What's New With Josh Zetumer

Good morning, Wavers! And did everybody have a nice weekend? As the deadline approaches for the Silver Screenwriting Competition (May 1, mark it on your calendar!), Margaux Froley thought it would be a great time to get an update with Josh Zetumer. Josh will be dining with the Grand Prize winner this year, in case you forgot. So here's the latest:

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It's been nearly a year since our last interview with Josh. He's been hard at work finishing DUNE and even had time to do rewrite work on Guy Ritchie's SHERLOCK HOLMES. Suffice it to say, Josh is still a "working screenwriter," and I might even venture to say he's one of those coveted Hollywood A-list writers. Despite his demanding schedule, Josh has agreed to have lunch with the Grand Prize winner of the Silver Screenwriting contest and answer a few questions for you Rouge Wavers.

Josh, last time we spoke you had just gotten the job for DUNE. At the time you mentioned your love of sandworms. After finishing a draft on that project, how do you feel about sandworms now?

Groan.

But really, that sounded like a very tough project to crack. How did adapting DUNE compare to writing something of your own on spec?

For me, this project was infinitely harder than a spec. I get to a point on most projects where I want to quit/have a near-panic attack. I'm beginning to realize, as horrible as that is, it's all part of the creative process. It's like an acid trip; it's fun, but you know that for at least a couple hours you're going to be fearing for your life. On DUNE this was especially intense. The book is amazing, but parts read like physics homework. There's so much terminology, and so much is internal - characters second-guessing each other, trying to gauge situations. The key for me was to keep saying, "What can I do visually to express this idea?" I feel like this is a pretty important question you should be asking yourself on every screenplay. Show not tell.

As to the sandworms, yeah I still love them. What's not to love? I'm just hoping they look cool onscreen.

You mentioned that you did some rewrite work on SHERLOCK HOLMES. How much prior SHERLOCK knowledge did you have going into that? What did you to do prepare for something like that?

I'd been a fan of the stories, but I definitely needed a refresher course. The crazy thing about some of these production rewrites (jobs where you're rewriting the script just before or during filming) is that you usually have a matter of hours, not days, to decide if you're taking the job. Then suddenly you're on the clock, and that can be scary. On SHERLOCK I bought a book of short stories and was literally reading on the plane on the way to meet the producers. Doing research is normally one of my favorite parts of the process, but in this case there just wasn't time. The nice thing was that Robert Downey Jr. had such a clear view of the character, it was easy to dive right in.

Sorry, I have to ask. How was Robert Downey, Jr. to work with?

I know this is the stock answer to the "What was so-and-so like to work with," but in this case it's 100% true: He's incredible. Completely deserving of his celebrity. Hanging out with Robert is kind of like going to the carnival; you just follow him around, trying to write frantically while he drops one crazy/brilliant aphorism after another. The only thing is, he's so charismatic and witty that he kind of turns everyone else into a satellite. You become Downey-adjacent. I think if I hung out with him on a regular basis I would develop serious self-esteem issues. I am not now, nor will I ever be, as cool as Robert Downey, Jr.

You have been steadily getting assignments in Hollywood for a few years now...even with your established track record, how do you feel about getting the next job?

Um...cautiously optimistic? Two years ago I probably would have said "terrified." Like take-a-klonopin-and-go-to-sleep-shivering scared. I think generally my anxiety about work has become more manageable, but it still definitely lingers. You work so hard to get anywhere, and then the moment anything positive happens the first thing you tell yourself is, "This will not last. This is all going to be taken away." It doesn't help when you talk to older screenwriters and all they tell you is, "Enjoy it while you can, kid." Seriously, any writer who's spent more than 10 years in Hollywood turns into the grim f*cking reaper.

How important has your relationship with your representation (agent and manager) been in starting and then maintaining your career?

The most important thing in the world. If I could give only one piece of advice to first-time screenwriters it would be: Don't write a script to sell it, write it to land an agent. Agents and managers read 10 to 15 scripts a weekend, three of them on the treadmill. So write a script that's fun to read, that shows a distinct and confident voice, but don't try to second-guess the marketplace. You can kill yourself following trends and trying to predict what will sell. A lot of people also ask, "Why do you need both an agent and manager?" This may not be true for everyone, but in my experience, having both has been invaluable. A manager can produce, and that can be helpful landing gigs. My first studio job - writing a movie called THE INFILTRATOR for Leonardo Dicaprio - was something my manager was producing. Managers and agents also have incentive to set you up with their director clients, so that can be very helpful as well.

If I were an unrepresented screenwriter with a terrific spec, what do you think my best options would be for launching my career?

First move to Los Angeles. It's hard enough to get anyone to notice you in Hollywood. It's even harder if you're living in Maine. Some people do the query letter thing - sending unsolicited scripts to agents - but I don't know any instances of this actually working (that's not to say it can't happen, it just seems like a longshot). A big part of being a screenwriter is hustling, selling yourself. You need to be very proactive. Enter as many screenwriting contests as you can. Read blogs. Try to meet people who are connected to talent agencies. All it really takes to get the ball rolling is one person who believes in you. This can be an indie producer, a writer who has an agent, etc. In my case it was two guys: a writer named Chris McKenna who gave my spec to his agent, and an assistant named Mark Tuohy who gave the script to his boss, a packaging agent. I went to high school with Chris, and Mark I met through an old girlfriend, so you never know where these connections will come from. It's either that or get creative. Become a valet, find out where Steven Spielberg eats lunch, and leave your spec on the passenger seat. Actually, I'm sure he gets that all the time.

Thank you, Josh. Is - is that a sandworm??

Ha.

All righty, Wavers. Get back to work. And don't forget, May 1st looms, so get those scripts in and you just might be the person asking Josh about life in the fast lane.

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Creating a Successful Web Series: I Want To Go to There...

My dear friend Michael Perri, talented writer, producer and mimic was nice enough to write something for us here on the Rouge Wave about creating a web series:

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Picture this: Some of your coolest peeps are kicked back in your pad, yukking it up over brewskis or wine and something to nosh on. The conversation is free flowing and TAH-DOW! Someone yells out, “OMFG, that story is so freaking amazing I almost tinkled in my boot cut jeans!” Another one of your besties chimes in, “Ya dude, we like should totally film that and put that on the web... like a series!” Everyone pauses for a brief moment as eyes widen like y’all just invented a way to turn water into gin. You pop out of your favorite La-Z-Boy and declare, “THIS COULD BE THE BIGGEST WHATCHAMACALLIT THAT CYBERSPACE HAS SEEN SINCE AL GORE CREATED THE INTER-WEB!”

The allure to achieve long lasting fame through the Web is a powerful magnet. I am not talking about the 30 seconds of fame generated by viral videos like “The Landlord,” “Star Wars Kid,” or “Chocolate Rain.” I am talking about creating a viable online episodic series that people tune into each and every day.

With the millions of eyeballs gazing at LCD screens across the world and the potential for achieving inter-fame so high many ponder: What truly makes a great Web Series?

Blogs like Rougewave give words meaning; your Pod-casts give those same words a voice, while Vlogging (video-blogging) can even provide them with some kind of a face. Your choices are never-ending. Whether your web series is reality or scripted, it needs to have the right DNA to grow up big and strong, play in the big leagues and eventually dunk the ball.

But, the World Wide Web is still like the Wild-Wild West. Everyone is trying to mine for Internet gold. There are no barriers to entry and anyone can stake a claim. But can you harvest a juicy nugget and cash it in for fame and a new Aston Martin? I’m not going to bore you with the details of designing the site, fishing for ad dollars, tagging the site for searches... because without stellar content, a fresh hook and that uncontrollable variable of variables called luck - you just can’t be a success.

So what makes a great Web Series?

Goals: Whether your goal is to sell a boatload of advertising space or boldly go where no cyber-punk has ever gone before, make sure you have the target in mind so that everyone aboard the project is on the same page. It’s funny how many times I ask that question and people sputter out random thoughts instead of their mission statement.

Characters: Former NBC Chief Brandon Tartikov was a television executive credited with turning around NBC's low prime time reputation. He had a vision: great characters make great entertainment. The same holds true for cyberspace. Look at the top web series out there today: Ask a Ninja, Chad Vader, Dr. Horrible, Jesus People and my beloved Citizen Kate. They all are centered on a main character(s) that have a goal, whether it’s to answer your deepest questions through eyes of martial arts killing machine or meet Barack Obama - a strong proactive character with quirks and goals is certainly captivating.

Planning: You must put on your project manager cap or find someone who is detailed, task-oriented and cool under fire. As producer, you need to plot out the details of your shoot. Just like a full-scale production company, you’ll need to budget, hire, cast, procure, write and record. You may even get more bang for the buck if you prep and plan in stages. The biggest mistake people make is to try and do it all at once. Take your time.

