But Content DOES count

My last blog-diatribe got a lot of grumbling under the hood. There was some speculating that I was targeting specific people with my rant, which I should make clear, I wasn't. I was targeting a type of person that has been driving me crazy. If there were any targets, there were several magazines I had in mind. Magazines tend to, by necessity, overblow things and package them to make them seem more important than they are. Heck, it is the duty of a magazine to be a marketing tool. However, I will admit there was one 'zine in particular of which I was thinking. I am not guilt free. Once upon a time this magazine was great. I still have a subscription to it. However, in recent years, with the purchasing of it by larger, less caring entities, it (and even worse, its online version) have gone to a ridiculous "why everything you know is wrong, and why we can tell you what is right" and the top ten reasons these things are hot" tabloid silliness. Even more annoying, the online version of it has largely become a series of RSS feeds masquerading as original material. Blech. I'm tired of websites that do nothing more than aggregate and gather other people's content.

Again I will not mention a name – and likely cause even more conjecture as people try to guess which magazine I've soured on.

The other side of the grumbling and commenting came from people arguing that marketing is something that many artists and creators don't get, and that it is important beyond what they realize.

Yes, of course marketing is important. I could easily play devils advocate and argue it as being the most important aspect of entertainment. And it depends with whom I am discussing this. Neophytes just getting their first baby out there generally don't know how to promote something. For those people, lessons in marketing, showing the trickery of the sales magicians, is important. So, I need to make clear that I was really talking about pretty large Hollywood product and savvy low-budget filmmakers and distributors who are imitating the marketing style of these larger entities – and in both cases – with nothing behind the marketing. I was talking about marketing that exceeds the budget (in terms of money AND time spent) of the actual product.

Let me complain a bit more about something else:

Style over substance. Last night I saw a series of short films. Most were mediocre, a couple stood out as above-average. What really drove me up a wall (and this is a common "Hollywood" issue) were the movies that had the gloss of a high end movie – all the production and post production value – but without a decent story. It's really a pity when a movie looks and sounds fantastic, but is lacking in story. Huh, I just described half of what comes to the big screen, didn't I?
Oh well. No one ever said that making movies was easy. It's a long series of hurdles and there are so many ways to fail.

I guess something to be remembered by all "civilians" that read this blog too; no one, no independent filmmaker, no studio, makes a movie with the intention of it being a piece of junk. Everybody hopes the movie they are making will be decent.

Tonight – Birthday bash in the Hollywood Hills.

Next blog entry – pictures of the bash.

Content Counts

A few days ago, I started a blog entry that remained nothing more than a draft. I have bunches of them; orphans with tidbits of ideas, incomplete ranting, too personal thoughts, etc.

This to-never-be-published entry was about marketing and networking of self vs. production of actual quality material.

The crux of the thought was how I see a lot of filmmakers, writers, musicians, etc. lamenting how they can't make it in the business. How, somehow, they are being held down by the powers that be. Because of this, they have taken distribution and exhibition, recording, productions, etc. into their own hands and now – if only they yell loudly and plainly and long enough, people will hear and see them for the great undiscovered artists they are.

To which I call Bullshit.

I have a right to call bullshit too. I've made some good stuff, but I've also made less-than stellar work. I know what it's like to try to wrap something up in enough fresh, shiny paper to try to fool people. Hey, it's the nature of all show business. This is not something that is unique to "indie-(fill in the blank)". I know, more than most, the importance of marketing. I know that with all the noise out there, it is important to delineate oneself. I know that without a horn tooting your greatness, you may go nowhere.

BUT… a lot of people produce a mediocre (or less) product and then spend the next couple years trying to convince people (themselves included) that they've made something good. It's the basis for a lot of time wasting seminars, festivals, websites, alternative distribution approaches, etc. The simple fact is, It's the product that counts. If it's good, not a lot of promotion or marketing is needed. It WILL be found.

And here… to make a point of what I have just written is Emily Elbert. I saw a simple youtube clip, nothing more. No fancy flashing lights and bells. Nothing claiming to be the next coming of an Internet god or some high-tech (WHATEVER). No "DIY Innovative, I am writing a book about how I'm doing this cool thing online, our band will be the first to perform while free-falling from low earth orbit, I'm using Myspace and facebook to.... blah blah blah."

Just a girl and her guitar in front of a locked down camera. It was enough to put a huge smile on my face and make me seek out more. I predict big things from her.

Another example of content counting….

I will say that I haven't seen the movie. It could suck. Based on this trailer though, I think it will, at worst, be a very pleasant romantic flick. Or it could be a great movie.

The point is that there is but one difference between this movie and 7000 other zero budget indie flicks.

The difference is… it's GOOD.

This may all sound like a curmudgeonly attitude, but I really want to make clear, in this amazing day and age of youtube, etc. - this is great news. It's a better time than ever to be that little artist with the huge talent. After all, it is because of the Internet that I am now aware of Emily Elbert from Boston; same goes for Alex Holdridge and his movie.

Bottom line, don't worry so much about how you're going to get found amongst all the other stuff. Just worry if what you're doing is good enough to get found.

That's what I'm doing.

Fellowship of the Mouse

Sunday morning... Cup of Coffee, warm breeze blowing the curtains, "innocuous music - playlist" playing quietly on the iPod.

This past Friday, on a lark, I sent my package 'o materials to the Disney Fellowship competition. This is another Big-Kahuna type contest. My opinion is, for screenwriting, the only competitions that currently matter are The Sundance Screenwriters lab, The Disney Fellowship, and the Nicholl Fellowship (for which professionals are not eligible).

Others may be a nice pat on the back, maybe a few bucks or some free software, but not really much more. I'm not saying a pat on the back, money or software is a bad thing – it's just not of long term importance.

I'm open to listening to other opinions on this, but proof – as in produced credits, real agents, acquisitions, a career of some sort –is the real pudding here.

Back to the digressed-from story: the sending of the package of materials.

In keeping with the austere "Maushaus" moniker for which they are known (in Hollywood, at least), Disney demands that things be notarized; legal agreements signed that make them untouchable in the event that your script is worthless, stolen, ideas borrowed from, etc. So… to the notary I went to comply with said corporation's fearful lawyers.

Here's where the story is amusing or daunting, depending on your constitution. The notary asked me what I needed officiated. With a slight grin of self consciousness, I mumbled, "A Disney fellow--."

"Oh", she interrupted, putting a real world flavor on the statistics of the numbers of screenplays submitted, "The ABC Disney thing. The deadline is today, isn't it?"

She then when on to tell me that she had thought about taking the day off, but decided against the idea because she knew it would be a busy Friday… because of this specific deadline!

"Young, old, every type of person comes in to get these notarized." She looked at my application, expertly jumped to page (whatever, I don't remember), and marked things off.

She mentioned there was a church around the corner where I could do some quick praying, if so desired. She also mentioned how neat-o she thought it was that all sorts of people applied – that there were dreamers of all ages, shapes, creeds, etc.

