Key Largo, Montego...

The tune. It's stuck in your head now, right? Ha! Ha, ha, I say! (bonus points: What Tennessee Williams-penned movie starring Marlon Brando features that dialogue?) Just letting all you loyal Wavers know that I am not abandoning you, I am going to Key West for a week for a much needed, long-awaited, well-deserved vacation with the Mini-W. I shall return the first week of August with all sorts of fun plans for The Rouge Wave including an interview with a writers' assistant on "Scrubs." LEARN how he got the job, SEE what it's like and FIND OUT how he plans to use the position to leverage himself up using the experience!

Have a lovely week upcoming, Wavers - I won't be around to approve/publish comments until I return, but don't let that stop or discourage you. Meanwhile you can picture me sitting on the beach sipping a pina colada and planning tours of Ernest Hemingway's house. Ahhhhh...!

Aruba, Jamaica ooh I wanna take ya
To Bermuda, Bahama come on pretty mama
Key Largo, Montego baby why don't we go
Jamaica
off the Florida Keys
There's a place called Kokomo
That's where you wanna go to get away from it all

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It's the Little Things

So the other day I was felled by a spider. A tiny, unseen spider bit me and three days, two doctors and six medications later, I am beginning to feel better. Who knew that such a tiny little being could wreak such havoc? I am sad to report that I have no super powers but I sure am humbled. I am also reminded that we writers need to look sky high but also beneath every rock and pebble for our story ideas; what started as a simple spider bite could become a thriller, horror or even a romcom, couldn't it? What chain of events might be set off by something so seemingly insignificant?

I am also humbled by the success of my teleclass and by the great questions asked by listeners. The feedback I have received has been nothing but positive and I am certainly inspired to schedule more teleclasses covering all sorts of screenwriting topics of interest. One idea I had was to feature a guest who is "That Guy" - a screenwriter who is doing everything right and who is about to break in - wouldn't it be interesting to learn from one of your peers about how to more effectively network, or how many hours a day you should be writing or what events or infolists you may be missing out on? I am open to suggestions - what topics are you interested in?

Last week's teleclass will be converted to an MP3 and available for purchase later in August when I reveal my new micro-site, to which The Rouge Wave will be migrating. What the what? Did you read that right? Yes, you did. TRW will be migrating to a different address come this fall. I'm very excited; the blog will have more to offer and a whole new look. Elves are working day and night to make the transition a smooth one. No need to worry or do anything different; this URL will have a redirect.

In the meantime, here is a website that I've known about for awhile but neglected to post here on TRW. Jeff Gund's infolist is just chock-a-block with great information so take your time and really look this site over for class and job listings that may be of interest. One does need to keep abreast of such things, right?

Have a lovely weekend, Wavers, and please, avoid those arachnid cousins of ours - they are just plain cranky enough to bite and it's no fun, believe you me.

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Last Chance: Teleclass Sign Up

Thanks, everybody, for the interest in the class! We've had quite a number of signups! For administrative purposes, we've got to have a cut-off time so that's 5pm Pacific time today.

Any signups, please email me directly and I'll walk you through how to register. It's quick and easy. Don't forget our special guest who will come on to answer a few questions during the last half hour, Gary W. Goldstein, my friend and mentor and the producer of PRETTY WOMAN.

So that's from 7pm tonight, July 14th, (pacific time) to 8:30pm. The cost is $25 and yes, the call will be recorded and available at a later date. REGISTER HERE.

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Gersh Agency Reinvention

This just in from Hollywood Wiretap: The Gersh Agency has renamed, rebranded and relocated entirely. This is very interesting news, guys. Why? Because Gersh is opening up the playing field for everyone and becoming a serious threat to some of the other agencies by modeling themselves after more holistic businesses like Mosaic Media and BenderSpink - mini-studios, if you will, repping writers, actors, directors and dipping into production as well. I see this as an industry-specific economic stimulus package. If you've been feeling gloomy about the recession and what it may mean for your chances as an aspiring writer - take heart. Yes the market has been slow, yes the competition among writers has been quite tough, but this move by Gersh highlights the growing horizon of entertainment. Nobody invests 30 million dollars into an entertainment company that ISN'T gonna make that money back and how. So for all you screenwriters out there, the industry for which you are writing is alive and well, trust me on this.

So for your reading pleasure, here is the whole article:

*****

As of today the Gersh Agency has new digs, a new name, $30 million in financing for a move into production -- and its first co-financed movie project, according to Deadline Hollywood Daily, the Hollywood Reporter and Variety.

The venerable 60-year-old agency has rebranded itself as simply Gersh, with a new logo and 35,000 square feet of office space at 9465 Wilshire Blvd. in Beverly Hills (where else).

As part of what Gersh co-president David Gersh described as continuing "a very planned and steady growth over the last 10 years," Carolyn Sibitz joined the agency, making her the fourth hire from the fallout of the Endeavor-William Morris merger.

Addtionally, a third-generation Gersh also recently came aboard -- Steve Gersh, 26, is an alumnus of the highly regarded USC film school Peter Stark Producing Program, Deadline Hollywood Daily noted.

Gersh also tapped producer Jay Cohen in April to run its new Film Financing and Packaging division, DHD and Variety said, and Morris agent Roland Scahill is heading a Theatrical Tour Booking division out of the New York office. Endeavor agent Daisy Wu also joined its talent department.

The indie film funding comes from Queen Nefertari Prods. CEO Cynthia Stafford and producer Jeff Kalligheri. They will be producers on the associated projects, and actor-producer Lanre' Idewu will serve as consulting producer.

First up under the new fund is the comedy "Adrenaline," scripted by Gersh client Justin Ware. It is produced by Kirkland Tibbels of Hollywood Farms Production Co., Matthew Lillard and Kerry Barden.

