HOLLYWOODSCRIPT.COM NEWSLETTER
Welcome to the latest edition of the Hollywoodscript.com Newsletter, which is published by script consultants Craig Kellem, Judy Kellem
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CONGRATS
TO OUR ESTEEMED CLIENT NINO ABATE!!
I.E PRODUCTIONS INC AGREES TO PRODUCE THE GAMBINO SQUAD
Scott Rosenfelt and Billie Greif of i.e. Productions, Inc. have agreed to produce
a feature-length motion picture of the screenplay “The Gambino Squad” WRITTEN
BY NINO ABATE. The Gambino Squad is based on the best-selling book “Boss
of Bosses”, the true story of the FBI’s most sweeping and successful
prosecution of the Mafia in American law enforcement history. “The book
is a classic and a movie based on the screenplay will likely become a classic
in the crime/gangster genre,” says Nino Abate of Two Peas Entertainment.
_______
FROM OUR VERY RECENT (monthly) CONTEST WINNER, AUSTRALIA’S OWN CRAIG BOTTRELL
Dear Craig-I just wanted to express my sincerest thanks for your help. Not only
am I totally thrilled about the win, but I've learned more about writing a script
in our few discussions than I could have at an expensive scriptwriting course.
Also, and most importantly, your commitment to excellence far exceeded my expectations
as it is my experience that excellence is something that seems to have died with
the dinosaurs. Thank you very much for giving me what I needed. :-)
Warm regards,
Craig Bottrell
PS-Just a quick update. As a result of wining your contest I've had twelve production
houses request my script and several of them are major industry players. Thanks
for the help.
_________
NOT ALWAYS ON OUR TIME...
A young writer called me the other day to confer about his script. Turned out
he’s a midwesterner trying to make things happen in L.A. It was going slowly
for him. Or let me put it this way, not fast enough for him. I totally identified
and understood. When I asked him how long he’d been out there he knew TO
THE DAY, “1 year, 3 months 3 days.” I gave him the notes on his very
promising but still somewhat needy script and gave him my standard but sound
advice (in my opinion anyway) about how to ride what’s often the beast
of ambition in this biz, consisiting of so much fear, loathing, wanting, excitement
etc all while on a noble mission.
My advice to him was to get a good day job (which he had), eat well, find a nice
place to live and a solid love interest (if desired etc) and, out of this BASE
OF NORMALCY and with TIME ON HIS SIDE, write steadily, get involved in the industry
in any way possible, take popular classes in town, hang out at showbiz haunts
and grow his craft, while steadily but not hysterically pushing himself marketing
wise.
I told him that this can really help with the difficulty and pain in the inevitable
triathalon he’d be facing and it also helps a lot in avoiding living in
fear and resentment and becoming another VICTIM in Hollywood.
Then I happened to sit down and began to read my old buddy ( and colleague at
Fox and Universal) Allen Rucker’s fine new book, THE BEST SEAT IN THE HOUSE,
HarperCollinsPublishers. It touches on riding that same beast, or as he puts
it, “THE BITCH GODDESS OF HOLLYWOOD SUCCESS” and how it was for him
when he happened to awaken one day to become permanently paralyzed from the waist
down.
Turns out it’s an engrossing, brutally frank and very inspiring read and,
among other things, very plugged into the difficult world of STRIVING. Below
is a small taste of the book. I thank Allen and the January 2007 issue of Written
By magazine (WGA) (where the full piece has been published) for allowing us to
use it.
By the way, despite Allen’s implicit modesty, he’s managed to pull
off some very tasty big successes including three books on the HBO series The
Sopranos, one which was number 1 on the New York Times Bestseller list. He’s
also written the acclaimed History of White People in America and lots of other
books and national TV shows.
___________
Allen Rucker tossed the victim and found--
THE BEST SEAT IN THE HOUSE
I received my WGA card in 1980, a proud day, for sure, and two decades later,
I scratched and clawed my way to the middle of show business. I had a series
of fringe successes, namely The History of White People in America with the great
Martin Mull, and won some ego-inflating awards, including a Writers Guild Award.
But no matter what I tried, I never had a clear-cut commercial breakthrough.
I never saw my name on the front page of Variety with the headline, “Rucker
series renewed again; new deal pending.” As my up-and-down career descended
from upstart to journeyman, I was infuriated with this lack of success. I thought
I was genetically uncommercial. Then one day in December 1996, I became suddenly
and permanently paralyzed from transverse myelitis. I kept writing, mostly specials
and documentaries, and writing
became perhaps the principal therapy for coming to terms with this awful fate.
