in for director Dave McCary. This trio has a long working relationship on SNL where Kyle is a featured player, Kevin a staff writer and Dave a director. This collaboration is evident in their feature debut. The film is such a fun, funny and heartfelt look at the communities created and relationships maintained by the creative process. This is such a hard tone to hit without becoming campy or corny, and these guys nailed it. Kevin and Dave's partnership is reminiscent of Derek + Colin's <span style="font-family: "arial" , "helvetica" , sans-serif;">in</span> SAFETY NOT GUARANTEED. Their future seems just as bright now that Sony Pictures Classic has picked up the <span style="font-family: "arial" , "helvetica" , sans-serif;">comedy.</span></span></span><br />
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<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiS_8gSMOmGW1vli3DySkGI4Zcb_hkx2SAARfjy_2XQwoGMTKszccQ9lcFGY0ydqRBzY2NW8O7QW7EAxhXxDldmGshLouRecu8VlzAdZ-iqfsv79NX8bgAVRDkSFxX0h8Mdc8-D/s1600/thoroughbred_sundance_2017_cory_finley_director_playwright.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiS_8gSMOmGW1vli3DySkGI4Zcb_hkx2SAARfjy_2XQwoGMTKszccQ9lcFGY0ydqRBzY2NW8O7QW7EAxhXxDldmGshLouRecu8VlzAdZ-iqfsv79NX8bgAVRDkSFxX0h8Mdc8-D/s320/thoroughbred_sundance_2017_cory_finley_director_playwright.jpg" width="319" /></a>Cory Finley</b> for THOROUGHBRED, which he also directed. Cory has already established himself as a strong voice in the theatre world. Bret Easton Ellis captured the dark side of 1980s brat pack culture with Less Than Zero, Chuck Palahniuk did it with 90s misguided youths with Fight Club and here now Cory has weaved similar magic with millennials out for revenge in his NEXT debut. It’s a smart, taught thriller that shows the complexities of female friendship in the modern age where money might buy many things but not happiness. Cory is an exciting writer on the horizon as he transitions from the stage to the screen. Thriller. </span></span><br />
<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span><span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgE0HGps6aO10XHaIv72BBAonDxQtI2TNyfbfeRgfxF-D3XZyT6iCvJidjuWdw4qmRGs5zq4lD1pasVMt4wOo-UayVXmZzuE1nc1QnWJyh2p5Pi420rSowYdqJul1F0C7UN3W_k/s1600/amazon-logo.jpeg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgE0HGps6aO10XHaIv72BBAonDxQtI2TNyfbfeRgfxF-D3XZyT6iCvJidjuWdw4qmRGs5zq4lD1pasVMt4wOo-UayVXmZzuE1nc1QnWJyh2p5Pi420rSowYdqJul1F0C7UN3W_k/s320/amazon-logo.jpeg" width="320" /></a><u>Acquisitions</u></b> <br /><br /><span style="font-size: small;"><b>A24</b> </span></span></span><br />
<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">A GHOST STORY directed and written by David Lowery. The film stars Casey Affleck <span style="font-family: "arial" , "helvetica" , sans-serif;">+</span> Rooney Mara. Synopsis: This is the story of a ghost and the house he haunts.<br /><br /><b>Amazon</b> </span></span></span><br />
<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">THE BIG SICK directed by Michael Showalter. Written by Emily V. Gordon<span style="font-family: "arial" , "helvetica" , sans-serif;"> + </span>Kumail Nanjiani. The film stars Kumail Nanjiani, Zoe Kazan, Ray Romano and Holly Hunter. Synopsis: A couple deals with their cultural differences as their relationship grows.<br /><br />CROWN HEIGHTS directed and written by Matt Ruskin. The film stars Lakeith Stanfield, Nestor Carbonell, and Bill Camp. Synopsis: When Colin Warner was wrongfully convicted of murder, his best friend Carl King devoted his life to proving his innocence.<br /><br />LANDLINE directed by Gillian Robespierre. Written by Elisabeth Holm <span style="font-family: "arial" , "helvetica" , sans-serif;">+</span> Gillian Robespierre. The film stars Jenny Slate, Edie Falco, Finn Wittrock, Jay Duplass, and John Turturro. Synopsis: In 1995, a teenager living with her sister and parents in Manhattan discovers that her father is having an affair.<br /><br /><b>Filmrise</b> </span></span></span><br />
<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">DAYVEON directed by Amman Abbasi. Written by Steven Renee <span style="font-family: "arial" , "helvetica" , sans-serif;">+</span> Amman Abbasi. The film stars Devin Blackmon, Dontrell Bright, and Lachion Buckingham. Synopsis: In the wake of his older brother's death, 13-year-old Dayveon spends the sweltering summer days roaming his rural Arkansas town. When he falls in with a local gang, he becomes drawn to the camaraderie and violence of their world.<br /><br /><b>Focus Features</b> </span></span></span><br />
<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">THOROUGHBRED directed and written by Cory Finley. The film stars Anton Yelchin, Anya Taylor-Joy, and Olivia Cooke. Synopsis: Two teenage girls in suburban Connecticut rekindle their unlikely friendship after years of growing apart. In the process, they learn that neither is what she seems to be, and that a murder might solve both of their problems.<br /><br /><b>Fox Searchlight</b> </span></span></span><br />
<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">PATTI CAKE$, directed and written by Geremy Jasper. The film stars Danielle Macdonald, Bridget Everett <span style="font-family: "arial" , "helvetica" , sans-serif;">and</span> Siddharth Dhananjay. Synopsis: Straight out of Jersey comes Patricia Dombrowski, a.k.a. Killa P, a.k.a. Patti Cake$, an aspiring rapper fighting through a world of strip malls and strip clubs on an unlikely quest for glory.<br /><br /><b>Gunpowder <span style="font-family: "arial" , "helvetica" , sans-serif;">and</span> Sky</b> </span></span></span><br />
<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">THE LITTLE HOURS directed and written by Jeff Baena. The film stars Alison Brie, Dave Franco, Kate Micucci, Aubrey Plaza, John C. Reilly, Molly Shannon, Fred Armisen, and Nick Offerman. Synopsis: A young servant fleeing from his master takes refuge at a convent full of emotionally unstable nuns in the middle ages.<br /><br /><b>IFC Midnight</b> </span></span></span><br />
<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">KILLING GROUND directed and written by Damien Power. The film stars Harriet Dyer, Stephen Hunter, and Tiarnie Coupland. Synopsis: A couples camping trip turns into a frightening ordeal when they stumble across the scene of a horrific crime.<br /><br /><b>Neon</b> </span></span></span><br />
<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">BEACH RATS directed and written by Eliza Hittman. The film stars Harris Dickinson, Madeline Weinstein, and Kate Hodge<br />Synopsis: An aimless teenager on the outer edges of Brooklyn struggles to escape his bleak home life and navigate questions of self-identity, as he balances his time between his delinquent friends, a potential new girlfriend, and older men he meets online.<br /><br />INGRID GOES WEST directed by Matt Spicer. Written by David Branson Smith <span style="font-family: "arial" , "helvetica" , sans-serif;">+</span> Matt Spicer. The film stars Aubrey Plaza, Elizabeth Olsen, O’Shea Jackson Jr., Wyatt Russell, and Billy Magnussen. Synopsis: Ingrid Thorburn, a mentally disturbed young woman, becomes obsessed with Taylor Sloane, a social media star who appears to have the perfect life. But when Ingrid decides to drop everything and move west to befriend Taylor, her behavior turns unsettling and increasingly dangerous. <br /><br />ROXANNE ROXANNE directed and written by Michael Larnell. The film stars Chanté Adams, Mahershala Ali, Nia Long, Elvis Nolasco, Kevin Phillips, and Shenell Edmonds. Synopsis: In the early 1980s in the most feared battle MC in Queens, New York was a fierce teenage girl with the weight of the world on her shoulders. At the age of 14, Lolita "Roxanne Shanté" Gooden was well on her way to becoming a hip-hop legend as she hustled to provide for her family while defending herself from the dangers of the streets of the Queensbridge Projects in NYC.</span></span></span><span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><b> </b></span></span></span><br />
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<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><b>Netflix</b> </span></span></span><br />
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<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">BERLIN SYNDROME directed by Cate Shortland. Written by Shaun Grant and Melanie Joosten. The film stars Teresa Palmer, Max Riemelt, and Lucie Aron. Synopsis: A passionate holiday romance leads to an obsessive relationship, when an Australian photojournalist wakes one morning in a Berlin apartment and is unable to leave.<br /><br />FUN MOM DINNER directed by Althea Jones. Written by Julie Rudd. The film stars Toni Collette, Katie Aselton, Bridget Everett, Molly Shannon, Adam Scott, and Adam Levine. Synopsis: Four moms whose only common ground is their kids' preschool class, decide to get together for a harmless "fun mom dinner.” (Theatrical rights bought by Momentum Pictures)<br /><br />THE INCREDIBLE JESSICA JAMES directed and written by Jim Strouse. The film stars Jessica Williams, Chris O’Dowd, Lakeith Stanfeild, and Noel Wells. Synopsis: An aspiring playwright in New York strikes up a friendship with a guy while on the rebound from a break-up.<br /><br />MUDBOUND directed by Dee Rees. Written by Virgil Williams & Dee Rees. The film stars Carey Mulligan, Jason Clarke, Mary J. Blige, Rob Morgan, Garrett Hedlund, and Jason Mitchell. Synopsis: Two men return home from World War II to work on a farm in rural Mississippi where they struggle to deal with racism and adjusting to life after war.<br /><br />TO THE BONE directed and written by Marti Noxon. The film stars Lily Collins, Keanu Reeves, Carrie Preston, Lili Taylor, Alex Sharp, and Liana Liberato. Synopsis: A young woman is dealing with anorexia. She meets an unconventional doctor who challenges her to face her condition and embrace life.<br /><br /><b>The Orchard</b> </span></span></span><br />
<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">THE HERO directed by Brett Haley. Written by Marc Basch <span style="font-family: "arial" , "helvetica" , sans-serif;">+</span> Brett Haley. The film stars Sam Elliott, Laura Prepon, Nick Offerman, and Krysten Ritter. Synopsis: An ailing movie star comes to terms with his past and mortality.<br /><br /><b>RLJ Entertainment</b> </span></span></span><br />
<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">BUSHWICK directed by Cary Murnion + Jonathan Milott. Written by Nick Damici <span style="font-family: "arial" , "helvetica" , sans-serif;">+</span> Graham Reznick. The film stars Dave Bautista, Brittany Snow, and Christian Navarro. Synopsis: When a Texas military force invades their Brooklyn neighborhood, 20-year-old Lucy and war veteran Stupe must depend on each other to survive.<br /><br /><b>Roadside Attractions</b><br />BEATRIZ AT DINNER directed by Miguel Arteta. Written by Mike White. The film stars Salma Hayek, Chloe Sevigny, John Lithgow, and Connie Britton. Synopsis: A holistic medicine practitioner attends a wealthy client's dinner party after her car breaks down.<br /><br /><b>Sony Pictures Classics</b> </span></span></span><br />
<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">BRIGSBY BEAR directed by Dave McCrary. Written by Kevin Costello <span style="font-family: "arial" , "helvetica" , sans-serif;">+</span> Kyle Mooney. The film stars Mark Hamill, Claire Danes, Greg Kinnear, Matt Walsh, and Kyle Mooney.<br />Synopsis: <i>Brigsby Bear Adventures</i> is a children's TV show produced for an audience of one: James. When the show abruptly ends, James's life changes forever, and he sets out to finish the story himself.<br /><br />CALL ME BY YOUR NAME directed and written by Luca Guadagnino. The film stars Armie Hammer, Timothee Chalamet, Michael Stuhlbarg, Amira Casar, Esther Garrel, and Victoria Du Bois. Synopsis: A romance between a seventeen year-old boy and a summer guest at his parents' cliffside mansion on the Italian Riviera.</span></span></span><span style="font-size: small;"></span><br />
<span style="font-size: small;"><br /><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">NOVITIATE, directed and written by Maggie Betts. The film stars Diana Agron, Morgan Saylor, and Margaret Qualley, Melissa Leo, and Denis O’Hare. Synopsis: Set in the early 1960s and during the era of Vatican II, a young woman in training to become a nun struggles with issues of faith, the changing church and sexuality.</span></span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">David Whitney </span></span><span style="font-size: large;"><span style="background-color: #f8f8f8; color: #676767;">is an LA-based producer. He previously worked for Lionsgate,
selling the rights to Academy Award winner CRASH and several
installments of the SAW series, as well as for Universal Pictures and Warner
Brothers. David brings a personal love of graphic novels, a passion for
manga, and the desire to adapt both for the screen. </span></span></span><br />
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<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-23907050.post-6045362877909609992017-02-16T01:36:00.004-08:002017-02-16T01:36:58.560-08:00ESCAPE VELOCITY<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgG-ifZT33V4IV9I5q9JR5JEg_4zZRJN4rNirNN1dm_iijMcKeeJBY6ptZQz2LRnthqhh_GNDHMOX740vtLJnQSDSSyWqszlXMs7TAtDwMp9gCq-NTHKrK_n4CkgjPcCC3TScwi/s1600/header.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgG-ifZT33V4IV9I5q9JR5JEg_4zZRJN4rNirNN1dm_iijMcKeeJBY6ptZQz2LRnthqhh_GNDHMOX740vtLJnQSDSSyWqszlXMs7TAtDwMp9gCq-NTHKrK_n4CkgjPcCC3TScwi/s640/header.jpg" width="640" /></a></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><i>Screenwriters <b>Brooks Elms</b> and <b>Glenn Sanders</b> recently <a href="http://www.thewrap.com/chinas-le-vision-pictures-acquires-near-earth-object-exclusive/" target="_blank">made the trades</a> when they set up their sci-fi thriller </i><b>Near Earth Object </b><i>with Chinese studio Le Vision, who plans to make it with an international cast. <span style="font-family: "arial" , "helvetica" , sans-serif;">Not long</span> ago, they were just two guys entering contests -- one of which was our own Writers on the Storm, which they won with </i><b>Wright or Wrong</b><i>, </i></span></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><i>their comedy </i></span></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><i>about the Wright Brothers' first misadventures with flight. We caught up with Brooks and Glenn to find out what they've been up to since then now that their careers have now achieved escape velocity.</i><br /><br />by Jim Cirile<br /><br /><b>Jim Cirile (JC): </b><span style="font-family: "arial" , "helvetica" , sans-serif;">So who the heck are you guys?</span><br /><b></b></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDQBfIehmujEDDw-Mjt1qRAgu0NR4A5sbcnAe2AMJR4D_Rl34xQpzXFFqK1aegQ1mgO55rwav0bF2TqTC3LKNldoJAt5JTRVgVfkA6SFpczkjggtDLsOIvVgPWAVc3O4kORmBi/s1600/Brooks+pic.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDQBfIehmujEDDw-Mjt1qRAgu0NR4A5sbcnAe2AMJR4D_Rl34xQpzXFFqK1aegQ1mgO55rwav0bF2TqTC3LKNldoJAt5JTRVgVfkA6SFpczkjggtDLsOIvVgPWAVc3O4kORmBi/s320/Brooks+pic.jpg" width="320" /></a><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><b>Brooks Elms (BE):</b> I was one of those guys that made a bunch of movies with my friends back in high school. I probably made about 50 short film experiments before attending NYU for undergraduate, where I met one of my writing partners, Glenn Sanders. After film school I made a couple independent features, but in the last 8 or 9 years I focused mostly on screenwriting, getting signed by UTA, selling a couple of scripts, and I’ve now written about 20 scripts.</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigojeQ6MXk5XSpwopa5v0Dk2uiq-TV_tEWkO_c27NxXIHGR_hrXHO6VvYCLAdj6QXws9DiHDMDaIEKScUV36ixF2VAMsFCbPhDILEUaHf7TI0QKKLeSaR13AMyiM2Z0clqwJLH/s1600/Glenn+Sanders.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigojeQ6MXk5XSpwopa5v0Dk2uiq-TV_tEWkO_c27NxXIHGR_hrXHO6VvYCLAdj6QXws9DiHDMDaIEKScUV36ixF2VAMsFCbPhDILEUaHf7TI0QKKLeSaR13AMyiM2Z0clqwJLH/s320/Glenn+Sanders.jpg" width="320" /></a><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><b>Glenn Sanders (GS): </b>I knew literally when I walked out of the movie theater after seeing <i>Raiders of the Lost Ark</i> that I wanted to be a filmmaker. I didn’t know what that meant; I just knew it was something I wanted to do. I ended up going to NYU, like Brooks, and made a bunch of short films there. I moved out to Los Angeles ’96, and I had a bunch of odd jobs around town at different production companies in various capacities. I ultimately found myself in the advertising world as a copy writer working on traditional ad campaigns on the digital side, back when digital was still a new thing. I really started to hone my storytelling skill and my ability to produce a lot of material quickly. I had gotten involved with writing with Brooks during that time; it was sort of like my nighttime hobby. That led to us writing several scripts together, and a couple of years ago we sold <i>Snowfall</i> to Gold Circle<span style="font-family: "arial" , "helvetica" , sans-serif;">. N</span>ow we’re working on <i>Near Earth Object</i>. I now work at a film marketing company called Eclipse in Burbank, and I’ve done <span style="font-family: "arial" , "helvetica" , sans-serif;">digital and social marketing campaigns </span>for <i>Jurassic World, Deadpool</i>, the <i>Back to the Future </i>30th Anniversary, and dozens of other titles. <br /><br /><b>JC: </b><span style="font-family: "arial" , "helvetica" , sans-serif;">I know a lot of </span>professional writers at various levels <span style="font-family: "arial" , "helvetica" , sans-serif;">who </span>have other revenue streams, without which they couldn’t pay the bills consistently. <br /><br /><b>GS: </b></span></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">I’m very lucky to have a job that engages my creative skills working