Marketing: Word of mouth is still king. Within nano-seconds you can Facebook, MySpace, Twitter, Text, email (or for heaven’s sake call) someone and share the funniest thing on the web. My inbox(es) were off the hizzy with the new Andy Samberg short minutes after it aired on SNL. So what if you don’t have Jamie Lynn Siegler or Justin Timberlake in your video? Use every avenue to let the world know your series has arrived.

Sales: Want to make money? Well, Veoh and Revver are some of the sites that will share advertising dollars with you. If all goes well and you’re thinking of trying to sell your series, all the networks have New Media groups or spinoffs for short form content on the Web. Disney recently launched Stage 9 in the hopes it could incubate shorts into movies or TV shows. But you’ll need an introduction. Why not try uber agent UTA’s spin off, 60 Frames? They develop, produce and manage new media clients and have one of the loudest mouths in the biz. You can even create series for mobile phones. Bunnygraph Entertainment specializes in bringing creative minds and product companies.

Crossover Appeal: If you want to move over to the heights of the TV plateau, you must ask yourself, “Could I really watch this on TV?” But, even that’s hard to gauge these days. Remember Quarterlife? (Sorry NBC.) Pretend you get to put a show on air and millions will watch. Look at “It’s Always Sunny in Philadelphia” or “Monster Garage.” Both pilots were shot on a dinky camera but both made it to series. Why? The idea had substance + awesome characters + a fresh hook...oh and luck...

Substance: Above all, your web-series must be about something. Then, how much substance is required for the Web? To just say your story must have a beginning, middle and end is not enough. It has to be UNIQUE! Is it timely? Is it provocative? One of the funniest things I have ever seen on the web was a short when a girl was enjoying an ice cream cone, then comedian Louis CK strolls up, steals it and then runs off to a nearby helicopter and flies off. All in 10 seconds. Never seen that before!

Okay. So, think you can beat the thousands of other people out there trying to create the next Chad Vader?

Ultimately, you have 10 seconds to grab some Web-surfer’s attention and up to five minutes to hold it. If your objectives are clear and your characters and story hook are distinctive, you’re well ahead your competition.

You have to have the patience, drive and creative fortitude akin to an indie filmmaker over and over again. Look what happened to Robert Rodriguez and P.T. Anderson after they wrote, directed and produced their movies. They tried, failed, tried again and succeeded. Don’t be afraid to try and try again to something sticks.

May the Web be with you...

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The Mini-W Reviews: Slumdog Millionaire

There are 3 words that define the film Slumdog Millionaire: Best Picture 2008.

Every year the Academy searches for the movie of the year that inspires, that moves the audience, that has impact. This is precisely what Slumdog Millionaire does. Jamal Malik, a contestant on India’s version of “Who Wants To Be A Millionaire?” and winner of 10 million dollars, is accused of cheating. He is interrogated and forced to prove how he knows every answer to all of the questions.

Jamal tells of each life experience that he has had, revealing why he remembers each answer, such as who is on the 100 dollar bill. Jamal has led a tragic life. Growing up in the slums of Bombay, and orphaned at a very young age, Jamal and his brother Salim have made it by themselves through unimaginable pain, fear, and poverty.

With amazing accomplishment, heart breaking loss, and unbreakable love, the story of Slumdog Millionaire is one that will go on for a long time. Don’t hesitate to get out of the house, go to the theater, and take the time to watch this movie. Keep in mind that it’s an intense experience, not to be mistaken for a feel-good film. The ticket at the Arclight was so worth it.

I give Slumdog Millionaire five out of five jellybeans.

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Why Table Reads Are Fun and Cool!

Last evening at the Attic Theater, as I am wont to do about once each month, I hosted a table read. This time the guest of honor was Rouge Waver Chris Bosley. Chris was nice enough to stay up late afterward and write a blog post for y'all about what it was like:

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One of the challenges for an aspiring screenwriter -- okay, any screenwriter -- is becoming comfortable with uncertainty. Even if you come up with what you think is a solid story premise and dedicate yourself to executing that concept in the form of a well-written script, i.e., unique voice, visual scene descriptions, memorable characters, snappy dialogue, complete unity of theme, until someone reads that script and puts up a truckload of money to turn it into a film . . . you just. don't. know. Will anyone "get" my vision for this story? Or is it just 110 pages of self-indulgence that will only cause the reader to hurl it across the room in frustration??

So it's nice, short of an actual sale or the like, to have those occasional moments when you can see your work click with others and be reasonably confident that, okay, maybe it doesn't totally suck. I was lucky enough to have one of those moments tonight at the table read Julie arranged for me at The Attic Theater. The subject matter was the first act of my rom-com titled SOULMATING. Although I placed in the quarterfinals of Silver Screenwriting with it, there was obviously something that wasn't connecting enough to take it into the later rounds. And since I hope to enter it in other upcoming contests, I need to figure out what the problems are before I can fix them. This was the first step for me in that next rewrite phase.

Naturally, Julie being the font of support and encouragement that she is, took that goal and amped it up about 500% by surprising me and bringing along her friend Steve Faber, writer of "Wedding Crashers." So that was pretty damn cool right there. And in the interest of making the most of my read, I also dragged along my friends Max Adams and Lee Patterson. Max is a past Nicholl fellow, writer of the feature "Excess Baggage," and coordinates the online writing workshop that I've been in for the past two years; Lee is a fellow workshop member and just in from London because he won the Nicholl himself this year. Like the old Sesame Street song says: "One of these things is not like the other, one of these things just doesn't belong." I'm only the guy with the first act of a script that needs some help.

But then another cool thing happened as the read began: people laughed. And in the right spots. This might sound like a minor thing, but especially with a comedy, making people laugh is somewhat of the essence. So that was good too. But the best part was getting notes and feedback from the actors and other writers in the room. Like, insanely great feedback. Steve diagnosed several fundamental character issues with laser precision. Things I kind of knew were hanging out there became instantly clarified. And with plenty of possible fixes for those issues as well. Max, Julie, and the others also gave me awesome suggestions on plot and story improvements that, if I can implement them, will (hopefully) make a good script great. My head is still swimming as I try to absorb and process everyone's comments, but in a good way. In a way that will fuel a whole round of new creative thinking about the script as I take the next pass. Many thanks to everyone -- actors and writers -- who gave of their time and selves to help me become a little more certain about my script.

To paraphrase Ferris Bueller, it is so choice. If you have the means, I highly recommend taking advantage of the service that Julie provides. All you have to do is bring snacks!

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A Day in the Life of a P.A.

I asked my friend Julie M. to tell Wavers about her first experience as a P.A. Julie had a lot to say and the result is this delightful guest blog.

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3:45 am. Pitch black. Your alarm sounds. Panic. Your eyes peel back as you struggle to remember why you’re up so early. A thin layer of sweat begins to bead on the palms of your hands. Panic. Your brain registers: Today is your first day on the job. Not in the real world. Not in the fake world. In the only world: HOLLYWOOD.

4:10 am. You rush to your car Mapquest directions in hand. Moments later you’re on the road sipping on burnt, overly flavored 7-11 coffee. Nervous and excited for the adventure ahead, you gaze out your window as the sun peels back eyes of its own. You see rays of hope. Hope that after today everything will change. For today you take your first step onto the path of becoming a writer, director, producer, or filmmaker. Today you are a P.A.

A P.A. To some it may stand for Pennsylvania. Others may recognize it as a public announcement. The entertainment industry defines a P.A. as a production assistant. One would deduce from this title that the job of a production assistant is to assist in production. This is true in a minimalist sense. To imagine a P.A. just think of the duties of a personal assistant, multiply them by ten, cube that, put him or her on set and you’ve got yourself a production assistant.

My first gig as a P.A. was working on a two day shoot for a prominent commercial director who had his own production company. The job was an Apple spot. The set was located on Hidden Valley Ranch with acres of rolling green hills, voluptuous oak trees, quaint creeks, and lots of salad dressing (not really). Truly picturesque. Apple was releasing a new computer and the shot was set up where the moment a young man turns on his new Apple computer, he is blown away by how amazing it is literally through a mocked up country home out the front door landing on the base of a large oak tree.

7:00 am. The production coordinator arrives. I've been on set for 90 minutes already. She hands me my first call sheet, which was a detailed schedule of the day’s events, and a walkie-talkie. “Don’t lose this, always keep it on,” she said, “This is your lifeblood.” I was told to wait for further instruction, so I meandered over to the Craft Services table for breakfast grazing. Note: Craft Services is like Wolfgang Pucks on set. It’s the best place to be. Suddenly I’m radioed on the walkie. There’s an emergency (everything is always an emergency on set). A crew member was accidentally left behind. Mission: Go back to LA and retrieve missing crew member. Yes, LA’s morning rush hour traffic.