Promoting internally, Gersh also recently elevated Abram Nalibotsky to partner and named Alex Yarosh head its talent department. Six assistants also were promoted to agents.

Taking a different path than CAA and William Morris Endeavor, managing partner Leslie Siebert noted that those percenteries "have made it very clear that they only want to represent the top 2% of the business." But "our goal is to represent top talent in every area -- filmmakers, writers, producers, actors ... with a personal managerial approach."

"We don't want 2,000 clients.," co-president Bob Gersh added. "We don't think you can best service those clients. ... We're competitive in that we do a great job on behalf of the client."

Steve Gersh, meanwhile, is already busy with up-and-comers such as Shawn Ashmore ("X-Men") and Autumn Reeser ("Entourage").

He's the grandson of founder Phil Gersh and son of current agency co-head David Gersh.

With 65 agents, Gersh anticipates its revamped company and newly remodeled digs -- which were formerly home to The Firm and just happen to be nextdoor to WME's under-construction new home -- will encourage potential clients to see it as a serious, competitive alternative to the big agencies as well as to ICM, UTA and Paradigm.

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Teleclass July 14th, 7pm PST

Hey everybody! Just a reminder that my first ever teleclass, Top 10 Things Readers Hate is Tuesday, July 14th at 7pm PST. As an added bonus, my friend and colleague, Gary W. Goldstein will be jumping on the call in the last 30 minutes to answer your industry-related questions. Gary is a fountain of information and, take it from me, a prince among men. He has produced a couple of movies you may have seen - oh, say, PRETTY WOMAN and UNDER SIEGE to name just a couple.

The cost for this 90-minute class is a mere $25. The class will be recorded and available for purchase down the line when I figure out the nuts and bolts of that.

The class covers a lot of ground, starting with what the lives and jobs of readers are really like. Many screenwriters really don't have a clear picture of just who these gatekeepers of Hollywood are. Next, we discuss the top 10 list. Actually, our list goes to 11. Natch. We review the list of crazy-making no-nos and how to avoid them.

For information on how to register, please email my assistant Chaia, who will be happy to help you.

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Trailers: The Experts Speak

Hello, Wavers! I tell ya, it's a good feeling when TRW has a profile such that I get emails and requests from industry professionals. Just the other day, a young man working with a massively successful producer* called, asking for scripts that I think are great for possible new projects. It was fun going through my client list and pitching projects that I think might be a fit. Talk about pitching on the fly! It's easier when it's not your own material, lemme tell ya. When it's you, you look like Albert Brooks in BROADCAST NEWS...

*...and I mean massively successful. Usually when people give me a name and say they are successful or well known, I roll my eyes a little - yeah, right. But I pulled up this guy's information on Studio System while we were on the phone and almost choked on my afternoon espresso shot.

So anyway, I heard from IFC about a follow-up to their post about the top 50 best movie trailers of all time and thought I'd link that here today for your enjoyment.

*****

When we humbly submitted our list of the 50 Greatest Movie Trailers the other week, we knew it would be controversial. There was internal debate about old versus new, blockbusters versus low-budget films, comedies versus dramas, teasers versus full-length trailers...and at the end of the day, we agree with Dan Asma, who defined a great trailer as one that leaves an audience saying to themselves, "whoa, I've got to see this movie."

Click HERE to read the rest!

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Top Ten Things Readers Hate - the Teleclass!

Hello, Wavers. Well, it had to come to pass. I'm teaching a teleclass. It should be a lot of fun and I've taught this particular class (live) a few times and participants generally wind up laughing, crying and coming terms with the errors of their ways all at once. All I know is the last time I taught this class I had a line out the door and standing room only.

Top Ten Things Readers Hate covers a lot of ground, starting with what the lives and jobs of readers are really like. Many screenwriters really don't have a clear picture of just who these gatekeepers of Hollywood are. Next, we discuss the top 10 list. Actually, our list goes to 11. Natch. We review the list of top 10 crazy-making no-nos and how to avoid them. Some are self-explanatory, like number 10:

Don't send weird stuff in the mail with your script.

Others are require a little more explanation, like number eight:

Don't write a schizophrenic script.

The class is Tuesday, July 14th at 7pm PST and you can take it from the comfort of your own home, in your pajamas. It doesn't get better than that. The cost for this 90-minute class is a mere $25 - a recession special for you recessionistas.

For questions or instructions on how to sign up, please email my intrepid assistant, Chaia.

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50 Greatest Trailers of All Time

Hey Wavers! You know what you need today? A massively entertaining distraction. That's right, so put down that dusting spray, kick off your fuzzy slippers and check out the 50 Greatest Trailers of All Time. What do they have in common? What surprises you on this list? What do you totally disagree with?

My two cents: GARDEN STATE - I really enjoyed the movie, actually, but this trailer doesn't really do it justice. I don't think I'd decide to see the film based on this trailer. BLAIR WITCH, on the other hand - genius. The CLOVERFIELD trailer - great stuff.

Each trailer has a great explanation of why it works and let me tell you, Wavers - it is just fascinating.

Now we know that trailers are edited and produced by companies hired to do just that. Or did you know that? I found that out awhile back. These trailer houses are given the footage and they go about fashioning the most powerful trailer possible. So after you've enjoyed the heck out of these trailers, ask yourself - what are the trailer moments in your script? Do you have them? Make that your one writing question today - where are your trailer moments?

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Hear That?

...that's the sound of judges judging. Sorry it's been so quiet on the Rouge Wave lately, Wavers. We have been keeping our heads down at The Script Department, as we judge hundreds and hundreds of scripts for The Silver Screenwriting Competition (a wholly owned subsidiary). We aim to be done sorting through them to see who rises to the quarterfinal round by the end of July, if all goes well. This is the second year I have administrated and judged this competition and let me tell you my resume will be bulging with experience for the rest of my life. Handling all of those submissions, writers, payments, judges, organization. Lemme tell ya, Wavers, this is NOT an easy yob.