with people who are very supportive of my screenwriting. What I learn
from one is always influencing and improving what I do in the other.</span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><br /><b>JC: </b>Brooks, you teach at <a href="https://www.uclaextension.edu/search/publicCourseSearchDetails.do?method=load&courseId=132746" target="_blank">Story Analysis for Film and Television</a> at UCLA Extension as well.</span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><br /></span></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0mt2-fXWt4ztAzeDjWUv1Dz4O1BC-On62FZ_kvZFSu94bnz2K_RjmM5bjUgBTEWtmmqukWqE7pxOA68QRHnhg6YXoBtDVGlawNNEfsklnJRwbhIxp2tG1FX2T-O72NwvJk3Xt/s1600/ucla-extension.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0mt2-fXWt4ztAzeDjWUv1Dz4O1BC-On62FZ_kvZFSu94bnz2K_RjmM5bjUgBTEWtmmqukWqE7pxOA68QRHnhg6YXoBtDVGlawNNEfsklnJRwbhIxp2tG1FX2T-O72NwvJk3Xt/s200/ucla-extension.jpg" width="200" /></a> BE: </b>Yeah, which is great, and I’m also in real estate. Paydays come if you work hard enough at it and you’re really focused on doing work that has a larger audience. But the consistency ebbs and flows at any level of the game, so having multiple revenue streams is really a smart way to go. The only way to go, I think.<br /><br /><b>JC: </b>Talk a little bit about the genesis of <i>Wright or Wrong</i>. <br /><br /><b>BE:</b> I'd spent some time in the outer banks of North Carolina, where the Wright brothers <span style="font-family: "arial" , "helvetica" , sans-serif;">flew</span> their airplane contraptions in the 1900s. I thought it would be a really interesting subject for a feature. I talked to Glenn, and we both loved the idea of doing a Wright brothers story. This is the first thing we both worked on together. I really loved Glenn’s sensibility from the movies he made in film school, and I thought tapping into his comedic voice and doing a Wright Brothers story in that tone w<span style="font-family: "arial" , "helvetica" , sans-serif;">ould be</span> really exciting and a fun way to work with him. </span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl4_vhT6-d2LRqe1x6SH300eOQNyAeeCNwsZUbQJmO3XDBlxKlZo9a2-2z6t4NojN9dqQTwoL1J8mx9PAe6_U7asdrGDtMhdqVx399QFX0XwGCGgmQ9w2w-pjUQRiexPVCU61z/s1600/Wright-Brothers.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="386" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl4_vhT6-d2LRqe1x6SH300eOQNyAeeCNwsZUbQJmO3XDBlxKlZo9a2-2z6t4NojN9dqQTwoL1J8mx9PAe6_U7asdrGDtMhdqVx399QFX0XwGCGgmQ9w2w-pjUQRiexPVCU61z/s640/Wright-Brothers.jpeg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Wilbur and Orville <span style="font-family: "arial" , "helvetica" , sans-serif;">enjoy their business class seats<span style="font-family: "arial" , "helvetica" , sans-serif;"> with extra legroom.</span></span></span></span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><b>GS:</b> I had written a script a couple years before with another co-writer friend, sort of a western comedy for kids. One of the scenes we wrote was the Wright brothers as kids. The interplay between the two brothers as bickering siblings was one of my favorite things I’d ever written up to that point. I’d always thought at the back of my mind,<span style="font-family: "arial" , "helvetica" , sans-serif;"> "</span>Oh, I love those characters, what would you do with them?<span style="font-family: "arial" , "helvetica" , sans-serif;">"</span> I saw them more as kids than anything. Brooks came to me -- <span style="font-family: "arial" , "helvetica" , sans-serif;">"</span>What if we did the Wright brothers story?<span style="font-family: "arial" , "helvetica" , sans-serif;">"</span> I said, <span style="font-family: "arial" , "helvetica" , sans-serif;">"</span>Are you open to doing this as a comedy<span style="font-family: "arial" , "helvetica" , sans-serif;"> </span>like the movie <i>Stepbrothers,</i> except 1903?<span style="font-family: "arial" , "helvetica" , sans-serif;">"</span> He was game, and that’s where we got started. </span></span><br />
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<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">BE: </span></span></b><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">I</span>t
came out really well and we got a lot of attention for it. I’d already
had my manager at that point, but we did well in your contest and other
contests. </span></span> </span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><b><span style="font-family: "arial" , "helvetica" , sans-serif;">GS: </span></b>Gary Sanchez (Productions) read it <span style="font-family: "arial" , "helvetica" , sans-serif;">--</span> that's the production company that Will Ferrell and Adam M<span style="font-family: "arial" , "helvetica" , sans-serif;">cK</span>ay run -- and they really liked it.<span style="font-family: "arial" , "helvetica" , sans-serif;"> But</span> they had the same issue we knew about, which is that period comed<span style="font-family: "arial" , "helvetica" , sans-serif;">ies </span>are extremely hard to make and sell. Maybe less so now, but 6 or 7 years ago when we wrote it, it was just a real challenge. Markets were kind of collapsing. <span style="font-family: "arial" , "helvetica" , sans-serif;">But i</span>t was an amazing experience, <span style="font-family: "arial" , "helvetica" , sans-serif;">and now we're on </span>our 6th or 7th script<span style="font-family: "arial" , "helvetica" , sans-serif;">.</span><b> </b><br /><br /><b>JC: </b><span style="font-family: "arial" , "helvetica" , sans-serif;">I</span><span style="font-family: "arial" , "helvetica" , sans-serif;">f you've got </span>Will Ferrell <span style="font-family: "arial" , "helvetica" , sans-serif;">in a Wright Bros. comedy, who wouldn't make that movie? How could that not get set up? We're talking internationally known source material!</span></span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgwrebvbTAPDItgI5DyIPpKtAWWnxd2p4_nYOXWFgSXyPyL1z_H_LSlTQv1p0rSEYY4KEbK9klDmeKtjB7TwhN4dq8ow6E-AkSQWSiPK0aNfhnbdaPkgE2xU02eWGNGK2iTUps/s1600/Orville.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgwrebvbTAPDItgI5DyIPpKtAWWnxd2p4_nYOXWFgSXyPyL1z_H_LSlTQv1p0rSEYY4KEbK9klDmeKtjB7TwhN4dq8ow6E-AkSQWSiPK0aNfhnbdaPkgE2xU02eWGNGK2iTUps/s200/Orville.jpg" width="150" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Will Ferrell would kill as Orville.</td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><b>BE: </b>You’re preaching to the choir. We did get an option offer on it<span style="font-family: "arial" , "helvetica" , sans-serif;">, f</span>rom a producer that has a couple cool things cooking and in development. He didn’t have any money, and we were so busy with the <span style="font-family: "arial" , "helvetica" , sans-serif;">s</span>ci-<span style="font-family: "arial" , "helvetica" , sans-serif;">f</span>i thing that we really couldn’t take time off and do a few polishes for free. The other interesting thing<span style="font-family: "arial" , "helvetica" , sans-serif;"> is, </span>because <span style="font-family: "arial" , "helvetica" , sans-serif;">we</span>’re talking about siblings<span style="font-family: "arial" , "helvetica" , sans-serif;">, w</span>e always thought that it would be a real nice fit for sibling directors or sibling actors<span style="font-family: "arial" , "helvetica" , sans-serif;"> -- s</span>omething like that where <span style="font-family: "arial" , "helvetica" , sans-serif;">there's</span> an added level of personal connection to it. I think it’s one of those things where the right person is go<span style="font-family: "arial" , "helvetica" , sans-serif;">ing to</span> come along, and it can happen very quickly. There's still a lot of interest.</span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><b>GS:</b> Talking to the producer about<i><b> </b>Near Earth Object</i>, and why he was so excited about the material<span style="font-family: "arial" , "helvetica" , sans-serif;">, t</span>ells us a lot about why <i>Wright or Wrong</i> is such a difficult sell. <span style="font-family: "arial" , "helvetica" , sans-serif;">T</span>here<span style="font-family: "arial" , "helvetica" , sans-serif;"> are</span> so many reasons to say no to that material. You could say, <span style="font-family: "arial" , "helvetica" , sans-serif;">"</span>Oh, it’s a period piece’. So that’s gonna cost more money. <span style="font-family: "arial" , "helvetica" , sans-serif;">"</span>Oh, its a comedy, but the tone isn’t in line with what comedy is doing right now.<span style="font-family: "arial" , "helvetica" , sans-serif;">"</span></span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>JC: </b>Hollywood is extre<span style="font-family: "arial" , "helvetica" , sans-serif;">m</span>ely narrow in the type of comed<span style="font-family: "arial" , "helvetica" , sans-serif;">y</span> they'll make now. Ri<span style="font-family: "arial" , "helvetica" , sans-serif;">diculous, of course. </span></span></span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span> </span></span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><b><span style="font-family: "arial" , "helvetica" , sans-serif;">GS: </span></b>When we wrote it, there was a moment where the pendulum of comedy swung towards grounded, Judd Apatow-ty<span style="font-family: "arial" , "helvetica" , sans-serif;">pe,</span> character<span style="font-family: "arial" , "helvetica" , sans-serif;">-</span>focused comedy. This was very much an absurdist kind of romp and very fantastical and silly. It also wasn’t particularly edgy, so it wasn’t a bunch of dick jokes and things like that. So it didn’t quite hit exactly what the more outrageous comedy was doing or what the most grounded comedy was doing at the time. <br /><br /><b>JC: </b><span style="font-family: "arial" , "helvetica" , sans-serif;">W<span style="font-family: "arial" , "helvetica" , sans-serif;">hy did you guys segue from comedy into sci-fi?</span></span></span></span><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2G5mpEthDMtIvqFP8oiw_9J3fRu3l-sdmB-RJ2CG0Jirm5y5uQJkMqEqjYTCJfx8XSivDGJM1bJ3i1mKSL_R7Fnpjgyy0BpiNg0wi50RiTax7OVlty-Rwa7CQNBqnCSNfz5rY/s1600/spacestation.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2G5mpEthDMtIvqFP8oiw_9J3fRu3l-sdmB-RJ2CG0Jirm5y5uQJkMqEqjYTCJfx8XSivDGJM1bJ3i1mKSL_R7Fnpjgyy0BpiNg0wi50RiTax7OVlty-Rwa7CQNBqnCSNfz5rY/s640/spacestation.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">The International Space Station (I.S.S.)</span></td></tr>
</tbody></table>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><b> BE: </b>I was talking to another guy we went to NYU with,<span style="font-family: "arial" , "helvetica" , sans-serif;"> </span>Evan Astrowsk<span style="font-family: "arial" , "helvetica" , sans-serif;">y,</span> who is a producer <span style="font-family: "arial" , "helvetica" , sans-serif;">with</span> about a dozen produced credits. He <span style="font-family: "arial" , "helvetica" , sans-serif;">(encouraged me)</span> to take my writing voice into the genre space. I was resistant at first, because I liked some genre films, but I wasn’t much of a genre fan just for the genre itself. Then I thought this guy has good connections<span style="font-family: "arial" , "helvetica" , sans-serif;">, and h</span>e’s inviting me to create. I came up with a couple of concepts, but there was this one, <i>Snowfall,</i><b><i> </i></b>about a bunch of commuters stuck on a train during <span style="font-family: "arial" , "helvetica" , sans-serif;">a massive blizzard, which turns out to be cover for an alien invasion. Glenn </span>really liked it, and we developed together<span style="font-family: "arial" , "helvetica" , sans-serif;">. </span>Glenn and I were gonna co-direct it, and then Evan was gonna produce it. <span style="font-family: "arial" , "helvetica" , sans-serif;">But </span>Evan said, <span style="font-family: "arial" , "helvetica" , sans-serif;">"</span>Look, this is really strong material, and I think I might be able to get it set up in a bigger way." He took us in to his contacts at UTA. They signed us, and we went out <span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;">with the script, </span></span>and <a href="http://variety.com/2014/film/news/pitch-perfect-producers-heating-up-sci-fier-snowfall-exclusive-1201162495/" target="_blank">eventually it landed <span style="font-family: "arial" , "helvetica" , sans-serif;">at</span> Gold Circle</a>. <span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></span></span><br />
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;">After a period of development,</span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span>it</span> ended up going into turnaround. So now we have two really strong versions of it<span style="font-family: "arial" , "helvetica" , sans-serif;"> -- o</span>ne that’s about a <span style="font-family: "arial" , "helvetica" , sans-serif;">$2 </span>million version, one you could probably shoot for <span style="font-family: "arial" , "helvetica" , sans-serif;">$10 or $15</span> million. I gave both of those drafts to one of my UCLA classes. I split the class in half and the ratings were, interestingly, exactly the same. The people on average liked the earlier version as much as they liked the other version. <br /><br /><b>GS: </b>We were so far<span style="font-family: "arial" , "helvetica" , sans-serif;"> <span style="font-family: "arial" , "helvetica" , sans-serif;">along.</span></span>They were already location scouting in Canada. I think it just kind of lost momentum, and then suddenly it wasn’t the hottest project on the docket after all this time developing it. It’s painful and it’s frustrating. It’s a good education in setting expectations. <span style="font-family: "arial" , "helvetica" , sans-serif;">(For<span style="font-family: "arial" , "helvetica" , sans-serif;"> our)</span></span> next project we wanted to do something that was a little bit bigger in scale<span style="font-family: "arial" , "helvetica" , sans-serif;">, (but)</span> still contained and producible. We wanted to make something easy for someone to say yes t<span style="font-family: "arial" , "helvetica" , sans-serif;">o</span>. We wanted to eliminate any reason to say no and have<span style="font-family: "arial" , "helvetica" , sans-serif;"> the</span> material stand or fall based on the quality of writing itself. Ultimately, that <span style="font-family: "arial" , "helvetica" , sans-serif;">became</span> <i>Near<span style="font-family: "arial" , "helvetica" , sans-serif;"> E</span>arth Object<span style="font-family: "arial" , "helvetica" , sans-serif;">.</span></i></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj-N_bx_eLUuL5icRat02HHMbpdJquH-GsT0mhtVUJJKpZvzyYT-kxI8HvC1Icv-H-mlUPsfclXHBurKSiFd0VZt8Ieb_ptvyq9xzbWme7sJ7mCJ70LBgjwEZ9sCi_-C6zFTPd/s1600/blonde.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj-N_bx_eLUuL5icRat02HHMbpdJquH-GsT0mhtVUJJKpZvzyYT-kxI8HvC1Icv-H-mlUPsfclXHBurKSiFd0VZt8Ieb_ptvyq9xzbWme7sJ7mCJ70LBgjwEZ9sCi_-C6zFTPd/s400/blonde.jpg" width="400" /></a><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><b>JC:</b> And big congrats on setting that one set up! It seems like everybody is getting on the China bandwagon nowadays. What was the process of getting the script out there, and how did <span style="font-family: "arial" , "helvetica" , sans-serif;">Le Vision</span> come aboard?<br /><br /><b>GS: </b>Once we finished the script, we handed it out to our agents and manager and lawyer. The response from our internal team was fantastic. UTA got extremely excited about it. Within about two weeks, they had set a plan and put it out to a bunch of different companies around town. Among that list was Le Vision<span style="font-family: "arial" , "helvetica" , sans-serif;"> --</span> former Paramount <span style="font-family: "arial" , "helvetica" , sans-serif;">Pictures Pres<span style="font-family: "arial" , "helvetica" , sans-serif;">ident</span></span> Adam Goodman and his team. </span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><b>JC: </b><a href="http://www.thewrap.com/chinas-le-vision-officially-acquires-adam-goodmans-dichotomy/" target="_blank"><span style="font-family: "arial" , "helvetica" , sans-serif;">Goodman is now helming L</span>e Vision</a><span style="font-family: "arial" , "helvetica" , sans-serif;">, </span>one of the largest movie companies in C<span style="font-family: "arial" , "helvetica" , sans-serif;">hina<span style="font-family: "arial" , "helvetica" , sans-serif;">, and has a slate of English language films.