10 am. I arrive back on set with the missing crew member and a new appreciation for LA's morning rush hour traffic. A few things are unloaded from the trucks but everyone seems to be hanging around. Coffee and cigarettes. Must be a long breakfast. Then we see it: a 7 series jet black BMW makes its way down the dirt road. The director has arrived. At once everyone is up and set in to action. The crew spreads out: lights go up, grips are laying the cable, cameras are checked, the set is receiving its final touches, and the director’s chair stands. I’m radioed in: “Grips need an extra hand!” Who the heck are grips? “The art department is missing flour! Get flour!!” We’re in the middle of nowhere, where am I supposed to get flour? “Make sure the director has bottled sparkling water… lightly chilled!” But we only have flat water.

12:00 pm. Time for lunch. Finally, time to breathe. But wait. Talent has just arrived and talent has brought a girlfriend… who has a flight to catch out of LAX to Tokyo… in one hour. Then why bring her to set! Mission 2: Take talent’s girlfriend as fast as you can to the airport while making a quick stop by her apartment to grab her forgotten luggage. Yes, LA traffic, where rush hour never really ends.

3 pm. I arrive back on location around “Where have you been?!” Oh I don’t know. Driving model slash actress around for the past few hours. By the way, when do I get to assist in production? I walk over to the set. Wow. It’s happening. They’re in the middle of shooting. The set is beautiful. It really does look like a house. How did they put that up in a day? Everything appears to be going well except for the cat they had to pull because it refused to take direction. Crazy cat. The production coordinator motions me over and whispers in my ear, “Would you like to see how the magic happens?” She then leads me to stand right behind the director. Peering over his shoulder I watch as the tape is rolling and a commercial is made. It’s a good day.

4 pm. Another coffee break. A couple more hours of shooting where I run between set, the art department, the production trailer, juggling bottled water, wondering if this is all a hazing ritual or a potential dream come true. As the sun sets, the set comes down. That’s a wrap. I’m radioed in. Time to start loading up the trucks. No response. I’m radioed again. Heaven forbid I’m given a moment’s peace to answer nature’s call cramped in a Porto potty on the next hill over. “What’s your status?” Uh, well, I’m counting the squares of toilet paper before I form it into origami. So I act as any first time P.A. would, I respond: “Going to the bathroom.” The walkie responds: “What? Didn’t catch that?” Bowing my head in surrender, now yelling: “In the bathroom!” And silence. Nothing too embarrassing. Just exchanging potty duties from one woman to another. As I make my way back over the hill I am greeted by a standing ovation from the entire cast and crew. Little did I know, I had just announced my business on the general radio line.

10 pm. You’re on your way home from a long day’s work. Your body aches both physically and mentally. You sigh knowing that after only a few hours of sleep the adventure begins again. Then you smile at all the potential that lay ahead. With the array of people you met today each performing such diverse tasks all for one common goal, you realize that the possibilities are endless. You steer your own ship. You write your own play.

Midnight. As you drift off to sleep a warm blanket of peace envelops you for you know that tomorrow when you arise creation begins, life begins. As the sun rises…“LIGHTS!”, your eyes open…“CAMERA!”, you are the eyes in of any role you choose to play…“ACTION!”

There’s no business like show business. That’s an understatement. Working as a production assistant was a very insightful experience. I would advise anyone who is interested in pursuing a job in the film, television, or commercial industry to try a day in the life of a P.A. You truly are the ‘eyes in’ to all aspects of filmmaking. From getting your hands dirty with the grips, to flour in your hair from aiding the art department, to make-up and wardrobe, to learning the cameras, to the behind the scenes administrative work in the production trailer, to witnessing the magic eye of the director behind the camera, to watching the actors get in to character, all teams work together to create a magnificent modern work of art. Like the arms and legs of a giant squid who all function as one body spraying brilliant ink all over the screen for us to enjoy.

*A Production Assistant’s day rate typically ranges from 100 to 200 dollars depending on film or commercial, union or nonunion, etc.

To find a P.A. job one can cold call production companies directly or studio operators and ask to be directed to their production companies on the lot, or use any of the online resources such as: UTA joblist, imdb.com, filmstaff.com, monster.com, etc.

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Final Guest Blog: Hilary Graham

So, where to begin? My trip to LA is coming to a close and I am totally exhausted by it all, but my mind is also racing from all that I’ve seen, done, and learned this week. First and foremost, I want to say that any of you who entered the Silver Screenwriting Contest this year and didn’t win—enter again next year. You WANT to win this prize. The cash is nice, sure, but the real prize has been this trip. Not only have Julie, Andrew, and Margaux set up tons fabulous meetings with producers and A-List screenwriters (Blake Snyder, Steve Faber, David Arata) they been amazing supporters of my script and my career in general. When I was complaining yesterday of how I don’t really have any writing community in NH that I can bounce ideas off of, Julie said to me in her nurturing way, “that’s what we’re here to do for you.” Clearly, The Script Department is more than just your average script consulting service. Sure, they’ll give you great notes, but they are devoted to shepherding writers in every aspect of this business. I now have a team of talented, insightful WRITERS behind me who actually have a stake in helping to pave the way for my success. I absolutely cannot underestimate the importance of that kind of thing. Talk about priceless. Thanks to them I am more than just a name of on cover page to a slew of working producers in this town. Shit, I had dinner with a friggin’ Academy Award nominated screenwriter last night (David Arata). Some of the relationships I made here this week (thanks to Julie and the gang) may just be the very thing that breaks my career.

Oh, and just one last point about how full-service they have been in crafting my Whirlwind Adventure in Hollywood. Leaving no stone unturned, they also made sure I was in all the hip LA places inhabited by a Successful Screenwriter so that for these few days I was actually living in that world. From drinks with Blake Snyder at Chateau Marmont, to lunch with the Script Department at fancy-shmancy dining room on the Paramount lot where we sat across from Tony Shalhoub. (By the way, I highly recommend the grilled scallop and peach salad.) Oh, and a special shout-out to Margaux who was kind enough to take me to the soundstage where they were shooting her episode of PRIVILEGED. So much fun to watch them rehearse!

Okay, dinner with David Arata. The man has a great energy—calm, thoughtful, sweet. He was humble and encouraging, and his take on this business couldn’t have been more different than Steve Faber’s. Two different successful writers - two different takes. So, what’s the lesson here? That there is no one set path to make your way in Hollywood. One thing David said that I found interesting was that, “there’s no place to rest.” Meaning that even at this stage in his career (which includes an Oscar nomination!) he doesn’t feel “safe,” or like the business is easy, or that he will always get work and not just fade away into yesterday’s news. When he said that fear drives the creative process, I don’t really think he meant it as a joke. Thinking about this notion, my first reaction is, holy frigging shit. But when I think more deeply about it, I don’t necessarily think this is a bad thing. I think as writers, we know first-hand that the thing that fuels our creativity isn’t necessarily all unicorns and daisies. Where does out drive to create come from? Where does ambition come from? I don’t really have the answers to those questions, but I think the fact that you’re always trying to make it in this town, the fact that it never stops, may sound crazy and absurd, but in a way, is really just like life.

Well, I guess that’s it for now. I am taking the red-eye home and have big plans to lie around in my PJs and watch cheesy TV for the next couple of days. Then on Monday, I hit the ground running. Again, my many thanks to Julie, Margaux, and Andrew at the Script Department for choosing me, and for arranging this amazing, unforgettable trip. When I sell my first spec for mid-six figures against high-six-figures, I promise to guest-blog again and share the good news. ;)

--Hilary

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Guest Blog: Hilary Graham

At 9:00pm on Wednesday, after a long day of meetings, I go downstairs from my lovely hotel room at The Farmer’s Daughter (another wonderful part of my Silver Screenwriting prize!) to meet Julie and Steve Faber at Tart for drinks. I’m completely exhausted, but I’m very excited to meet Steve because (among other things) he wrote THE WEDDING CRASHERS, which I adore. This will be my first meeting with the big time screenwriter and I’m curious to hear the perspective of someone who is actually living the dream. Not to mention the fact that he personally knows Owen Wilson. Plus, the whole thing is really a “bonus prize” and Steve’s agreeing to meet me because he’s a good friend of Julie’s. So we’re scheduled for drinks, which is very cool, but it gets better. Steve’s actually read my script, FREEBIRD, and get this—he likes it! He even goes so far as to use the word “talented.” Of course, he has some notes, but I’m quickly getting the feeling that this is good. I was talking yesterday about the value of Fairy Godmothers and I think I now need to amend that to Fairy Godpeople.

Well, when Steve, Julie, and I sit down I’m pretty beat—still a little bit on east coast time, spent from chatting and the energy drain of having to be totally charming all day long. But about 60 seconds into our meeting, it’s like someone’s put the paddles to my chest, and I’m pretty sure I hear a voice yelling “Clear!” But when I look across the table it’s just Steve Faber talking and smoking cigars. Remember that old E.F. Hutton commercial? “When E.F. Hutton talks—people listen.” That’s how I feel in Steve’s presence. I’m pretty sure I was slack-jawed and wide-eyed for the better portion of our meeting. Here is a man who really knows how to succeed in this town and he’s sharing his experience with me in the spirit of helping guide my career in the best possible direction. Amazing. And if that wasn’t generous enough, he keeps trying to share his appetizers with me. Before meeting Steve, Julie had told me that he was incredibly supportive of new talent. Now I am feeling the effects of that advocacy. This isn’t the kind of thing you can glean from a book, and I can only hope I adequately expressed my gratitude to Julie for hooking me up with Steve, and to Steve, for sharing his time and wisdom with me.

