Just Effing Entertain Me

Set Your Course By the Stars

Hello, Wavers! Gosh, it feels like I’ve been away for awhile! It’s a rare thing when I don’t post on TRW for an entire week. Last week I had a milestone birthday, spent three days in Berkeley, taught a class at the Great American Pitch Fest and was on a panel with Laura Shapiro at the Broad Humor Film Festival. A tortoise named Echo also moved into the house for the summer but that’s another story.

I realized, after the Top 10 Things Studio Readers Hate class at the Great American Pitch Fest that I said “shoot me in the face” at minimum twice during class, and maybe three times, giving people a violent and disturbing impression of sweet lil’ ol’ me. I just mean like, when scripts are so tough to read that one wants to…to um…to take a break for a few minutes.

I did receive a good question in The Rouge Wave mailbag while I was away:

First, let me say, I love your blog! I’m making my way through the archives, and it’s worth more than many of my screenwriting classes!

Second, I was wondering if you could share (on your blog) what studios/producers are looking for right now. For example, I’ve heard comedies are currently more popular than dramas because people want to laugh in the current economic climate.

If someone was looking to break in, what type of script would be more commercially viable? Or is the important thing to tell an interesting story well, no matter what it’s about?

Thanks for taking the time to read my question, and I look forward to your response (when you have time)!

-Popular in Poughkeepsie

Dear Pop:

Your question is a good one and when you find out the answer, let me know. I kid. Sort of. Everybody would love to have the answer to this question, most notably every single executive, producer and agent in Hollywood and their brother. Yes, I have also heard that during these tough times, audiences do gravitate toward comedy, but I wouldn’t use that as a strategy for my writing. Your second sentiment is correct: An interesting story, well told is the brass ring. As Omar Khayyam said: “The moving finger writes; and having writ, moves on…” – wait, no, Omar Bradley: “Set your course by the stars, not by the lights of every passing ship.”

That about sums it up, Pop. If anyone in Hollywood knew what would make a hit movie, all movies would be hits. Nobody knows. Write what you love to write. If you love comedy, write that. Write the best, most unique, hilarious comedy you can. But if you really love thriller or sci-fi or action – write that. Writers looking to break in simply need to have VOICE and TALENT evident on the page. Easy, right? Wrong. But that’s not the point I’m trying to make. You just cannot chase what you think might be popular as a way to break in. You’ll chase your own tail like a cheeky monkey and eventually collapse in exhaustion and disillusionment. Write what YOU love – that is really, truly, madly, deeply the best advice I could give any writer, anywhere, writing anything. Otherwise, what’s the point? Write because you love to write. And if you play your cards right, you might just make a career out of it. But stay true to yourself and to your writing first and foremost. You can sell out to the wiley, witchy bitch we call Hollywood later on, when you’re established and can afford therapy, a masseuse and expensive Kentucky bourbon in which to drown your existential sorrows.

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.

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.

Robotard 8000 REVEALED

Well – THAT didn’t take long. All is revealed – or is it? Read all HERE. In the meantime I have received an email from the Robotard thanking me for my interest. This intrepid mystery writer or writers has got a Google Alert, it would seem. What a funny little mystery.

The Robotard 8000

About a week or 10 days ago, I found the Robotard 8000 online. At first, I thought it was a joke. But the reviews of this script are by some pretty well known people. The site streaked around the intertubes with comments like – Have you SEEN this? Is this for real? ROFL what is this??

Is it a hoax? Is it a stunt? Is this by some unknown writer from Nebraska, desperate for attention? And if so – is this a genius move or is it the move of a, well, robotard?

I am told that this script is actually written by an A-lister associated with Will Ferrell. I have also been told this script was written by a collective of A-listers. I don’t think anybody knows for sure but I’ll tell you this – the script is hilarious. Not the most brilliant script I’ve ever read but what I like about it is that it is totally in keeping with the title of the script – BALLS OUT. Any script that starts with “fade the f*ck in” has my attention. The script is playful and ridiculous and offensive. And it’s a quick, funny read.

Publicity stunt by a collective of A-listers or a hoax, you really should read the script for a sense of what “having fun on the page” looks like. The premise may not be the most original, but it’s evident on page one and every page thereafter. The action lines are pithy, yes there are a few typos here and there, but it moves quickly and it’s just so entertaining that you can’t put it down. I read the first 30 pages while I was supposed to be doing something else. I just couldn’t stop.

And that, Wavers, is how you want people to feel about your script. They just can’t put it down.