</span></span></span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span> </span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><b>GS: </b>They saw a lot of potential and a lot of reasons to say yes<span style="font-family: "arial" , "helvetica" , sans-serif;">, and </span>a lot of reasons <span style="font-family: "arial" , "helvetica" , sans-serif;">their partners</span> in China would be very positive about this project<span style="font-family: "arial" , "helvetica" , sans-serif;">, i</span>ncluding one of the main characters being a Chinese astronaut<span style="font-family: "arial" , "helvetica" , sans-serif;"> <span style="font-family: "arial" , "helvetica" , sans-serif;">and the</span> </span>international appeal of a small team of astronauts stuck on the international space station trying to help save the world. </span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><br /><b>B<span style="font-family: "arial" , "helvetica" , sans-serif;">E</span>: </b><span style="font-family: "arial" , "helvetica" , sans-serif;">T</span>he concept was organically international. It wasn’t <span style="font-family: "arial" , "helvetica" , sans-serif;">a</span> Chinese guy sho<span style="font-family: "arial" , "helvetica" , sans-serif;">ehorned </span>into an American movie or vice versa. <span style="font-family: "arial" , "helvetica" , sans-serif;">The concept</span> was about the teamwork between <span style="font-family: "arial" , "helvetica" , sans-serif;">a gro<span style="font-family: "arial" , "helvetica" , sans-serif;">up of astronauts </span></span>stranded together, and they all need to work together to confront big problems<span style="font-family: "arial" , "helvetica" , sans-serif;"> when they're up on </span>the <span style="font-family: "arial" , "helvetica" , sans-serif;">I</span>nternational <span style="font-family: "arial" , "helvetica" , sans-serif;">S</span>pace <span style="font-family: "arial" , "helvetica" , sans-serif;">S</span>tation. Adam responded strongly to it being organically international and contained. It can be a tent pole movie but not nearly at the tent pole price. We were smart about limiting locations. <br /><br /><b>JC: </b>Awesome! What’s the one<span style="font-family: "arial" , "helvetica" , sans-serif;">-</span>liner?</span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhziJEW_i-U_OybVqyLKNc9D1A92vTyt7xM8RjoXmgkVhKNOZMEAZk3ncIspQ-oRBLatjO1-s6Do3D70i6BLy5o5i65Xcj-vcaPLkrPwGnbjGTTuObnOx1xnCl57oF0Cpcpo7fW/s1600/International+space+station+expedition+27+Insignia.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhziJEW_i-U_OybVqyLKNc9D1A92vTyt7xM8RjoXmgkVhKNOZMEAZk3ncIspQ-oRBLatjO1-s6Do3D70i6BLy5o5i65Xcj-vcaPLkrPwGnbjGTTuObnOx1xnCl57oF0Cpcpo7fW/s320/International+space+station+expedition+27+Insignia.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">ISS 27 Mission Patch</span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><b>B<span style="font-family: "arial" , "helvetica" , sans-serif;">E</span>:</b> I can't say too much<span style="font-family: "arial" , "helvetica" , sans-serif;">, but... w</span>hen a team of astronauts get stranded on the international space station, they have to work together to confront what could be the end of the world. Them being stranded is the very thing that makes them <span style="font-family: "arial" , "helvetica" , sans-serif;">key </span>to saving humanity. <span style="font-family: "arial" , "helvetica" , sans-serif;">It</span> turns out because they’re <span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;">isolated, </span>they're the only ones who can</span> save humanity.</span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><b>J</b><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>C: </b>Nice. So wh<span style="font-family: "arial" , "helvetica" , sans-serif;">at's happening with <i>Near Earth Object?</i></span></span> </span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><br /><b>BE: </b>We met with <span style="font-family: "arial" , "helvetica" , sans-serif;">Le Vision</span> a bunch of times, and they’re really awesome guys. Smart notes, loved the project, great to work with, very sharp. It’s been awesome. We’ve written a treatment for the new draft<span style="font-family: "arial" , "helvetica" , sans-serif;">.</span> <span style="font-family: "arial" , "helvetica" , sans-serif;">Then p</span>robably another polish or two on the treatment<span style="font-family: "arial" , "helvetica" , sans-serif;">, and </span>then we jump into the new draft. <span style="font-family: "arial" , "helvetica" , sans-serif;">T</span>hey’re very excited and want to get it moving as soon as possible. <br /><br /><b>JC:</b> A<span style="font-family: "arial" , "helvetica" , sans-serif;">ny</span> whispers of casting yet?<br /><br /><b>GS:</b> It’s too soon. The next step would be getting the script right, then getting a director on board. Le Vision has been a force in China but only </span></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">recently </span></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">opened up in the United States. Adam was named as the president of Le <span style="font-family: "arial" , "helvetica" , sans-serif;">V</span>ision in the U.S. in September. We have the honor and distinction of being the first project that they picked up<span style="font-family: "arial" , "helvetica" , sans-serif;">.</span><br /><br /><b>BE:</b> They make about 18 movies for the China market a year. Them expanding to Hollywood was a real natural progression. They were really smart to bring on Adam, who was at Dream<span style="font-family: "arial" , "helvetica" , sans-serif;">W</span>orks and Paramount. He’s super sharp, and I think he’s gonna do great things for them. </span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><br /><b>GS:</b> In the development process, what we found exciting <span style="font-family: "arial" , "helvetica" , sans-serif;">was that</span> his instincts are really sharp. <span style="font-family: "arial" , "helvetica" , sans-serif;">We feel that t</span>he way he’s pushing us<span style="font-family: "arial" , "helvetica" , sans-serif;"> is </span>significantly improving the material. We feel like we're learning from him and the rest of the team<span style="font-family: "arial" , "helvetica" , sans-serif;"> </span>as we go along. Even in the couple of months we’ve worked together and the little bit of work that we’ve done so far, we’re increasingly excited. When you go into a producer relationship, you don’t know what to expect. The whole team’s treated us with nothing but respect and also have provided us with notes that have been great. </span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><b>JC</b><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>: </b>Guys, you did it -- you made good. Proud of you. Keep on rocking it, and I look forward to seeing <i>Near Earth Object </i>at the multiplex.</span></span></span><br />
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<a href="http://www.coverageink.com/" target="_blank"><img alt="http://www.coverageink.com" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMyYUKHuMaQKFk1RrlB3QZnQolBQKJUPHkzmGjaWok2ijbbtvm94CA89iNIkLeg5ne6jluznosLJmLmMiw05WvjKbRDIPY8GAFQKUeExMJ17Qk6kSv3C8zVio0mykP8rHr4rVN/s1600/banner4.gif" /></a></div>
Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-23907050.post-80022727037598517782017-01-22T03:42:00.003-08:002017-01-23T05:00:19.452-08:00How Do I Get an Agent?<h4>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Ah, the age-old question. If you want to know the real answer, watch this video (8 mins). </span></span></h4>
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<a href="https://youtu.be/4SmP03PNlv8"><img alt="https://youtu.be/4SmP03PNlv8" border="0" height="328" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg25GtTTZ-mcybyGtq8YWGyxu1q_eTAylCilDBGXSYEAIyZ1vWTvv2W-ORlkFD8COtuJR-5m4wg-4rCx3EIAKT9pA7neG45j1cS835GWzAH7l3wG44kxDAopoRzjeu4EPWYgKym/s640/YouTube+card.jpg" title="" width="640" /></a></div>
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<br />Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-23907050.post-85473081704170872352017-01-04T04:20:00.001-08:002017-01-04T04:22:29.166-08:00Get Repped Now Fall 2016 Considers (So Far)<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiP2mstTeW8URUyqiw5HYS2aWDP3e8LiyoAEuKaIJZUc9Ij9Si0NkcGaQE4qo0IY0JmyK_CKc0MLLO5sydQEV4asfudScJPiutFXrQaIJR1GpyviIgMVCwCiyTxt4YLEVnJ-NbJ/s1600/considers+2016.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiP2mstTeW8URUyqiw5HYS2aWDP3e8LiyoAEuKaIJZUc9Ij9Si0NkcGaQE4qo0IY0JmyK_CKc0MLLO5sydQEV4asfudScJPiutFXrQaIJR1GpyviIgMVCwCiyTxt4YLEVnJ-NbJ/s640/considers+2016.jpg" width="640" /></a><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">We're just about done reading all the Fall 2016 <a href="http://www.coverageink.com/getrepped.html">Get Repped Now</a> submissions, and we are super excited about the material. While only four scripts that made the cut so far (down from ten last go-round,) the quality of them all is through the roof. We can't wait to drop them on our manager panel as soon as we get all the polish drafts in. </span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">A round of applause, please, for our Get Repped Now fall 2016 considers (so far:)</span></span><br />
<ul>
<li><span style="font-family: "arial" , "helvetica" , sans-serif;"></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><b>Mike Doyle</b> - <i>Heathens </i>(feature)</span></span></li>
<li><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><b>Joseph Balczo</b> - <i>Bloodlands</i> (pilot)</span></span></li>
<li><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><b>Lyn Woodward</b> and <b>Jonny Lieberman</b> - <i>Frank Bourbon, Car Guy</i> (feature)</span></span></li>
<li><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><b>Tony Dunoyer</b> and <b>Alex Chevasco</b> - <i>The Machiavellis</i> (pilot + feature) </span></span></li>
</ul>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">T</span>his batch of talented writers features two repeat offenders -- Balczo, as well as the team of Dunoyer + Chevasco, landed 'considers' in 2015. While acknowledging the talent on the page, the managers weren't motivated enough by the material at that time. So it's really satisfying to see them land another at-bat. </span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjosxkWDSIeFXHqii70raLyjOKURsuKkBi7ljY8N6Ca_dB9R2woNyJTpDjTjVMFUGU_gxVBs7b7qiGtpq0pBQf34KmPF0A7yR86e1N-g19j2WWoyZG6AN06wp9s51dGz2RqD_GH/s1600/GRN+square.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjosxkWDSIeFXHqii70raLyjOKURsuKkBi7ljY8N6Ca_dB9R2woNyJTpDjTjVMFUGU_gxVBs7b7qiGtpq0pBQf34KmPF0A7yR86e1N-g19j2WWoyZG6AN06wp9s51dGz2RqD_GH/s200/GRN+square.JPG" width="200" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">Right now, we're letting our panel know what's coming at them and building anticipation. Hopefully we'll have exciting news on all these projects in the coming months. And if your a script didn't score a 'consider,' just remember -- it's always a 'pass' until it isn't. A 'consider' may only be a draft away. Get Repped Now returns in March, so we expect all of you to bring your "A" game. So let's root for our considers as we storm Hollywood's battlements, chew bubble gum and kick ass. </span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">Oh, crap -- all out of bubble gum. </span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">-- Jim C.</span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><br /></span></span>Unknownnoreply@blogger.com3tag:blogger.com,1999:blog-23907050.post-1322686124416258152017-01-03T16:11:00.001-08:002017-01-04T02:16:04.742-08:00Aaron Sorkin MasterClass: Review<!--[if gte mso 9]><xml>
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</xml><![endif]--><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">by Jim Cirile</span></span><br />
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<a href="http://www.coverageink.com/"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">CoverageInk.com</span></span></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv73_VwJ6JW-tQN9MgK_nH_4KBqjcDu8ohgIEvCjxZq53VU1fzEc6VgRloE6sEUDg3oGywfOCClc6R5-VTyAIpKZ23RIPVTioIe2e6qF6jVn6qko_nqbFd4QT_2DRB-X7_VxtO/s1600/aaron+s.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="348" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv73_VwJ6JW-tQN9MgK_nH_4KBqjcDu8ohgIEvCjxZq53VU1fzEc6VgRloE6sEUDg3oGywfOCClc6R5-VTyAIpKZ23RIPVTioIe2e6qF6jVn6qko_nqbFd4QT_2DRB-X7_VxtO/s640/aaron+s.png" width="640" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"> </span></span>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><a href="http://masterclass.com/">MasterClass.com</a> caught screenwriters' eyes in a big way last
year when they launched their <b>Aaron Sorkin video tutorial series.</b> For $90, far
cheaper than the cost of most screenwriting classes, we could spend 35 video
lessons with the esteemed writer of <i>A Few Good Men, West Wing,</i> and <i>The Social
Network,</i> to name but a few. </span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">You've gotta hand it to MasterClass. They have assembled a
roster of absolutely top-shelf talent for their video tutorials -- folks like
bestselling author <b>James Patterson</b> teaching writing, <b>Hans Zimmer</b> on composing
and <b>Gordon Ramsay</b> on cooking. Their videos are lavishly produced and yet
intimate -- you really feel like you are in the room with the instructors as
they share their tips, tricks and techniques. Take a minute to browse their
catalog and you will no doubt see several classes you'd like to take. </span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">So how is the Sorkin? In the style of another cinematic
masterpiece, let's break it down:</span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><b>The Good: </b>Sorkin comes off as thoughtful, easy-going and
overall is a pretty good teacher, with a huge respect for the masters of screenwriting
who came before him. We get a glimpse into his thought processes and his <span style="font-family: "arial" , "helvetica" , sans-serif;">work</span>man-like<span style="font-family: "arial" , "helvetica" , sans-serif;"> </span>style of tackling complex story issues -- such as how to write about real-life
people far smarter than he believes himself to be (Steve Jobs, for example.)
And there is a lot of content here as well. The lessons are structured in three
distinct parts: first, one on one with Aaron, wherein he pontificates on various
screenwriting-related topics. In the second section he workshops scripts with
five students in a classroom setting. And in the final section, he sets up a
pretend writer's room, and he and the students proceed to "break"
story for a new <i>West Wing</i> episode. This is a great look behind the scenes of
how a TV writers room works and shows how various ideas and story threads are
assembled. There are also a few lessons detailing his dialogue process. It goes
without saying that this is a no-brainer for fans.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIO3PFBSxLe_BzVwJTadETenLADJb6TJ-B3uYhDdsJ-H1V6DA33wljo1yN8oFD99JFy3jrR6vtHC5ClGesYBZm-HFzEeXupdM53SXoRmJmvcid4WAXUpd7AssazzuHOdnciBvi/s1600/aaron-sorkin-teaches-screenwriting-masterclass-review-coupon-1024x640.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIO3PFBSxLe_BzVwJTadETenLADJb6TJ-B3uYhDdsJ-H1V6DA33wljo1yN8oFD99JFy3jrR6vtHC5ClGesYBZm-HFzEeXupdM53SXoRmJmvcid4WAXUpd7AssazzuHOdnciBvi/s320/aaron-sorkin-teaches-screenwriting-masterclass-review-coupon-1024x640.png" width="320" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><b>The </b></span></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><b>Bad: </b>Those expecting an actual "master"-level
class may be disappointed. While Sorkin himself is unquestionably a master, the
class itself is for beginner to intermediate-level writers. Apart from the sage
advice to go back and read Aristotle's "Poetics," as it is the
foundation of all things story, my partner and I didn't really learn much from
the 5-plus hours of videos. However, we're coming at this from a higher level
than some. </span></span>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">As well, we felt that while Sorkin was super cool and
empowering to the students, some story issues in the workshopped screenplays
were missed -- such as a TV series pitch that probably should have been a
feature, except that it would be "Rain Man," which is why it's a
series pitch -- except it doesn't really work; and another where the concept
was just convoluted and broken. Sorkin did target a few of the logic and
research issues in that case, but the real note should have been to rethink the
premise from the ground up. Although we certainly can't fault him for being a
nice guy. </span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><b>The Ugly: </b>It goes without saying that Sorkin is a brilliant
writer. But our main criticism of his work -- that many of his characters sound
the same and all speak in that hyper-stylized patter -- also applies to what he
teaches. In fact he actually tells us not to write character bios, because that
may get in the way of the character saying what you want them to say. That is probably not the best advice and goes to the heart of the problem just mentioned. It results
in what we call "non-character-specific dialogue." You should always
have a solid idea of your characters and their backstory, because that informs
how they speak/behave. In contrast to what Sorkin says, in theory your
characters indeed have existed before the movie began. All those life
experiences, along with socio/economic status, country of origin/ethnicity,
quirks, tics, idiosyncrasies and personality, etc., should inform their
dialogue. </span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">He also talks about using page count as a metric to where
you should be in your story at any given time, which is great. However, his
scripts can run 180-200 pages or more, and that is because they are so
dialogue-heavy. In his original draft of "The American President," Annette
Bening's character didn't even arrive in the story until the second half of the
script -- page 100! Could you imagine if you or I turned in such a draft to a
studio? We'd never work again. No wonder all his characters sound the same.