Steve Faber is a living manifestation of Life in Hollywood: The Successful Screenwriter who has literally seen it all. Aside from being an incredibly talented writer, he is a straight shooter and a tour de force. Smart, funny, deep, real, and a natural born storyteller. You know that scene in THE WIZARD OF OZ where Dorothy discovers the man behind the curtain? That’s how I felt last night as Steve told me story after story about his experience as a Hollywood screenwriter. As Steve talks I feel like I’m walking deeper and deeper into the belly of the beast and that the map I’ve been relying on to navigate this town is some completely useless scam sold only to tourists.

Though I am completely overwhelmed with this sudden overload, (not to mention the fact that Steve repeatedly reiterates that I MUST move out here if I want to make it happen) I can’t help thinking what a gift this night has been. What a gift this trip has been. Of course, I say that from a place of gut-wrenching neurotic questioning. I have run myself ragged over the last three days, driving all over this crazy city, workin’ it the best I know how, and now I can’t go to sleep without first downloading my thoughts. It’s 3:00am in NH so my husband is definitely asleep but my mind is reeling. How am I branding myself as a writer? Do I move to L.A.? Should I listen to the advice of others in terms of which of my ideas are “saleable” or do I just ignore everyone and trust my gut? I feel like I already know the answers to these questions but I need to churn for a while until I can accept the truth. I have five meetings tomorrow so I better get some sleep. I can’t wait to meet David Arata (CHILDREN OF MEN) at the end of my day. I’ll report back with more Tales from Hollywood tomorrow, unless my brain should happen to explode first….

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Guest Blog: Hilary Graham

Hello, Rouge Wavers, this your guest blogger, Hilary Graham. My script FREEBIRD was the Grand Prize Winner of the Silver Screenwriting Contest, so Julie suggested I share a bit about my experience while I’m here in LA enjoying the many fruits of my wonderful prize package. It’s nearly midnight and I just returned from the Château Marmont where Julie & I had drinks with screenwriter and author, Blake Snyder. If I were back home in NH, I’d probably be asleep by now (you gotta wake up early to slop the hogs, you know). But since I’m here in Los Angeles I’m wearing lipstick and using the phrase “four-quadrant picture” and hanging out at “The Chateau” across from Rosario Dawson and next to a man who has actually sold multiple scripts for seven figures.

Blake Snyder is a great guy and truly a guru in the best of the word. He’s like a screenwriting Yoda. (Tomorrow I will try to telekinetically lift a Studio Executive using the force.) If you haven’t read Blake’s Save the Cat! book series, I highly recommend you check it out. I’ve read many screenwriting books, and I have to say that Blake’s Save the Cat! is by far the most down-to-earth straightforward analysis of how a screenplay works, written in a concise, personal, easy-to-read style. I’ve found it particularly helpful to turn to it when I’m trying to work out the beats of a script. In any case, it was great to be able to meet Blake in person glean some of his wisdom in between sips of my yummy vodka drink in a setting I’d only read about in People Magazine. Blake is clearly a very generous man, not only of his time (and I honestly don’t know how he fit in meeting with me with the gazillion other projects he’s working on) but also with his insights. One of the nicest things about our meeting was getting to be amongst people who all truly love doing what they’re doing, even though each of us is at different stage in our journey. I think in this business, where it’s easy for people to grow bitter, I always find it heartening to meet people who are not only happy because of their own accomplishments, but also seek to encourage others’ success.

Speaking of which, Julie has been like a Fairy Godmother to me, nurturing and supportive of my script, and working hard to help advance my career by setting up meetings with writers and production companies. (More details to follow as I have these meetings over the next few days.) Anyway, I’m tremendously grateful for her advocacy, and I urge all of you other aspiring screenwriters go out and get yourself a cheerleader.

Anyway, my first 48 hours in LA have been a whirlwind, (my manager has also set up a full schedule of meetings for me so it’s go, go, go) and my week is just beginning…. Thinking about it is too exhausting, so instead, I’ll just try to remember to breathe, to be brief, to learn something from every meeting, to forgive myself when I don’t make a perfect pitch, and to have fun. I was sitting in the waiting room at Paramount today listening to some middle-aged guy in a suit talk on his cell phone and it occurred to me—we’re all here doing this cause we like telling stories. How cool is that?

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The Mini-W Reviews: Burn After Reading

For those of you who are new to the Rouge Wave, and there are always newcomers, the Mini-W is my 15 year old daughter. She's smart, she's savvy and she loves movies. And once in awhile when her homework is done, she reviews movies here on the Rouge Wave. Enjoy:

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I was dragged to see Burn After Reading, starring Brad Pitt, Frances McDormand, Tilda Swinton, John Malkovich, and George Clooney with my dad and step mom and stepbrother. I was far from excited, but afterwards, I was SO glad they made me go. Although like most Coen Brothers productions, Burn After Reading was quite morbid, the extraordinary comedic performances by the entire cast held the sub-par plot together.

The movie starts out with John Malkovich as Osborn Cox, a washed up CIA operative being fired from his position. He then goes home to his coldhearted wife, Tilda Swinton, who is having an affair with George Clooney, a bodyguard and exercise obsessed womanizer. George Clooney links to Linda Litske (Frances McDormand), through Internet dating. Linda is an image obsessed gym worker who happens to find some files from Osborn Cox’s financial documents. Brad Pitt is a personal trainer at the gym where Linda works, and together they try and get money for the disk that they found, thinking it is CIA information.

In the end, many of the cast end up dying in rather violent and shocking ways, but the way they handle it just makes what would have been a mediocre script into a hilarious experience. Not only were the performances good, but also you could just tell that the actors had fun with this movie, and that fun jumps off the screen into you. DO NOT take the younguns to see this movie (I felt like covering my little step brother’s eyes half the time) but definitely take a couple hours to go out and see it. It will keep you laughing for a long time afterwards.

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Spotlight on Derek Rydall

Wavers know that The Wave-inatrix is a fan of the book There's No Business Like Soul Business, by Derek Rydall. Yesterday I got inspired, picked up the phone and called him. Derek was nice enough to have a great conversation with me and here is some of what he had to say:

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First things first - your head shot on your website is great. Are you single?

Not at the present moment. In fact, not for the last 15 years. But, hey, you never know.

What inspired you to write There’s No Business Like Soul Business? Great title, by the way.

Lots of pain and suffering, plenty of producers who didn't see my genius, and a good dose of heartbreaking, gut-wrenching failure and disappointment. In other words, a day in the life of the 'biz'.

Then I had a sort of near-death experience, decided to become a monk, then a minister, then told my girlfriend I had to be celebate. Yeah, that went over real well (Lasted, oh, about a day or so). And finally I realized that I was supposed to bring this new awareness to the 'biz'. That led to a group of a couple dozen other miserable artists and entertainment professionals looking for a way to sell themselves without selling their souls...and eventually the book.

You travel literally all over the world doing workshops based on your book. I know you are also researching two projects; can you tell us a little about them or is it all top secret?

One is an untitled project about a bunch of college-age pilots flying in the jungles during the 80's. And the other is about Mona Lisa and DaVinci.

Did you like the movie Top Secret?

I actually loved it!

I understand you went through WGA arbitration recently, about a script at Universal. How long did the process take, what got you there and who won? Does the arbitration system work, in other words?

It took a couple months. It happened because there was a writer who did a story before I came on board, then a director came on after and brought someone in to rewrite it. I won and received sole credit...so I think the arbitration system works incredibly well!

You didn’t know this until now but recently I subscribed to your email-newsletter about how to get the most out of a script consultant and loved it. Being that I am a script consultant, I wanted to make sure I am delivering as much value as possible to my clientele. Can you give my readership the top five things to look for in a script consultant in a nutshell?

(1) Credibility. Check their references, past testimonials, samples, to see if they have a proven track record and are a fit for your sensibilities. This doesn't mean you shouldn't work with a consultant who doesn't yet have a long resume -- there are many very talented people out there who haven't yet proven themselves -- but then their price should reflect that lack of experience and lower some of your risk for trying them out.

(2) Honesty. You don't want someone who only pats you on the back, you want someone who will tell you the absolute truth, otherwise they're not helping you create the best script possible. On the other hand, you want someone who is always constructive and supportive; someone who feels like they're in your corner.

(3) Passion. You want a consultant who truly loves film and story, who's passion and enthusiasm is infectious and inspiring. You also want someone who you feel is sincerely interested in your success -- not just your check -- and invested in helping you make your script as good as it can be.