So for a quick, fun, totally offensive read, stop by the Robotard 8000 and check out the script. The loglines on the very last page are the comedy topper of toppers.

Can Winning a Competition Make a Difference?

Today The Script Department‘s very own Margaux Froley interviews a development exec about competition winning scripts, the spec market and what you can expect from a meeting. Enjoy.

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I’m always curious about the perspective of other industry friends, especially those who have come up the demanding ladder of the development world. I recently discussed the current state of the industry with Brian Schornak, VP of Production at Back Lot Pictures. I consider Brian’s taste in scripts to be impeccable, meaning he understands a writer’s voice and has a terrific ability to help shepherd classy, yet quirky, films. He was involved with the recent successful film, SUNSHINE CLEANING.

For those of you who don’t know this fun fact, the script of SUNSHINE CLEANING was discovered in a script contest by the company Brian works for. Brian was also one of the producers who met with the winner of the 2008 Silver Screenwriting Contest, so he’s no stranger to seeing screenwriters blossom from contests.


Q: You’ve seen writers get discovered by contests before, including meeting with last year’s Silver Screenwriting Grand Prize winner, Hilary Graham.What common elements are you seeing in the scripts that get plucked from these contests?

Generally, the writer has an interesting, distinctive voice and tells a story that really grabs the reader’s attention. Not necessarily the most commercial, sellable story – it’s more about establishing the writer as someone to work with and to watch grow. The winning script might turn into a hit spec sale but that’s not the be-all and end-all. Some of the specific writing mechanics, like structure, might be imperfect – but those things can always be fixed with development.

Q: So a script wins a contest. Great. Now what? When you meet with the winning writer, what are you expecting them to bring to the table?

I like writers who come equipped with a bunch of ideas – fleshed-out or not – that will give me a sense of the type of screenwriting career that they want to pursue. I also love to talk about movies and get a sense of their general taste. All of this helps me when I’m looking to develop original material or fill writing assignments. Honestly, personality goes a long way, since being “good in a room” is key to landing paying writing jobs. You don’t have to be the nicest or funniest person I’ve ever met, but I take a lot of meetings, so a great conversationalist with intuitive people skills will stick out in my mind long after we’ve parted ways.

Q: Can a writer really launch a career from a contest?

Absolutely. As a first-hand example, Megan Holley wrote SUNSHINE CLEANING, which was a fantastic script, and submitted it to the Virginia Governor’s Screenwriting Competition back in 2003. Our company happened to be involved in the judging process because my boss Glenn Williamson is an alumnus of UVA. She won the competition, we made the movie, and now she’s much sought-after all over town. It’s been a great experience.

Many other contests – Nicholl in particular, have turned out viable writers, and I think that producers and literary reps alike are looking more closely at contest winners these days. The town is very competitive in terms of finding the next hot writer and the competitions are a great sorting mechanism.

Q: Among the “industry” crowd, how quickly do prize-winning writers get noticed? More by managers than agents?

It depends on the size and reputability of the contest, but in some cases there’s a mad dash to obtain and read the winning scripts. Managers might be more inclined to sign writers who have a lot of potential but need some development, whereas agents are more likely to come aboard once a sale seems possible. But that’s not always true.

Q: How does building and maintaining a relationship with a production company help a new writer with his/her career?

Writers are always welcome to check in periodically with the execs they had good meetings with (sometimes you just don’t feel much of a connection, and that’s okay, there are plenty of places to do business). Execs are always putting together lists of projects for paid writing assignments and for internal development projects, so it’s good to maintain visibility.

Q: What’s the spec market like right now?

The spec market waxes and wanes. Right now it’s waning, as for economic reasons studios are cutting back on their development and production slates, so there’s less incentive to buy new projects. As a result, production companies are more likely to package scripts with a director or a star before going out to buyers. The movie business, although largely tied to corporate conglomerates, does seem to be fairly recession-proof thus far, so I imagine and hope there will be more activity in the near future.

Brian has also already volunteered to again meet with this year’s Grand Prize winner of the Silver Screenwriting Competition. He could be discussing your script with you by October! Hmm…what to wear? Click here to SUBMIT. Deadline: May 1st.

Pilot Season

By Lisabeth Laiken

OK, quick, answer this — what will you want to watch this fall?

With everything going on in the world, can you hazard a guess right now where you will be and what you will be in the mood for in seven months?