I'm giving my judges IVs of Red Bull and weekly shoulder massages. So far we've come across a few gems so I think the next rounds should be interesting. I haven't been judging this round, just administrating it, which, as above, is a herculean job. But the next round, when we have approximately 50 quarterfinalists, I shall be jumping in and doing some reading.

I can tell you first hand that the economy might be slow but writers are keeping busy generating material and getting feedback on it. The Script Department is bulging with orders every single day. My readers are working full time.

At the Great American Pitch Fest on June 13th and 14th, the Marriott was packed with writers from all over the world. Last evening, I joined Gary Goldstein in a teleclass with over 50 screenwriters on the line and the passion of the writers was obvious. So eff the economy, Wavers, keep your head down and write write write. Because when the wet blanket lifts new material is going to be in demand like never before. Sometimes I take for granted the immersion I have had for the past few years and how much I have learned about writers, writing and the industry. Last night Gary and I were talking about the industry and how they want "butts in seats." A caller finally got her turn and asked about two technical terms Gary and I had been using: "first look deal" and "button seats."

In other news, I will be attending a luncheon at Warner Brothers, speaking to a group called WOW - Women of Warners - in early August. What an honor that invitation is! And Wavers know me by now - I still get very excited to have lunch on a lot. Even though I work on a lot. You can take the girl out of the country but you cannot take the country out of the girl.

The Mini-W and I have been engaged in our summer tradition of Movie Marathon Summer, though we've gotten off to a slow start. The Mini-W will be recapping our summer movie bacchanal before she returns to school this fall. While I write this the Mini-W is in a digital filmmaking camp on the UCLA campus. This very afternoon the students will be debuting their finished films at a theater on campus. Very exciting. Of course, it really struck the Mini-W that yesterday she was a scant quarter mile from where Michael Jackson died. Is his death akin to the death of John Lennon in 1980? I remember that very vividly and how sad and upsetting that was.

All right, Wavers, you guys have a great weekend and I promise that I'll try to post more frequently than I have been and keep you posted on the judging.

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Spec Market Round Up

While generally The Rouge Wave is more ruminative, reflective, instructive and wrist-slappy rather than industry-newsy, today I am blatantly cutting and pasting from a blog that you should absolutely be reading, Wavers, called Life On The Bubble. Jason is a friend of a friend (how Hollywood is that?) and hereby receives my "I'm not worthy" genuflection.

This is information that applies directly to you, Wavers. The spec market is where you want to be, right? Well, read this carefully because doing so will disabuse you of any pie-in-the-sky fantasies that selling a script is a cake walk. And I just have to take a moment to high-five myself for mixing my pastry metaphors. Wow. Monday morning, too. Ahhh-booyah!

Sorry. Back to Serious Things. I know this is a bit of a depressing read but you need to be aware of this stuff. While it may feel like rearranging deck chairs on the Titanic to even bother sending a script to rep in hopes of hitting the spec market, you have to remember that the market will not always be this flat and that he who was busy building more, newer, better deck chairs is the one who'll be on top when the market does open up. And it will. At some point. Who knows, is it possible that there will be a gold rush of crazy spec sales in a year or two? Will you be ready for that possibility?

Anyway, many thanks to Jason Scoggins for such a terrific, informative blog. It's the sour to go with the sweet of The Rouge Wave. It's the salt to the pepper. It's the cinnamon on top of the...all right, anyway, you get my point. It's not pretty but you need to have an awareness of the realities of the market:

****

Spec Market Roundup: May 2009
by Jason Scoggins
June 1, 2009

Thanks to the feedback we received from last month's Spec Market Roundup, we refined our methodology in a couple of ways this month:

* We're now differentiating between sales of specs that went out widely and those that did not appear in the marketplace prior to selling. Not only does this provide another lens through which to view the state of the marketplace, it keeps those hand-sold projects from skewing the data for the scripts that go out wide (since we're not in a position to know about every script that gets slipped to just a couple of buyers).
* We've broken Buyers into two categories: "Studios" (for lack of a better term), which we think of as the Majors, Mini-Majors and their various studio labels; and "Other," for everyone else.
* We've also broken Sellers into two categories as well: "Agents," and "Managers" (for obvious reasons).

Together, we think these refinements help provide a clearer picture of the spec marketplace as a whole.

At first glance, May's spec script sales numbers seem to be yet another month-over-month improvement: 10 out of 39 specs sold in May, compared to 9 in April and 8 each in February and March, for a sales percentage of 26%. That's the highest number of monthly sales so far this year, and easily the highest percentage.

However, 9 out of May's 10 sales were scripts that went directly to buyers, as opposed to going out wide to producers in the usual spec fashion. In other words, just 1 of the 30 spec scripts that went out wide in May sold ("The Gunslinger," out from UTA & Benderspink, which sold to Warner Bros. for Andrew Lazar's Mad Chance). That's a shockingly low sales rate of 3%. In this month's Spec Market Scorecard we'll be breaking out the numbers for previous months and rolling them up for the year-to-date figures. Suffice it to say here, though, that the state of the marketplace is not pretty: Just 6% of specs that have gone out wide this year have sold. We wish we had access to the total number of scripts that went out narrowly last month for comparison.

Here are May's raw numbers:

* 30 specs went out wide;
* 1 of those sold; and
* 9 additional spec sales were reported


Weekly Breakdown:
Week of May 4:

* 8 specs went wide, 1 of which sold
* 3 additional sales were reported

Week of May 11:

* 10 specs went wide, none sold
* 1 additional sale was reported

Week of May 18:

* 9 specs went wide, none sold
* 2 additional sales were reported

Week of May 25:

* 3 specs went wide, none sold
* 3 additional sales were reported

May 25 was Memorial Day, which helped make the last week in May the slowest of 2009 since Sundance. We'd bet the impending completion of the William Morris/Endeavor merger was a factor as well (see below). In any case, since that last week of May was such an outlier, the weekly average number of new scripts (7.5) is meaningless.