(4) Service. You want a consultant who isn't watching the clock or making you feel like you're a burden. You want to feel like you can ask questions and get real answers and solutions, and you want to feel like there is some follow-up after you've received your notes and/or story meeting.

(5) Value. You want a consultant who offers real value for your hard-earned dollar. That can come in a lot of ways. If it's coverage, you want more than just the standard 2-page studio-type coverage that doesn't really give you any significant feedback. And with the bigger analysis packages, it's always great to have the choice of a personal one-on-one story meeting to brainstorm over the notes. Also, look for consultants who offer other benefits -- like more in-depth follow-up, faster turnaround, a money-back guarantee or a free sample analysis of the first page or so of your script, etc.

As I’m sure you’re aware, there are aspiring screenwriters who feel that paying a consultant is a huge rip-off. What say you to that point of view?

I understand this feeling. Most of us have been bombarded with so much marketing and some not-so-ethical people trying to prey on unsuspecting artists and creative types. But the truth is, most consultants are good, honest people who have some knowledge to share and want to help. It's up to the writer to do their due dilligence and make sure they're making a good choice.

Also, it's important for writers to realize what this craft really takes, and what other successful writers have done to get where they are. Many writers vet their scripts through multiple sources of feedback and multiple rewrites. If we want to achieve lasting success, we need to model some of these same practices.

If you look in other industries, you see successful pros using consultants all the time. Entrepreneurs have consultants go over their business plans before pitching a new multi-million dollar enterprise. Architects have other professionals go over their blueprints before trying to get a multi-million dollar building built. Well, what is a script but a 'blueprint' or a 'business plan' for a multi-million dollar venture called a movie.

So it seems we have a mutual acquaintance with Marc Zicree! Is he the nicest guy ever or what?

Absolutely. What a cool guy!

It’s sometimes very tough to stay encouraged in this business we call show. What do you advise aspiring writers to hang onto or think about when they are feeling down about it?

Just as the oak tree is already in the acorn in potential, there is a mighty being inside each of us waiting to emerge. And, like the acorn, we already possess everything we need to achieve our greatness...but the conditions must be cultivated for us to grow. These are primarily 'inner conditions' such as a connection to our 'source', grattitude, passion, peace, generosity, and a vision that is bigger than our personal life.

There is no quick fix, per se, although sometimes just taking our attention off ourselves and trying to help someone else can do wonders. There are many other things we can do to cultivate a sense of faith and empowerment regardless of outer conditions, but this is a good start (you can check out the book, "There's No Business Like Soul Business" for more).

Are there some writers who should quit trying? How can they tell if enough is enough and nothing is moving forward and so this may not be the path for them?

That's a tough question, and one many of us grapple with from time to time. The only thing I can really say is that if it's something you truly want, then you should never quit. You can't determine whether or not you'll move forward based on how you 'feel'. That's a big mistake. It's called 'emotional reasoning'.

Feelings don't necessarily tell us the truth, they just tell us what we 'believe' or 'think' about something. We need to examine our beliefs more deeply to see if they're true or not. Often, our struggles are calling us to grow in ways that will make us the people and the creators that we need to become in order to fulfill our higher purpose. Look at all the examples of people who had everything against them, who were rejected over and over, for years, but didn't give up. Thomas Edison failed at creating the lightbulb like 10,000 times. Where would we be if he gave up after the 100th failure...or the 5,000th failure? We'd be in the dark and we wouldn't have movies! How many of us are willing to fail 10,000 times?

Okay I know this is a really annoying question but what are your top 3 favorite movies of all time?

That IS a really annoying question. Mostly because I have so many movies I love. A few that come to mind...the original Star Wars, Groundhog Day, Bruce Almighty, Little Miss Sunshine, The Matrix, and about a 1000 more, including a lot of older ones.

Do you read in bed? What are you reading right now?

You sounded so sexy when you asked that. Yes, I read in bed. I'm not reading anything right now, I'm doing this interview. Oh, you mean in general? About 12 books, on politics, spirituality, world service, psychology, etc.

If we were to host a Rouge Wave dinner here in LA, to talk about staying encouraged and inspired would you come if I buy dinner?

Oh, yeah.

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Well, whaddya say to that, Wavers? How about Sunday, September 28th at the Kung Pao Bistro in West Hollywood. A get-together for writers feeling down in the mouth and who'd like some inspiration and encouragement. Contact me HERE if you'd like to attend. Admission is the cost of dinner and a willingness to participate in a conversation about how we can stay motivated and encouraged in a very tough business. That Derek will be joining us is pretty huge; he travels the world speaking and he's doing this just because he's a cool guy.

To learn more about Derek Rydall, his books and services, click HERE.

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Spotlight on Marc S. Zicree

Last week, I had the pleasure of lunching with one of the most delightful, gracious and wise working writers I have ever had the privilege to meet. There's no way I have room here on the Rouge Wave to jot down Marc Zicree's whole resume but I will tell you that with over 100 script sales to his name, including credits on STAR TREK – THE NEXT GENERATION, SLIDERS, DEEP SPACE NINE and BABYLON 5, plus multiple pilots for NBC, ABC and Showtime, Marc has written for virtually every major studio and network, and his work has been nominated for the Humanitas Prize, Diane Thomas Award, American Book Award and this year’s Nebula and Hugo awards – the top prizes in science fiction. He has also won the prestigious Hamptons Prize and this year’s TV GUIDE Award.

Marc was a commentator for three years on NPR’s MORNING EDITION and is well-known as the author of THE TWILIGHT ZONE COMPANION (named in 2006 by the New York Times as one of ten “science fiction books for the ages”). He has appeared on hundreds of radio and TV shows, including AMERICAN MASTERS, ALL THINGS CONSIDERED, WEEKEND EDITION, BIOGRAPHY, ENTERTAINMENT TONIGHT, the BBC, THE TODAY SHOW and COAST TO COAST. Phew.

Above and beyond his resume and packed IMDB, Marc is peaceful, wise and kind beyond belief. Plus, he's friends with Ray Bradbury. Wow, right? Marc was kind enough to submit himself to an exclusive Rouge Wave interview - thank you Marc!

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So – I heard you actually know a writer I am in awe of - Ray Bradbury.

Yes, in fact, I just visited him yesterday at his home, which was quite wonderful, as always. I gave him a present for his 88th birthday, a book on comic strips from the early part of the 20th Century and the toys and products they spawned. We hung out and laughed and traded stories; he signed copies of his books for me and told me about writing THE MARTIAN CHRONICLES and meeting Marlene Dietrich and Al Jolson and Laurel and Hardy when he was a teenager and young man.

He told me about sign he has on the wall of his office where he writes: "Don't think -- DO!" I think that's great. He asked about the book I just finished and what I'm writing now. I told him my goal in the next year is to create and run my own TV series, write and direct a feature and keep writing books. I related the plot of the new screenplay I'm writing and he loved it to such a degree that he gave me a blurb to put on the cover of the screenplay: "This is it!" signed Ray Bradbury.

What a great friend, amazing writer and inspiration.

You just returned from WorldCon in Denver – was Obama there?

He hadn't arrived yet, so he really missed a good time.

You were nominated for a Hugo Award – that’s huge! Tell us about the experience!

I've gotta tell you, being nominated for the Hugo Award -- science fiction's top prize -- for the STAR TREK episode I co-wrote, directed and executive produced was an incredible thrill. As a kid I remember seeing that award on the mantle of my first writing mentor, Theodore Sturgeon. And of course Rod Serling had three of them in his trophy room, for TWILIGHT ZONE.

So clearly, you’re a big Star Trek fan – have you ever met the original cast?

When I was a kid, I was given a Christmas present of a trip to the STAR TREK set, where they were filming the last episode of the original series, "Turnabout Intruder." It was an incredible thrill for me, to see Shatner and Deforest Kelly and those amazing sets. I actually sat in the Captain's chair.

In later years, I met most of the STAR TREK stars, from the original show and later incarnations. Armin Shimerman (Quark) is a very close friend, and spoke at the class we taught this past weekend. And George Takei was a dream to work with, brilliant and professional and patient and remarkable in every way. I'd work with him in a second.

George said something I treasure about me when we were both interviewed on COAST TO COAST: "Marc Zicree is a tsunami of enthusiasm who just sweeps you up and carries you away."

You have been a working writer in Hollywood for a number of years. What advice do you have for those starting out?

Go for it and don't stop until you get to the finish line. Don't let anyone rob you of your dream. Make a list of those who are doing the work you most admire and find ways to get them to mentor you. Make work you're proud of, that really stands for who you are as a human being. Any time you're stopped, find ways around it. Get help, ask for suggestions, find what you can apply that works. Be happy, be kind, be brave.

Which do you prefer writing, tv or feature film?

I prefer TV, because the write has the power (if he's a producer, too) and can make sure what he writes gets shot the way he envisioned it. But now that I'm a director, too, I intend to do features and make sure I have creative control.