Yes, Los Angeles is ground zero for all things movie-related. Screenwriting, being the most accessible, inexpensive (and deceptive in its appearance of ease) is easily the most 'done' thing these days. I dare say there are more, hopeful "screenwriters" than hopeful "actors" these days. Though hopeless self-deception is a large part of the majority of people trying to do either, physical attributes need not stop the hopeful screenwriter before he or she treks from Kansas or New Jersey or Pennsylvania - or wherever, to the City of Angels and dreamers.

So, in this little notary in Atwater Village -- one of three within a two block area – I was reminded by how many people there are, writing, writing, writing -- their 120 page lottery tickets.

It reminded me of when I first moved to L.A. Returning the truck we'd driven across country, the desk clerk asked if we had made sure to remove everything from the truck. "Did you check under the seats, didn't leave anything – wallets? A soon-to-be-a-hit screenplay?"

I laughed; found it an apropos, "welcome to Hollywood" question. My partner in "west coast hopes and dreams" didn't find it funny at all. It chilled her. I tried to calm her nerves by reminding her that most screenplays were beyond bad. Small comfort: "what if what I write is bad? What if I'm no good?"

Ah, the artist's hopes and fears… for which there are a myriad of people ready to exploit both, generally for a fee.

The Nicholl Fellowship is $30.00
The Sundance Lab is $30.00

At least, besides the cost of notarizing, the Disney Fellowship entry is free.

Third Draft Finished… and outta here.

I have just finished the third draft of my screenplay. I feel a mixture of emotions that have classically indicated that this… is a pretty good draft. I've sent it to a few trusted people who will read it and hopefully comment on it – in a kind, yet useful manner. Then, I shall re-write it yet again, hopefully minor adjustments, some tonal adjustment, nothing major.

Some detailing of the emotions in completing the V3 rewrite; other writers and creators will sympathize:

Exhaustion – I guess that explains itself. However, beyond physical exhaustion, there is also the mental. This script, more than anything I've written, has dredged through things from my present and past like no other. I have exploited myself to such a degree that I feel as spent as a twenty year old Appalachian strip mine.

Fear – Fear that the script is not a diamond but rather, a turd. Either may still be in the rough, but one or the either it is. When you write an action flick that doesn't work, it's not as brutal as when you lay your heart out on paper The fear is being melodramatic, sophomoric, etc.

Excitement – It feels good. Excitement that it actually might not be a turd, but rather a diamond.

Sadness – yes, strangely there is sadness. It's a common depression most commonly called the "Post-Partem blues" Generally reserved for pregnant women, creators of other sorts are common sufferers of this malaise also.

Relief – The relief that I am, once again, through the storm. The relief that yes – I had one more story in me. Relief that I'm going to make deadlines.

SO…

Allowing myself to walk away from the computer, today I will go sailing. I haven't been on the boat in many, many months and a spirited race will do me good. I must quickly review my knot-tying abilities and put together the kit o' clothes, sun tan lotion and proper shoes. A three hour tour will be a nice respite…

Perhaps it is the script, perhaps it is this point in my life - I have been reviewing my past, sending some "hello" messages out in virtual bottles and reconnecting with some people.

Over the last several months, I have been having a wonderful e-mail correspondence with two friends from High School who found me and one from college. Reminisces quickly dispensed with, it is fun to read and write to these dear women; to hear about their family and work related woes and triumphs. They have also been so helpful in this time of transition.

In part, thanks to them, the chime announcing incoming email has taken on new and pleasant excitement. Though it's generally a sure fire stock tip or Viagra, emails from real people, from friends, are so nice, aren't they?

And today, most surreal, thought provoking and yes, I admit - heart rate quickening, I received a reply email from a person I sent an exploratory email to several days ago. I shall refer to her only as "D". She was one of the most important people in my past, leaving an indelible mark in my mind and heart. Now, fifteen years later, a lifetime later, we are communicating again for the first time. It'll be cathartic to catch up with her.

No excuses in these days of digital connectivity. If there's someone out there you've been thinking about communicating with, do it. Time is fleeting.

And now I'm sailing.

In the next issue of Stefan Avalos Tells All…

Scott Kirsner's new book,

Inventing the Movies:
Hollywood's Epic Battle Between Innovation and the Status Quo, from Thomas Edison to Steve Jobs

The Last Broadcast figures prominently into this book, which is pretty cool. I'll give a full report, but upon cursory view, it seems this could potentially become the defacto reading about what the title espouses.

So, what happened?

My cat is walking around my legs, desperately trying to get some attention – while maintaining her cat-cool-aloofness, of course. She's not the only one that hasn't gotten my attention for several weeks. I am slowly returning to the world; returning calls, doing bills, buying food, and acknowledging the weather gods with a hearty THANK YOU. This July has easily been the most pleasant July I've ever experienced in Los Angeles, or anywhere else for that matter. I was very fortunate not to have to deal with insane heat beyond the insane heat generated by the Sundance Screenwriters Lab Deadline.

People reading this blog with any kind of regularity know that I was working around the clock for the last three weeks and the emails I've received, wishing me luck and rooting for me have been too kind. Thank you all! I'm deeply touched.

So what happened? Did I do it?

Short answer:
Yes, I did it! I wrote a feature length screenplay from July 3 to July 20^th. Okay, I'm no Ed Wood but hopefully, neither is the screenplay.

Longer answer:
The screenplay is merely a first (okay, v1.7) draft. It needs a lot of work yet.

To say that writing a screenplay in seventeen days is not easy would be putting it mildly. In fact, one book about screenwriting uses the shocking, "Write a screenplay in 30 days!" title in order to entice potential readers that it has a method to do something entirely mad.

Overall, I'm not impressed by quantity, so I'm not lauding these things. I think a fair amount of time to spend on a first draft of a screenplay is two to three months.
(disclaimer: I mean a screenplay that is worth anything. A formulaic slasher can be churned out in three days)

So, how did I actually do it? I'll tell you. This may be useful for anyone who finds themselves under an intense deadline, even if only self imposed. Of course, it's common knowledge already, so most writers reading this probably do this already.

Outline, Outline, outline!

That's my biggest advice. I've learned that unless I do this, I will run into trouble. I think most writers work this way, so it's not the most insightful advice there is. But good advice always bears repeating. I'm typically a big fan of cork boards. Sticking ideas on them and moving them around – getting a nice 42 inch screen to see your story, with complete drag and drop capability, crash proof, no batteries required, and lightweight – ah, that's the stuff. In this case, I didn't really have time for the cork board – and my cork board currently has another story outline pinned to it that doesn't actually belong to me. Though I don't think it'll ever be used again, I decided not to pull the pins, as it were.

Instead, I went straight to outlining in MS Word, and kept outlining until I had the entire story figured out. Even as I neared the end, I refused to give in to the temptation of starting on the script. I've fallen victim to the "I'll figure the last scene out when I'm writing the script" before, and knew this temptation was not to be followed. In fact, even though I had an ending to the story months ago, getting it right took a couple days of thinking, walking, talking to myself, writing, erasing, repeat.