Genre Breakdown, Attachments, Etc.

Collectively, the Buyers seem to have bought their fill of Comedies over the past several months, since not one sold in May. Instead, they switched to Dramas, a genre in which not a single spec had sold in the first four months of the year. Here's the breakdown:
1 - Action
4 - Drama
2 - Sci-Fi/Fantasy (including one animation project)
3 - Thriller

On the attachment front, four of the 10 sales had significant filmmaker or actor elements attached. Two of those four had Hugh Jackman on board as producer and/or star, one had Jim Carrey as producer and star, and the fourth had John Lee Hancock writing and directing (plus Overbrook producing). None of this month's sales reported multiple bidders, and only one was a reported preemptive purchase (Intrepid's purchase of "Childhood Heroes" from Abstract Entertainment).


Buyers and Sellers

Warner Bros. was the big spender of the Studios in May, purchasing 3 of the month's 10 scripts. The other two studio buyers were Fox and Sony, with one each. Among the Other buyers, each of the following companies bought one script each: Beloved, Intrepid, Relativity, Reliance and Starz Media Animation.

Of the agencies, CAA had the best month, with 3 sales; the firm also took 2 scripts out wide, neither of which had sold as of this writing. UTA was in second position in May with two sales, one of which was the sole sale in May that went out wide, out of 3 wide attempts last month. Endeavor, Gersh and William Morris each sold a spec script as well, none of which went out wide.

Eight management companies were involved in the ten spec sales in May: Abstract Entertainment, Anonymous Content, Benderspink, Category 5, The Gotham Group, Kaplan/Perrone, The Radmin Co. and Marty Shapiro Management. Of those, two sold their projects without agency involvement: Abstract Entertainment ("Childhood Heroes," to Intrepid); and Marty Shapiro Management ("Umbra," to Relativity).

On a side note, neither WMA nor Endeavor sold a spec in May after the 5th, just as the rumors of WMA's layoffs began to mount in earnest. In fact, all of WMA's and Endeavor's sales from mid-April to the end of May fall into the "direct to buyers" category, where the scripts did not appear widely in the marketplace prior to the announcement of their sale. It's a safe bet that those sales got started well before the merger was confirmed and the writing was on the wall about which agents would be joining WME and which would not. Regardless, there's no doubt that the merger has been a distraction for both companies and an opportunity for their competitors. We wonder how badly the situation affected WMA's and Endeavor's TV Lit staffing efforts over the past few weeks as well.


About The Spec Market Roundup:
The Spec Market Roundup is a terribly unscientific analysis of the feature film spec script market based on information culled from a variety of public and non-public sources. It does not include pitch sales nor the film rights to underlying material. These are by no means official numbers, merely a fairly complete summary.

About Jason Scoggins:
Jason Scoggins is a manager and partner at Protocol, a Beverly Hills-adjacent literary management and production company. He represents writers, directors and producers of film and TV alongside Protocol's founding partners Brian Inerfeld and John Ufland. After getting his start in the entertainment business as an assistant at ICM, Scoggins became a TV Literary Agent at The Gersh Agency, followed by a stint at Writers & Artists Agency and then several years in the wilderness. He returned to the business in 2007, just in time to be impacted by the run-up to the WGA strike.

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Support the Cinefamily

So I live about...I don't know...two blocks from the Silent Movie Theatre on Fairfax here in Los Angeles. Actually my neighborhood is weird - it's at the geographic crossroads of Hollywood, West Hollywood and the Fairfax neighborhood, one of the oldest Orthodox Jewish neighborhoods in LA. So on a given day we have the hipsters, the Hasidim and gay couples walking their dogs all as they head toward Canter's Deli for mutually agreed upon goodness. But anyway. The Silent Movie Theatre.

"Built in 1942 by John and Dorothy Hampton, The Silent Movie Theatre ran for decades as the only fully functioning silent movie theatre in the country. It has been fully restored to its original, vintage 1940s art deco design, along with a brand new screen and sound system, to help a new generation enjoy the pleasures of cinema in a beautiful theatre."

So that's pretty cool, right? I get emails every week from Cinefamily, which is a sort of club that meets at the Silent Movie Theatre and I think oh, I should go see that movie, yeah, sure. And I never do.

Several friends of mine have plans to go see THE HANGOVER this weekend and I thought, well, sure, yeah, I love my friends very much. But - I'm not that excited to see THE HANGOVER, honestly. It's not really my cup of tea. Then I got this in my email inbox from the Cinefamily:

WINNEBAGO MAN, Sunday June 7th, 8pm

Jack Rebney, aka "the angriest RV salesman in the world," has delighted and fascinated millions of viewers with the hilariously foul-mouthed and ill-tempered outtakes from a Winnebago promotional video he made in the '80s - one of the first and best underground videos to be passed hand-to-hand, before the Internet turned him into a full-blown phenomena. Filmmaker Ben Steinbauer takes on the seemingly impossible task of tracking down Jack, and his journey turns into a fascinating exploration of viral video culture, and what it means on a personal level to its sometimes unwilling subjects. When he finally tracks down Rebney, the real man is more savvy, irascible (of course), deep, weird, and cool than you could have possibly hoped for, and turns out to be more than able to hold his own in the modern media culture. In short, he is a star. A lovely and hilarious look at one man's response to Internet humiliation, and how that so-called "humiliation" can become a beacon of light to many. All hail Jack Rebney: the patron saint of our collective frustrations. Dir. Ben Steinbauer, 2009, HDCAM, 90 min.