Along the way I learned a couple of things about myself-that's bound to happen
when you go from walking to wheelchair in a span of an hour and a half. And,
as the following passage describes, I arrived at a new take on my relationship-and
probably that of a lot of frustrated writers-to the Bitch Goddess of Hollywood
success.
(AN EXERPT FROM From The Best Seat in the House: How I Woke Up One Tuesday and
Was Paralyzed for Life)
Perhaps the greatest single benefit of going through three years of turmoil and
coming out on the other side was that I stopped feeling like a victim…
I had never really been a genuine “victim” before all of this, but
that never stopped me from feeling like one. I saw myself from puberty on as
a permanent outsider who felt victimized by every misfortune and by a world of
strangers who misunderstood me. I was, at least in my own febrile brain, Jett
Rink, the James Dean character in Giant, the put-upon, paranoid cowboy. My only
real claim to victimhood was my father's early death, a sad story that probably
kindled the loner pose. In truth, I was an upright, lily-white, Anglo-Saxon,
college-educated Midwestern male, part of the least marginalized ethnic group
in America. I was the stereotype everyone else accused of being the victimizer,
not the victim. Except for the fact that I was from Oklahoma and had bow legs,
I'd never been discriminated against in my life.
Still, I saw the world as a victim-I felt the game was rigged. When I came to
Hollywood, I came to do battle with conmen and hucksters, not make the grade.
From the first day I arrived, I felt hoodwinked by the whole Hollywood culture.
I was pretty sure these guys would never let me in the club; at the exact same
time I was trying everything I could think of to gain entry. I saw show business,
the business I desperately wanted to join, as the enemy. I walked into every
network pitch meeting with a chip on my shoulder. “If you guys aren't smart
enough or gutsy enough to buy this, you are nothing but lowly schlockmeisters.” I
dressed to make my point-tight jeans, cowboy boots, and a derisive sneer. Would
you want to go into business with a guy like that?
My double-mindedness about show business would come out in weird ways. Once,
at a sitcom-pilot meeting at NBC, I expressed my displeasure at having to take
orders from people I had no respect for by planting my steel-toed boots on the
back of a couch and next to the right ear of a network yes man. I'm sure he was
thinking cauliflower ear, if not brain damage. Needless to say, the pilot was
dropped. Like a pouty teenager, I resented all corporate authority and burnt
a lot of bridges maintaining my false sense of independence. At one point I got
the reputation in some circles as untrustworthy and even unstable, and this cost
me some of the best jobs I was ever up for. I had a bad attitude. I had a victim's
attitude.
As my so-called TV career went from cable maverick to award-show mercenary, this
sense of being treated unfairly grew into a blanket rationale for every failure.
It couldn't possibly be that, more often than not, I had failed to deliver something
that was either uniquely original or uniquely commercial? No, in my skewed view,
it was their fault. It was the system, man, that was keeping me down.
But now, in this wheelchair, I was suddenly a certified, demonstrable victim.
I didn't have to announce it. It was like a sandwich board around my neck: VICTIM
OF A CRUEL FATE. I no longer had to pretend that I had been dealt a crappy hand
in life because I couldn't quite get my life in order. I now had been dealt a
crappy hand, a really crappy hand, so don't tell me about your problems, bud,
mine are big and, you know, forever!
Many true victims are eager to tell their story, especially in an age where there
is a whole media industry devoted to confession and redemption a la Oprah and
Dr. Phil. And it's usually a story worth telling, often cathartic for the teller
and helpful to others. Victimhood is an altered state of being, and talking about
it makes it less fearful and isolated. There was a story on the morning news
not long ago about a guy who became lost and stranded on the top of a volcano
in Hawaii. He immediately started videotaping the experience and continued to
do so through three days of fear and desolation. The man was thinking ahead.
If he died, it was a last message to his kids. If he lived, it was a testament
to his survival. At least he wasn't going to die out there, alone and forgotten.
His struggle, whatever the outcome, was on tape.
Being a victim is much different than feeling victimized. Only after reaching
victim status did I get this. Being a true victim is incontrovertible. If a tornado
blows down your house, no one is going to say that you had anything to do with
it except for your unfortunate decision to settle in the middle of Kansas. If
you get breast cancer because your mother got breast cancer, you are a victim.