There is something very nerve wracking about holding a steady course and not shifting to the next phase, when a deadline is inexorably moving toward you. Around July 11^th, I got that last scene figured out and jumped into Final Draft and wrote the two words that signal the start: FADE IN.

I also calculated that I needed to pump out about 10 pages a day in order to make the deadline.

The first day, I wrote the entire first act. Like the day, the act was too long -- about 37 pages and it contained a lot of stuff that was tripe. But it was good to get a big jumping start. I knew that output wouldn't last, so I relished seeing that page count.

I then did two days of about fifteen pages per--getting to the point that many a screenplay dies – the dreaded middle. Getting through the middle was a process of five pages here, two pages there.

With about three days to spare, I got something that actually "weighed" the right amount; that is to say, I had a 108 page screenplay (about 21,000 words). From there, I re-wrote it to be a more cohesive piece.

Then, I read it with a friend. We spent about eight hours with it and then I got back to work for the last 30 odd hours.

And there you have it.

I didn't use any illicit drugs to stay awake.
I didn't drink Red Bull or any other energy drink.

However, I did go through 3lbs and 4 ozs. of coffee beans (which I grind to an extra, super fine talcum powder consistency for ultimate brewing delight)
That's a lot of coffee.

Enough about me for the moment.

Proof that good things occasionally happen to nice AND deserving people in this town, I want to heartily congratulate my friend Chad Damiani and his writing partner J.P. Lavin on an absolutely amazing and exciting story!

The Hollywood Reporter writes:

'Capeshooters' finds home at Warners

Bryan Singer in talks to produce the superhero project
By Steven Zeitchik and Borys Kit
July 22, 2008, 08:51 PM ET

With one comic superhero lighting up its boxoffice, Warner Bros. is trying to develop another potential comic franchise by acquiring the superhero project "Capeshooters," with Bryan Singer in negotiations to produce.

J.P. Lavin and Chad Damiani will write the screenplay, which follows two down-on-their-luck slackers who specialize in shooting videos of superheroes. They find themselves on the run when they uncover evidence that a legendary superhero actually is evil.

Read the entire story about Chad's cool day here.

Once again, Congratulations Chad and J.P. May the project GO and may it be franchised!

Ah, much more to write… but I must get back to working on my v2 of the screenplay. I can't say why, but there is no rest for Johnny quite yet.
I now have an August 15^th deadline to contend with. Thankfully, I have clay to mold now.

Foreign Levies – the DGA – do nothing, opt out, or object?

I'm running on no sleep here from the screenplay I've been working on. I have a few things of which to blog, but for now I want to put this into the ether.

This entry will be subject to editing and revisions and possible retractions. I do suggest that if this affects you, that you consult with some legal counsel.

That said, here is my opinion, based on conversations with various parties about the FOREIGN LEVY/DGA CLASS ACTION SUIT situation…
It's a topic that generates a lot of passion and I've tried to wade through it and get to the nitty gritty. Hopefully, this makes some sense.

If you're a motion director with any work that has played overseas, you may – you 'may' (they claim not to know where a lot of you are) have gotten a letter regarding a class action settlement. The fact that I'm writing this today, July 21st, the day of the actual deadline for making a stink or not -- is hopefully not closing the barn door after the cows got out.

I think not, because there are others who have been very actively involved in this and I think the whole thing will blow up. I apologize, but the Sundance deadline took precedent.

Some of you might know that I wrote an article regarding the entire foreign levies debacle.
If this entry thus far means nothing to you but you're interested in knowing what it's about, you can read the article here.

Basically, in this class action suit, you have three choices:

1. Do nothing – which means that the decision of the suit would be how your future, in regards to foreign levies goes.
   
2. Opt out – for which the deadline is… today.
   
3. Object – for which the deadline is… today.
   

   
   

   Argh
   

I will say right out – I don't think the settlement is great. There is wording that is missed, things that are NOT addressed, the deal around which the suit is based is one that was brokered by the guilds and the AMPTP. It is not the deal which really affects non guild members in regards to foreign territories.
We're affected by a different deal – the AFMA (IFTA) deal. Even if these deals are the same… they're different entities. We're talking a very specific lawsuit. The details count. Plus, since a lot of these movies are also produced by the writers and directors – the producer part of you is owed a lot of money because by someone... who?

I personally would like these issues to be addressed and answered before I accept the outcome of a class action suit - one that will cost me money already owed, as well as money in the future.

I could go on, but for now I'm just going to tell you what I have learned – first by listening to others, and then doing some due diligence with other class action suits.

It might seem that opting out is the way to go. However, it's not. This is a cut and paste explaining it (from a BELKIN class action suit)

WHAT IS THE DIFFERENCE BETWEEN OBJECTING AND OPTING OUT?

Objecting is simply telling the Court that you don't like something about the settlement. You can object only if you stay in the Class.

Opting out is telling the Court that you don't want to be part of the Class. If you opt out, you have no basis to object because the case no longer affects you.

In short, if you hope to be part of a better deal – which I sure as hell hope to be a part of :

Object.

Do not opt out.

More coming soon.

But now, I have to sleep.

Sundance Screenwriters Lab letters are coming…

The Sundance screenwriter’s lab is sending their selection/rejection emails out.

How do I know? I just got one.

Yes, I entered the Sundance Screenwriting Lab for 2009 a couple months ago. I dutifully wrote my ideas for a brand new screenplay, updated my bio, wrote and rewrote a cover letter, a synopsis and the first five pages of the theoretical screenplay. I put it all in a manila envelope with some of my hard earned money and then with a quick kiss and wish for good luck, dropped in the mailbox.

Like anything where hope hinges on a few words, where mood and spirit can be raised or dashed in an instant -- clicking on this email does make the heart skip a beat. No matter how blasé one tries to be, there is a slight nervous tingle in the index finger pushing down on the mouse button. After all, as any knowledgeable screenwriter will tell you – this is a very important competition; the kind that can theoretically change a person's life.

Does one click on the mouse assuming a, “Thanks, but no thanks” response is about to be read?
Does one go in with the attitude that “The Secret” and all the other “power of positive thinking” gurus propose?
Does one go in saying to oneself, “I don’t care. It doesn’t matter.”
Does one petition a supernatural being?


My style is the, “Eh, doesn’t really matter. Just read the damn email and get on with your life.”



CLICK.

Dear Stefan:

Congratulations! Your submission, I AM THE PRISONER, has been chosen by our selection committee for the next round of the review process. Please send your completed script to the Sundance Institute office (see address below my name) so that it is received in our offices by Monday, July 21, 2008. Also, please include your application number xxx-xxx and name on the cover page of your screenplay.

We will make final decisions for the 2009 January Screenwriters Lab by mid-December. You will be notified by December 15th via e-mail.

If you have any questions, feel free to contact me via email.

Thanks again for your application; we look forward to reading the entire screenplay.

Sincerely,
Xxxxx xxxxxx

So that is what a “ray of sunshine” type of email looks like!

It also means that I now have to deliver a feature length screenplay within 19 days. Let’s see, if I estimate a page count of 110 pages (a safe number) that means having to write about 5.7 pages a day – every day.