Do you think you will want to watch shows about parenting? A family drama maybe? A family comedy? How about some more soft procedurals? Will you be ready to laugh at the exploits that happen after being fired? Or have your heart tugged by them? Will a new medical drama or two distract you from your woes? Or will you have had enough of reality and just want an escape, so maybe some familiar witches? Vampires? Aliens? Or do you just want to cut to the chase and see the apocalypse? Or the future? These are all options under consideration. Do any of them strike your fancy?

There are millions of dollars at stake right now trying to guess that answer. Maybe that’s why time travel is such a popular television theme; the network execs wish they could do it themselves!

Pilot season is a crazy carnival ride in a good year; this year it might be even wilder – how can the execs gauge anything with everything in such flux? And this pilot season wasn’t even supposed to happen. After the writers strike, the networks proclaimed very loudly that throwing money at an array of pilots didn’t work and wasn’t cost effective and they weren’t going to do it anymore. Well it may be true that it’s inefficient, but not doing it didn’t work out so well either, so they are back at it.

In the last few weeks, dozens of ideas have gotten the greenlight – to go to script, to be cast, to get directors – all with the hope that in March they will get the word to start shooting. If you are writing a spec script or developing your own television show idea, or if you just like TV and want to follow a kind of horserace, there are three great resources to keep track of it all: Variety’s Pilot Watch, The Hollywood Reporter’s articles and orders at Pilot Log, and The Futon Critic DevWatch. This last resource lists everything – details and history – with great filtering options!

The casting reports are starting to pop up. So much of a show’s success depends on chemistry between set-up and actor. Just look at this seasons The Mentalist; its whole pull is what Simon Baker makes of that character in a rather middling show. Who would you like to see back out there? If you were writing a show, who would you want to be delivering your lines? I know that if Kyle Secor, John Hawkes, Emma Caulfield, or Caroline Dhavernas were to be cast in something I would need to check it out. Lauren Graham (who tops my list of MIAs) has a pilot for ABC called “Let It Go” that seems to be gaining momentum, so here’s hoping I’ll see at least one of my faves this fall.

Other shows on the radar already include the latest attempt to recreate AbFab (Kristen Johnston, Kathryn Hahn) and a remake of V. Two movies being dusted off and having their shoulder pads removed are Parenthood and Witches of Eastwick. The CW is hoping to attract the Twilight fans with Vampire Diaries. Hotties James Tupper and Michael Vartan have been tagged for medical shows, Mercy and Time Heals, respectively. Jenna Elfman is getting another go with Accidentally on Purpose and Amy Smart has her first lead in See Cate Run.

It’s way too early to say what will end up on the air. I have my fingers crossed very tightly for the new Herskovitz/Zwick drama A Marriage but who knows — a couple of years ago I was sure we’d be watching Judy Got a Gun and Nice Girls don’t Get a Corner Office. Anyone remember when those had the buzz? It was 2007. We got Cavemen instead.

Lisabeth Laiken has been scrutinizing television since they got the breed of dog wrong on Little House on the Prairie. After ending her college years watching movies and television critically in a joint Film Studies and Semiotics program, she went on to use two VCRs to collect and catalog all her favorite shows (over 500 tapes) long before DVR was a glimmer in anyone’s eye.

Table Read Follow-Up

Last evening, The Script Department hosted another of our monthly table reads at The Attic Theater. And this is what the writer, Seth Fortin, had to say about the experience:

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I always feel, as a screenwriter, that my work happens in a kind of vacuum until the moment someone actually reads it out loud. I know how these lines are supposed to be delivered, and in my head I can hear, oh, William Hurt or Michael Gambon or Glenn Close inflecting them with exactly the right emotional notes, allowing the subtext to ring out sharp and clear like a fork against a wine glass in a crowded room. I know how it’s supposed to sound, I know what’s been left unsaid in each scene, I know when characters are bluffing or holding something back or on the verge of tears.

But is it on the page?

Have I actually written the scenes in such a way that all that stuff comes to the fore?

Do the act breaks really ramp up the tension, or are they over-subtle and meaningful only to the guy who’s got the whole story in his head?

Do the characters have all the distinctive bumps and wrinkles that I think they have, or have I left some of that stuff sitting in storage boxes in the abandoned warehouse of my imagination?

Is my exposition faced-paced and clever, like a West Wing walk-and-talk, or is it frustrating and sleep-inducing, like my college calculus class?

In short: did I write what I think I wrote?

One way to answer that question is to give your script to someone in the business and get their very first, unvarnished opinion. Another way is to get a bunch of working actors together and have them do a read-through, cold, with no rehearsal. It’s not that a first impression is always right; it’s just that if a group of professionals understand where you’re trying to go with a certain scene or a certain joke or a character arc, then it’s probably on the page. If not, you may have left something in the brain.