No right-minded person will think, She was a willful, petty woman and had that
breast cancer coming.
Feeling victimized, on the other hand, is a slippery slope-a state of mind that
can be easily challenged. “My son failed math because the teacher doesn't
like Asians.” “No,” the challenge would go, “your son
failed math because he was lazy and then came up with the excuse that the teacher
didn't like Asians.” In my own case, the argument would be, “The
network rejected the idea because they didn't want to do business with an outsider
like me.” The counterargument: “No, they didn't like the idea. They'd
do business with a monkey if they thought it would make a hit TV show. You had
nothing to do with it.”
Published by Harper Collins. Copyright © 2007 by Allen Rucker.
All rights
reserved.
Excerpt originally appeared in the January 2007 issue of Written By magazine.
IF YOU’RE INTERESTING IN READING THIS FINE BOOK please direct any and all
inquiries either to amazon or www.allenrucker.com
_________
LET'S GET PERSONAL
by Craig Kellem
(further on this theme involving wanting and ambition, here’s something
I wrote a while ago about my own experience in this visceral department)
Most of the articles that Judy and I share with you guys have to do with the
techniques of screenwriting, marketing, and related areas. We rarely get personal
about ourselves. Judy's turn will come down the line but, in this issue, I wanted
to tell you something about my own creative journey since a creative journey
is what most of you are on. Perhaps we can relate.
At one time I represented talent for a living. I was an agent at what is now
ICM, one of the three biggest agencies in the world. My job was to get clients
of the agency on TV and to "discover" new talent. The agency represented
people like Barbra Streisand, Richard Pryor, Jodie Foster, Diana Ross, Liza Minnelli--the
list goes on and on. I represented them as well and signed many great talents
such as George Carlin, the rock group Spanky & our Gang, and also production
organizations through which we "packaged" TV shows. I lived for my
clients and derived great pleasure and profit from their successes.
After an exciting and wholesome experience as an agent, I went to work for Lorne
Michaels, whom I met while packaging Lily Tomlin specials for CBS (for the agency).
Although this was not a great time in my life, (my mid life crisis came early),
I still had the rich experience of being part of the launching of SNL, and also
produced other projects for Lorne like the infamous movie, The Rutles.
With all of this splendid experience, you'd think that I would have been satisfied
(and I should have been). But I always had a longing to be "more creative" and
felt hungry and wanting when I observed certain people around me, particularly
writers.
With all my experience and savvy, I didn't have a clue what to do about it. The
notion that there were special people out there who had "talent" and
others like me who did not permeated my sagging belief system.
The heart is a lonely hunter.
So, after leaving New York and coming back to LA, I longed to try something new.
This was to be a very fertile time for me, but I didn't know it at the time.
I had a friendship with a guy who was skilled at "coaching" people.
After constantly hearing about my unfocused ambitions, he gave me some serious
professional advice. It was to change my life!
His first suggestion was that I simply list my goals.
GOALS?!
What goals? Never stopped to consider them since I was always going too fast. "Let's
skip that," I retorted and "cut to the chase." He pointed out
that "cutting to the chase" had its limitations and sent me home to
work. HIS way.
OK, OK-- I scratched it out. Goals--immediate ones; intermediate ones; then the
long-range, "sky's the limit" batch. Sounds easy, huh? Well, it is
until you actually employ this method and then sit back and look at what you
really want in your life. Here it was, on a big chart and in my face. It was there
for all the world to see, especially me. What my heart ached for was finally
documented.
And that was just the beginning. Goals don’t mean much, he pointed out,
without methods to achieve them. So he had me identify timetables for achieving
them and methods of identifying progress. Hmm..it was getting serious. I suddenly
had lots of things to do. And most of them scared me silly because facing what
you really want creates beaucoup stress.
I went to work...reluctantly. Since many of my goals reflected the yearning to
develop ideas, I started to list them on index cards etc. I had only a few at
first. More came as I gestated. So I was suddenly cast into the role of an “idea
guy.” I had always been one but never acknowledged it. But it was hard
to deny it once I had adopted this new enterprise. After a couple of weeks I
had a few decent notions. But it was time to do something else --my impatience
and resistance started to seep in. I wanted to cut to the chase again.
No way. I was just beginning. My friend told me that what I needed to do was
to work "thickly." I didn't like the sound of the metaphor. It sounded
like real work.