- and I thought okay THAT I would see. That sounds fascinating. And I chide myself, momentarily, because I have not gotten out to support the Cinefamily and partaken of their impressively out-there play list and schedule. So for any Angelenos reading TRW today, please get out and support a theater that is off grid. Way off grid. A theater with a true love for the art and craft of cinema and the way in which the movies reflect just how odd we humans are. Step away from the megaplex once in awhile and see what else is out there.

***

The Cinefamily is an organization of movie lovers devoted to finding and presenting interesting and unusual programs of exceptional, distinctive, weird and wonderful films. The Cinefamily’s goal is to foster a spirit of community and a sense of discovery, while reinvigorating the movie-going experience. Like campfires, sporting events and church services, we believe that movies work best as social experiences. They are more meaningful, funnier and scarier when shared with others. Our home is the Silent Movie Theatre, one of Hollywood’s most beloved and beautiful cultural landmarks. There, the Cinefamily will provide a destination spot for Los Angelenos and others to rediscover the pleasures of cinema.

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Dialing for Dollars

Hello, Wavers! You've by now noticed I've been posting less Wavy goodness lately. Mama has been very busy. Administrating and judging the Silver Screenwriting Competition, running The Script Department, working on my own writing and producing plans and projects, preparing for my class at the Great American Pitch Fest on June 13th and the panel I will be on at the Broad Comedy Film Festival in Venice the following day and (deep breath) writing a book based on The Rouge Wave and (deep breath) finding time to exercise, get enough sleep and eat well. Foof. It's a lot.

In addition, I feel as if I've said about everything I have to say on the topic of screenwriting here on The Rouge Wave so I'm posting less often and only when I really have something to say or a question to answer, rather than just warming over old topics just for the sake of posting. Hope that's okay with all of you wonderful, loyal Wavers. I love love love a good question or comment - that way I know I'm posting something that you wanted the answer to, not just postulating cutely on organic dialogue again.

Today I had to call 40 - 40 - agents, managers and production companies on behalf of a client with a script that I am in love with. Once in a blue moon, a script bubbles up to the surface that I just have to throw myself behind. And when I am a fan of a script, look out. My phone is smoking right now.

You know why calling a lot of people, some of which you know, some of which you don't is anxiety-inducing? Because some people are so short and rude on the phone. As I say, 40 calls, right? Of those 40, I would say I know or am acquainted with about 20 of those people. And those people are friendly. Hey Julie! Sure, what's the logline? Sure, send the script. Yay. Feels good. I know if the writer called on his own behalf, he'd be shut down just by dint of the We-Don't-Know-You Filter. So it's great to see those pay-it-forward/networking efforts cash out in getting reads when I want them.

Some of the companies I called - wow, dude. Take a coffee break. Breathe it out. Be nice. I can imagine being on the receiving end of query-type phone calls every single day must get really old and that the second you answer the phone, you're on defense but geezo, we're not curing cancer here, we're just talking about whether you'll read a story. Chillax.

Got some really, really interesting skinny from my old employer, Walden Media, about what's on the slate upcoming and what the new mandate is all about. Very different mandate, I'm surprised - moving closer to the Bristol Bay mandate of old. (Walden and Bristol are both owned by Anschutz. Well, they were. Til Bristol was shuttered a few years back). Cary Granat has formed his own prodco, continuing his interesting odyssey from Dimension to Walden to what amounts to Walden-II-Minus-Anschutz unless Anschutz is funding Granat which I seriously doubt. Phillip Anschutz is the man who signs the checks at Walden, incidentally, being the conservative Colorado billionaire who owns Narnia-land. I used to LOVE reading for Walden Media, let me tell you. That was a great gig. It's nice to continue to be in touch with creative executives there. Another reminder, Wavers - yesterday's assistant you were polite to is today's exec who gives you all the skinny.

It's very fun being just down the hall from Heroes and Villains; I just walked on down there all casual like with my coffee and leaned on the door frame and was all like, dudes, I have a rockin script that you need to read. Script in reading pile. YES.

All righty Wavers, more later, I will not abandon you, I'll just be posting a bit less and please, if you have suggestions or questions - send them my way and I'll be happy to answer them.

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The Thirty Thousand Dollar Question

Once in awhile, I come across things that really delight me and make me curious and tingly at the same time. The Robotard8000 was one such recent example. So when I saw an ad on Ebay yesterday for a feature script for sale for $30,000, I just had to know more. I contacted the writer and he was game enough to answer some questions for The Rouge Wave. Make of this what you will, Wavers - is it brilliant guerrilla market, giving Hollywood the eff you finger, or is it futile and misguided? Whatever it is, it is creative and it takes chutzpah. So without further ramblings, let's hear from the writer:

*****
So Jason – I came across your script for sale on Ebay for $30,000 and I must admit I was flabbergasted and amused by such an unorthodox approach. I love your chutzpah. Have you heard of fellow guerrilla marketers, the Robotard8000?

No I have not.

Have you had any serious inquiries? If so, have you sold the script? Why or why not?

I had one very serious inquiry. Some company in L.A., I don't want to give the name. We were in talks, they were going to buy the script, I sent them a business proposal, the partners were one day away from finalizing the deal when they had to get Board of Directors' approval, and it failed by two votes. One of the partners wanted to buy it outright by himself but decided against it. Very up and down process for me emotionally.

I’m sure you realize that listing your script on Ebay is way outside the usual steps for a screenwriter to sell a script. What made you decide to try this?

Basically it was a last resort. I wanted to produce this script myself, but my friend and fellow filmmaker moved to L.A. I listed it because I thought it would be a unique and hassle free way of selling my screenplay and maybe someone serious would notice it. My priorities have changed and I can't take the time and money that it takes to get a screenplay sold, pitched, or even read. It is nearly impossible to get your script even scimmed [sic] through in Hollywood without a foot in the door already. I would just love to see my screenplay made into a film, that is my dream.

How did you decide upon $30,000 as the value of the script?

