Craig Kellem's Bio
I am an "escapee" from Southern California and after living in Friday Harbor in Washington State and New England (Lyme, NH, 10 miles from Hanover -- home of Dartmouth College) we are now residing "at the shore" in Long Branch, New Jersey.
I started my show business career in New York City as a TV talent agent. The agency CMA (now ICM), is one of the three largest agencies in the world. My job was to find employment for performers and also creative talent (i.e.: writers, producers, directors, etc.) It was also my job to discover and cultivate new talent and sign established talent who were dissatisfied with their representation. I worked with people such as George Carlin, Richard Pryor, Lily Tomlin, and countless others.
Eventually, I began to "package" shows, which means I put creative elements together and sold whole entities to networks, etc. I was transferred to the California office as a Vice-President. I left the company in the mid-seventies and made my way back to New York to work on the original "Saturday Night Live." (Associate Producer and Talent Consultant). I stayed with the show for its first year and then returned to California as head of Lorne Michael's (creator of "Saturday Night Live") company.
At the time it was called Above Average Productions. In that capacity I began to involve myself in new projects and also was involved in producing an NBC special/documentary starring the Beach Boys.
I also produced movie classic "The Rutles" which was written and co-directed by Eric Idle of Monty Python. Eventually, I moved on and became a development executive at 20th Century Fox TV which led to a job at Universal and a stay on the Universal lot for over fourteen years where I served in various capacities. I was Vice-President in charge of Comedy Development at Uni for almost six years, a writer/producer for one year and Executive Vice President of the Arthur Company (a company partly owned by Universal's parent company) for six and one-half years. I've developed sitcoms, dramas, TV movies, features etc. As comedy head at Universal, I developed and sold the hit series "Charles in Charge" among many others including three shows which were executive produced by Steve Martin one of which was the critically acclaimed, "Domestic Life" starring Martin Mull (it aired on CBS-TV).
At the Arthur Company I developed "FBI: The Untold Stories" which I also sold, and CoExecutive produced. It was on ABC-TV for two seasons. In this job, I was responsible for tens of millions of dollars in production. For the record, a development executive's job is to somehow invent, create or find ideas to sell -- develop them creatively, bring them to a broadcast entity and "pitch" the now developed idea and, if successful, guide it creatively though pilot script, pilot-production and hopefully series. I had a "stable" of writers at Universal all of whom I signed and who were my responsibility. My whole day was dominated by creative matters almost all of which pertained to writing. In mid 90's, I left that phase of my career behind and decided to pursue other interests including occasional writing projects. (I had been writing on the side). I've written four screenplays and sold two. I have also written a non-fiction book on the subject of fate. I had a novelty book series out several years ago which was financed by B. Dalton (Barnes and Noble). I also have a children's book project (actually a series of books) in the works. I am a member of the Writers Guild of America (West). After teaching many scriptwriting and related courses (at Keene State (part of the University of New Hampshire system) and at other Colleges, as well as workshops at Burlington College, Keene State, Boston's Film and Video Foundation and for the New Hampshire Writer's and Publisher's Project, I then founded Hollywoodscript.com LLC in 1998, which has become an internationally known script consultation company.
Judy Kellem's Bio
Judy Kellem has lived and worked in various regions and capacities: In Namibia, Africa, as part of a health care program; in Lexington, Mississippi as part of a civil rights organization; in Los Angeles, California, as part of both a crisis shelter for runaways and a TV Network research team. Most recently, she lived in Bologna, Italy, directing a language school and teaching English as a Second Language. Other general experience includes research, story packaging and administrative work at Universal Studios, DreamWorks and Entertainment Weekly Magazine.
She attended Bard College, took her B.A. from Bryn Mawr College and moved to New York City in 1993 receiving her Masters in English and Creative Writing from City College of New York. Judy spent many years in theatre and human rights work, before devoting herself to writing fiction and studying at the Writer's Studio in lower Manhattan.
Judy has been honored by having a story of hers ("LIMBO") published in READING ROOM/3, a prestigious book which comes out twice a year. It's published by Great Marsh Press of New York and features stories, sections of novels, essays, and poetry by well known writers with international reputations as well as new young writers just coming up. Judy and one other writer occupy the latter category. They are referred to as "New American Voices." They share the stage with the likes of Saul Bellow, Judith Rossner and Stanley Crouch (to name a few).
Judy loves working with fellow writers, traveling the minds, the imaginations and fantasies of new voices. For her, it is a real pleasure to sit down with someone's labor of love and not only enjoy the experience of reading it, but becoming part of the process toward making it even stronger.
Vivienne Kellem's Bio
Vivienne was a British TV and theater actress at one time and has excellent command of language especially as it pertains to theatricality. She has also worked as an educational assistant for years helping children in these areas including lots of reading and writing. She's helped with scripts from time to time over the years under special circumstances. We're now making this valuable service available to all who need it. Cost depends on the work that's to be done. We ask folks to send a few pages so that price and other logistical issues can be determined. Note: If you also want a script consultation, it can also be arranged. In some cases it’s better to do the consultation after the proofreading; in other cases it doesn't make any difference. (It often depends on the nature of the script).