This guy was much bigger than me so I had no choice but to continue.
My daily diet was pumping out ideas and developing them. Each day I tended to
them and to my surprise --they grew. I was getting hooked.
My friend had other activities in mind for me that would be instrumental in building
momentum. He suggested that I join a little acting group as an adjunct to the
writing process. I later discovered that acting can be a great complement to
writing because it gives you a very visceral sense of dialogue, etc. Acting!!
Hey man I was an ex-agent. Ain't nothin’ more oxymoronic than an agent
who gets on stage.
Talk about busting an image!
The man was relentless. He wanted more.
Next, he suggested that I identify myself as a writer. Forget it! No way!! This
was a felonious notion.
But he persisted, pushing me to embrace the self-declaration of being a writer
and, though I resisted letting the words leave my mouth, each and every day I
continued to ACT like a writer. Forging ahead however imperfectly.
Well, as John Lennon used to say, "life is what you're doing when you're
making other plans." My plan was to try this, probably fail and then escape.
But what I was actually doing was acquainting myself with my writer's soul and
pumping out the goods. Capably!
Developing ideas is an interesting activity. Two things happen when you do it
on a regular basis. One is that your relationship with your subconscious and
your “creative guide” gets keener and ideas begin to flow. You begin
to “write on the walls.” The other is that as you grow ideas, some
take flight as if on their own.
This is powerful stuff.
Without going through every detail of the process, at some magical moment in
this year-long enterprise, I crossed a bridge without realizing it. My desire
to "become creative" had happened. The criterion for this was not the
one I thought it would be --namely someone else's acknowledgment; the town's
acknowledgment; the Academy's acknowledgment etc. It was simply about what I
was actually doing and how I felt about myself. I HAD BECOME THE THING THAT I
WANTED TO BECOME SIMPLY BECAUSE I WAS DOING IT!
Even when I started submitting stuff and received the inevitable turndowns, I
was too on fire to let it matter very much. There was always another page to
rewrite, or material to Xerox or something to dream about.
One project in particular seemed to “want to happen.” It was a TV
idea about a bunch of "reporters in jeans" who went around the country
in a rock n roll kind of bus, hanging out and reporting on hip, contemporary
and far out stories. This idea consumed me, and I began the painful process of
seriously trying to make it happen. Talk about the impossible. In actual fact,
I was just another unemployed, ex-somebody, wannabe burning with ambition but
out of touch, in a way, with reality. But I knew one thing about the biz: all
successes are predicated on miracles.
And indeed, it would take a miracle to make something happen with this project
which, by this time, was just about the most important thing that I could identify
in the Universe.
I believe that if you try hard enough and that if the dream is worthy, and if
cosmic powers wants it to be, it will be. I had had experiences in my life which
had already reflected this. And I also knew that it's hard to beat a guy who's
pumping it out every day and trying to do the next "right thing."
Synchronicity was coming my way. NBC was looking for a reality show and a producer
they contacted had heard about my fully developed project. (This was due to the
dreaded networking imposed on me by my friend). One thing led to another --we
got a shot to pitch it.
We just missed selling this show. By the time we arrived the network had bought
something similar. Oh well.
But the momentum of wild industry and zeal was still resonating and manifested
concretely when my partner happened to tell me about a development job at Fox.
More synchronicity!
In a zillion years I would have never thought of myself in connection with development
because I had never considered myself a creative person--that was until now.
Hey baby, just give me a paintbrush. Creative! Are you joking?! I'll show you
creative!
When I went for the interview I was bursting with creative energy. Despite the
fact that I was still collecting unemployment, I was full of myself and could
talk turkey with the powers that be. What a change it was. Guess
what, I got the job.
Once in the new pilot seat and with a lot of help from other creative people
(with whom I had only imagined working during these “grand and desperate” development
days), I got the show (which had so burned in my heart) on the air. It was a
late night pilot that only aired once but it was received nicely and it launched
a new career. (It's a great story how it all went down, I wish I had the space.
Suffice it to say that it was the thrill of thrills).
The point of it all is this: I had learned how to mount a crusade and "work
a program" fueled by my greatest dreams. This came through stating goals,
taking chances, changing personas, being willing to be extremely uncomfortable,
and working my butt off.