Basically that is the top amount, I will accept reasonable offers. The deal I thought I had in place was not for the $30,000. I picked the brain of my friend in L.A., and we came up with the price.

Had you tried the usual steps to find representation for your writing prior to listing it on Ebay?

I entered the screenplay in a couple of competitions early on, got a couple of responses but nothing I wanted to follow through with.

What is your experience with screenwriting?

I was a journalism major in college, and co-wrote a couple of shorts that my friend and I filmed. One was called CONVENIENCE, kind of a horror-zombie style set in a convenience store.

What is your script about?

It is a 20something mob drama, about six to seven central characters. Set in NYC and a small midwest college town. I hear it is bad luck to completely tell the story and plot line before it is a done deal.

Why do you feel your script would make a great movie?

The beginning and end are extremely unique. It is very rare to see an original idea these days in Hollywood. I am sick of movies like GHOSTS OF GIRLFRIENDS PAST and THE PROPOSAL, we have seen these movies a thousand times. My movie is original.

If the script doesn’t sell, what do you plan to do next?

I will try a new way and interesting way to get my screenplay done. I love movies, most of all I love the storytelling aspect of movies and the escape that it brings to everyone's life.

Thank you so much, Jason. And good luck.

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So You Think You Can Read?

Since I started teaching the I Want To Be A Reader course, a number of students have signed up and completed it. But none with the enthusiasm and insight of Rouge Waver Michael Brownlee, who whipped up a frothy blog post about his experience:

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Rouge Wave Pictures presents a new workplace thriller –

I WANT TO BE A READER

“Selfless coverage pro, Julie Gray, with only a computer, an internet connection and her vast knowledge of the craft, has only four weeks to turn a know-it-all screenwriter into a professional reader without losing her sanity or her professional credibility.”

Can she do it? Is four weeks enough? Can a know-it-all screenwriter be taught anything?

Spoiler Alert: Yes. Yes. And, thank god, Yes.

When I learned that studios hire people to read and cover screenplays I thought - How hard can it be? I know how to read. Besides, it’s got to be a better “industry job” than cleaning some junior executive’s cat litter box. Right? But after signing up for Julie’s I Want To Be A Reader course I discovered that there’s more to doing coverage than just reading a script.

The very first week I was blown away by how many elements a reader has to be on the lookout for. I quickly realized that reading a script for coverage would be nothing like reading one for pleasure. To start with I’d have to turn off my inner critic. One of the first assignments was a screenplay written with a dialect, where the words were phonetically spelled out. I loathe reading these. To be a professional reader you have to keep a certain distance and leave your personal feelings at the door. You read only what’s on the pages. That was probably the hardest and most valuable lesson I learned. (And one that’s actually helped me with my own screenwriting.)

As I read the scripts for homework, I felt like I was trying to keep a dozen plates spinning at once. Are the characters fleshed out? Does the structure work? Is the dialogue believable? With each week more plates were added. Writer’s voice. Synopsis writing. Reader comments. Trying to keep track of everything took constant focus. I struggled not to stop and jot down notes as I went along. After all, speed and efficiency are the reader’s two chief allies.

I was feeling pretty proud of myself when I finished reading a screenplay in under two hours. Then Week Three rolled around I learned that this probably wouldn’t cut it. Because a pro can read a screenplay and cover it in about two hours. Not only that, but she’ll do it three times a day five days in a row. What the what? I had been using every minute of the week between assignments to go back over my comments. Tinker with the synopsis a little. Even re-read parts of the screenplay to make sure I had all my ducks in a row. And we hadn’t even put all the elements of coverage together yet.

But when Week Four finally rolled around, and I had to write full coverage of three scripts, I was actually looking forward to the challenge. Because of the way the course is structured, learning one or two elements a week, I never felt overwhelmed. Challenged, yes. It felt good to get through those final screenplays, knowing what needed to be done and that I had been given all the tools to properly complete the job. It also felt good to have solved the mystery of what coverage is. Sure, there’s a lot more work than just reading a script, but now there’s also pride in being able to say “I can do that.”

Over four weeks, Julie walked me through all the steps needed to become a professional reader; from writing a synopsis that faithfully represents the script to keeping comments professional and on point to where to look for work. I highly recommend this course to anyone who’s thinking about becoming a professional reader. Now I have three samples and a letter of recommendation from Julie - a major foot in the door. And even if you aren't looking to become a reader, but are constantly looking for ways to improve your screenwriting, I would suggest you take it as well. After completing the course, I can honestly say that I’ll never look at a screenplay, my own or someone else's, the same way again. It’s like having new eyes. And that is worth the price of admission alone.

***

I am proud to say that Michael graduated with flying colors. Take advantage of my Economic Stimulus Discount, pay as you go and change the way you read scripts forever. Whether you're looking for work as a pro reader or just want to learn how to read scripts the way readers do, I promise you, you'll improve your own writing a thousand-fold. For more information, click HERE.

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Updates and Reminders

Good morning, Wavers! Just a reminder that the May 1st deadline for the Silver Screenwriting Competition is rapidly approaching. Don't miss out on this opportunity to take your nascent career to the next level by winning a trip to Los Angeles, staying in a four star hotel and taking three meetings with three managers. Not to mention having lunch with Josh Zetumer (DUNE) and winning a MacBook Air, cash and other cool stuff. Because we are still a baby competition (this is our second year) the chances of winning are significantly higher than older, larger competitions. So get those scripts polished up and enter by May 1st to enjoy a few days in LA and meet industry professionals who could just give you the chance you've been waiting for.