It seems that more and more lately, genres in film and television are smooshing together into hybrids. How do you define the difference between sci-fi and fantasy?

It's science fiction if the fantasy element in the story is given a scientific or pseudo-scientific rationale; it's fantasy, if not.

So what does Ray Bradbury have for lunch?

When I mentioned we teach our class at a Chinese restaurant, Ray mentioned he loves Kung Pao chicken. He also said he'd love to come talk to the class sometime soon, which I'm sure we'll make happen.

What are your favorite shows on TV right now – well, I mean, when the season starts up in September? Which new shows are you looking forward to?

FRINGE looks kind of interesting. And I'm looking forward to the final season of GALACTICA. Everyone's raving about MAD MEN, so I suppose I'll have to get around to watching it. I just saw all five seasons of THE WIRE and thought it was brilliant.

Mainly, though, I don't relax by watching TV series -- it's work for me. I'll watch movies instead, or go out to a nice dinner with Elaine and friends. I think it's important to have a life.

What did you think of one of my favorite movies ever – GALAXY QUEST?

I always say GALAXY QUEST and FORBIDDEN PLANET are my two favorite STAR TREK movies.

I'm so glad you said that. By Grabthar's hammer, by the sons of Worvan, I totally own that movie.

Me too.

You are the author of The Twilight Zone Companion. What got you motivated to write the book?

I grew up watching and loving the show, along with STAR TREK and THE OUTER LIMITS. When I got out of college, having sold one short story and gained an art degree from UCLA, I knew I wanted to be a writer-producer in TV but there were no courses. I wrote THE TWILIGHT ZONE COMPANION to learn from the best, and it worked. I've sold over 100 scripts, and the COMPANION has sold over half a million copies.

Did you meet Rod Serling and more importantly, did his voice sound the way it did on the show for real?

I never met him, he died two years before I began the book, but I uncovered videotapes of him teaching classes on writing. And yes, he did talk like that.

I heard there’s something exciting going on with The Twilight Zone involving a little someone named Leo DiCaprio – spill the goods!!

Leonardo's going to be producing a TWILIGHT ZONE movie. I'm in discussions with his office now to see if we can arrange a meeting with him. I think he's terrifically talented and has great taste in material, so I have high hopes for it being a quality film.

How do you pronounce your last name and where does it come from? I’m going with Hungarian.

It's pronounced ZIK-ree, and it's Moroccan. I didn't know this until a distant relative spotted my name on THE TWILIGHT ZONE COMPANION and showed up with a family tree going back to the 17th Century.

Moroccan, right. That was my next guess. But really – you know Ray Bradbury? For real?!

Yeah, and it's every bit as wonderful as you'd think it would be.

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Marc leads a Supermentors class each week in West Hollywood from 7-10pm for writers, actors, directors and producers. Classes are limited to ten students each and fill up fast.

I will be attending a class probably next week to soak up more of that great energy and do some networking over Kung Pao Chicken. To learn more about the class and about Marc, click HERE or call Marc at (323) 363-1259 with any questions.

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What's the Deal With Movie Trailers?

When I met with our fair Wave-inatrix a few weeks ago, she asked about my day job.

I told her that I worked at a theatrical marketing company, i.e., a trailer house. I was a little shocked but definitely excited when she asked me to write this little blurb for the blog.

First, the name: why “trailer” if they come BEFORE the movie? Well, in the early days of film’s misspent youth, they did come after the feature film. The problem was, the audience usually had things to do. Y’know, like churn butter or get to their 18-hour shift in the factory. They couldn’t hang around.

Once the big money people realized there was bigger money in whetting people’s appetites for upcoming films, they started showing the previews at the start of the feature and the “trailer” business was born.

Today, when a studio is ready to start their campaign for a film, they send us the daily film footage or a roughly edited version of the whole film. Our producers will grab the editor that works best with that genre, and the work begins. Sound familiar? Yep, that genre thing is all over the place in this industry.

Since the average trailer shown before the feature is about 1 and ½ to 2 minutes long, the producers have to get down to the most basic elements of the film. Are there some moments that make you jump from the horror flick? Is there a great kiss scene in the romantic comedy? Are there great dialogue lines? Is there a hot star or director attached to this movie?

At this point, the editor creates or “cuts” a series of possible trailers. Now, copywriters, enter stage left. These are the writers whose sole job is to create the word-sketch of the project. The producer wants their take on the project with lines for the narrator and dialog/shots from the film. Talk about boot camp for log lines! The writer that gets in, gets out and gets the message across…you guessed it….gets the gig.

Once the studio executives, the producer, and the editor pick the copywriter’s scripts, they complete the campaign. Thus begins the approval process with the studio. Once the campaign makes everyone involved happy, it goes to finish. That means that music; narration, graphics and dialog are all put together. Now, the trailers are fresh from the oven and ready to separate us from our hard-earned cash.

Now, you’re thinking, “Nice article. What’s it got to do with me?” Let me quote the immortal Inigo Montoya from “The Princess Bride:”

“Let me explain. NO! There is too much. Let me sum up.”

If you could make a trailer of your movie now, what scenes would it use? What lines of dialogue serve as your film’s amuse bouche, giving audiences just enough of a taste to want the whole thing? What genre conventions have you used? Can those be turned on their heads to really grab an audience? Maybe a look at your script from a marketing producer’s point of view can help you. I know it’s helped me.

That brings me to some of the questions I usually get from people about my day job. Julie, like many, wanted to know why the trailers are sometimes so much better than the movie?

Well, it’s because the film didn’t give our people much with which to work. Our job is to get butts in seats for our clients. We’re going to put all the best stuff in the trailers. Maybe the script didn’t really give us anything to chew on. It could also be a great script but the film derails in the production process. I’ve seen both.

And yes, that guy from those insurance company commercials is one of the main voice-over artists for film. I’ll save you the midnight-memory jog---his name is Don LaFontaine. He’s one of only a handful of men that voice feature trailers and television ads or “spots.” You read correctly, it’s just men at the moment. However, there are some awesome ladies poised to change that. So, aspiring female and male V-O artists, keep it up!!!

On that note, I’ll return you to your regularly scheduled Wave-inatrix. Thanks, Julie! Oh, by the way, I’d now like to put in my request for a cupcake. Red velvet, if you please.

Breck Murray aka The Wave-inatrix's favorite Writing Buddy

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Network, Studio, Production Company - oh my!

Today I discovered a really great new blog - The LA Grind - and here (re)present a post from about a week ago that I found quite informational. I mean, at first you read it and you think SUPER DUH but then you realize - or, okay, I realized, that my grasp of exactly who does what was not as strong as I thought it was. Thank you, Russell - cupcake for you!

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I was at a seminar last night for tv writers and a question was introduced which made me realize many people don't understand the difference between a Network, Studio, and Production Company. So,

Network: A network distributes programming. They are the STATION that puts a show on the air, ABC, NBC, CBS, FOX, USA, TNT, ESPN, etc. there are six major companies that own networks for SCRIPTED TELEVISION: FoxCORPS, CBSCORP, GE, Time Warner, Disney, Viacom, Sony.

FOX-Owned by FoxCorps
CBS-Owned by CBSCorps
NBC-Owned by GE
CW-Co-owned by CBS and Time-Warner
ABC-Owned by Disney

These channels DO NOT produce programs. They BUY programs and sell ad space to recoup their cost. You may ask, but Russell, I who produces these shows, I thought... Well they are produced by...

Studios: Each show is produced by a STUDIO. Studios are designed to FINANCE and PRODUCE television. These studios DO NOT distribute television, the finance shows and SELL THEM TO NETWORKS. If you are asking HOW Fox doesn't have a studio, the simple answer is THEY DO. Each network ALSO has a STUDIO that produces shows that air on their network.

FOX- 20th Century Fox
CBS-CBS Paramount
NBC-Universal Media Studios
CW-Warner Brothers
ABC-Disney Studios

So, you're pretty confident now, that whatever is on FOX is produced by 20th Century, CBS Paramount is producing everything on CBS, etc etc. Right? WRONG. While 20th Century does produce many fox shows, like 24, they also sell shows to other networks. My favorite current example is SCRUBS. Scrubs is produced by DISNEY, but was DISTRIBUTED by NBC. However, when NBC cancelled Scrubs, it was PICKED-UP by ABC for another season.

Why does this happen? A bevy of reasons; A show a studio is developing doesn't fit on the network they are producing for, a network thought they would like a show but then decided after seeing it they aren't wild about it, the studio specifically produces a show for another network, etc. etc.

When I lived in DC, I met a guy who worked at History Channel's studio, just like the model I've been talking about, but smaller. He explained their system like this. History Channel is only obligated to buy X amount of the content they produce. If history channel passes on a show, they are free to shop that show to other networks.

The point is, it's reciprocal. Sometimes the studio produces the show for another network, sometimes the network doesn't want the show. However, this shows why you'll be watching a show on CBS, and see a 20th Century Fox logo. Or when you're driving past the Warner lot and see banners from other network's shows.

