Just Effing Entertain Me

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.

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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.

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.

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.

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.

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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.

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.

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?

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

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!

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!

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.