That doesn’t include a re-write.
That doesn’t include a chance to give it to a friend for notes.
That doesn’t include much time for anything.

It’s a conscious thing these 'Sundance Powers that be' are doing. It puts writers on the spot, likely eliminating quite a few in the process.

It is a major order!

So, it looks like I have to seriously gear up, get it together and go.

I do have an outline written. I do also have the first five pages done.

I just purchased two large cans of Trader Joes House Blend Coffee. I'm ready!

Let the coffee start flowing, cancel any plans for vacation and full steam ahead.


Wish me luck!

Get out of Dodge

I've written a couple blog essays that I haven't published. It's just as easy to hit the 'draft' or 'delete' button as the publish button. It's something more people should do more often. I include myself in that bunch. This entry may deserve one of those buttons, but I'm putting something up to let people know I'm actually still getting in front of the computer.

Plenty has been happening in the last month, which may be one of the reasons I haven't been blogging so much. We're in the midst of AFM (The American Film Market) which has seemed quiet this year. A friend, in town with his movie, has been making some decent sales -- so I guess things are going alright in spite of the seeming lack of energy.

Elsewhere in town the Red flags are waving again, which is frightening. They indicate high winds – hot winds – dangerous winds. The danger of fire is still present even though more humidity is in the air and the temps have dropped. For the most part, the signs of the devastating fires of the past weeks are over where I live. The plainest sign of them was the air – skies that would turn Orange and Gray, and a haze over everything. Though There was only one day that was really bad, I have had a small cough for days and my throat feels similar to the 'day after a party'. Since there hasn't been a party most evenings before, I attribute it to the smoke that was once forests and homes.

The biggie now for many people in this town is the impending Writer's strike. It's going to come to pass and the feeling is that it's going to last a long time, that it will wipe a lot of people out – and ultimately, that writers will lose. It's a shame and the deregulation of the 80's, which has continued to run rampant to this day, is one of the big reasons it will be so difficult for writers to win. Huge multi-faceted corporations are hard to beat. Sony, et all, don't need to make movies to survive. It's a hell of a beast that's being fought, made worse by the fact that all the unions haven't banded together to fight at the same time. Over and over, people in the film business prove themselves as being their own worst enemies.

If one believes in residuals for artists, (which is a well established part of the pay equation) the fight is justified. It would be nice if the AMPTP weren't so greedy. But they are. And so – the strike will happen.

Seems a good time to get out of town for a bit, and coincidentally, that's just what I'm doing. In two days, I will be in Helsinki, Finland and then off to St. Petersburg, Russia. No computers, no internet, no cell phone, no nothing. It will be the first time since I had my first 2400 baud modem that I will be away from it all so completely. Wish me luck on that, and expect to see full postings of the journey when I return.

Best of luck to all that live and work in Los Angeles.

 

Writers with a ‘Sense of Foreboding’

Tell me about it. Tell any writer about it. If this is what you do for a living:

1. You are to be pitied.
   
2. You know damn well a sense of foreboding is hanging over your head every moment of the day.
   
   1. Will I have another good idea?
      
   2. Will I get paid?
      
   3. Will I eat?
      
   4. Will I get read?
      
   5. Will I get produced?
      
   6. Will my words get edited into a strange approximation of what I actually wrote?
      
   7. Will the critics rip me up?
      

Unfortunately, this sense of foreboding is about the WGA/AMPTP negotiations. A couple months ago my money was on 'no strike'. Now, I don't know. I think we're in for some lousy times. Heck, we're already there because most people are assuming that there will, in fact, be a strike; and the town has been in that mode for some time now.

The smart money in this town is betting on a strike-- Damn it! Because it doesn't matter if you're in the union or not, this is shutting down the town for the most part. It messes with the mindset of everyone, large or small.

Basically, I'm anti-union. Yes, the idea of a union is a good one but it's been so abused and I have seen unions screw things up so much, that I have a knee jerk response to them. Maybe it's because I am also a producer. In the case of the WGA, I am also not overly impressed by their abilities; not as a bargaining entity, and certainly not as an ethical business. That goes for all the guilds by the way, not just the WGA.

That disclaimer made: I hate to say it, but this strike, if that's what happens… has to happen. While the AMPTP did take their initial 'rollback' -- "oh, and *uck you" off the table (that was the one where they wanted to end residuals as they now exist), they are standing fast with the main issue, which is residuals for internet downloads etc. Yes there are other things thrown in for confusion, but that's the one this is all about.

And writers need to not bend on it. Everyone talks about how this is the future. Well scribes, I have news for you -- It's already here. My last movie made almost as much money with VOD as with DVD. It's a big secret that is being kept quiet by the Producers at this point. I know—I'm privy to all the business side of my movies. DVD's and other physical media are going the way of the DODO bird. Writers, jump on download residuals now or lose.

So this is why, with a heavy heart and very mixed feelings -- even though I hate unions and even though this is really screwing my projects up, I believe -- The Writers Guild has to stay firm.

Now, with that said, I'll get angry again. Why, why, why, can't these stupid guilds band together? You want to fight the man? Get together! Today, in the same story that mentioned the "sense of forboding", SAG (actors guild for those who don't know) said they wouldn't walk out with the Writers. Yes, they have their own negotiations coming up as do the directors – but why does everyone have to protect their precious hide so much?

Band together, you bastards, and do it right. Remember – United we stand?

To read the full LA TIMES story, click here.

 

Also, if you're a writer and you're not already aware of this Craig Mazin's blog, shame on you… and get over there now.

 

WGA – Will they, won’t they? And where’s my damn money?

Fall – the weather is beautiful as is to be expected in Southern California. For the moment, I'm listening to Bach, sitting under the pergola with the laptop. A picture perfect moment.

While that sounds like a nice respite, it is in fact, incredibly inconvenient; a moment created because the internet is not working. I'm on a silly deadline to write something (a favor for a friend) that is due within a few days and has not yet been started. I'm expecting to do a few interviews for which information may or may not be awaiting; won't know till the internet comes back. Can't make a phone call on my landline cause it's voip. It's frightening how much I've come to rely on that umbilical cord. I suppose I could go to a local coffee shop with my cell phone and computer -- but that's simply uncivilized.

Onto Real issues that might actually interest someone:

The WGA has just re-elected the same board as before. A couple changes, but not many. I don't really have much thought on that, so I'll keep quiet. However, shortly after the elections, the WGA put a vote to its members – a permission to strike vote. That takes this town one step closer to the mess that always arises from strikes. The arguments for and against the vote are all with merit. Those that want a "YES" say that giving the board the power to initiate a strike will give them leverage; that a NO would show weakness in the face of negotiations with the thugs that are the AMPTP (studios). Those in favor of "NO" argue that the board is a bunch of trigger happy non-writers, not overly concerned with general rank and file. Both sides are right. And in this era of stupid wars wrought by stupid presidents, we don't have to look far to see the consequences of giving people power to wage battle.