Happily, Julie and The Script Department can help you with both of these. Last evening, Julie and her colleagues organized a table read for my original science fiction comedy pilot Just In Time. Six actors, all Guild members, all pros, sat down and performed the script in front of a small audience, while Julie and special guest Margaux Froley, a writer for the CW’s Privileged, took notes and prepared to give feedback.

As the actors did their thing, I had a chance to hear, directly, what a first-time reader thought was happening in each line of dialogue. I had a chance to see where, on a first look, character interactions were confusing or unclear. It was a useful exercise. But for me, as the creator of the characters, it was also a little bit magical to see them brought to life. (This is the other, private benefit of the table read. Sure, it’s great to wade into the technical needs of your script. But it’s also a thrill to see your work become a physical reality, even if it’s an unrehearsed, off-the-cuff reality. Especially for those of us who are still writing spec scripts, there’s no guarantee that the thing you’re pouring soul and sweat into will ever be filmed. So if you ever do a table read — treasure the moment!)

After the read-through, the actors gave their immediate impressions and asked me the things they’d been wondering as they read. These ranged from “The characters were well-drawn” to “If you cut down on the sci-fi exposition, you’d have more time to spend on character” to “Do you envision this as a single-camera or multi-camera show?”

Then we turned to the writers in the room. Friend-of-the-blog and previous table read participant Christopher Bosley and web-series producer Mike Perri both chimed in with great insights – including one casually-dropped idea that made me want to jump up and go “Holy crap! That’s it! That’s the missing link! Goodbye, everybody; I have to go write now!” (I didn’t; I’m polite. But I wanted to.)

Next Margaux and Julie gave notes. At first they asked where I saw the show going, what I thought motivated the main character, what kinds of things we hadn’t seen on the page yet – the vision questions. These are the kinds of questions you would expect to be asked if you were in a meeting with someone who could actually produce your show. This reminded me of the most important thing about writing pilots – you have to know what comes next, what could be happening in a year or several seasons down the road.

Then we got into the deep and brutal questions that have to be asked about any script. Really, they all boil down to a single question: Can you get an audience to watch this? Under that general question, subquestions: Is there a clear genre? Does this really work as a half-hour show, or would you be better off making it an hour-long drama? Are your characters the kinds of characters that people would want to see week after week? Do your act breaks make people want to stick around through the commercials?

Finally, while everyone else noshed on cookies and fruit, Margaux and I had a quick conference where she gave me her point-by-point notes, which ran from the technical (“use an en dash instead of an em dash”) to the practical (“What show is this like? What network do you see this on?”) to the philosophical (“It’s not ‘comedy-specific’… doesn’t fit into an easy mold.”)

By the end I had dozens and dozens of useful suggestions, enough to take a script, premise, and characters I love and shape them – I hope – into a sharp, marketable piece of work. And I had seen what every screenwriter hopes to see – my work leave the page and become a real thing for half an hour. Awesome!

Seth Fortin is a Rouge Waver and Los Angeles newbie of six months. In his previous life, he worked in Military Intelligence as a translator.

If you live in the Los Angeles area (or would like an excuse to visit) and would like a table read of your material, please click HERE for details and arrangements of this free, fun and illuminating experience.

New Media: The Epicenter of Creation

When I was in high school – QUITE awhile ago (shut up, you in the back) – my best friend and I wrote, directed and produced a number of quality films. Yeah. Films. On a Super 8 camera. It was quality fare. It sapped our allowance though. The price of film and development made it out of our reach to make more than a few movies. We had no room for mistakes. Things got tense but we never let it affect the art. But seriously, at that time, to produce entertainment was prohibitive for anyone but the Already Connected and Working. Now anyone can create online entertainment. It’s a brave new world. And I love it.

Wednesday I went to the Hollywood Web Television Meet Up, hosted by TubeFilter. I was SO amazed to be around such a wealth of pioneering creativity. I couldn’t help but be struck by the fact that this was the epicenter of what’s to come in New Media. The guest list was impressive. There were executives from Sony, Warner Brothers, NBC, UTA, Strike TV and Yahoo with titles like Content Aquisitions and Director, Online Development. There were actors, producers, directors and techie geeks, all braving the free bar and massive crowd. Pigeon John provided excellent music.

I met and talked with Tay Zonday and yes, his voice is just like that. And of course, who could miss Ruby Ann Boxcar who was gracious enough to share a peanut butter fudge via the microwave recipe with me.