In other news, after intense negotiations, the Robotard 8000 has agreed to meet me in person this Friday afternoon for an exclusive interview. While I will learn their identities, I am sworn to secrecy but I will be able to find out the answers to scintillating questions like: Why? Has it worked? And what's next? The Robotard 8000, if you missed it, is a couple of mystery writers who took matters into their own hands and put their script BALLS OUT on the web. Last time I heard, they've had 7,000 views of the script. BALLS OUT is totally offensive, go-for-broke hilarious and anyone who would do such a cockamamie thing is someone I have to admire for their sheer - ahem - balls out approach. So Monday, right here on The Rouge Wave, we'll find out more about The Robotard 8000 and what makes them tick.

Have a lovely day, Wavers. And remember, get those scripts in to the Silver Screenwriting Competition so you can come out to LA, meet me, hang out and and take three really fun, really beneficial meeting with managers. For a video interview of last year's winner, Hilary Graham, go to our website.

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Office Space

Sorry for my absence yesterday, Wavers. Remember a week or three ago, I wrote about writing in cafes and the need to get out of the house? Well, yesterday I moved into my very own office! Actually, it's better than my very own; it adjoins the sunny and spacious office of my friend and creative partner - not to mention wildly funny raconteur and new media producer - Michael Perri.

Working at home has been a privilege and a convenience but my business(es) have outgrown that setup, and we had to get something more official. The best part is that my office is on a working studio lot! I say working as a descriptor because it's on one of the oldest lots in Hollywood and has a historic site status. The studio opened in 1920 as Hampton Studios and was later the site of United Artists, with Douglass Fairbanks, Mary Pickford and Charlie Chaplin as its principals. Howard Hughes had an office there when RKO rented space there. Currently, True Blood is shot there and Allan Ball's offices are there as well as Sacha Baron Cohen's, Fuse Entertainment's, Egg Pictures', Heroes and Villains' and many, many more.

The funny thing is that while it is indeed a mini-studio lot (I think there are about five sound stages) similar in size to Prospect Studios, it really is pretty old and funky. There are about three large bungalows with office space rented out to some of the tenants I mentioned and many, many more. But I have also seen an acupuncturist's office and a photographer and several post-production companies. Apparently you don't want your office next to one of those - it's loud. The Lot is pet friendly; I have seen a few canines wandering the halls. The commissary is gorgeous and probably a little expensive judging by the look of the food there.

So yesterday I moved in and today I move in more. Of course, you have to make your office fun, right? It has to look like an entertainment office! Turns out I have plenty of cool and comfy furniture to go in it, and my partner Margaux is donating her Italian language TO CATCH A THIEF poster. The Script Department definitely took up some square footage in my life and now, car-load by car-load, that will be moved over to the Lot. Mike and I work together almost every afternoon on our creative pursuits, so now we'll just open the door, create the suite and get to work. In fact, we've been doing quite a bit of brainstorming the past few weeks and have quickly used up every single white board in his office - so much so that we can't even clean them off well anymore. We're told you can get white board material at home improvement stores and buy it by the foot. We'll probably wind up doing that. Or, I'd love one of those giant chalkboards like at school that flip - there's two sides and they are freestanding. If anybody knows where I can get one of those, I'd love it.

So that's the news of the week, Wavers. I shall be back with some really great interviews coming up on The Rouge Wave, some golden oldies and some fresh new thoughts for your reading/learning and procrastinating pleasure.

Say - is anyone writing this week? Can we all check in on that? What is everybody up to?

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Industry News Update

All righty, Wavers. I've removed the voting for the short scenes as it had petered out in a cloud of our-voting-system-sucks. Congratulations to Emily, who truly did write a very worthy short scene. I will find a better way to sort out the voting in the future.

Moving on. Here is some industry news updates for this week ending March 20th, 2009:

In Development

Blacklight
Feature
Fox Atomic, Zombie Studios, Union Entertainment
P: Richard Leibowitz
W: Jason Dean Hall
Sci-fi actioner set 25 years in the future, about an elite covert ops team sent after a rogue American CIA colonel. Project will be developed simultaneously as a feature film, video game and comic book.

Wouldn’t It Be Nice
Feature
Walt Disney Pictures, Gunn Films
P: Andrew Gunn
W: Barry Blaustein, Jason Hefter
Family comedy in which a teenage couple planning to run away together is magically transported 20 years into the future, only to discover that their lives did not exactly turn out as envisioned.

Doing Da Vinci
TV pilot; ordered to series
Discovery Channel, Pilgrim Films & TV
EP: Craig Piligian, Rob Katz, Tim Pastore
Reality show in which teams try to rebuild Leonardo da Vinci's inventions using materials from that time period.

A Ribbon of Dreams
Miniseries
HBO, Chase Films
EP: David Chase, Brad Grey
W: David Chase
Epic miniseries following two disparate men who team up to help pioneer the burgeoning movie industry through the early 20th century.

Hot Properties

The Untold Story of the World's Biggest Diamond Heist
Feature
Paramount Pictures, Bad Robot, Circle of Confusion
Based on the article "The Untold Story of the World's Biggest Diamond Heist" written by Joshua Davis and published in the April 2009 issue of Wired. J.J. Abrams produces.

This Week in Production

Howl
start - 3/16/2009
James Franco and David Strathairn star in the story of the 1957 obscenity trial launched to censor Allen Ginsberg's "Howl," the groundbreaking poem of the Beat Generation.

You May Not Kiss the Bride

start- 3/16/2009 Romantic comedy starring Katharine McPhee and Mena Suvari about a pet photographer who gets mixed up with a foreign mobster and his daughter in need of American citizenship.

Unstable
wrap - 3/14/2009
Lifetime TV movie about a woman who questions her sanity when strange events occur, after meeting her soulmate. Shiri Appleby stars.

U.S. Attorney

start - 3/18/09

CBS legal drama pilot set among the federal prosecutors in Manhattan's U.S. Attorney's office. Jason Clarke and Melissa George to star.

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St. Paddy's Short Scene Competition

Well, Wavers, we did indeed have an unintended situation arise on TRW that led to one entry being voted for aggressively and the others not so much. And it would appear as if now Wavers have lost interest since the vote is so lopsided.