One other mighty thing was also acquired in this process--discipline. At the
time the D word was not quite in my vocabulary. I had always struggled with my
share of procrastination. In Scott Peck's classic book "The Road Less Traveled," he
points out that some problems are solved by some discipline, and all problems
are solved by total discipline. He's right. Through this STRUCTURE that had been
so generously created for me, I began to dismount the resistances that had haunted
me my whole life. What a change. And I now found myself in the company of people
I had long admired who never seemed to fight themselves in the pursuit of doing
what they needed to do to succeed. Holy s----, I was like them! Instinctively
I realized that this was a source of power that was limitless. I have used this
model for many years now. And it has paid off in spades.
I wanted to share this with you, to bear in mind, as you realize your own creative
pursuits. For me, this magical and cathartic time changed my life forever. Out
of it grew subsequent development jobs at Universal, writing and producing credits,
and a deep sense of completeness and satisfaction.
It also steered me into a kind of life's work capper--working with other writers
and helping them realize their dreams.
_______________
HOLLYWOOD’S CIRCLE OF LIFE
Mark Miller
(this lovely article by our good friend and Hollywood writer Mark Miller is a
good capper to the world we’ve been talking about in this issue)
If the traditional first rung on the Making It In Show Business Ladder is the
talented young aspirant stepping off the bus at the Hollywood Greyhound Station,
bright-eyed and filled with hope and wonder - its flipside, the final rung on
the Not Making It In Show Business Ladder, can be found throughout my beloved
Fairfax District neighborhood. Home to a multitude of show business hangouts
-- Farmers Market, The Grove, Canter's Deli, the Melrose Avenue scene, and CBS
-- "the Fairfax," as we residents refer to it, is also, clearly, Yard
Sale Central. The area, abundant with dogs, single people, Orthodox Jews, and
Pan Pacific Park, features yard sales every weekend, offering the remnants of
countless unrealized show business dreams.
These yard sales provide a great opportunity to meet your neighbors, find bargains,
and basically get an entire picture of someone's life, lifestyle, resume, psychoses,
taste, and online dating profile - all laid out before you on the lawn, driveway,
or front stoop, in the form of prior possessions. While most of the buyers, and
the sellers for that matter, would no doubt classify it all under the heading
of Stuff I Don't Want Anymore. Or, Stuff My Girlfriend's Making Me Get Rid Of.
Or, at times, Stuff That Even Goodwill Didn't Want - an urban archaeologist or
a conceptual artist might view it as living art, A Life On A Lawn.
What fascinates me is the telling nature of the stuff. Amateur detectives or
anyone interested in his fellow man, can have a field day. In what other casual
human encounter can you within five minutes and without ever having met or spoken
to the person involved, determine that he or she has: tried eight different diet
and exercise plans, a fixation on Dustin Hoffman movies, really strange/bad taste
in art, been through Freudian psychotherapy, had a baby, read every self-help
book available, no longer needs legal pads, and has for some reason kept an entire
wardrobe of clothing from the early 1970s until now? But there it all is, in
plain and unashamed view.
The show business households are fairly easy to spot. There are video and DVD "For
Your Consideration" screeners and scripts sent by networks and studios,
jackets and t-shirts bearing TV show and movie logos, framed movie posters, and
countless books on writing, directing, producing, and acting. The resulting conversation
is generally the same:
BUYER: So, who's the actor?
SELLER: I am - or was.
BUYER: Would I have seen you in something?
SELLER: I had a small part in "Revenge of the Nerds," did a few Taco
Bell commercials and some plays.
BUYER: And now?
SELLER: Oh, uh, the work was just really unsteady, so we're moving to Minnesota.
We have family. I'm gonna work at my father's hardware store and Donna's going
to have our baby.
BUYER: Good luck. How much for the "As Good As It Gets" video?
SELLER: I don't know - (SHOUTING UPSTAIRS) Donna, how much for the videos?
So there it is. The material ghosts of years of show business dreams, lessons,
hard work, classes, auditions, occasional successes and frequent failures, all
for sale and awaiting new homes. Their owners, having abandoned The Dream or,
more likely, been abandoned by it, have no more need for those things being around
as reminders of failures, efforts wasted, accomplishments that might have been.
So the items sit, displayed on the lawn, like puppies at the pound, given up
by the previous owner, waiting to be adopted by the next. There they wait, alongside
unwanted gifts, possessions once popular and treasured, baby books and furniture,
and, as required by Yard Sale Law -- a wooden salad bowl set, a Trivial Pursuit
game, and a George Foreman Grill. Hey, even the Heavyweight Champion of the World
is selling kitchenware now. Maybe working in the Minnesota hardware store won't
be so bad. At least the air will be better.