And of course, our very own Citizen Kate. I don’t know why I say our very own except yeah, she’s been to my house and we’re like, totally like THIS.

Now you might be saying to yourself, yeah but most New Media just isn’t that great. You’d be wrong and you’re not looking hard enough. If you haven’t seen Dr. Horrible’s Sing-Along Blog, you’re missing out. Oh and Easy to Assemble. Of course, Funny Or Die has some great stuff. Drunk History is good stuff but please, click on and revel in Palatial Regalia. Tell me when you stop laughing. I’ll wait.

I’m sure you wonder how anyone producing New Media will ever make money. Well, check out this sale to ABC Family. For you too-lazy-to-click-throughers: ABC Family has picked up Take180’s My Alibi for distribution on ABCFamily.com, marking the first major content deal coming out of the community driven web series site.

I have a dear friend who I probably shouldn’t name who just shot an online pilot with HUGE comedic promise. Is he going to sell it to a television network? Maybe. More than maybe, quite possible. But I don’t think his totally subversive idea could have come up in or flourished within the usual milieu. And in the time it took you to write a feature script, my friend wrote, directed and produced a pilot. Think about that. Cash and carry, baby.

New Media has its detractors and doubters but I’ll tell you one thing, being around this huge group of talented story tellers who are breaking all the rules and writing and producing what they want was really thrilling for me. Because it’s a new medium that is coming into its own. Because it feels a little like Hollywood in 1925 – things are wide open right now. It’s a brave new world.

What does this mean for you? It means the sky’s the limit. It means you can write outside the box and outside of the constraints of the entrenched studio system. It means something exciting is happening and you should pay attention. You never know, you might be the next Chocolate Rain guy. Or Ruby Ann Boxcar – mwah – see you at the Streamy after-party!

Mentoring, Networking & Paying it Forward

So my friend Marc Zicree kept telling me about this amazing writer/director/producer/(add other hyphenates here) group that has met every single Thursday for 15 years in Toluca Lake. It’s an invitation only group that has swelled to 500 members (not all of whom show up to every meeting, otherwise it would be bedlam). So I went last night, brought a friend and was just amazed by the warmth and support in this amazing networking group. My friend had just moved to LA from Kentucky a few months ago and really hasn’t found a big group of like-minded creatives to connect with but I think he’s found a home now, for sure. The cool thing about this group is that some of its members are Oscar winners and Emmy winners – and we even had a Hugo Award winner there last evening. The majority, of course, are not quite at Oscar/Emmy level, which is nice, otherwise one would be frozen with awe rather than really interacting comfortably.

The best thing about this group is the premise and the intentionality: Marc goes around the room (there were probably 50 people there last evening) and you first talk about what’s going on with you and then you ask for what you need. It might be advice, it might be some editing equipment, it might be a new headshot – and then, because the group is so big and so multi-connected, someone offers to help introduce you to someone or otherwise get you what you need. It’s networking to the nth degree. And I love that it’s invitation only; it ensures that everyone in the group has been vetted by Marc and understands that this is a group interested in really, truly supporting one another.

Last night I came away with a few headshots for my table reads, the business card of an actor who does bookkeeping on the side and an offer to have coffee next week with a comedy writer. The cool thing is I could have asked for just about anything – does someone know where I can get the best deal on snow tires? I’m sure someone would have a friend they could introduce me to. People last night were looking for a variety of things and some people had some really great news about various projects they are working on.

When my friend and I left, he said wow, I had heard that people in LA were so me, me, me but this group really isn’t. Very true. It isn’t. It’s like the It Takes A Village Creative Support Group. Marc is a huge believer in networking and mentoring and he’s had a fair measure of success in his own career to prove how helpful that really is. So many of Marc’s stories start off with someone making an introduction to someone else who opened a door and then…Marc got what he needed in the end. He’s all about paying it forward and all about making a list of the people who are doing what you want to be doing and finding a way to introduce yourself to those people and just by making that personal connection, you are paving the way for a future involvement with them. I can’t possibly encapsulate or sum up the way Marc runs his group – or The Table as they call themselves – but I was just blown away by the warmth of this group of people. And it all springs from Marc, who is one of the kindest, most generous people I have ever met.

If you live in the LA area, Marc runs another group called The Super Mentors class and I’m going to be sure my friend signs up for it. Mentoring, networking, paying it forward – it seems old-fashioned, but it’s the foundation Hollywood was built on. And it’s nice to see it alive and well at a small cafe in Toluca Lake every Thursday night.