Production Company: Most people think a production company is the company that actually PRODUCES the show. However, this is a misnomer. In actuality, a production company has EXACTLY the same role as a studio, but they are not owned by a network. Most production companies that work with television are successful producers, showrunners, directors, etc. That have OVERALL DEALS with a studio because of their success.

An OVERALL DEAL means this...A Studio will pay a production company X dollars, and in return they will own EVERYTHING the production company produces, whether it's ideas, scripts, etc, for the length of the deal. People like David E. Kelley, Joss Wheadon, J. J. Abrams have overall deals with studios.

So, there is a general overview of WHAT each type of entity does. Next time you're watching a show and you see a production company, a studio, and a network, you'll understand why it is the way it is.

Next time...I'll try to explain what syndication is...maybe...unless I forget.

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A Spoonful of Vinegar

Here is the Terry Rossio column from Wordplay about throwing in the towel that Luzid mentioned in a comment. It is spot-on but a very painful read. It highlights the stark difference, in my view, between how it feels to receive information in a harsh or stern way versus a softer, more playful way. It goes down hard but it's the Awful Truth. Cupcake for the first Waver to correctly identify the two actors in that delightful romcom without looking it up first. Like I could tell the difference, but you'll know, won't you? Down deep?

Back to the topic at hand. Here's a little dose of alpha male piss and vinegar for you Wavers who'd appreciate a shot of something more bracing than cupcakes. Personally, I felt a bit awful after I read this. But the man speaks the truth. He doesn't remember this but I met him at a screenwriting class at UCLA once.* It was just before Pirates hit the big screen and his life changed forever. Wonder if he'd have written this differently had the movie not hit. Like it wasn't going to. Shuh.

*correction no, no, it was TED I met. Ted. Terry. Terry. Ted. Scratch that last observation. Damn my cupcake memory!

Throwing in the Towel by Terry Rossio

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The Mini-W Reviews: The Pineapple Express

...and the Wave-inatrix is going broke. But hey, the kid, she wants to earn money and have fun doing it. Man, I had to wash the car when I was growing up. But anyway:

PINEAPPLE EXPRESS

You know when you go to see a movie that looks really great and you walk out of the theater fully disappointed? Pineapple Express leaves you with the opposite feeling.

Starring Seth Rogen and James Franco, this hilarious stoner comedy is a must see. It’s packed with action, friendship, and stoner fun. It will leave you with so many jokes afterwards that you should probably try to avoid non-Pineapple Express viewers for at least an hour. The story stars out with Dale (Rogen), a stoner who delivers legal documents, and has a mundane existence, until he witnesses a murder and leaves some rare weed at the scene. He promptly flees to his dealer Saul (Franco) a lovable loser who Dale doesn’t really want to be friends with.

The two embark on a crazy journey and eventually become best friends. The highlight of the film is definitely James Franco. His character is lovable, funny, and all around great. I am a big Seth Rogen fan, but when I saw Franco in this it gave me a new appreciation for him. Out of all the movies I watched this summer, Pineapple Express was definitely my favorite. It’s one of those movies where you just can’t stop laughing the whole time. I recommend this movie to all people over like… 13. Overall, I give this film a five out of five jelly beans, and I’d say that it’s worth the ticket, no questions asked.

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Staffed!

In Hollywoodland, that means you were hired as a television staff writer. It's the brass ring, it's exciting, it's uncertain and it's what every aspiring tv writer is working toward. A few weeks ago, it happened for our own Margaux Froley Outhred. I just had to ask her what it was like:

So. You got staffed on the new CW show Privileged this year. How much did you freak out when you found out?

Margaux: The whole "getting staffed" process is such a whirlwind, I don't know if I had time to get excited. I was coming out of the Warner Brothers Fellowship, and six out of the 13 of us had been staffed, and there was enough funding to get 8 of us hired, so the jobs were going quick. I knew that the WB shows were getting filled quickly, so I was in scramble mode, trying to get my manager and Warners to put me up for anything I could possibly be considered for. I had actually been passed on for PRIVILEGED by one Warner Exec, but I was determined not to let just one person decide my future, especially since I felt I was a great fit for PRIVILEGED because I had just finished a GOSSIP GIRL spec. I pushed another Warner Exec, who got my GOSSIP GIRL to the PRIVILEGED showrunner on a Wednesday. She read me a day later, Thursday morning. Requested a meeting with me that afternoon, and hired me in the meeting. I started work on Monday. That Monday. It was quick, but that's how it was for some of my other friends too. Just being ready was a huge thing. The best part of it was quitting my assistant job that Friday. Not that I liked giving my old boss so little notice, but it felt like I had officially made it past the assistant rank. And the funny thing was, I asked my manager, my Warner exec friend, and the Fellowship people like three times that morning if, really, it was OK to quit my job? I just couldn't believe I wouldn't need to be an assistant anymore, let alone, could hardly process that I was going to be an actual paid writer, in a writer's room.

What got you to this point? What were the breadcrumbs? What did you do right?

Margaux: Aside from everything above, the Warner Fellowship was really the huge factor. From assisting a showrunner, I decided to try my hand at writing a TV spec script. I wrote a 30 ROCK, and that first TV script is what got me into the Fellowship. Once I was in the Fellowship, the best decision I made was to write a GOSSIP GIRL spec. It was still early in their season, there was no indication it would be a worthwhile spec, but I knew I could write it well, and I knew that if it was a hit, there would be another version of it in the coming season. So, staying determined to write the best spec possible made a big difference. Also, just really finessing my connections along the way. A close friend within the Fellowship was able to give my new showrunner boss a solid personal recommendation. I even sent flowers at the BEGINNING of staffing season to my WB exec friend and the WB Fellowship people, knowing that they were about to do a lot of work on my behalf. When it came down to pushing for me, these people were really in my camp when I needed it most.

Where are you repped? How do you like it so far?

Margaux: I was lucky enough to find a brilliant manager, Jamie Wager. Or rather, he found me from the WB Fellowship and my GOSSIP GIRL spec. He's a former TV exec, so he gets how to work with writers. Thus far Jamie has been instrumental in helping me focus on what I need to write next, and helping me through development of a new pilot script. He also helped do the Agent Dance with me. I ended up getting repped by CAA. I currently have a job, so they haven't had much chance to flex that muscle of theirs, but thus far, they've been incredibly supportive and I feel like I've got a really kick ass team to back me up. I had the horrible realization the other week that I am in freelance land, and very quickly that fear was squashed when I remembered what a really on-the-ball team I have to help me get the next job. I believe that feeling is called security.

What is the process on Privileged? How many staff writers are there?

Margaux: We start every day meditating on keeping the CW afloat. Nah, just kidding. (insert uncomfortable laugh here). There are three of us "staff writers", that's the low level writers. Then there are four other higher level writers, plus our lovely and talented showrunner. So, that makes 8 of us total, but generally at least one writer will be off writing his/her script, the showrunner has a million other places to be, and one writer off on maternity leave. We all work together to "break" each episode, from discussing general scenes we'd like to see, to coming up with a fully fleshed out outline. Then that episode's assigned writer will go off and write the outline. Then they'll have to get that outline approved by both our studio (Warner Bros. TV) and then the network (CW) and address those notes. Then they'll be allowed to go off onto script, and again, have that script approved by the showrunner, the studio, and then the network. So each story has gone through many sets of eyes and opinions on it's way to being written and finally shot.

Then we'll do a table read with the cast, followed by a slew of production meetings, and then we can get that episode into production, during which the writer will be on set most of the time to help out/supervise his/her vision. The rest of us stay in the room and keep working on the next episodes. Whew......

What is the ratio of male to female writers on the show?

Margaux: Out of the full 8 of us, 4 of us are ladies. Given that this is a really female-driven cast, that makes sense.

Do you guys use the fabled White Board to sketch out episodes and the season?

Margaux: Yes, gotta have the white board. We have three in fact. One holds the arcs and storylines for all 12 episodes we've been approved for. (Holding out for that back 9!!!) Then, we have one board we really use to brainstorm scenes for an episode, which might then get transfered to the smaller board. The big board then gets used to write out the whole six acts of the episode and how each scene will fit into that structure. Lately I've become the board bitch, but I love it. Having good handwriting paid off.

How much time do you spend on set? Why are sets so cold?

Margaux: Our stages are just downstairs, nearby on the Paramount lot. We spend a little bit of each day there, but generally we stay in our offices. When it's our script being shot, we will live on set the majority of each day. I don't know why they're so cold, but my guess is it has something to do with the hot lights and trying to keep the make-up from melting off our actors.

How many hours a week do you work? Is this typical?

Margaux: We have amazing hours. Apparently this isn't that common, compared to some horror stories I've been told, but again, this is my first room, so I don't have much to compare it to. We work about 10-6 M-Friday. Pretty easy. But, luckily we're doing well breaking our episodes and our shoots are pretty manageable, so we haven't had to have any insanely late nights thus far.