When you've got to cram 180 pages of dialogue into a 2-hour movie, that
necessitates <span style="font-family: "arial" , "helvetica" , sans-serif;">characters</span> speaking like Gilmore Girls <span style="font-family: "arial" , "helvetica" , sans-serif;">at 78 rpm</span>. <span style="font-family: "arial" , "helvetica" , sans-serif;">H</span>ere in the real world, unless you've already got that amazing <span style="font-family: "arial" , "helvetica" , sans-serif;">reputation</span>, it's tough to get feature scripts over 120 pages read
-- no matter if your script is dialogue or V.O. -heavy<span style="font-family: "arial" , "helvetica" , sans-serif;"> or not</span>.</span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">Lastly, Sorkin can take a while to get to a point. There
were times when we'd be shouting out <span style="font-family: "arial" , "helvetica" , sans-serif;">things </span>like "White on the
page!" to su<span style="font-family: "arial" , "helvetica" , sans-serif;">mmarize</span> what takes him <span style="font-family: "arial" , "helvetica" , sans-serif;">a <span style="font-family: "arial" , "helvetica" , sans-serif;">bit</span></span> of screen time to <span style="font-family: "arial" , "helvetica" , sans-serif;">explain</span>. <span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;">That said</span>, his ruminations are </span>interesting and insightful and <span style="font-family: "arial" , "helvetica" , sans-serif;">worth the journey</span>.</span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><b>Conclusion:</b> Sorkin's
class is a great look into the mind and process of a true master, but don't
expect it to be a master-level class. It is however an affordable and
worthwhile experience for those looking to learn the basics and get a taste of
Sorkin. Just be aware that we are not all at Sorkin's
level, and there are a different set of rules for the likes of us.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8X4ErTYaf4qRpQa007HZABwIOty1oEKqH3YTJOKPqydk7hq-4eEQxvgMH_uIu9L5eqdWrLzMjaPjPeJ2PJw0xbaEBuM74JpITG3XBr1gdCbBy_cRBZwo-1Qas-24cyn9BdQKQ/s1600/3.5stars.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="41" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8X4ErTYaf4qRpQa007HZABwIOty1oEKqH3YTJOKPqydk7hq-4eEQxvgMH_uIu9L5eqdWrLzMjaPjPeJ2PJw0xbaEBuM74JpITG3XBr1gdCbBy_cRBZwo-1Qas-24cyn9BdQKQ/s200/3.5stars.jpg" width="200" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">(3.5 stars out of 5.)</span></span></div>
Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-23907050.post-74220725916605290382017-01-02T19:48:00.005-08:002017-01-04T14:26:00.695-08:005 WAYS TO HIT THE GROUND RUNNING IN 2017<h2>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">(And Good Riddance, 2016)</span></span></h2>
<h2>
<span style="font-weight: normal;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">By Jim Cirile</span></span></span></h2>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH3NnhWhnUEqHp37Ga_nC3UhJm06MFwqAArESmt0CAiQw8VjxcHZ148Pd9yaF_hbS5arDwp7IbqZ-Fw3hBBrFCQCEAhJJX4F0caxthwZcRYYs6tecxB0E2xRwesBhly7lyV0pH/s1600/lookout+jc.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH3NnhWhnUEqHp37Ga_nC3UhJm06MFwqAArESmt0CAiQw8VjxcHZ148Pd9yaF_hbS5arDwp7IbqZ-Fw3hBBrFCQCEAhJJX4F0caxthwZcRYYs6tecxB0E2xRwesBhly7lyV0pH/s640/lookout+jc.JPG" width="640" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;">From the <a href="http://americanscreenwriters.com/five_ways_to_hit_the_ground_running_in_2017/">American Screenwriters Association blog</a></span><b> </b></span></span><br />
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><b>Ahoy, fellow scribes! </b>We’re finally done with 2016, that blizzard of putrescence – and not a minute too soon. Some of the lowlights: Trump, DNC chicanery, and Wikileaks revealing that <a href="https://newrepublic.com/article/137798/important-wikileaks-revelation-isnt-hillary-clinton">Citicorp had selected Obama’s entire cabinet</a><span style="font-family: "arial" , "helvetica" , sans-serif;">. </span>And we lost so many – not only huge names like Prince, Bowie, Muhammad Ali, George Michael and Carrie Fisher, but lesser-known geniuses like Joe Alaskey, aka the voice of Bugs Bunny and Daffy Duck, <i>Monsters Inc.</i> screenwriter Dan Gerson, and two-thirds of progressive rock pioneers Emerson, Lake and Palmer (only drummer Carl Palmer remains). Icing the turd: feature spec sales were at their lowest level in a decade. </span></span><br />
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">Ugh.</span></span><br />
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">But wait<span style="font-family: "arial" , "helvetica" , sans-serif;">.</span> What’s that sound off in the distance? <span style="font-family: "trebuchet ms" , sans-serif;">Was that</span> a… <b><i>cha-ching?</i></b> Indeed! There is a light at the end of the tunnel. It’s the magic number <b>455</b>. No, no, it’s not on the front of an oncoming train. That, friends, is the number of scripted pilots bought/ordered last year. Compare that with less than 100 feature specs sold, and you’ll see that TV has superseded features as a place to make money. And that means opportunity. </span></span><br />
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">So I’ve compiled a short list of <b>five things we should all do in order to get a piece</b>. Forget pointless New Year’s resolutions you’ll never keep – <u>do this</u>. </span></span><br />
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Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
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</xml><![endif]--><span style="font-size: large;"><b><span style="font-family: "arial" , "sans-serif";">1) ELEVATE YOUR CRAFT</span></b><span style="font-family: "arial" , "sans-serif";"> </span></span><br />
<br />
<span style="font-size: large;"><span style="font-family: "arial" , "sans-serif";">Sounds
simple, right? Yet this is probably the single hardest thing for writers to do,
mainly because many of us live in a lovely Egyptian land called “Denial.” See,
screenplays are not lottery tickets. There is no real element of luck. If you
send scripts to 20 contests and hope that one of them will recognize your
brilliance, you’re not understanding how things really work. While there are
exceptions of course, when a script is great, everyone can see it from 20,000
feet. </span></span><br />
<br />
<span style="font-size: large;"><span style="font-family: "arial" , "sans-serif";">The
truth is, the vast majority of scripts are mediocre. But rather than doing the
heavy lifting needed to get them into the end zone – that means rewriting,
people – oftentimes we maybe do one round of notes, then send it out.</span></span><br />
<span style="font-size: large;"><span style="font-family: "arial" , "sans-serif";">The
sound you hear next is the door hitting your ass on the way out.</span></span><br />
<br />
<span style="font-size: large;"><span style="font-family: "arial" , "sans-serif";">The
truth is: creating a great script generally takes <b>work</b>. <i>Malevolent,</i> our in-production
animated feature (starring William Shatner and Morena Baccarin) took 20 drafts
and over a year of development before it got consistent considers. Expect this
and plan for it. Why is it that unlike any other highly paid profession,
writers have so much trouble accepting that years of study and blood, sweat and
tears are often needed to learn a highly specialized craft?</span></span><br />
<div class="MsoNoSpacing">
<span style="font-size: large;"><span style="font-family: "arial" , "sans-serif";">So
I want everyone reading this to take steps to up their game. Don’t just keep
writing in a vacuum<span style="font-family: "arial" , "sans-serif";">.</span> </span></span></div>
<span style="font-size: large;">
</span><br />
<div class="MsoNoSpacing" style="margin-left: 0.5in; text-indent: -0.25in;">
<span style="font-size: large;"><span style="font-family: "symbol";">·<span style="font-family: "times new roman"; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="font-family: "arial" , "sans-serif";">Take
a class. Pretty much every college has online classes. Embrace the learning process.
</span></span></div>
<span style="font-size: large;">
</span><br />
<span style="font-size: large;">
</span><br />
<div class="MsoNoSpacing" style="margin-left: 0.5in; text-indent: -0.25in;">
<span style="font-size: large;"><span style="font-family: "symbol";">·<span style="font-family: "times new roman"; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="font-family: "arial" , "sans-serif";">Find
a writer’s group. You’d be amazed how empowering it is to get feedback on your
pages week after week – plus the deadlines help, too. </span></span></div>
<span style="font-size: large;">
</span><br />
<span style="font-size: large;">
</span><br />
<div class="MsoNoSpacing" style="margin-left: 0.5in; text-indent: -0.25in;">
<span style="font-size: large;"><span style="font-family: "symbol";">·<span style="font-family: "times new roman"; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="font-family: "arial" , "sans-serif";">Send
your script in for feedback from companies who use highly trained professional
story analysts – and then <i>do the notes</i>.
</span></span></div>
<span style="font-size: large;">
</span><br />
<span style="font-size: large;">
</span><br />
<div class="MsoNoSpacing" style="margin-left: 0.5in; text-indent: -0.25in;">
<span style="font-size: large;"><span style="font-family: "symbol";">·<span style="font-family: "times new roman"; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span style="font-family: "arial" , "sans-serif";">And
lest we forget – avail yourself of all the incredible information out there!
When I got started in the ‘80s, all we had were a couple of Syd Field books.
Now there are literally thousands of how-to books, blogs, articles, webinars and
YouTube videos. All out there waiting for you.</span></span></div>
<div class="MsoNoSpacing">
<br />
<span style="font-size: large;"><span style="font-family: "arial" , "sans-serif";">Do ALL these things. repeat as needed. No point in making any submissions until you are certain that your script rocks (unless you're a glutt<span style="font-family: "arial" , "sans-serif";">on for rejection.)</span></span></span><b><span style="font-size: large;"><span style="font-family: "arial" , "sans-serif";"><br /></span></span></b><br />
<br />
<b><span style="font-size: large;"><span style="font-family: "arial" , "sans-serif";">2) MAKE A LIST AND CHECK IT TWICE</span></span></b><br />
<br />
<span style="font-size: large;"><span style="font-family: "arial" , "sans-serif";">Once
you’re confident your material is the shizbombdiggity, how do you get it out
there? Good news again: there have never been more ways to do this. The truth
is: <b>everyone is looking to find an amazing
script.</b> But no one wants to waste precious time trudging through the great
unwashed masses. So companies like </span><a href="http://www.inktip.com/"><span style="font-family: "arial" , "sans-serif";">InkTip</span></a><b><span style="font-family: "arial" , "sans-serif";"> </span></b><span style="font-family: "arial" , "sans-serif";">and </span><a href="https://www.blogger.com/null"><span style="font-family: "arial" , "sans-serif";">Virtual Pitchfest</span></a><span style="font-family: "arial" , "sans-serif";"> make it easy to
submit your story ideas to producers and reps for just a few bucks (and they
take a lot of the hassle out of the process for producers, while adding a
firewall to ensure they’re not badgered by the likes of us.) I personally got
signed off Virtual Pitchfest in the past, so I can assure you it works.</span></span><br />
<br />
<span style="font-size: large;"><span style="font-family: "arial" , "sans-serif";">Two
other interesting options: </span><a href="https://roadmap-writers.myshopify.com/"><span style="font-family: "arial" , "sans-serif";">Roadmap Writers</span></a><span style="font-family: "arial" , "sans-serif";"> and </span><a href="https://blcklst.com/"><span style="font-family: "arial" , "sans-serif";">The
Black List</span></a><span style="font-family: "arial" , "sans-serif";">.
Roadmap Writers sets up phone/Skype pitches with execs, while the Black List provides
industry exposure to top-rated script submissions.</span></span><br />
<br />
<span style="font-size: large;"><span style="font-family: "arial" , "sans-serif";">There’s
no better way to get in the faces of executives than by getting in the faces of
executives, so we highly recommend </span><a href="http://www.scriptfest.com/"><span style="font-family: "arial" , "sans-serif";">Scriptfest</span></a><span style="font-family: "arial" , "sans-serif";"> (formerly Great
American Pitchfest.) This event, held every summer in Burbank, puts you with as
many as 15-20 execs in a single day. A smaller but still worthwhile pitch event
is </span><a href="http://www.storyproevents.com/"><span style="font-family: "arial" , "sans-serif";">Pitching Room</span></a><span style="font-family: "arial" , "sans-serif";">, from Story Pros,
which is twice yearly.</span></span><br />
<br />
<span style="font-size: large;"><span style="font-family: "arial" , "sans-serif";">While
an </span><a href="http://www.imdbpro.com/"><span style="font-family: "arial" , "sans-serif";">imdbpro.com</span></a><span style="font-family: "arial" , "sans-serif";"> subscription ($129) has useful
company info, unfortunately, they don’t have a lots of up-to-date contacts and
e-mails useful for querying execs. Fortunately, there is the </span><a href="https://www.writersstore.com/hollywood-screenwriting-directory"><span style="font-family: "arial" , "sans-serif";">Hollywood
Screenwriting Directory</span></a><span style="font-family: "arial" , "sans-serif";">, from our friends at <b>The Writers Store</b>. $24.95 gets you a hard copy directory with 4,000
companies, as well as access to their frequently-updated website. Make a list
of the companies who have done projects similar to yours, then contact the
lowest-rung person on the totem pole at those places -- interns or assistants.
They’re looking to put feathers in their cap by finding killer material to
champion. That means <i>they actually read</i>.
Have your elevator pitch ready, and hit ‘em with a cold call. Be electric and
personable. A 20-second phone pitch can well elicit a “Sure, what the hell.
Send it over.” If you’re going to query via e-mail, make sure it is short and
punchy, that you paint a compelling, fascinating picture of yourself, and that
you only pitch one project per query.</span><b><span style="font-family: "arial" , "sans-serif";"> </span></b></span><br />
<br />
<span style="font-size: large;"><b><span style="font-family: "arial" , "sans-serif";">3) GET YOUR CONTEST
DUCKS IN A ROW</span></b><span style="font-family: "arial" , "sans-serif";"> </span></span><br />
<br />
<span style="font-size: large;"><span style="font-family: "arial" , "sans-serif";">There
are a handful of fantastic contests out there who break new talent all the
time. And there are a boatload that do not. Really, there are less than ten
that have any real juice. A cash prize is nice, but what you really need is <b>access</b>. Here are a few worth your dime
and your time:</span></span></div>
<span style="font-size: large;">
</span><br />
<div class="MsoNoSpacing">
<span style="font-size: large;"><a href="http://www.trackingb.com/"><span style="font-family: "arial" , "sans-serif";">Tracking B</span></a><span style="font-family: "arial" , "sans-serif";"></span></span></div>
<span style="font-size: large;">
</span><br />
<div class="MsoNoSpacing">
<span style="font-size: large;"><a href="http://www.tblaunchpad.com/"><span style="font-family: "arial" , "sans-serif";">LaunchPad</span></a><span style="font-family: "arial" , "sans-serif";"></span></span></div>
<span style="font-size: large;">
</span><br />
<div class="MsoNoSpacing">
<span style="font-size: large;"><a href="http://www.oscars.org/nicholl"><span style="font-family: "arial" , "sans-serif";">Nicholl Fellowship</span></a><span style="font-family: "arial" , "sans-serif";"></span></span></div>
<span style="font-size: large;">
</span><br />
<div class="MsoNoSpacing">
<span style="font-size: large;"><a href="http://www.scriptapalooza.com/"><span style="font-family: "arial" , "sans-serif";">Scriptapalooza</span></a><span style="font-family: "arial" , "sans-serif";"></span></span></div>
<span style="font-size: large;">
</span><br />
<div class="MsoNoSpacing">
<span style="font-size: large;"><a href="https://scriptpipeline.com/shop/screenwriting-contest"><span style="font-family: "arial" , "sans-serif";">Script Pipeline</span></a><span style="font-family: "arial" , "sans-serif";"></span></span></div>
<span style="font-size: large;">
</span><br />
<div class="MsoNoSpacing">
<span style="font-size: large;"><a href="http://showcase.slamdance.com/Screenplay-Competition"><span style="font-family: "arial" , "sans-serif";">Slamdance</span></a><span style="font-family: "arial" , "sans-serif";"></span></span></div>
<span style="font-size: large;">
</span><br />
<div class="MsoNoSpacing">
<span style="font-size: large;"><a href="http://applications2.sundance.org/res/p/InternationalJanSWLab/"><span style="font-family: "arial" , "sans-serif";">Sundance Lab</span></a><span style="font-family: "arial" , "sans-serif";"></span></span></div>
<span style="font-size: large;">
</span><br />
<div class="MsoNoSpacing">
<span style="font-size: large;"><a href="https://austinfilmfestival.com/submit/"><span style="font-family: "arial" , "sans-serif";">Austin</span></a><span style="font-family: "arial" , "sans-serif";"> </span></span></div>
<br />
<span style="font-size: large;"><span style="font-family: "arial" , "sans-serif";">As
for the rest… meh. Face it, making the semi-finals of the South Terre Haute
Film Festival Screenwriting Competition will do precisely jack and squat for
your career… and Jack just left town. And while we’re not a contest, I have to
shamelessly plug <b>Coverage Ink’s </b></span><a href="http://coverageink.com/getrepped.html"><span style="font-family: "arial" , "sans-serif";">Get Repped Now</span></a><b><span style="font-family: "arial" , "sans-serif";"> </span></b><span style="font-family: "arial" , "sans-serif";">promotion as well. Again,
access is the name of the game.</span></span><br />
<br />
<span style="font-size: large;"><span style="font-family: "arial" , "sans-serif";">And
don’t forget the network fellowships and diversity programs. Programs like <b>NBC’s </b></span><a href="http://www.nbcunitips.com/writers-on-the-verge/"><span style="font-family: "arial" , "sans-serif";">Writers on the Verge</span></a><span style="font-family: "arial" , "sans-serif";">, </span><a href="https://www.nickanimationstudio.com/writing-program"><span style="font-family: "arial" , "sans-serif";">Nickelodeon Writing</span></a><span style="font-family: "arial" , "sans-serif";"> and the </span><a href="http://abctalentdevelopment.com/writing_program.html"><span style="font-family: "arial" , "sans-serif";">Disney/ABC Writing
Fellowship</span></a><span style="font-family: "arial" , "sans-serif";">
are a golden way in – although competition is fierce. Finally, there may be
some grant money available for those who wish to DIY. </span><a href="http://www.filmdaily.tv/grants/upcoming-film-grants"><span style="font-family: "arial" , "sans-serif";">Film Daily has a
great list</span></a><span style="font-family: "arial" , "sans-serif";">.</span><b><span style="font-family: "arial" , "sans-serif";"> </span></b></span><br />
<br />
<span style="font-size: large;"><b><span style="font-family: "arial" , "sans-serif";">4) SCRUTINIZE
YOURSELF</span></b><span style="font-family: "arial" , "sans-serif";"> </span></span><br />
<br />
<span style="font-size: large;"><span style="font-family: "arial" , "sans-serif";">Most
of us have difficulty with this. That’s why I founded Coverage Ink, frankly –
because more often than not, others can see the flaws in your material when you
cannot. So buck up, pilgrim, and take a cold, hard look at each of these areas:</span><b><span style="font-family: "arial" , "sans-serif";"> </span></b></span><br />
<br />
<span style="font-size: large;"><b><span style="font-family: "arial" , "sans-serif";">Concept.</span></b><span style="font-family: "arial" , "sans-serif";"> If you are writing a
TV pilot, then your pilot should look like a TV show (duh) and bring something
fresh and compelling to the table, in a genre that TV generally does. As well,
it should ideally fit with a certain network – “this is clearly a CW show,” for
example. If it’s a feature, it should be demonstrably studio or indie (but
probably not both,) with a clear target audience. Who will pay to see this
movie? IS there an audience for it? Your adaptation of a 17<sup>th</sup>
century treatise on the merits of indoor plumbing, for example, may not draw
‘em in at the local multiplex. If it’s an indie, make sure you keep the budget
LOW. And even if it’s meant to be a studio spec, remember that while you do
need set pieces, you also need complex and robust characterizations. Consider
also that no one can sell a huge-budget epic fantasy or superhero spec -- most
of these types of movies are adapted from well-known source material, meaning
your spec is DOA. Best bet: stay with the evergreen genres: crime, thriller,
action, comedy, contained/affordable sci-fi (think “Moon,”) and horror.