At this point in time, everybody – the studios, the Guild – are making crazy demands of each other. Where it ends is anyone's guess at this point. My gut tells me there will not be a strike. How much more than that, I don't know. My feeling is that, given the success of the last strike (not very) and the way television has moved toward 'unscripted' shows, a strike would be a real tough nut for the writers. It's not made any easier by the fact that the studios are entities within multi-conglomerates. A strike against Sony or Warner or the like is not going to kill them. Sony makes computers and a bazillion other things. Warner basically owns the world (my non-working internet is via Time-Warner). Unfortunately, I fear that these days, the studios can weather a strike much more ably than the writers. If it were up to me, I'd try to convince writers, directors and actors to give the finger to the studios and start their own damn studios. Okay, so I'm still a bit of a dreamer.

In other Guild-related news … I got another foreign levies check from the DGA. This surprised me greatly as I expected the first one to be a one-off. It's not as if they are still playing my first feature on German television… are they? More interesting is the fact that that thus far, the WGA has not come close to equaling the amount the DGA has written. The amount apportioned both guilds is supposedly the same – so somewhere, someone isn't doing their job properly. Doing the job properly of course is assuming that one agrees that it is their job in the first place.

Which really, it's not. They just 'volunteered' for the job.

And along the lines of that thought – a director friend of mine, alerted by yours truly to the whole concept of foreign levies, discovered that he is owed "under fifty dollars" in foreign levies by the DGA. However, he was told that they are holding on to this levies money because it's their policy not to write checks to people for amounts of less than fifty bucks.
How very nice.

I love it when someone says "it's our policy…" This guild is holding on to money that doesn't belong to them because they have "a policy?" I wonder how many 'less than fifty dollar amounts' they are holding onto? Actually, I don't wonder – I know. MILLIONS… by their very admisson!
Earning interest.
Which they keep.

Keep in mind, the guild was never authorized by my friend to collect his money. The guild is not responsible for having 'created' his money. It's money that was collected by overseas entities. The guild just took, I mean, collected it. Now they have a policy not to give it to him? What if (and this is more likely than not) his movie never makes another dime? Do they keep the fifty indefinitely?

Hmmm. I could have a policy to beat up people that happen to pass by my house. Doesn't make it legal.

That's show biz, folks.

Oh, and with that, my internet seems to have come back.

I'll try to get a few more blog entries written before I go to Russia. Oh yeah – I'm going to Russia!

Hollywood Executives Call for End to Residual Payments

From the July 11^th NY TIMES:

'In an unusually blunt session here today, several of Hollywood's highest-ranking executives called for the end of the entertainment industry's decades-old system of paying what are called residuals to writers, actors and directors for the re-use of movie and television programs after their initial showings.'

Now, this should instantly be filed under the "Dude, it's not April fools Day" or "Dude, give me some of that crack you're smoking" or any other number of derisive thoughts. And it will be. But for now, I have the feeling that every industry blog is writing about this as quickly as can be. I'm sure there will be similar thoughts to mine, much better worded. Think of these as quick, undisciplined musings, subject to editing.

'The executives stopped short of saying they would demand an immediate end to residual payments in the upcoming, probably difficult negotiations with writers, actors and directors. But they were emphatic in calling for the dismantling of a system under which specific payments are made when movies and shows are released on DVD, shown abroad or otherwise resold. Instead, they want to pool such revenue and recover their costs before sharing any of the profit with the talent.

"There are no ancillary markets any more; it's all one market," said Barry Meyer, chief executive of Warner Brothers. "This is the time to do it." '

Wow, from the mouth of the head of the Cosa Nostra himself. One must never forget that Warner Brothers invented the Gangster picture. There's a reason for that. Never forget that. I say this not from second hand information. I have a deal with Warners. I know. I get the statements.

The idea of pooling revenue and "sharing profit with the talent" – they should never have said that because that's the giveaway that it's gotta be a joke of some sort. Movie 'profits' and accounting are the worst, most notorious that exist. There are always expenses eating away at the profits – to the point where most movies lose money on the books.

So, this will never fly.

The thing is, I do have mixed feelings about residuals payments. Why should we (the artist) get residuals? We didn't take the risk in producing (funding) the movie, did we? We already were paid to do the work once. It's the same as if a car mechanic wanted a piece of the action when you sold your car down the line.

The studios will likely point to super stars like Tom Cruise who reportedly has made 400 million dollars on the Mission Impossible series with residuals and cry - "oh, we can't afford this." So get rid of him. Oh, yeah... you did. So the fact is that you don't have to pay it if you don't wanna.

The flipside of the argument is that movies become more valuable as the creators of them become more famous – so they should be able to share in the profits. It's also not really the same as fixing a car. It's a creative business. The talents and the faces of the of the people are the thing.

Additionally, most residuals are for actors and writers who aren't making that much money. This is life blood; a one day gig which is dependent upon their face, or words might initially pay a few thousand bucks. If it generates millions of dollars, isn't it fair to give a piece to the face or wordsmith?

Frankly, I believe, while these statements obviously have a lot to do with the upcoming negotiations of the Writers Guild (the big part of the negotiations is INCREASING residuals in future mediums), they also have something to do with the can of worms I helped open a couple months ago – about foreign levies and the perverted definition of Authorship.

See, studios buy the work that the writers, directors and actors do. They own it. Legally speaking, a "studio" could accept the Oscar for "best screenplay by" because according to copyright law with film, screenplays are "works for hire" thus – it's the studio who can take all the credit (why not go for all the money too?).

This is going to be contended; something I think will wind up at the Supreme Court level with the studios fighting tooth and nail, every step of the way. This crazy statement is an early punch in that fight. If they (AMPTP, ET AL) lose that "work for hire" definition, they will have to license the screenplays, etc. from the creators. That will solidify residuals payments in a way that doesn't exist now.

Barry Meyers, along with the other Studio/TV heads are pulling a Cheney/Bush trick: be outrageous in your statements – go WAYYY out into right field, do it righteously and with a straight face. Then, when people ask for something realistic – you're still WAYY out there. Be Audacious.

The one thing that these finite, forgettable people (Barry and co, you will be a forgotten piles of dead dust while people still talk about and remember Billy Wilder, Robert Towne, etc.) must realize… if they push on this in the slightest, every guild AND non-guild member will stop working. NO ONE is going to go for this. It's a war they can't win.

I will elaborate, perhaps edit this entry. For now, I put it up and hope to hear some comments.

Here is the link to the entire article. You may need to login or create an account – which is free and doesn't take long.

A week without a blog entry

There are a couple things disturbing about that. First, I’ve been trying to maintain a routine of writing these blog entries at least two or three times a week because it’s good exercise, and I guess, entertaining for some. More bothersome is the fact that it actually seems like only a couple days ago that I wrote the last entry. Where did this week go? Seriously, where did it go?