Do you have a nice office? Tell the truth – how’s the food?

Margaux: I love my office. Three of us staff writers (again, we're the bottom of the food chain) had to split 2 offices. I was just so thrilled to actually have an office, I didn't mind sharing. In hindsight, I'm still happy having an office roommate because I'd rather have someone to talk to, or someone to secretly discuss where I'm confused than sitting alone in my own office. The food? Too good. I have a hard time staying away from the kitchen, which is stocked with everything we ask for. Scary habit to get used to.

Single piece of advice for aspiring television writers?

Margaux: It seems to be all about original material these days in terms of getting a writer staffed and/or repped. My manager almost didn't sign me because I didn't have origianl material to back up my specs. Once I wrote a One Act play that he really liked, we were off and running. And I know with getting repped at CAA and having agencies pursue me, a lot of that came from the One Act. But, really, once you've got the job, the day to day most important thing is just to be nice and to be relevant. I haven't written my episode's script yet, but I work hard to try to find side projects or research that can help the showrunner or the current writer on their script. Just being nice goes a really long way.

(See above note how buying someone flowers BEFORE they help you can be a very wise move. Don't wait for them to do all the work and then thank them. Advance thank yous can keep a relationship flowing for years to come.)

Conversely, what would you caution against?

Margaux: Stalking. It is really easy to push someone who is doing you a favor into the territory where they start avoiding your calls. If you push too hard, you will kill your contact. Seriously. I just heard about a producer who has a "Do Not Staff" list, filled with people who just bugged them and because of that, they never want to hire those writers. Don't bug the people you want favors from. There are only so many jobs out there, pushing harder doesn't change that.

Whoa! I heard about the Do Not Staff list a few years ago. I thought it was an urban myth, honestly. It really happens?

Margaux: Apparently so.

Thank you, Margaux, for taking your time to do this.

Margaux: Yeah. Where's my cupcake? :)

You earned it, babe.

Margaux: Privileged premiers on the CW on September 9th at 9pm.

I'm supposed to be the bold font.

Margaux: Now you're just talking to yourself.

****

Staffing season comes every spring, sure as the geese migrate from - wait - uh - arrive in wherever. Make the most of your time this fall. Study the new shows like crazy. And look into writing original material like a one-act play.

Margaux is available on a limited basis to review your television scripts at The Script Department. We will shortly be announcing a new tv script analyst we have hired who is much more available. Treat yourself to either one but know that due to her work demands, Margaux should be booked in advance. We're lucky to have her.

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The Mini-W Reviews: Sisterhood of the Traveling Pants 2

As a big fan of Ann Brashare’s very popular book series “The Sisterhood of the Traveling Pants”, when the first movie adaptation of the series came out, I was thoroughly excited. After being mildly disappointed with the first movie, (its adaptation for the screen was unsatisfying to me as a reader), I was reluctant to go see the sequel which, unlike the first movie, combines all the rest of the books (2nd, 3rd, 4th).

Two and a half hours later, my mind had been completely changed. The Sisterhood of the Traveling Pants 2, starring Amber Tamblyn, “Gossip Girl’s” Blake Lively, “Ugly Betty’s” America Ferrera, and “Gilmore Girl’s” Alexis Bledel, is just the right summer chick flick to see with your best girlfriends. Although it’s not what you would call a high quality movie, (sorry, no oscar buzz for you Sisterhood), it’s definitely a fun film to go see.

In case you haven’t seen the previous movie or read the books, there are four main characters. Tibby, the rebellious film maker, Lena, the shy but sweet Greek artist, Bridget, the bold soccer player who lost her mother, and Carmen, the Puerto Rican beauty, who writes and is the most passionate one of the group. The girls had grown up together and the series is basically about their experiences as teenagers, and as friends. The movies are more interesting to readers of the series, but they are fun to watch nonetheless.

The film starts out with the girls in college. Bridget is going to Turkey for archeology camp, but ends up going to Alabama to see her grandmother, Lena takes a drawing class and rediscovers her love for a former boyfriend, Carmen gets cast in a major play, and Tibby learns the consequences of being sexually active. These emotional issues that are dealt with are handled well, and I think that this movie could be seen as a bonding movie. It shows the kind of friendship that you hope you will always have with your friends.

Overall, The Sisterhood of the Traveling Pants 2 is a good movie to watch if you’re in the mood for a chick flick. It’ll make you laugh, cry, and rediscover why you pay so friggin much to get into movies. I would recommend this movie to younger girls mostly, and especially fans of the book. I know I enjoyed it.

I give Sisterhood of the Traveling Pants 2 three and a half out of five jelly beans.

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Why I Love Horror Movies

As a 15-year-old horror movie lover and the daughter of a movie freak (sorry, mom but it's true) I have seen a large variety of movies from The Exorcist, to Rosemary's Baby to Saw, to Ju-On, 28 Days Later to The Hills Have Eyes. I’m writing this target audience members view of what makes the movie good to the kids that are actually going to watch it. There are a lot of different things that make up a horror movie. There is the simple horror formula, something that all horror movies need and that can be used without being cheesy and keeping that originality. Another important thing is your subgenre. The subgenre of the movie will define just how the formula works, and how your script can be made into something more than what has been done in the past.

The horror movie formula, (thank you, Scream), is simple. You need at least one survivor, the virgin. They have to be good and wholesome, yet strong enough to eventually face off with the villain. Other characters, especially in teen flicks, need to be drinking beer and being mean and what not, because they will all die. The villain has to be mysterious, but scary at the same time, and somewhat relatable to real life (that makes it a lot scarier). The one thing with the formula is it’s SO hard to take it seriously. I’m laughing while I write it, but honestly, without it, a horror movie just isn’t horror. I think that what some people don’t realize is that horror is definitely not a serious genre. Not that it doesn’t count, but when writing something scary, it’s good to have a little fun with it. Make it a little campy, and you’re giving it more potential. Take the Nightmare on Elm Street series, possibly the campiest series I’ve ever seen (sorry, Robert Englund) yet one of the most popular franchise horrors yet.

The subgenre of the movie is hard to kinda spell out in a blog, so forgive me if I didn’t do it in perfect format. Basically, you have your main subgenres which include Monster movies (the Thing, the Descent, the Wolfman, ect), Slashers and Serial killer movies (Saw, Texas Chainsaw Massacre, Halloween) Supernatural (The Ring, The Shining, The Amityville Horror), Zombie, yes it has it’s own subgenre (Dawn of the Dead, 28 Days Later, Night of the Living Dead), Demonic (The Omen, The Exorcist, The Exorcism of Emily Rose), and of course, the small but vibrant category, Vampires (Lost boys, Dracula, Nosferatu). When you know what subgenre of horror you’re writing, it is a lot easier to find guidelines, suggestions, and history on the theme. For instance if you’re making a zombie movie, you need to know the “evolution” of zombies. You need to learn what the difference is between Night of the Living Dead and 28 Days Later because if you don’t you’ll be WAY behind.

Whenever my mom talks about a horror movie, she always uses the term "the pop-out moment" because you see it a lot in horror movies. This is what some people think of as a crucial thing in horror movies, but actually, if you’ve got a good story, I would not suggest using a lot of pop out moments. Although they startle the audience, the movie is twice as frightening if you can work the fear in without using too much standard stuff like that. My mom and I watched The Orphanage a couple of weeks ago, a horror/thriller with maybe one or two pop-out moments. And the moments were really scary because there were only one or two of them.

The horror movie that has scared me the most out of everything I’ve seen was the first Saw movie. It scared me because while it wasn’t exactly realistic, it was possible. I related to it and that kept me up for nights. There’s the same kinda thing going on with The Strangers and Misery. Is it likely that a random person is going to capture and kill you? No, but the idea that it is possible is a lot scarier than say, The Ring. We know that there is no such thing as a video that kills you, and even though supernatural movies are scary sometimes, the fear goes away quickly because you’re so aware that it’s not real.

Something that people don’t always take into consideration is a memorable villain. Would Halloween be the same without Michael Myers? Probably not. You need somebody that people will think about and make into an icon. You need a characteristic they always have (Jason’s hockey mask, Dracula’s fangs, Leather Face’s chainsaw), The villain also needs a good back story. Basically all Hannibal Lecter Fans know the creepy cannibal psychiatrist’s story, and that goes for any good movie villain. With a good back-story the fan base will build up twice as much. Another thing to do is to make the villain connect with a basic fear. Like fear of the dark, or of something hiding in your closet. Make the viewers remember when they were young and had to sleep with night-lights on.

In the end, if you’re looking to write a horror movie, do your homework. Find your subgenre, watch some previous films similar to yours, use the formula, and have fun with it. And remember that in horror movies, especially supernatural ones, almost anything goes. I hope this was a helpful article and I’ll look forward to seeing some good new horror movies come out!

- Mini W

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