Romantic comedies, epic adventures, westerns, dramas and period pieces are
tough sells on the feature side.</span><b><span style="font-family: "arial" , "sans-serif";"> </span></b></span><br />
<br />
<span style="font-size: large;"><b><span style="font-family: "arial" , "sans-serif";">Title.</span></b><span style="font-family: "arial" , "sans-serif";"> Titles are marketing
tools. Ideally they should convey something about the <b>genre, tone</b>, or <b>theme</b> of
the script. Beware of naming your script after your main character (lazy, and
tells us little unless it is a historical figure) or some cliché like “Good to
Go” or “It’s Never Enough.” These titles are so vague as to say nothing. Make
sure your title POPS.</span></span><br />
<span style="font-size: large;"><span style="font-family: "arial" , "sans-serif";"> </span><b><span style="font-family: "arial" , "sans-serif";"> </span></b></span><br />
<span style="font-size: large;"><b><span style="font-family: "arial" , "sans-serif";">Style.</span></b><span style="font-family: "arial" , "sans-serif";"> Yes, it <b>is</b> possible to scrutinize your writing style! Not just your story,
but <i>the way in which you tell a story</i>
– aka “voice.” A few things to look out for:<b> </b></span></span><br />
<br />
<span style="font-size: large;"><span style="font-family: "arial" , "sans-serif";"><i>Overwriting.</i>
Screenwriting should be snappy and terse, not novelistic and bloated. <span style="color: black;">Read your script over thoroughly, scanning every single
line, paragraph, every page, scrutinizing it carefully. Keep the axe poised,
and excise extraneous words. It's a bit of an art to train your eye to look for
bloat, but it's a skill any writer can learn. Take any sentence and challenge
yourself: can I say the same thing in half the words? Or do I need it at all?
Be on the lookout for redundancies, scenes that are unrelated to the main
storyline, excessive detail and extraneous characters and subplots -- especially
in the case of many ensemble scripts, which oftentimes would work better and be
tighter with a central protagonist.</span> </span></span><br />
<br />
<span style="font-size: large;"><span style="font-family: "arial" , "sans-serif";">Some
writers haven’t mastered contractions and possessives and confuse its/it’s and
your/you’re. Nothing will get your script tossed on the “pass” pile faster.
You’re putting yourself up for highly paid writing gigs, which means you’re
expected to know this stuff. Or we make other basic errors like “lightening”
instead of “lightning” and “must of” instead of “must have.” There is no shame in taking a copy editing
or grammar class at night school. They exist to help you. Avail yourself.</span></span><br />
<br />
<span style="font-size: large;"><span style="font-family: "arial" , "sans-serif";">But
by far the most common style problem is <b>just
a plain ol’ lack of it</b>. Some writers’ panache flares off the page, with energetic
word choices, vibrant descriptions and punchy, in-your-face prose. Others write
flat sentences using tired, uncreative adjectives like “large” and verbs like “walks,”
“sits,” and “runs.” One sprints, races, zooms, scrambles, stampedes, bolts,
flies, bum-rushes, steams, bounds or blazes. <i>Never “runs.”</i> </span></span><br />
<br />
<span style="font-size: large;"><span style="font-family: "arial" , "sans-serif";">Again,
creative writing courses are available at every single community college…</span></span><br />
<br />
<span style="font-size: large;"><span style="font-family: "arial" , "sans-serif";">Here’s
one more tip to improving your style: STEAL. How much do you think I stole from
William Goldman’s technique? If you answered “a f*ck ton,” you’d be correct!
There are amazing and inspirational writers out there who know how to turn a
phrase, who always keep you guessing. For me those people are folks like Harlan
Ellison, Richard Marcinko, Carl Hiassen, and David Twohy. Like the way a writer
does a cool transition, or uses just the right word to paint a mental picture? Filch!
No, I’m not saying lift their content, duh. I’m saying to use their style to
inform your own. </span><b><span style="font-family: "arial" , "sans-serif";"> </span></b></span><br />
<br />
<span style="font-size: large;"><b><span style="font-family: "arial" , "sans-serif";">5) WRITE SOMETHING
NEW</span></b><span style="font-family: "arial" , "sans-serif";"> </span></span><br />
<br />
<span style="font-size: large;"><span style="font-family: "arial" , "sans-serif";">Whaaat?
No, seriously. You should do this. All of us at one time or another have
shopped a project that was past its expiration date. It’s hard to accept
something we’ve labored over for years is pushing up daisies. But here’s the
thing: agents and managers expect you to write <b>two or three new pieces of material/year</b>. Gulp. Once you accept
that, there’s no time to beat that dead horse anymore. Because a gorgeous, brand-new
filly has just galloped in.</span></span><br />
<br />
<span style="font-size: large;"><span style="font-family: "arial" , "sans-serif";">So
put aside that script you’ve been flogging since 1994 and freakin’ start afresh.
Okay, now I know I just said to not be afraid to do twenty drafts. However,
many of us just keep reworking the same ol’ material which maybe has a flawed
or uncommercial concept or is just problematic in some way. When you start a
new feature or pilot, you’re proceeding with all the information you’ve learned
since then, ready to roll. Your sense of structure and pacing will be better,
and you may nail some things first time out that you are still struggling with
in the old script. By writing something new you will recharge your batteries
and show what you can do <b>right now</b>,
in 2017 – not what you did a few years ago, patched up with half-assed rewrites
that didn’t really address the underlying issues.</span></span><br />
<br />
<span style="font-size: large;"><span style="font-family: "arial" , "sans-serif";">+++</span></span><br />
<div class="MsoNoSpacing">
<br />
<span style="font-size: large;"><span style="font-family: "arial" , "sans-serif";">Simple,
right? Hell no. In fact, all this stuff is laborious. But you wanted in on this
game. You wanted to write movies and TV and make the big bucks. So make sure
you have the tools to rule. Now go kick some ass and make me proud!</span></span></div>
<span style="font-size: large;">
</span><br />
<div class="MsoNoSpacing">
<br /></div>
<span style="font-size: large;">
</span><br />
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_45m5qcbjFDHiDjuUh31a3i_fFeDho7Movn93GBXd7TqWK2YcCcIeSamlIvBYX73LgnzSGJWVkUUR4Azk62CCjgqaKlkCT4xZOip3qtEFUYyfHGLssZ1k9vksabZcDDjEpGmh/s1600/Jim+biz+pic+2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="176" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_45m5qcbjFDHiDjuUh31a3i_fFeDho7Movn93GBXd7TqWK2YcCcIeSamlIvBYX73LgnzSGJWVkUUR4Azk62CCjgqaKlkCT4xZOip3qtEFUYyfHGLssZ1k9vksabZcDDjEpGmh/s200/Jim+biz+pic+2.jpg" width="200" /></a></span></div>
<div class="MsoNoSpacing">
<span style="font-size: large;"><i><span style="font-family: "arial" , "sans-serif";">Jim Cirile is a Los
Angeles writer/producer and the founder of </span></i><a href="http://www.coverageink.com/"><i><span style="font-family: "arial" , "sans-serif";">Coverage Ink</span></i></a><i><span style="font-family: "arial" , "sans-serif";">, helping writers with professional screenplay
analysis/development services since 2002.</span></i></span></div>
<span style="font-size: large;">
</span><br />
<div class="MsoNoSpacing">
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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</xml><![endif]--><!--[if gte mso 10]>
<style>
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table.MsoNormalTable
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mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
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mso-para-margin-top:0in;
mso-para-margin-right:0in;
mso-para-margin-bottom:8.0pt;
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Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-23907050.post-25771473098684917602016-12-23T01:16:00.005-08:002016-12-23T01:16:55.838-08:00Film Grants!<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.filmdaily.tv/grants/upcoming-film-grants" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="http://www.filmdaily.tv/grants/upcoming-film-grants" border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIPEINHJWgMHlNQByL1sBq7p2TMlONsRGKqKne7MpqTk0uUuZLIUbKgCZI9SabonoyQENANKPVm4y9OKrE3I1s44I03QE4dU2DywjKbB3PVYz0pa8iwtqjD7ZciApibn0Y3eQu/s200/filmdaily.png" width="200" /></a></div>
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">Hey, friends! Want some <b>money?</b> Then check out <a href="http://www.filmdaily.tv/grants/upcoming-film-grants">FilmDaily.TV's</a> huge list of FILM GRANTS and see if you might be able to get a piece. There are a few really awesome and well-known ones here, including Sundance Institute, Nickelodeon Writing Fellowship, Slamdance, Nicholl Fellowship and the BBC. But there are also some lesser-known ones which emerging filmmakers may be able to take advantage of, such as the Nextpix/Firstpix Crowdfunding Grant, which gives grant money to microbudget features (under $250K budget) whose budget is at least partly crowdfunded. </span></span><br />
<br />
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">Check it out and see if you can get a piece!</span></span><br />
<br />
<span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://www.filmdaily.tv/grants/upcoming-film-grants">http://www.filmdaily.tv/grants/upcoming-film-grants </a></span><br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.coverageink.com/"><img alt="www.coverageink.com" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg3Tec2baCOJ-Y2CKHnPWPCl6RdmALY-58r2j49uWk8OU3wQ2XmUeVkHUjFaciPvzo07M46FVvXISN30ED8WTyfoXUuDKaWWd3tDlbvzmlgORWsg9cTf-VlyLx83SyBJISDe4d/s1600/banner4.gif" /></a></div>
Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-23907050.post-36938712502928363692016-12-12T02:30:00.000-08:002016-12-15T20:55:41.889-08:00TOP TEN BIGGEST WRITER MISTAKES<!--[if gte mso 9]><xml>
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<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2XK6G3PwnK70pFyRLjblUMwcD2tHVyeugt7J673JNXoCsfBu7OAyuKSzuYzDxPAx88pjXqm-m66byyyFOscYXdJgOXJGwtwhRVtCg_A4veXtyxKQjtw0_HG5J1bhNbDkrbn4K/s1600/AHS+logo.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="201" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2XK6G3PwnK70pFyRLjblUMwcD2tHVyeugt7J673JNXoCsfBu7OAyuKSzuYzDxPAx88pjXqm-m66byyyFOscYXdJgOXJGwtwhRVtCg_A4veXtyxKQjtw0_HG5J1bhNbDkrbn4K/s320/AHS+logo.png" width="320" /></a><span style="font-size: large;"><b>…According to Agents and Managers</b></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b> </b><b><span style="font-size: small;">By Jim Cirile </span></b></div>
<div class="MsoNormal">
<span style="font-size: small;"><a href="http://www.coverageink.com/"><b>www.CoverageInk.com</b></a> </span></div>
<div class="MsoNormal">
<br /></div>
<span style="font-size: small;">
</span><br />
<div class="MsoNormal">
<span style="font-size: large;"><i>Seven leading industry reps tell you what not to
do and what drives them nuts. Stay on the rails and save your career. </i></span></div>
<span style="font-size: small;">
</span><br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: small;">Excerpted from <a href="http://www.coverageink.com/ebooks.html">"Agent's Hot Sheet: Ten Years of Screenwriting Wisdom from Hollywood's Top Reps."</a></span></div>
<div class="MsoNormal">
<span style="font-size: small;"><br /></span></div>
<span style="font-size: small;">
</span><br />
<h3>
<span style="font-size: small;"><b>I have made every single mistake listed here. </b>How sad is
that? I mean, it’s easy to understand why. As creative types, we pour our time,
our passion, into a project. Thus when we’re showing it around, we can get
defensive if anyone says anything other than, ‘I love it. Don’t change a word.’
Years of rejection may make us a wee bit neurotic or needy. And the tiniest
taste of success could easily flip the switch over to, ‘Ha ha, you fools! I told you all!’
land. Ooh, not attractive. </span></h3>
<h3>
<span style="font-size: small;"> </span></h3>
<h3 class="MsoNormal">
<span style="font-size: small;">Well,<i> </i>CI is here<i> </i>here to put a stop to that nonsense.
Before one more of you guys blows it with your new rep or even worse, kills your
career, absorb the sage wisdom of these top agents and managers who know
whereof they speak. Study well the lessons imparted unto you herein, and you
may yet navigate the crazy minefield commonly known as a career in
screenwriting. </span></h3>
<h3 class="MsoNormal">
<span style="font-size: small;"> </span></h3>
<h3>
<span style="font-size: small;">
</span></h3>
<h3>
<span style="font-size: small;">
</span></h3>
<h3 class="MsoNormal">
<span style="font-size: small;">We now proudly present the top ten writer mistakes according
to our panel of industry pros. Take it away!</span></h3>
<span style="font-size: small;">
</span><br />
<span style="font-size: small;">
</span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW8S8tnHbW9l7hwYoFhVYh60sJ8T5e1pPcM6yf3Wq24LCot-JVvGdQjwB4J1gkHRlzvgS3er86OuApAK1MsglmV_zpN0CI04Wc217Qpx3HbV-UpCHPXZkJxCVRpalQaaagSJSn/s1600/panel.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW8S8tnHbW9l7hwYoFhVYh60sJ8T5e1pPcM6yf3Wq24LCot-JVvGdQjwB4J1gkHRlzvgS3er86OuApAK1MsglmV_zpN0CI04Wc217Qpx3HbV-UpCHPXZkJxCVRpalQaaagSJSn/s400/panel.JPG" width="400" /></a></div>
<div class="MsoNormal">
<span style="font-size: large;"> </span></div>
<div class="MsoNormal">
<br />
<span style="font-size: large;">10) IS YOUR CONCEPT SPONGE – ER, MOVIE-WORTHY?</span></div>
<span style="font-size: small;">
</span><br />
<span style="font-size: small;">
</span><br />
<div class="MsoNormal">
<span style="font-size: small;">Ever read a screenplay that made you wonder how
anyone </span><span style="font-size: small;"> could </span><span style="font-size: small;">have ever thought this would make a compelling film? UTA’s Julien
Thuan says, “New writers need to understand that there are things that are
movies. There are things that are television shows. There are things that are
(best presented as) poems or plays. You have to be realistic about which area
your idea is best suited for. A lot of problems writers run into to is when
they’re trying to fit a square peg in a round hole.” In short, some writers
think they can write their great American novel, only now it’s a screenplay
instead, without really understanding the whole economic force of the business.
Ask yourself if you can see your movie up there on the marquee sandwiched
between ‘Welcome Back, Kotter -- the Movie’ and ‘Change-o Robots That Blow Up 7.’ Some ideas are simply not movie ideas circa 2016. Learn to
tell the difference.</span></div>
<span style="font-size: small;">
</span><br />
<span style="font-size: small;">
</span><br />
<div class="MsoNormal">
<span style="font-size: large;">9) YOU WORK FOR ME, FOOL! </span></div>
<span style="font-size: small;">
</span><br />
<span style="font-size: small;">
</span><br />
<div class="MsoNormal">
<span style="font-size: small;">Manager/producer Richard Arlook from Arlook Group notes that
it is critical to be sensitive to your representative’s time. “Don’t overcall the
agent or manager. It’s exciting sometimes, if you’ve never had representation,
to all of a sudden have it. When you’ve never had an opportunity to speak with
somebody who has a lot of knowledge connected to the business, there’s an
overwhelming desire to want to get the most out of that. It’s one thing if that
person is being really chatty with them. Just don’t call for no reason. A quick
e-mail is always better.” Manager Jake Wagner from Good Fear agrees, “Feel
free to check in, but pick your check-ins strategically, and then the reps will
be happy to keep knocking on doors for you.”</span></div>
<span style="font-size: small;">
</span><br />
<span style="font-size: small;">
</span><br />
<div class="MsoNormal">
<span style="font-size: large;">8) EGO IS A FOUR-LETTER WORD</span></div>
<span style="font-size: small;">
</span><br />
<span style="font-size: small;">
</span><br />
<div class="MsoNormal">
<span style="font-size: small;">The industry wants people who are easy to work with, not
prima donnas. The biz tolerates a lot of crap from directors and actors. But
from writers? Not so much. The Gersh Agency’s Sandra Lucchesi’s philosophy is,
“Never be an asshole. That doesn’t mean you can’t be firm in your creative
beliefs or have (a strong point of view.) Don’t be inflexible. When a writer
goes into a room, it’s important that you’re listening to the comments from
other people.” And watch that body language, folks. “There was one situation
with a writer who showed his disdain by rolling his eyes, and the next day he
was off the project. You have to be politically savvy. This is a business.”</span></div>
<span style="font-size: small;">
</span><br />
<span style="font-size: small;">
</span><br />
<div class="MsoNormal">
<span style="font-size: small;">Former ICM agent turned producer Emile Gladstone elaborates, “You have to be malleable.