I have been getting feedback from several people about the screenplay. There have been a few reoccurring criticisms and the inevitable adamant feelings about certain aspects. All opinion must be weighed carefully, pondered as objectively as possible. There is always a point when everybody, including the original writer, thinks they are absolutely correct about what needs to be done to make the script perfect. The thing is that two entirely opposite opinions about the same thing can be right – or wrong. I actually had two different critiques of the exact same line in this last set of readers, one commented on it being great, the other on it being crap. It’s also important to separate what people’s personal desires in a story are from what the actual story is about. And you must do all of this through the searing pain that is inevitable when asking people to honestly tell you if they think your baby is cute or not.

Feedback. It takes a scar-tissued ego to not get knocked down. Even for the experienced, it’s difficult -- and that’s when the people giving you the feedback don’t have an ulterior motive that has nothing to do with the script. However, good feedback – Gold, I tells ya. Pure Gold.

Bottom line: as expected, I will be making changes to the screenplay. I think some will be quite significant too. After looking at it and the various notes for the last week, thinking about various levels of reworking, from junking it, to saying “it’s done” – I think I may be on my way to having a new map. For several days I felt as though I had just climbed a mountain, only to see an entirely new and equally brutal mountain range ahead. In the end, while there is quite a bit of work ahead, much seems as though it will remain the same.

I’m hoping it’s like a well designed car that has a bad clutch. Yeah, you gotta rip a lot of stuff apart to get to it, but once you fix that part, all the rest of it runs well.

At least the readers have generally been agreeing that it’s not a Yugo.

it's biGGER

Just got done with the newest draft of the 'untitled action adventure romance' story.
As per everyone's suggestions, it's bigger, bolder, more romance, etc.




I'm at that point where I feel a bit shell shocked. It's typical of that "Fade out" point in writing. Do you celebrate? Do you keep quiet? Do you go back to page one and start again? When it's version coughchoke.6, you just take a deep breath, stretch and smile a little (not too much).

I'm going to read through it, try to knock a couple pages off, and then ship it off to the illustrious "group". If it gets the thumbs up from them, it gets a last brushup/rewrite and then -- next stage. It goes out. Out to the world out there... producers, agents of various sorts, who have been patiently waiting.

Additionally, the lowres-storyboard-vis-version of it can begin. More on that as it happens.

Thumbs down from the "group", and it's back to Go. Do not collect two hundred dollars, don't dream of Boardwalk.

The season finally begins

Have I written lately that I love my new chair?

I do, I really love it. I’m actually caressing parts of it. I know – that’s weird. I’m in a honeymoon period with - a chair. Let me continue for a sentence or two longer. When I stand up after a long day (like today), it doesn’t feel like I’m standing up after sitting at all. My body doesn’t require readjusting… I’m simply, standing now. This chair is awesome.

Okay, enough.

New season of ROME and EXTRAS began last night. It’s not television, it’s HBO. Pretty amazing stuff. Rome is one of those shows that will be appreciated more with time. Pretty much every choice they’ve made, I’ve approved. The last season ended with a gored and bloody Caesar gasping like a fish out of water staring at Brutus - as Brutus struggled with his conscience to stab him. When he finally does, Caesar gives him a look that says those words. But he doesn’t say them. He twitches and dies slowly on the senate floor in a pool of gore. It’s devastating. It’s Brilliant. This season opener had the funeral of Caesar. Rather than see the speeches that Brutus and Marc Antony make, we hear the plebs talk about them after the fact. Brilliant! Frame after frame of this show is artwork. Visually, almost any single shot could be frozen, blown up, and framed as a work of art. It’s some of the most beautiful cinematography I’ve seen.

EXTRAS is amazing on a different level. Ricky Gervais has made the comedy of humiliation an artform. The Office (the British version in particular) was amazing, but I can really relate to Extras much more closely. Of course it’s because I’m in the business upon which he’s commenting, and because, like The Office, it’s spot-on accurate. I will say that there are a few jokes that are strictly British. I smiled at one, a none-too-subtle jab at a comedian, though I didn’t specifically know who the comedian was. Had I known, I’m sure that smile would have been a laugh.

Moving on - Though a cough and frequent blowing of the nose remain, I’m finally well enough that I’m back to writing in a big way. This feels like the first day of the New Year. Everything till now has been a haze of feeling-crappy. Happy New Year everyone!

Today was a good day, and as day turns into evening, will hopefully continue to be. I hit a slight slow point – not lack of direction – just a slight dragging of interest, hence this quick entry.

The third act is undergoing another metamorphosis, the ruling having been made at a writer’s meeting about a month ago to ‘make it bigger’. Presently, it’s wordy, easily weighing ten pages too much, but it’s headed in the right direction. It’s certainly going to be ‘bigger’. The movie at this point is getting studio-picture size. I keep getting told not to worry about it, but the no-budget indie filmmaker in me is writing with a slightly dubious expression on his face. I’ve always written things in the past with the idea of having to find the money for them at some point. I have a pretty good idea of what’s easy to pull off, and what’s not. Blowing things up, for instance, is surprisingly inexpensive. A barroom brawl - not so inexpensive. Even now, as I’m re-writing this last act, I think, “well, if I framed it like this…”

This image will give you a slight inkling into the climactic battle. Just an inkling, cause trust me, there’s a lot more...

How it works in Hollywood

I presented the last ten pages of D.R.06.2, also known as The Untitled Stefan Avalos Project, also known as A Kinda Version of That old Script, Diamond Road to my writing group…

… Where, after the obligatory “well dones”, it was sent back to the kitchen, so to speak. “Make the end bigger”, was the overall consensus.

“Yeah, you’re right”, I grumbled.
“Don’t get too smart”. More valuable words were never spoken in this town.

It’s strange how this job of imagining things has gotten more difficult since I was a kid. It seemed so easy back then.

An anecdotal story of a famous director explaining what he wanted in the action screenplay being developed was brought up by one of the writers in my esteemed group: “I want something big in the beginning, something bigger in the middle and something really big at the end.”
Pretty much says it all, doesn’t it?

User customization for increased productivity

If there is on and off wackiness of this journal in the upcoming days or weeks, it is because I’m attempting to migrate it to a different place. Why? So I can customize the look and feel of it better. Also, some of the blogspot.com limitations are beginning to annoy me.

So far, I’ve wasted two days.

Playing with the look and feel of desktops, fonts, screensavers and websites costs the U.S. an estimated four billion dollars in lost company time per year! Actually, I don’t know. I just picked that number out of the air. However, a lot of precious time is spent during the workday doing just that. “Increased productivity”, I see those words on more things that require hours of installation and fiddling than anything else.

In terms of a blog or website, yes, it’s nice for things to look good, be ergonomic, represent the self, etc., but really, how much does that matter? Most of the time, I go to a website purely for information. Presentation is ancillary unless it’s so bad as to be a distraction.

When the web started out, and everyone was making their first websites, a lot of content-impaired people would basically take their bookmarks and turn them into a web page. Websites consisted of a lot of links going to other websites with lot of links going to…

A website or blog has to be pretty damn good for me to look at the links. Now that RSS feeds (essentially links that update themselves) have become the rage, people are building a lot of pages that use them instead old-fashioned links.