I'm bummed - this is not how this is supposed to work. I have spoken to the writer of Silver Nickels, who sincerely regrets informing her extended group of supportive peers. She meant no harm or foul play, but nonetheless, the outcome was the same... a lopsided vote, which discouraged all voters.

For this time, nobody is disqualified, but no prizes will be awarded, either. Please, please vote for your favorite - I'd like to see your support even if you don't think your choice stands a chance - just show your support with your vote. I'm sure the other two writers would appreciate it.

I welcome any and all suggestions to prevent this from happening in the future. This type of thing endangers these competitions, clearly. Save The Rouge Wave Short Scene Competitions!

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Reminder Plus a Happy Dance

Good afternoon, Wavers - I have some exciting news. We landed a really neat writer to dine with our grand prize winner for the 2009 Silver Screenwriting Competition. The doors open for submission on Sunday March 1st, and the deadline is May 1st. The first two weeks of submissions are early bird discounted. The website has not yet been updated to reflect the reason I'm doing a big happy dance today so here's the upshot:

With cash and prizes totaling $10,000, The Silver Screenwriting Competition will award the Grand Prize winner a round trip ticket to Los Angeles, three nights at a four star hotel on the Sunset Strip, meetings with three managers and lunch at the Ivy with Josh Zetumer, currently adapting DUNE for director Peter Berg. (Josh also worked on SHERLOCK HOLMES and JAMES BOND: QUANTUM OF SOLACE). How’d you like to pick his brain over lunch?

And that’s not even including the MacBook Air, iPhone and $750 in cash. Go ahead. Give it a try. Then start packing your bags for Hollywood. Deadline, May 1st, 2009, 11:59pm Pacific Time.

Oh happy happy joy joy. I've actually met Josh on a number of occasions and let me tell you, he's one smart guy. He has twice appeared on the Black List (2008 and 2007) and in 2008 was named one of Variety's Top Ten Screenwriters to Watch. And now you can watch him have lunch and give you some choice advice and inspiration. Super neat. So mark your calendars and get those scripts ready - it's gonna be a fun competition!

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Post Oscar Hangover

Good morning everybody! And how did we enjoy the Academy Awards? Here are my thoughts:

*Hugh Jackman: Who knew? Excellent job. His opening number started off with a high cringe factor but ended with hilarity. Hugh really is an all-around entertainer. Plus, he's never met me but I cover books and scripts for Seed so I feel a special connection to him. In my mind.

*Anne Hathaway: That girl can sing! And was a great sport. Barbara Walters interview later was fairly boring though. She's too together to spill or reveal anything substantially interesting. Whatever, healthy, grounded Hollywood girl. Thanks for nothin'.

*What was Philip Seymour Hoffman wearing on his noggin? What was that?

*Where was Jack Nicholson?

*Heath Ledger's win: I can't help but wonder if he would have won were he still with us. It was a compelling performance but clearly his tragic loss fueled this vote. How weird would it be to be any of the other nominees in this category and just know for sure that you will absolutely not be ascending the stage to collect jack. This may explain Hoffman's head gear.

*Slumdog: I love Danny Boyle. And I liked this movie a lot. But I never got on board with the Crazy Slumdog Fan Club. I'm slightly baffled by the love fest over this movie. I really am.

*Kate Winslet: Well deserved and about time. However, and we rewound the TiVo twice, her "thank you, Academy!" QUITE sounded like she dropped the f-bomb which we know is impossible and yet wow it sounded like the word "thank" started with an "f". This will be an enduring mystery to me.

*Sean Penn: Well deserved but I was really, really rooting for Rourke. Also, his speech was a bit heavy-handed for my taste. Also, he neglected to honor/mention or thank Harvey Milk in his speech which I'm sure he regretted later. Also he did not thank Robin Wright Penn - I know they've been estranged but she's the mother of his children!

*Tina Fey and Steve Martin - hilarious!

*Dustin Lance Black: This win really made me tear up. Not only what he said in his speech but his sheer, heart-pounding amazement at having won. He deserved this win.

*Penelope Cruz: Well deserved win; her performance was riveting, I must say. But she looks oddly childlike to me. The aspect ratio of her face is off.

*Did anybody see any of the feature docs? I am embarrassed to say that I have not. Yet.

*Ditto foreign language films. What have I become? I used to see them all. Must do better next year.

*Best Achievement in Sound Editing. Best Achievement in Sound Mixing. Academy, please combine these two categories into one: Best Achievement in Loudness. That way we could grasp this highly technical category and I might have won the pool.

*The way FIVE actors would come out like ominous muses to regale/roast the nominees was creepy. And unwieldy. And time-consuming. Please don't do this again, Academy.

*Ratings were up by 6% so what do I know.

*Did it strike anyone else that going on and on to Frank Langella that he played the definitive Nixon while Anthony Hopkins was also on stage was - awkward? To be honest, I haven't seen more than bits of Frost/Nixon, but I just saw Oliver Stone's Nixon and Hopkins was amazing as Nixon.

*Fashion: Why so many off-the-shoulder looks? It was like a meme. Meryl Streep looked lovely except the dun color of her dress was a bit sober for the occasion. Oh how I miss the days of Cher and her ridiculous outfits. Everybody is so tasteful these days. Mickey Rourke looked great but I'd recommend a shampoo as part of his morning ritual.

*Mickey Rourke on Barbara Walters later - uncomfortable. Does anyone take Barbara Walters seriously anymore? I'm just embarrassed at this point. From Anwar Sadat to the Jonas Brothers.
*Mel Gibson on Jimmy Kimmel later - whoa, whoa, whoa. Do not tell me this man is clean and sober. And disappointingly, he denies that he coined the expression "sugartits." What a let down.

Complete list of nominees and winners HERE.

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