You have to learn how to give somebody something that you may not like, but
you’re going to make it work. Sometimes ego makes that prohibitive.” Thuan
tells us of a client who was very proud of his script…“and then he got what
others would perceive as constructive feedback. Rather than absorbing it and
figuring out a way to process it, he melted down. That’s not uncommon,
especially with younger writers.” Gladstone adds, “The worst thing that could
happen is a huge early success for a new writer -- selling your first script
for $500,000 and above. That’s really damaging to the ego. They grow to be
expectant, and they think that they walk on water -- ‘How dare that person give
notes to me?’” Arlook says, “The writers I have who are not working, the main
reason is because they did not handle the politics of their last assignment
properly.”</span></div>
<span style="font-size: small;">
</span><br />
<span style="font-size: small;">
</span><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXSlxwGPeWCvLIoB2ywbJhhFTlaViMStUhdO20dkAEFt7tqvImysNuAbtKSeluXBqCnLgyVVo4yBTMMF5lJC5F9jN8rrzYVPRIDPBlLl_c8GCQB9CEd5681XuXDH1aMmJlYIE4/s1600/AHS+live+2016+pic.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="292" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXSlxwGPeWCvLIoB2ywbJhhFTlaViMStUhdO20dkAEFt7tqvImysNuAbtKSeluXBqCnLgyVVo4yBTMMF5lJC5F9jN8rrzYVPRIDPBlLl_c8GCQB9CEd5681XuXDH1aMmJlYIE4/s640/AHS+live+2016+pic.png" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Quizzing the Agent's and Manager's Hot Sheet Live panel at Scriptfest 2016</span></td></tr>
</tbody></table>
<div class="MsoNormal">
<span style="font-size: large;">7) I WROTE SOMETHING NEW ONCE. ISN’T THAT GOOD ENOUGH?</span></div>
<span style="font-size: small;">
</span><br />
<span style="font-size: small;">
</span><br />
<div class="MsoNormal">
<span style="font-size: small;">What drives Shuman Co. manager A.B. Fischer bats? A writer
who “Doesn’t write, doesn’t constantly churn out something new. And along the
same lines, trying to rehash the same project over and over and over again.”
Many writers don’t get that it’s hard to get anyone excited about material
that’s already been shopped. “Everyone’s seen it, everyone’s passed on it, and
there are factors in the script that make it an uphill battle – whether it’s a
period drama or whatever it is. After it’s been exposed to everybody, and
everybody’s passed on it, (and they say,) ‘Oh, well, now can we just try to get
it to Steven Spielberg?’ Well, I <i>could,</i> but… If you want to keep moving
up, you’ve got to write something new. And this goes to writers who’ve sold
stuff and writers who haven’t, trying to break in. You have to be prolific.” </span></div>
<span style="font-size: small;">
</span><br />
<span style="font-size: small;">
</span><br />
<div class="MsoNormal">
<span style="font-size: small;">Thuan differentiates between writers who have a slow process
and others who are lazy and waiting for their agent to do all the work for
them. “In an ideal world, [you should always] be developing an idea, writing a
spec to maintain your voice, engaging in meetings and interaction -- you’re out
there. Some people don’t like to do all of that stuff, but if you want to be a
working writer in the studio system, you have to find a way.”</span></div>
<span style="font-size: small;">
</span><br />
<span style="font-size: small;">
</span><br />
<div class="MsoNormal">
<span style="font-size: large;">6) YOU DO NOT HAVE 120 PAGES. YOU HAVE TEN.</span></div>
<span style="font-size: small;">
</span><br />
<span style="font-size: small;">
</span><br />
<div class="MsoNormal">
<span style="font-size: small;">Lucchesi tells us that whether anyone bothers to read your
entire script is determined by how much the first ten grabs them. “Right now,
everyone’s time is so limited, and it’s so competitive out there, you have to
make your voice known very quickly. In the first ten or 15 pages, you have to
really capture your audience. The writing has to be standout and beautiful.” So
make sure you’re first ten pages isn’t one long static dialogue scene, okay?
Tarantino can get away with that maybe – you can’t. “So many development people
share their coverage and their points of view,” she adds, meaning that coverage
at one company can doom you at a whole bunch of others. “The more perfect your
script can be, particularly up front, the better.” </span></div>
<span style="font-size: small;">
</span><br />
<span style="font-size: small;">
</span><br />
<div class="MsoNormal">
<span style="font-size: large;">5) DEAR AGENT, I’VE WRITTEN A WHOLE PILE O’ CRUD!</span></div>
<span style="font-size: small;">
</span><br />
<span style="font-size: small;">
</span><br />
<div class="MsoNormal">
<span style="font-size: small;">Readying a query letter? Producer/manager Graham Kaye,
president of CP Productions and a former agent, says, “Don’t write me and say,
‘I’ve written ten scripts’ in a query. I’m incredibly busy. If you’ve written
ten scripts, I can’t even imagine -- you’re not expecting me to read all ten,
are you? Take one or two scripts in particular and make sure they speak so
loudly that they can’t be ignored. If you don’t want anyone to ever return your
calls, or to leave you a message that you’ve moved to Bolivia, tell them you’ve
written ten scripts.’ Plus, whether you’ve written three scripts or 50,
whatever you say is going to create a negative impression. Three? You’re a
greenhorn. 50? You’re old, or you’re a hack. Avoid the topic entirely!</span></div>
<span style="font-size: small;">
</span><br />
<span style="font-size: small;">
</span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.coverageink.com/ebooks.html" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="http://www.coverageink.com/ebooks.html" border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2CKd4o5tv61YDziDq1N23NkH-zWLTpgMBkiDIgYvL8pf0xxlRfGysq4yVTpIRSjnSeLJmZpbbNroiaiJyW2m8c3u1E-Le2GuMnzNBVHyxyEFtkQfE6i7zCH-OL6l2AXy0I9A5/s320/AHS+cover+2.jpg" width="227" /></a></div>
<div class="MsoNormal">
<span style="font-size: large;">4) THE GRAVY TRAIN <b>WILL</b> RUN OUT OF COAL. </span></div>
<span style="font-size: small;">
</span><br />
<span style="font-size: small;">
</span><br />
<div class="MsoNormal">
<span style="font-size: small;">Once a working Hollywood writer, always a working Hollywood
writer, right? BZZZ. Lucchesi warns, “Baby writers, don’t quit your day job.
Don’t live outside of your means. You see so many writers – not just writers,
everyone in town – at the end of the day, you’re still an artist. This isn’t a
9 to 5 where you’re collecting your weekly paycheck. You have to protect
yourself in terms of how you take care of your finances. It happens to every
artist. You’ll have moments of great success and then moments of not so much.” </span></div>
<span style="font-size: small;">
</span><br />
<span style="font-size: small;">
</span><br />
<div class="MsoNormal">
<span style="font-size: small;">Gladstone reminds us that the average life of a writer in
Hollywood is about <i>five years.</i> “You have to be very careful how to
extend that,” he says. “You have to play chess. It’s not just about being
talented. You have to learn how to play the game and be a strategist and not be
reactive, which is very, very difficult to do.” So when you break in, sock
money away and invest wisely. Plan for a future in which the gravy train has
derailed. Sure, you may be able to reinvent yourself and reinvigorate that
career again. But if not, you’ll be glad you bought that pizzeria or income
property!</span></div>
<span style="font-size: small;">
</span><br />
<span style="font-size: small;">
</span><br />
<div class="MsoNormal">
<span style="font-size: large;">3) SCRIBE, PIGEONHOLE THYSELF</span></div>
<span style="font-size: small;">
</span><br />
<span style="font-size: small;">
</span><br />
<div class="MsoNormal">
<span style="font-size: small;">This is a simple one that we tend to overlook. Says Wagner:
“Don’t try to break out in more than one genre. That’s always a red flag as a
rep.” So yeah, if you have a comedy and a drama and an actioner and a horror
script, rather than telling a representative that you’re versatile, it says
you’re too all over the place. Wagner continues, “And it confuses execs, too,
because execs like to put writers on lists and in boxes. That’s how we sell
them. A lot of writers think they can write everything. Very few can. The
biggest mistake is the writer coming out of the gate pitching the Spring break
comedy and a high-concept thriller. Own one zone. Sometimes you sign guys, and
they’re like, ‘Here are the eight things I want to get moving.’ Great. Let’s
focus on one or two.”</span></div>
<span style="font-size: small;">
</span><br />
<span style="font-size: small;">
</span><br />
<div class="MsoNormal">
<span style="font-size: large;">2) HURRY, HURRY, HURRY! NOW, NOW, NOW!</span></div>
<span style="font-size: small;">
</span><br />
<span style="font-size: small;">
</span><br />
<div class="MsoNormal">
<span style="font-size: small;">Now more than ever, the process of selling a script can drag
on and on mainly due to packaging. The days of simply sending out a spec with
no attachments are dwindling. Wagner says: “New clients learn as they go that
the movie business is hurry-up-and-wait. You need patience. While you’re
waiting for your screenplay to be packaged, work on your next one. You can’t
just sit around all day. If (your script) is a good read, it will get some
attachments, hopefully. It just takes time. The movie business moves slowly,
and the sooner a writer realizes that, the better. It could all happen really
fast, too, but most of the time when it looks like (a deal came together
quickly,) it took four or five months or four or five years.” </span></div>
<span style="font-size: small;">
</span><br />
<span style="font-size: small;">
</span><br />
<div class="MsoNormal">
<span style="font-size: small;">Lastly, the number one biggest mistake according to agents
and managers: (drum roll, please!)</span></div>
<span style="font-size: small;">
</span><br />
<span style="font-size: small;">
</span><br />
<div class="MsoNormal">
<span style="font-size: large;">1) NOT LISTENING TO YOUR #^&*@($!!!<i> </i>REP<i><br /></i></span></div>
<span style="font-size: small;">
</span><br />
<span style="font-size: small;">
</span><br />
<div class="MsoNormal">
<span style="font-size: small;">Seems obvious, right? And yet so many represented writers
don’t. Says Lucchesi, “We have our fingers on the pulse of everything that’s
going on. If you’re going to write a spec script, make sure you check with them
before you put pen to paper. We’ll know if there’s another project out there
like it, and we can guide you. I know a lot of writers who’ve said, ‘I wish I
would have talked to you before I did this.’ Listen to your agent! </span></div>
<span style="font-size: small;">
</span><br />
<span style="font-size: small;">
</span><br />
<div class="MsoNormal">
<span style="font-size: small;">***</span></div>
<span style="font-size: small;">
</span><br />
<span style="font-size: small;">I’d like to add one more from my own experience: don’t make
any submissions to anyone ‘real’ until you are certain your script rocks. How
many times have we sent out a draft, only to get feedback and then get that
awful, queasy feeling because we pulled the trigger too early and sent it to
our industry friends? Just because you’re elated over finishing a draft of
something doesn’t mean it’s awesome yet. Make sure you <b>Get It Right</b>. The
sensation of the door whacking you on the ass on the way out is not an
especially pleasurable one, trust me on that.</span><br />
<span style="font-size: small;">
</span><br />
<span style="font-size: small;">
</span><br />
<div class="MsoNormal">
<span style="font-size: small;">###</span></div>
<span style="font-size: small;">
</span><br />
<span style="font-size: small;">
</span><br />
<div class="MsoNormal">
<span style="font-size: small;"><i>Jim Cirile is a screenwriter/producer. He is the
founder of Coverage, Ink (<a href="http://www.coverageink.com/">www.coverageink.com</a>.) He lives in Los
Angeles.</i></span></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: small;"><i><a href="http://www.coverageink.com/"><img alt="www.coverageink.com" border="0" height="131" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2GAfGOBcdhGnoSWp9txJT63EUn0T5Ai9akzSBuf1WP6Q-n_xc9t0U0r8vdwOg3NpqZ4NoVlkOCXQ9ycxrdfcGemxtyEiUjcPBKpPUtHb3uZ6zBLwk59OeqZVHJW5Al-rshg8d/s320/CI+logo+-+BIG.JPG" width="320" /></a></i></span></div>
<br />
<div class="MsoNormal" style="margin-left: 0.25in;">
<br /></div>
Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-23907050.post-65426858623092005702016-12-01T03:05:00.005-08:002016-12-01T03:05:49.813-08:00GET REPPED NOW - Last Chance! <div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkOfGsbIYlrUPXCsVXCjHlbjcqAylD90sDFZKz1kDBKaeh7FZW0LEd1iVW4vuyerPDkN-PxTG8z-ipTBQ7pNFi7At9yCGm71UQVR2XV68pNvr55vF4RSewNjTiE0MzZR5qNUa7/s1600/GRN+final+art.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="289" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkOfGsbIYlrUPXCsVXCjHlbjcqAylD90sDFZKz1kDBKaeh7FZW0LEd1iVW4vuyerPDkN-PxTG8z-ipTBQ7pNFi7At9yCGm71UQVR2XV68pNvr55vF4RSewNjTiE0MzZR5qNUa7/s640/GRN+final+art.JPG" width="640" /></a></div>
<br />
<div style="text-align: center;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span style="font-size: large;"><b>What a Manager? Final Deadline Midnight Dec. 4</b></span> </span></span></div>
<br />
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">This is it. At 12:01AM Monday morning it's all over. Your last chance in 2016 to participate in Get Repped Now. Send us your script for in-depth script analysis. If it garners a "consider" rating, it will be read by our oanel of five top motion picture & TV literary managers:</span></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><br /></span></span>
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</span></span><br />
<div class="MsoNoSpacing">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><b>>> GOOD FEAR</b>
-- Jake Wagner</span></span></div>
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">
</span></span><div class="MsoNoSpacing">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><b>>> INDUSTRY
ENT.</b> -- Micah Klatzker</span></span></div>
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">
</span></span><div class="MsoNoSpacing">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><b>>> ZERO
GRAVITY</b> - Jeff Belkin</span></span></div>
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">
</span></span><div class="MsoNoSpacing">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><b>>> MAGNET
MGMT</b> - Kevin Steele</span></span></div>
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><b>>> MADHOUSE
ENT.</b> -- Manager X</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">Get Repped Now is <b>a
promotion, not a contest.</b><span> </span>For a
limited time, all scripts submitted to us for coverage (story analysis) which
score a “consider” or higher for script (roughly the top 5%) are read by our
manager panel. In the past, we’ve gotten writers meetings, we’ve gotten them
signed, and we even had <b>a big spec sale
to Disney</b> (“Nottingham & Hood” by Brandon Barker.) </span></span></div>
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</span></span><div class="MsoNoSpacing">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">You will receive a detailed 10-15 page analysis packed helpful
suggestions, and you’ll receive a rating of “pass,” “consider with
reservations,” “consider,” “strong consider” or “recommend.” Consider and above
advances to our managers.</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><b>HOW MUCH?</b>
Standard analysis is $129 for feature scripts and $99 for 1-hour pilots. </span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">Complete rules and FAQ: <a href="http://coverageink.com/getrepped.html">http://coverageink.com/getrepped.html</a></span></span></div>
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"><b><span>HURRY - GET REPPED NOW ends midnight Dec. 4th! </span></b></span></span></div>
<div align="center" class="MsoNoSpacing" style="text-align: center;">
<a href="http://www.coverageink.com/getrepped.htm"><span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"><b><span>ENTER NOW!</span></b></span></span></a></div>
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<a href="http://coverageink.com/getrepped.html"><span style="color: windowtext; mso-no-proof: yes; text-decoration: none; text-underline: none;"><span style="mso-ignore: vglayout;"></span></span></a></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-23907050.post-36449761251093815742016-11-30T17:01:00.002-08:002016-11-30T17:01:47.174-08:00COMPLETE SCREENWRITING DVD set - On Sale Now! <div class="separator" style="clear: both; text-align: center;">
<a href="http://a-listscreenwriting.com/cart/products/Jim_s_Multi_DVD_Set_Pre_order-28-2.html"><img alt="http://a-listscreenwriting.com/cart/products/Jim_s_Multi_DVD_Set_Pre_order-28-2.html" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC5nPpwMZykcHat3CX74ejbNuj4jUW4QMgwDSHuQNHOlLb1_gAaRezmq2omxaFy7vpm09ZwJ3sezUNE61O_8rtYCtBUVLY1N_CewAsQfLK4Ei-36DdHB1l50lLUSkPAeKLmkK_/s1600/multi-dvd+po.jpg" /></a></div>
<h2 style="text-align: center;">
<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Save $100 Now + Free Shipping + Free Gift! Sale Ends Dec. 4</span></span></h2>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Well, it was only a matter of time before someone did it -- crammed an entire screenwriting master's class into a DVD set. Hollywood script guru and consultant <b>Jim Mercurio</b> has stepped up with <a href="http://a-listscreenwriting.com/cart/products/Jim_s_Multi_DVD_Set_Pre_order-28-2.html">COMPLETE SCREENWRITING.</a> And what a set it is.</span></span><br />