It’s sort of a different shade of the same color. Most people really can’t create content of any worth, so they just point to other content and try to change the color a little.

Profiting with the new Paradigm of Entertainment Media
or how I convinced myself that ringtones were somehow important

Let me preface this all by saying that I have not turned into Andy Rooney.

I went to a holiday film festival party last night. Everyone was very nice, the drinks were free, but the junk being espoused… Eesh. Good thing I was wearing my boots.

There is a desperate attempt to figure out what the popularity of new Internet sites and new methods of disseminating media mean. Everyone wants to be part of it, and I see a lot of business cards being waved around by “media consultants” – almost as many as panels and conventions for ‘media developers’. When “myspace” is talked about as revolutionary, I know I’m listening to people who are only parrots and trying to get in on the ‘new thing’.

Let me be the bearer of news to those who haven’t figured out that, the Emperor, while not naked, is wearing only a string thong.

Ipod = walkman
Podcasts = radio show
RSS = ticker tape.
Website = magazine, newspaper or catalog
Youtube = public cable
Mobile content = walkman with a crappy picture and sound
Myspace.com = “My first web template” web templates for people too ignorant to do one themselves.

Don’t get me wrong. I’m not saying these things aren’t cool. I’m just saying that they are not revolutionary in the way that most people are desperately trying to make them.

You know what was revolutionary? – Radio, TV, the Telephone, Answering machines, Internet for the masses, Email, The VCR.

Ringtones are not important. Neither is most ‘mobile content’ ‘alternative distribution channels’, ‘information dispersal’ or ‘new media ventures’ Sorry, it’s not.

Revolution doesn’t just mean ‘something new’. Revolution means change, and most of these new gimmicks will not inherently change a thing. Note that I didn’t say ‘all’.

It feels like 1996 again. Everybody is trying to figure out how to profit from the “upcoming paradigm shift”. Heck, when Google spends 1.65 billion dollars on Youtube, who can blame people? There’s an inherent lottery ticket mentality continually at work here.

So what do you get? A bunch of people with not a whole lot to say or do or show, covering that fact - by pointing to other people with either a link, an RSS feed or a podcast interview - the latest update on the old trick of seeming cutting edge by association.

It may all be moot though...

Just this morning, I read that the thong-wearing Emperor has died…

Time Magazine made “You” the Person of the year.

Without fail, when Time Magazine decrees something is hot, its time has past. When it comes to trends to report upon, they have the uncanny knack of being the last to know what’s important.

By the way, if you’re an advertiser or Television Network trying to figure out how to make all this eyeball-competing free-media work for you, let me know. I figured out how we can all make a ton of money by giving it all away.

Seriously.

Now go do your Holiday Shopping.
On the Internet, of course. That’s revolutionary!

And don't forget you can add the RSS FEED to this blog to your awesome website.

FADE TO BLACK.

FADE TO BLACK.

(Or the esthetically chosen derivation – CUT TO BLACK. )

Generally not followed in modern days by THE END, but meaning it.

Amateurs might add – END CREDITS, or CREDIT ROLL.

All of these words represent the most exciting moment for a writer. It’s a brief moment, but definitely the most exciting moment of the writing process -- End of the screenplay.

It’s the opposite of the two most daunting words: FADE IN

I’ve been footsy’ing around those words for the past two days. The final scene is formed enough that I can step back, make another cup of coffee and ponder the script as a whole.

Which of course means re-writing. At least, now it is easier. This is the version of the story, which will actually (hopefully) be the next movie. The rewrites thus far have been the equivalents of movies in a franchise – reoccurring characters, and worlds, but different stories. The poor ‘bad guys’ have met their fate in so many ways that I sometimes fantasize that at night they try to escape my computer, so as not to have to suffer yet again.

No, that’s not a good idea for a feature -- maybe a short story, but not a movie.

So, there you have it. D.R.06.2 is done. Next step – D.R.06.3
By the way, those are working titles.

It’s getting close to the Holidays!

Need to get someone a cool gift? Hey, how about a:

GHOSTS OF EDENDALE movie?
GHOSTS OF EDENDALE poster?
THE LAST BROADCAST movie?
THE GARDEN OF GOLD Book?

Thanks a lot!

Writing on Game day

Got the second to last action scene knocked out yesterday. It was a good day, twenty odd pages of writing. These are the days one struggles for months to get to. In a typical day, I will write five pages of words. However, these words are generally questions to myself, thoughts about the back story, forward story side story behind story, and so on. Meta writing is what we call it. writing about writing. It’s useful and necessary, but it can also be one of the more insidious tools of procrastination. So, when I say it was a good day, twenty odd pages of writing, I should say – twenty odd pages of screen writing.

INT. OFFICE - DAY

A small room, crammed with bits and pieces of electronics,
computers, video and audio editing equipment and musical
instruments. Sun streams in from the window in front of the
office desk, bathing everything in a golden light -- another
perfect California Day.

STEFAN AVALOS, a tall, dark and extremely handsome man sits
in front of his laptop computer, typing furiously.  He taps
the keys with the furious speed of a man trying to beat a
clock. He mumbles to himself as he types.

                   STEFAN
         AMEN! I'm writing! This Action
         Scene kicks ass. This is such a
         relief after the hell of circling
         this stuff. Oh… that's gotta hurt…
         that'll get the audience cheering.

The phone next to him RINGS. He lets the machine take it, not
stopping for an instant. The fourth ring activates the
machine's message -  and BEEEEP.

                   PHONE (OS)
          Hi, Stefan, This is Norm. Say, I
          have an extra ticket to The
          Clippers game tonight. Let me know
          if you're interested. Call me as
          soon as you can.

Stefan stops typing for a moment and stares towards the
machine with the now, blinking orange light.

                   STEFAN
                (murmuring)
          Clippers… That would be great, if I
          can get these pages done and sent.

He looks at the cursor on the screen, caught in mid-sentence.

Then his fingers start pounding the keys of the notebook once
again.

That kind of writing.

So, last night, as you perhaps read in a screenplay somewhere, I went to a Clippers/Heat (basketball for those of you not aware) game at the Staples center. Excellent seats and an excellent game – a nail biter to the final buzzer. Basketball at the Staples Center - one of the ultimate L.A. experiences, it sure was a great way to reward a fine day of writing. Additionally, basketball is fun to watch, especially live. Not like Baseball. I’ve been to three Baseball games in my life. The second time was because I’d forgotten how bored I was the first time. The third time because it was at Dodgers Stadium, and I thought mayyybe it was a Philly thing. Ha.

Basketball – Any time. Let me know.

Final Score for the December 05:

Writing 22, procrastination 0
Clippers 101 Heat 97
Tequila 2 corona 1

I hope the above post looks right... formatting this bugger was a major pain.

VOIP DAY 01

The Packet8 box arrived. Installation was as painless as hooking up a phone. Plug in the box and go. Nice. However, a strange thing happened with my DLINK Router - the wireless portion of it vanished. It required shutting down, waiting, rebooting, to get it to reappear. I hope this was just a hiccup because the last time this happened, the fix required exchanging the router. Don’t think it was coincidence; something about plugging into a packet8 box adapter messed with its head.

So far, the voip phone thing has been working - pretty well. There are the occasional strange digital hits. I upgraded the firmware, so we’ll see if that fixes it in any way. The most novel thing that I have noticed is that caller ID now works on the phone. It’s cool to see your handset suddenly tell you something new.

It’s been a good day of writing (re-re-re-writing) thus far. I’ve been playing with “the big board” again, which means that I’m breaking the story down into plot elements yet again.
For those of you who write or are planning to write, you probably know what “the big board” is. If not, try it – it’s a super tool, and better than anything you can do in front of a computer.

Snippets of paper on a cork board. Some people recommend 3x5 cards. Personally, I think they’re too big for what I do. I cut tiny pieces out of scrap paper. Anyway, time after time, I have found it to be a more effective way of organizing stories than any software solution.

So why am I blogging about 3x5 cards on a supposedly good day of “real” writing?

Because I’m procrastinating!

Today (because of The Big Board), I’m writing inside. I’ve been out on the patio for the past week. Lately though, the birds in the trees have given me pause. In a way, the fears being presented on the news are a bit more insidious than anything presented in that ole Hitchcock film, aren’t they? A Bird Flu case here, one there… all the special reports on CNN describing what could happen. No question, it is scary. Somehow though, with all the orange alerts, and all the “threats” we’ve been warned about over the past several years, I’m getting a bit suspicious.
What exactly is in it for the government if we’re all afraid of birds?
Hmm.

Hopefully, this will vanish like so much SARS.

Start up

Start up.

Today, I am sitting under the new Pergola and – writing!!
I am back to work, which feels like a relief in many ways. The weather has turned absolutely beautiful, and the area which I built is doing its job well – creating a bucolic environment within to write.

The problem may be that pleasant environments are not good ones in which to write. I think it may be a misconception – created by hopeful writers and composers.

Does great need a level of discomfort? Certainly invention does, and writing, painting, sculpture – all of it – are inventions.
It would be interesting to study the environments of great creators. I do know that Paul Simon stands in front of a large white wall, and throws a ball at it.

Maybe I need to build a big wall with which to bounce a ball from. Ha. Of course not because in the end, it’s the person doing the throwing, not the wall. I’m guessing that Paul Simon has come up with great lyrics while cleaning his garage.

I think that the Achilles heal of today’s creative world is the accoutrements  – the best synths, the best computers. More time is spent collecting software and hardware than actually using it. I know supposed filmmakers who spend so much time talking about what camera they’re going to use, what formats are good and bad, that they have yet to make a movie!
I don’t think that journalists and novelists go as crazy, but I do know that many ‘wannabe’ screenwriters spend an inordinate amount of time discussing what software to use to write their opus. More often than not, they never get past page ten. Lawrence Kasdan writes with a pencil. Says something, doesn’t it?

I spent an awful lot of time buying this latest computer, and building my latest office – outside office and inside office. My house is clean and ready.

The moment of truth is now.

(picture of hands tentatively above keyboard)

BTW – I use Final Draft for screenwriting.

3 pages

Okay, to really open up for ya - - - to whet your appetite - here are the first three pages of the screenplay for the next project. I formatted this as close as possible to the actual script, but hey - it's a blog, it won't be perfect.

Enjoy.
SMA

Diamond Road V2 2005

FADE IN:

EXT. CORNFIELD - DAY
A gentle wind plays on the baby fresh leaves of an enormous green COTTON FIELD. A cloudless blue sky above completes the perfect dream of a day.

The quiet is broken as three bright yellow AIRPLANES (old AIR TRACTORS) SCREAM past overhead.
In unison, they release a yellow powder which drifts downward toward the field.

CROPDUSTING!

I/E. COCKPIT - CONTINUOUS
The cockpit of the first airplane VEERS into view - EDDIE DUNGRIN, 24 a slickback haired, James Dean with a sense of humor - flyboy at the stick.

The radio CRACKLES:

RADIO VOICE
Betcha can’t.

EDDIE
Of course I can. I just don’t wanna.

RADIO VOICE
Right.

Eddie wrestles with himself.

EDDIE
Dammit. Okay. Watch me.

I/E. ANOTHER COCKPIT - CONTINUOUS
- Piloted by SCOTTIE, 23, Eddie’s best friend. Burly with curly hair, he is slightly more responsible than Eddie. Only slightly, but it’s enough to see that trouble is on the way.

SCOTTIE
Bad idea, Eddie. Don’t do it.

BACK TO:

I/E. EDDIE’S CROPDUSTER COCKPIT - CONTINUOUS

EDDIE
It’s no big deal.

His face belies the words. Whatever it is, is a big deal.
Eddie concentrates as The GROUND races by. In the far distance, sticking from the field, a FLAG on a pole quickly approaches.

RADIO VOICE
Fifty bucks.

Eddie concentrates. The bet is on.

EXT. FIELD - CONTINUOUS
Eddie’s airplane SCREAMS past, a yellow blur, flying low to the ground.

INT. EDDIE’S CROPDUSTER COCKPIT - CONTINUOUS
The flag approaches. Eddie dips lower.

EXT. FIELD - CONTINUOUS
WOOOMP, the propeller slices through the flag, turning it to instant confetti. The airplane buzzes past.

INT. EDDIE’S CROPDUSTER COCKPIT - CONTINUOUS

EDDIE
Yeah, baby! Fifty bucks.

EXT. EDDIE CROPDUSTER - CONTINUOUS
A secondary WATERING POLE suddenly appears from nowhere. The landing gear slams into it, and with a SCREECHING rip, the left wheel TEARS off the bottom of the airplane!

INT. EDDIE’S CROPDUSTER COCKPIT - CONTINUOUS
Eddie pulls back on his flight stick, pulling the airplane to a higher altitude.

EDDIE
Uh, guys - what happened?

SCOTTIE
Geez, Eddie. I think you
tore up the landing gear.

Scottie pulls his airplane under Eddie’s and looks up through the glass canopy. Underneath the belly of Eddie’s airplane, the twisted landing gear vibrates in the wind.

EDDIE
Well?

SCOTTIE
It’s going to be a rough landing.
Your left side is gone. You’ll
have to land it on the right side.

His airplane arcs away from Eddie’s.

EDDIE
Damn it.

EXT. GRASS STRIP - MOMENTS LATER
Scottie stands on the edge of the landing strip, next to his airplane. He watches as Eddie’s airplane drifts slowly toward the ground.

INT. EDDIE’S CROPDUSTER COCKPIT - CONTINUOUS
Eddie holds the stick tightly, guiding the airplane as best as possible to put the majority weight on the one remaining wheel.

EXT. GRASS STRIP - CONTINUOUS
The airplane descends timidly - in a near stall. The single wheel hits - bounces - hits again.

Dirt flies as the strut that held a missing wheel rips a ditch into the ground. The airplane travels forward on the remaining wheel.
The airplane hops off the ground and then back again.


Hopefully you can see the rest at the movies in a couple years.