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Mercurio's 6-disk set is jam-packed with ten hours of content, wherein he shares all his tips, trick and advanced techniques to launch your writing into the stratosphere. No matter what level you're at, this new, slick and engaging series will put about 50,000 volts of awesome into your technique. It really is screenwriting school in a box. </span></span><br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://www.youtube.com/watch?v=NidTZrCIekQ" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="356" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfaQ3kYFBzemRXEXSpqfB5Q0yCpoPt7n27js-xgqqULIlprZ_j9L8a21L4ukhHqQPWTxYr4uI3rWuSJ6lWWDaZltazy3iggnVwDQ8NPhmP1zSyU1OOiu9qTMZTnmU6VykSGQCI/s640/Trailer.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><a href="https://www.youtube.com/watch?v=NidTZrCIekQ">Check out the trailer.</a></span></td></tr>
</tbody></table>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">The Complete Screenwriting disk set includes:</span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><br /></span></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><b>Disc 1 - ORGANIC STORYTELLING</b><br />
Expanding your Perspective Through Character and Structure<br />
<b>Disc 2 – THE PURSUIT OF ESSENCE</b><br />
Breaking down story into its key Ingredients<br />
<b>Disc 3 - THEME</b><br />
Using head and heart to find the soul of your story <br />
<b>Disc 4 - SPLITTING THE STORYTELLING ATOM</b><br />
Discovering Power at the Core of your Scene<br />
<b>Disc 5 - ADVANCED TOPICS</b><br />
Allowing your Reach to Exceed your Grasp<br />
<b>Disc 6 - BONUS DISC</b><br />
AND MORE... Everything You Need to Know </span></span><br />
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Click <a href="http://a-listscreenwriting.com/cart/products/Jim_s_Multi_DVD_Set_Pre_order-28-2.html">HERE</a> to <b>read more about Complete Screenwriting</b>. </span></span><br />
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">This set is regularly $299, but until Dec. 4 you can grab it for 33% off -- only $199 - PLUS free shipping! <b>Use code COVERAGE100</b> when you order.</span></span><br />
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="font-size: large;"><b>FREE BONUS DVD! </b></span>Order now and Jim will include his top-selling KILLER ENDINGS DVD. Produced as part of the Creative Screenwriting education series, this DVD will help you go out on a high note and have producers clamoring to meet you. A $39.95 value.</span></span><br />
<br />
<div style="text-align: center;">
<span style="font-size: large;"><a href="http://a-listscreenwriting.com/cart/products/Jim_s_Multi_DVD_Set_Pre_order-28-2.html"><b><span style="font-family: "arial" , "helvetica" , sans-serif;">Hurry! Ends Dec. 4. Click here to Order Now! </span></b></a></span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-23907050.post-47722131539099373362016-11-26T14:26:00.003-08:002016-11-26T14:33:58.207-08:00Get Repped Now EXTENDED - MUST END Dec. 4!<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.coverageink.com/"><img alt="http://www.coverageink.com" border="0" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKhFVW96DGDhPRV1wuLmtLeb2stYFGOg8x3IW6Gtcq3U7cewzJRo_7-8h-Nko38-Z_EhGpjhseUPpaGHBrCxGVHJRH6x0vn-SL0m6cWtQAqT4HcEc9UbeAnqSiJ6pJGiH-EqUY/s640/GRN+extension+slider+2016.JPG" width="640" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><b>Howdy, fellow <i>escribadors!</i> </b>Well, this is somewhat concerning. Normally by this point in our twice-yearly GET REPPED NOW event we have at least 6-8 "considers." by that, I mean scripts that have come in for coverage which we have rated a "consider" or better for script, which generally equates to about the top 5%. By the end of <span style="font-family: "arial" , "helvetica" , sans-serif;">G</span>et Repped Now we generally have around ten or so solid scripts to send to our manager panel. </span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"></span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"></span></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">This time out we have two.</span></span><br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIqCLj1hpQQLCxiZ0Q7n_OJKt3AyFgmKrs6z2XsafjVHUEWAKTNipxRGEVNsQWvsbzzOEqtqnBR6clQxK_KmBAP0Ihs4WeL0-2oPz7kIzs-F2M13z3ByOvXKV8wUOGeTTvsLWr/s1600/Joseph+Balczo.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIqCLj1hpQQLCxiZ0Q7n_OJKt3AyFgmKrs6z2XsafjVHUEWAKTNipxRGEVNsQWvsbzzOEqtqnBR6clQxK_KmBAP0Ihs4WeL0-2oPz7kIzs-F2M13z3ByOvXKV8wUOGeTTvsLWr/s200/Joseph+Balczo.jpg" width="164" /><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"></span></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Joseph Balczo</span></span></td></tr>
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">This puts us in a bit of a spot. On the one hand, those two scripts are <i>really good. </i>That's exciting. Props to <b>Joseph Balczo</b> and<b> Tony Dunoyer + Alex Chevasco</b> (both of whom are previous Get Repped Now considers as well, so you know they've got the goods) for knocking it out of the park. We can't wait to drop their scripts on our managers, and I'm pretty confident we can make something happen for these guys. </span></span><br />
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">On the other hand, we've had so many near-misses this time out it kinda hurts. There's a lot of great material out there that just isn't quite there yet -- another draft or t<span style="font-family: "arial" , "helvetica" , sans-serif;">hree</span> <span style="font-family: "arial" , "helvetica" , sans-serif;">may be</span> needed to lick some plot logic issue or clear out the deadwood, etc. This gives us less variety to present to the managers, and ultimately of course that means fewer talented people with the chance to get a meeting, gain a fan, start working with one of the managers or even get signed. </span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGtmbbyViFO5n3DVpvzmcLHICe07Eu8pxifSYOu3h3gElg176B92pseVPfSIlPraLvE61VOztAjoMoUw-kfjDlZyfcRdKlMeOc01o4Z1-bgthNkRp7pNb528NTDpioWk3-xgzu/s1600/TAINTED_Headshot_AlexChevasco.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGtmbbyViFO5n3DVpvzmcLHICe07Eu8pxifSYOu3h3gElg176B92pseVPfSIlPraLvE61VOztAjoMoUw-kfjDlZyfcRdKlMeOc01o4Z1-bgthNkRp7pNb528NTDpioWk3-xgzu/s400/TAINTED_Headshot_AlexChevasco.jpeg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Alex Chevasco</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYENCnsoB0qYR2fprj1c4a_ch2RnPaRRIK17YP_V_qidOuaMuOPL0scC4DPGdkdTI1-LX9Gm0l2U8-LK5k4iOcRAwKsDNgdYAeKTY7el_0WhtN1xQBVPomHZly4R5rDdiaNo4C/s1600/TAINTED_Headshot_TonyDunoyer.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYENCnsoB0qYR2fprj1c4a_ch2RnPaRRIK17YP_V_qidOuaMuOPL0scC4DPGdkdTI1-LX9Gm0l2U8-LK5k4iOcRAwKsDNgdYAeKTY7el_0WhtN1xQBVPomHZly4R5rDdiaNo4C/s200/TAINTED_Headshot_TonyDunoyer.JPG" width="150" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Tony Dunoyer</td></tr>
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">We generally do a 1-week extension as a matter of course with Get Repped Now, mainly because there are always johnny-come-latelies who only hear about our little promotion late in the game (it only runs for a month, way shorter than contests.) And so it comes to this: our FINAL WEEK. <b>Get Repped Now's final deadline is Dec. 4th.</b> That's midnight Pacific Time, by the way. So polish, polish, polish, get it as good as you can, because a lot is on the line here (no pressure.) Then send it to us for analysis and we'll tell you how close to the bull's-eye you are. And i<span style="font-family: "arial" , "helvetica" , sans-serif;">f it's awesome, we will give it to our managers with our recommendation<span style="font-family: "arial" , "helvetica" , sans-serif;">, and they will read it -- guaranteed. Beyond that, it's up to you and the material.</span></span></span></span><br />
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Time to chew bubble gum and kick ass, and oh crap. looks like you're all out of bubble gum.</span></span><br />
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Submit now at<a href="http://www.coverageink.com/"> www.coverageink.com.</a></span></span><br />
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">--Jim C.</span></span><br />
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Coverage Ink</span></span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-23907050.post-74594300728389109342016-11-04T02:26:00.004-07:002016-11-05T02:40:50.169-07:00First Get Repped Now Consider! <!--[if gte mso 9]><xml>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><b>Big news, guys!</b> Get Repped Now! has its first “consider.”
We’d like to congratulate<b> Joseph Balczo</b> for <span style="font-family: "arial" , "helvetica" , sans-serif;">br<span style="font-family: "arial" , "helvetica" , sans-serif;">inging it with his</span></span> TV pilot
BLOODLANDS. The script concerns an Indiana conservation officer who uncovers a web of crime
and conspiracy when he goes looking for two missing fellow officers. Joseph <span style="font-family: "arial" , "helvetica" , sans-serif;">definitely has the goods -- t</span>his is his second time around as one of our GRN
considers. </span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">"</span></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">I felt this had some pixie dust on it," <span style="font-family: "arial" , "helvetica" , sans-serif;">he</span> said after we sent back his coverage. "I'll dig into the notes
immediately and get to work on the adjustments. I'm very excited about
this." </span></span></div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhuUPoiHylWEJCpudzyR80rLHWQQGKqeh3Ia2wRQ-Ey0K4EskHsWtnCGaTsB4w_FlB_38W-F7oCYmDvE2uw4CGT2JpHIS4qks43ApFxIHmYeXf0KgExSsBRkrRTdp3z8-AmtKJ/s1600/Joseph+Balczo.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhuUPoiHylWEJCpudzyR80rLHWQQGKqeh3Ia2wRQ-Ey0K4EskHsWtnCGaTsB4w_FlB_38W-F7oCYmDvE2uw4CGT2JpHIS4qks43ApFxIHmYeXf0KgExSsBRkrRTdp3z8-AmtKJ/s320/Joseph+Balczo.jpg" width="263" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Joseph Balczo</span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">This is the perfect time to wish everyone who has already
submitted, or is about to, “good luck,” as well as put things into
perspective for those of you who have gotten a “pass” or “consider with
reservations.” We know how disappointing that can be. Here at CI everyone is a
writer as well with plenty of firsthand knowledge of handing in a draft you
think is pretty close to the mark and getting a “pass.” It stings! The
important part is to carefully sift through the notes (or, alternately, rage-quit your email and give it a few days and then carefully sift through the
coverage...) and think about how to improve your script. There is still time to
resubmit and even if you don’t nail the rewrite before the end of GRN, there
will be another one in the spring and plenty of other opportunities as well.</span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><b>What are we looking for?</b> The same thing as a manager or an
agent will be looking for. Writing that’s so alive it jumps off the page, as
well as a fresh and marketable concept. We are looking for someone who knows
his or her craft, has a great attitude and is at least a little bit savvy about
the business. Most of these things should be self-explanatory, but let’s
examine why it’s important to be at least a little bit in the know when it
comes to the ins and outs of this business. </span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">If you know something about what sells and what doesn’t
sell, then one would hope that you won’t spend a year on perfecting something
that doesn’t stand the proverbial chance of a snowball in Hell. A couple of
years ago, a script came across our desks that was as close to the mark as
anything we had ever seen. In fact, we handed it to several readers, because we
couldn’t believe that there is such a thing as only praise and no notes. But
such was the case with this script. This was that rarest of rare things: a "RECOMMEND." </span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">The downside? On a marketability scale of 1
– 10, the script came in at about minus 123. We floated it to all of our
contacts. Every single one had the exact same reaction: “Really good writing.
But there’s nothing I can do with this material. If the guy has something else,
I’d be more than happy to read it.” We got some of our industry people to meet
with him and... same result. </span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Look, that’s not a terrible outcome. The writer managed to crack open a few
doors, which he can utilize should he have something a bit more commercial. But
it’s a far cry from <b>Brandon Barker, </b>whose spec NOTTINGHAM AND HOOD we discovered through Get Repped Now, and we got him signed by a
manager, an agent, and, shortly thereafter, <b>sold to Disney in a six-figure
deal.</b> </span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Now you might scratch your head and wonder why being an excellent writer
isn’t good enough to get you through the door. Agents and managers ultimately are salespeople,
and the main thing they want to know is <b>if you can produce material they can
sell</b>. Everything else is secondary. And until you have proven that you can make
them money, they won’t be interested no matter how good you are. We've seen it time and again -- great writers who get passed over because there's no (easy) place to shop their material. No one wants to take on the Sisyphean task of selling a brilliant period drama, for example. It takes years of work for a very small payday. Whereas if you write the next FAST & FURIOUS or THE HANGOVER, there are producers out there hungry for that material. </span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">None of this means that you should try to imitate someone
else, or force yourself to write scripts that are "more marketable." Or that you should
use the same concept as that summer blockbuster hit from last year. Don’t
laugh. <u>We see these scripts all the time</u>. This is where fresh and original comes in. Look, nobody
will sign an imitation of somebody else.<b> They will sign you because of your
unique voice</b>. As they say, be yourself, it’s a tough act to follow. </span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Or, as we
like to say, <i>be yourself, but marketable. </i></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Next, let’s talk about attitude. I was recently on the phone
with a client who was very distressed because the fifth draft of his script
still hadn’t gotten a “consider.” What was running through my head during this
conversation? </span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><b>1. </b>And? Dude, I’m on <i>draft 15</i> of my new script right now. If you
can’t take the heat get out of the kitchen. Writing IS rewriting, folks. </span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><b>2.</b> How could I possibly refer this
person to our industry people, if he freaks out when he has to do another
draft? They’ll be asking him to implement their notes on draft after draft
after draft. <span style="font-family: "arial" , "helvetica" , sans-serif;">R</span>emember ANIMAL HOUSE -- "Thank you, sir, may I have another?" Yeah, that's screenwriting. <span style="font-family: "arial" , "helvetica" , sans-serif;">G</span>et used to it.</span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><b>3. </b> If he has a hard time
getting or implementing notes, he is not ready to work professionally
in this business. </span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">And here is a personal favorite of mine: “But such and such
writer <i>(insert name of any famous Hollywood darling) </i>doesn’t know what s/he is
doing” or “doesn’t seem to know structure” or “writes terrible dialogue” or
“never has a setup.” <b>People, there are two sets of rules here.</b> One set is for
people who are already “in” (even if their entry wasn’t merit-based,) and the
other set is for people who are trying to break in. If you’re already in… you
can pretty much do what you want. If you’re not… well, <b>you can’t. </b>Seriously, if
you need to find a blackboard and write this longhand 150 times until is sinks
in, do so. Eventually, you’ll be glad you did. </span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">What do we really want? <u>We want you to succeed</u>. Really and
seriously. I know that it’s difficult to get a “pass,” but the hope here is
that with our help you’ll be able to improve your script to the point where it
will become a “consider.” Why do we want you to succeed? Because it makes us
look good. </span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">So let’s bring it!<a href="https://www.blogger.com/null" name="_GoBack"></a> </span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">--Tanya Klein</span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Coverage Ink </span></span></div>
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Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-23907050.post-65530775593438223152016-10-27T13:34:00.001-07:002016-10-27T13:34:08.592-07:00I Can Get You Signed... (But I Probably Won't) <span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">Hi all, my latest article is now up at <a href="http://americanscreenwriters.com/i-can-get-you-signed-but/">American Screenwriting Association</a>. Check it out!</span></span><br />
<br />
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><br /></span></span>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhF56QMNF3HXrrf7Kkba5hyxGwFS9N2SbeO6ZMpa9TvYB5TOzWIUrpJYNtG5iHXlZXEZmUMkSNEZHM-BB9bORGuNBeo2MGQ5Z-V8qk7edUkfwIuxNIYTGpAz35KFxD6iNzhqjfq/s1600/ama-logo.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="57" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhF56QMNF3HXrrf7Kkba5hyxGwFS9N2SbeO6ZMpa9TvYB5TOzWIUrpJYNtG5iHXlZXEZmUMkSNEZHM-BB9bORGuNBeo2MGQ5Z-V8qk7edUkfwIuxNIYTGpAz35KFxD6iNzhqjfq/s320/ama-logo.png" width="320" /></a><b><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">Okay, that snarky title is going to require some ‘splainin’, to quote
the great Ricky Ricardo. Truth is, pretty much anyone who knows a few
people in the biz can probably help get you signed -- a working writer,
an assistant, an intern, whatever. Because anyone can be <i>a passionate advocate</i>.
And if you absolutely love a piece of material, are gonzo excited about
it, well, that’s contagious. And if your connection commands any level
of respect at a company, at the very least the script they’re advocating
for will be sent for coverage. But if they really trust that person’s
judgment, the agent, producer or manager may well read that script
personally. That’s the grease in Hollywood ‘s wheels-- referrals from
people whose opinions they trust.</span></span></b><br />
<br />
<b><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">Problem is, most scripts don’t rise to the level of inspiring that sort of advocacy.</span></span></b><br />
<b><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">
</span></span></b><b><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">I founded<a href="http://www.coverageink.com/"> CoverageInk.com</a> in 2002, and we’ve seen a lot of scripts in
that time -- tens of thousands. And while we’ve found a fistful of gems
over the years, the vast majority of what we see are scripts that have
potential but need a bit of work. Yeah, pretty much every single script,
even the awesome ones, has some sort of problem. Of course, not all
issues have the same weight. A great storyteller with voice and verve
and panache, who constantly surprises the reader on every page? Heck,
suddenly typos are much less important. On the other hand, a script with
wonderfully dimensional characters but a weak structure is going
nowhere fast, because jaded, ADD-afflicted Hollywood types are looking
for any excuse to stop reading. Page 20 and your inciting incident
hasn’t hit yet? You’re toast.</span></span></b><br />
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<b><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">
</span></span></b><b><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">However, there are some scripts which we see -- not many, but a few
-- which just radiate awesome. They might need a few more drafts, some
rethinking, maybe a dialogue polish -- but still, they demand attention.
Perhaps because of a unique, bracing writer voice. It may be a killer
concept. It may be just a whole lot of brilliance on the page. But above
all, it has to be <i>entertaining</i>. When I find a script like that, I <span style="text-decoration: underline;">have to champion it</span>.
I mean, that’s what we’re all looking for. (Except the assholes who
will never ever do anyone a solid because they somehow think doing so
will jeopardize their little fiefdom. We all know a few people like
that, right?) I want to be able to call up my manager friends and say,
“Drop everything and read this now.” And that’s exactly what I did with
Brandon Barker’s “Nottingham & Hood,” which manager Jake Wagner
(then at Benderspink) sold to Disney. More on that in a moment.</span></span></b><br />
<br />
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><a href="http://americanscreenwriters.com/i-can-get-you-signed-but/">Click HERE to continue!</a></span></span> Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-23907050.post-28885814287086025052016-10-05T15:25:00.000-07:002016-10-05T15:29:11.372-07:00HEATHER HUSTLE <h2>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Screenwriter Heather Upton Makes Her Own Opportunities and Scores Writers’ Assistant Gig on Netflix’s IRON FIST</span></h2>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">By Jim Cirile<br /><a href="http://www.coverageink.com/">www.coverageink.com</a><br /><br /><i><b>Heather Upton</b> knows how to work it. After going to a liberal arts college in Philly, she kicked around various jobs in various cities until The <a href="https://www.grubstreet.org/">Grub Street </a>screenwriting class in Boston changed her life. Moving out to LA with a freelance, work-from-home editing job paying the bills, she cranked out specs, some of which placed highly in contests (such as our own <b>Writers on the Storm</b>, in which she placed third) and hit up everyone she knew, always scrambling to make connections and land jobs. She scored unpaid intern gigs at places like<b> Paul Haggis’ Hwy 61,</b> where she made more connections and landed a manager (<b>Circle of Confusion.</b>) Now she’s joined the Marvel superhero family -- where she fits right in, landing the gig of writers’ assistant on the upcoming 13-episode Netflix show </i><b>Marvel’s Iron Fist.</b><i> I talked with Heather about breaking in, working for Marvel, and how one must never stop marketing oneself -- because you are your own best advocate.</i></span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><i> </i><br /><br /><b>Jim Cirile (JC):</b> Are you done? Are you all wrapped?<br /><br /><b>Heather Upton (HU): </b>Production wraps this week, and then we’ll be in post for months. And we just heard the show drops March 17th 2017! <br /><br /><b>JC:</b> Awesome. So tell us about working at Hwy 61. That must have been amazing industry experience.<br /><br /><b>HU:</b> It was phenomenal. Seeing the scripts that come in from the agencies and A-list actors who wanted to work with them was eye-opening… I recommend to all new writers to LA to get a job doing coverage. Having to read a script and then write what is and isn’t working really makes you think about the fundamentals of screenwriting in your own scripts. <br /><br /><b>JC:</b> Were you surprised by the quality, or lack thereof, of all the scripts you read during that time?<br /><br /><b>HU: </b>Some were as terrific as you’d expect, and some were shockingly low quality. And these were scripts sent to an A-list director. There was definitely stuff where I was like, I could write something better than this. I know people who could write something better than this. It made me keenly aware that success is not just about talent, but also who you know. </span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><b>JC: </b>Let’s talk Marvel’s IRON FIST. How did you get the gig?<br /><br /><b>HU:</b> I actually kind of took a couple years off -- had a kid, renovated a house. And then when I was ready to really go hard again at getting work, I talked to friends about how much I missed working with people. That, to me, is one of the downsides of screenwriting. I had all these friends in TV, and they encouraged me to try it -- there are so many jobs, and it’s so interactive. So two years ago I applied for the Disney/ABC TV Writing Program, and I was one of the finalists for it. That was enough for me to get meetings at Marvel and a few other places through my manager and through personal connections. I called people and was like, hey, I’d really like to try TV, and the Disney/ABC people thought I was decent. <br /><br /><b>JC: </b>Marketing yourself. So many people think once you’re represented, you can just sit back and sell scripts.<br /><br /><b>HU: </b>It’s totally about asking people to help you, and that is something I feel like I’m still learning. So many people are willing to, and so many people definitely aren’t, but you won’t know until you ask. So I asked people to make connections for me, and this one at Marvel panned out. They didn’t have anything available when I went in, but the exec I met with said, “We’ll have more and more stuff. Keep in touch.” And I did, because it’s your job to follow up, not theirs. Eventually they had something come up, and asked if I wanted to interview for it, and I did, and I got Iron Fist, which was so fun. <br /><br /><b>JC: </b>Proving that perseverance is at least as important as talent.</span></span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Finn Jones as Danny Rand in Marvel's IRON FIST, coming 2017 on Netflix.</span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><b>HU: </b>Totally. It’s both heartening and disheartening to sit in the writers room and talk to them about how they get work, and they’re like, “The hustle never ends.” </span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><b>JC: </b>Tell us what a writers’ assistant does.</span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><b>HU: </b>Every writers’ room generally has between six and ten writers, and the writers sit in there from six to ten hours a day and break the story. So they come up with a season-long arc and a sense of who the characters are, and then break down scripts episode by episode. Some rooms even break it down scene by scene. Every single day there are ideas flying and creativity pouring out, and the writers’ assistant has to write down every single important thing that is said in the room, and also to filter out the stuff that isn’t important. At the end of the day, you send them 40 pages, and there’s as much useless stuff as there is useful stuff, it’s too much for them to wade through. It has to make coherent sense. </span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><b>JC: </b>So you’re taking steno, in a way. And then a couple days later someone will say, “Hey what was that thing I said the other day?,” and you have to go find it? <br /><br /><b>HU: </b>And then everybody looks at you… (laughs) and you think, “Oh God, I hope I wrote it down.”<br /><br /><b>JC: </b>Sounds like it could be pretty stressful -- what was the overall vibe?</span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><br /><b>HU:</b> I definitely lucked out and got a roomful of people who were really nice and super supportive. It wasn’t so much stressful as it was just focused, hard work. Mostly it was really fun. I love the Marvel stuff. I love the story that we wrote, and I just loved being in the room and getting to experience how the story gets told and how it changes and gets shaped by different ideas. You know, you write one episode, and then you get down to episode four and you realize, oh, well, if we do this here, we’ll have to go back and revise everything that came before, because this new thing has a cascade effect on everything else that happens. It was really cool to see how things evolved over time, too. And then once we started shooting, it was interesting to see how the actors on screen actually changed the story.<br /><br /><b>JC: </b>How did you guys interface with the other Marvel Netflix shows? Obviously, there’s this big, internal continuity. You have to be aware of everything everyone else is doing too, right?]</span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><br /><b>HU: </b>Everybody had watched Daredevil and (Jessica) Jones before we got there, and then they let us have the scripts for (Luke) Cage, and then they actually gave us the rough cuts of Cage, too. There are Marvel execs who, every time we pitch an episode, part of what they do is to give us continuity notes. There are a couple of Marvel execs who hold the entire TV world in their heads, and they’re constantly moving the pieces around to make sure that all the characters’ stories make sense and that something that happens on Iron Fist won’t affect a different show.<br /><br /><b>JC:</b> Right, because there are other shows being planned in the future as well, which will all be affected by what you do.</span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><b>HU: </b>Exactly. Sometimes we would have meetings with the Marvel execs, and it was just extraordinary, to see how deeply and thoroughly some of them know the universe. It’s amazing. <br /><br /><b>JC: </b>So how do you do it, what with being a mom and writing specs on the side? How do you pay the bills, raise a kid, work a demanding job and try to further your career all at the same time?<br /><br /><b>HU: </b>You’ve got to be really organized (laughs.) It makes for some long days. I would be in the office for Marvel and then go home to my daughter, and it’s just me and her, and that’s a lot of work. I also have my freelance gig, because a writers’ assistant pay is crap. And then I’m writing my own specs on the side. Being in the room all day was exhausting, but it was also really inspiring. It was like being in a master class. I would come home with a head full of creative ideas. That really helped me sit down and say to myself, Okay, I need to do 30 minutes on my spec tonight. That was good motivation, constantly being around people who were coming up with stories. That, being organized… and wanting it, maybe? (laughs)<br /><br /><b>JC: </b>Definitely wanting it, because it would be real easy to just come home and collapse. So where does this all lead? Any chance for advancement?<br /><br /><b>HU: </b>One of the nice things about having worked at Marvel is that they have so many projects going, the ones we’ve heard of and the ones I imagine are in the pipeline. So now being in the Marvel machine, I think it makes it easier for me to pitch myself in the future Marvel jobs. It’s not only fun work, but my experience thus far is that Marvel is filled with really nice people, which is wonderful and sort of unusual in this industry. One of the challenges with working on a Marvel show, though, is that because they have so many, nobody really knows what’s going to happen with ours. Will there be a season two? When will it be? I have all this great experience now under my belt, but I still have to go back out on the job market. <br /><br /><b>JC: </b>Hence you’ve been cranking out specs, and you have an additional level of legitimacy now.<br /><br /><b>HU: </b>For sure. So what I’m doing now is what I did before -- getting in touch with people who work on shows, and telling them now I have experience under my belt and I loved it, so if you know anybody… And then my manager has me writing specs because he wants to put me up for staff writer jobs. <br /><br /><b>JC: </b>That’s definitely the next step. Okay, last question -- and you may not be able to answer, so feel free to be as cagey as necessary. In the comic books, Iron Fist’s costume was really silly…<br /><br /><b><span id="goog_2134717336"></span><span id="goog_2134717337"></span> HU: </b>(laughs) I can’t tell you anything!</span></span><br />
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<span style="font-size: small;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJm2bTqJTOt-g6SdZMhY7IR42zZor-Z_KADqlDuyjaIG0aGFdlKRvxngqSAFxc5U8797J72qItHyiZCWBTRniRY7Jo2R9EiGn9bDh-5ZDlS4VbhGw2rssp7ZVhmlfjuoNmMuQf/s1600/iron-fist.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="302" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJm2bTqJTOt-g6SdZMhY7IR42zZor-Z_KADqlDuyjaIG0aGFdlKRvxngqSAFxc5U8797J72qItHyiZCWBTRniRY7Jo2R9EiGn9bDh-5ZDlS4VbhGw2rssp7ZVhmlfjuoNmMuQf/s400/iron-fist.jpg" width="400" /></a></b></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><b>JC: </b>He wore a silly thing on his head with the Spider-Man white eye holes, a skin-tight green leotard with a plunging boob window and these little yellow footie-things… Luke is just walking around in street clothes. Is our guy going to have any sort of costume at all? <br /><br /><b>HU: </b>I’m pretty sure that I can’t answer that at all. I can tell you that the traditional costume in the comics was the subject of much discussion for exactly those reasons. <br /><br /><b>JC: </b>I mean, I grew up reading Power Man and Iron Fist in the ‘70s, and the idea of them not wearing their traditional costumes, that’s sacrilege. But then, could you actually see anyone wearing the Iron Fist costume in real life? It would be laughable.<br /><br />HU: Right, especially when you consider Luke Cage, a black man in Harlem with a tiara. <br /><br /><b>JC: </b>Heather, you’re a shining example of hustle and muscle. May others learn well from your example. I expect a big, shiny spec sale soon.<br /><br /><b>HU: </b>Thank you!</span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><br /></span></span>Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-23907050.post-17453533543709405012016-10-04T20:27:00.001-07:002016-10-04T20:47:02.208-07:00Do You Like Money?<br />
<a href="http://americanscreenwriters.com/" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="http://americanscreenwriters.com/" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXBB4XbJOmBoWZPatlwtv2d60O6YrzATIFlnKPJrernEzG-aPuYILUS3q6RQfqeb3itirqwkDo2j5FIUjuL71BSDgFEtXWaXwqXTWL9ba2uh7qiUoQyRr0PtLctkzN36j8RX6v/s1600/ama-logo.png" /></a><span style="font-size: large;">Howdy, fellow scribes,</span><br />
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I'm pleased to announce that I've joined the <a href="http://americanscreenwriters.com/">American Screenwriters Association </a>editorial board. This means I'll be writing <a href="http://americanscreenwriters.com/do-you-like-money/">new original content for the ASA blog</a> every month (which we will link to here as well.)<br />
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As many of you know, I was the agents/managers expert for <i>Script</i> magazine as well as wrote the Agents Hot Sheet column for <i>Creative Screenwriting</i> for a decade. So it's exciting to have a new outlet, since there's a lot going on out there which I feel the need to grouse about -- and I still see screenwriters making the same damn mistakes over and over. Sigh.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU2dJxFw1etJoA3e4XkxbTyl_cjg65dkqMDwFBz4-6KyxeXf11yA0Pv0rXEjNMVkWriejjjtyIOmgK4CdHul0gGpNlSLB1YSQjI_mG4a8-D0AmpWNPJLmJzBTA1EgUBuHi8chC/s1600/Public+Enemy+%25231.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="156" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU2dJxFw1etJoA3e4XkxbTyl_cjg65dkqMDwFBz4-6KyxeXf11yA0Pv0rXEjNMVkWriejjjtyIOmgK4CdHul0gGpNlSLB1YSQjI_mG4a8-D0AmpWNPJLmJzBTA1EgUBuHi8chC/s200/Public+Enemy+%25231.jpg" width="200" /></a>My first article for ASA is called DO YOU LIKE MONEY?, and <a href="http://americanscreenwriters.com/do-you-like-money/">you can read it right here</a>. It's about the changing shape of the marketplace, the emergence of TV as the new marketplace for emerging writers, and how YOU can get a piece of it. Bounce on over to American Screenwriters Association and check it out. You may also want to consider signing up while you're there!<br />
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To paraphrase a certain ballsy young meth cook: I'm back, bitch!<br />
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Cheers,<br />
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Jim C.<br />
www.coverageink.com<br />
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-23907050.post-28590295304618871552016-09-04T03:05:00.001-07:002016-09-04T03:05:04.326-07:00Coverage Ink's Jim Cirile on Story Analysis<div class="separator" style="clear: both; text-align: center;">
<a href="https://vimeo.com/179359359/29d20c0dd2"><img alt="https://vimeo.com/179359359/29d20c0dd2" border="0" height="408" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPiCDwJMeHTIsX7Nf4JmrkUfdjsnXeGk_2c8h-bcmfzzkJpG20e1MA-_-wapGgiYVkdHKiEW6TaL1A-TVBN6e_3m2tzq5SJQI1pZDNDXl6JCzVtdv6EQ18YnQNk97yhFj-yMQj/s640/JC+screenshot.jpg" width="640" /></a></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span>Well, this was a blast! Recently I had the pleasure of sitting down with screenwriter and UCLA Extension instructor <b>Brooks Elms</b> as part of his <a href="https://www.uclaextension.edu/?Reg=U8318">Story Analysis for Film and Television</a> class. Some of you may remember Brooks and his writing partner Glenn Sanders as former winners of our Writers on the Storm contest with their killer comedy script WRIGHT OR WRONG. </span></span></span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span>We cover a lot in this 25-minute chat, from how contests work to Coverage Ink's Get Repped Now, to finding work as a script reading and how to learn to analyze a screenplay. If you're interested in learning more about story analysis, this video's a great place to start. Many thanks to Brooks and of course to UCLA for having me!</span></span></span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span>And now the disclaimer: "This video is not an endorsement or recommendation of any commercial</span><span> products, processes, or services. The views and opinions expressed in this</span><span> video do not necessarily state or reflect those of the UCLA Extension, and</span><span> they may not be used for advertising or product endorsement purposes."</span></span></span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span>Check it out <a href="https://vimeo.com/179359359/29d20c0dd2">right here</a>. </span></span></span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span>--Jim C.</span></span></span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span><br /></span></span></span>Unknownnoreply@blogger.com2