Ironically, because of their bargain prices, these show biz cast-off items are
frequently purchased by those same just-off-the-bus hopefuls just beginning their
own show business careers. So they pick up "The Working Actor's Guide to
Los Angeles," "The Secrets to Auditioning For Commercials," and "Making
a Good Script Great," all for five bucks. Score! And so the money changes
hands, from the young aspirant who's all about possibility and potential, to
the grizzled veteran of the show business wars who clearly and no doubt sadly
sees his younger self in the purchaser's eyes. The end of one dream and the beginning
of another. It's Hollywood's Circle of Life, moving us all through despair and
hope, played out on countless weekends in countless yards in the Fairfax District
of Los Angeles.
COPYRIGHT MARK MILLER 2006 ALL RIGHTS RESERVED
______________
RECOGNITION COUNTS IN THE LONG RUN
Hi Craig-
You reviewed a script of mine YEARS ago called Fashionably Dead. I was just on
the cusp of figuring out screenwriting and this was an early draft that was a
complete disaster, but was starting to become my voice/vibe. You were the first
one to see talent in the mess and tell me I was a screenwriter. That meant so
much to me at that time because I was so frustrated at the crap on the page that
was not an accurate reflection of the visions in my head.
I rewrote that while also writing two others. Within several months, the rewrite
of Fashionably Dead and another script I wrote got me an agent and manager and
then just a few months after that, the third script won the Nicholl Fellowship.
Thank you for encouraging a struggling writer. (and could you burn that old draft
of Fashionably Dead-- it was hideous :)
Best regards,
Pamela Kay
(Response from Craig-it's gratifying to be able to see and appreciate the gold
and encourage deserving writers when so much of the biz can be so unfairly all
or nothing)
_______
BIG STUFF FROM PRESTIGIOUS NICHOLL-
I wanted to say thanks for the help and valuable input you gave my script, "The
Forgiving of Emma Rose". You critiqued the script twice. Emma Rose has advanced
to the Semifinal round of Nicholl Fellowships competition. A large reason for
this is because of the important feedback you gave me which took the script to
the next level.
Now I'm not honing my pencil yet to write my Oscar speech (I would prefer a fat
check actually). But I just wanted to say thanks. If it advances further, I'll
let you know.
Best,
Corey New
__________
ZOETROPE AWARDS
BIG CONGRATS TO A FINE WRITER FROM THE NETHERLANDS MICHIEL NIJK for his impressive
showing as a semi Finalist in the 4th Annual Zoetrope Screenwriting Contest.
http://www.zoetrope.com/contests/2006finalists.htm#SEMI
“The fruits of our work--Again many many thanx for you input, quidance
and support!” Michiel
______
A FLATTERING MONTH!
Craig
Stephanie O'Leary here. Before too much more time slips away, I wanted to thank
you for the kind and encouraging note that accompanied the return of my hard
copy script BULLSEYE ON BROADWAY, as well as the copious amount of time you spent
with me on the phone analyzing each page. I never expected to receive that kind
of personal attention for my consult dollar - talk about "bang for your
buck!" :
I've been looking at BOB through new eyes since we spoke, and feel more empowered
in tackling the rewrite with your Outlining and Character Arc tools. Indeed,
I've discovered that Cajun is too passive and my "Hero's Journey" is
often overshadowed by Bull's -- an imbalance that could render my Protagonists
evolution inconsequential. Hence, I'm working on making Cajun more pro-active
and clarifying dialogue with more Stage Direction (among
other things ...)
But I wanted to tell you that one of the most eye-opening things I learned from
you is that submitting your script for a consult (or a Script Notes meeting)
is like Defending Your Thesis. If you don't have a consistent Through Line, and
if you don't have a system of Checks and Balances with Set Ups and Pay Offs that
you can readily reference, your aren't ready to Pitch and your script Needs Work.
A sobering realization, but necessary, and I deeply appreciate gaining this insight.
My Stained Glass guy in England is waiting for a call, so I've got to run. Keep
Cool!!!!!
Best
Stephanie O
THANX MUCHO STEPHANIE
____________________
SCRIPTBLASTER has an incredibly vast data base of producers, agents,
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of
many viable Hollywood producers, agents, managers etc. A unique feature
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the emails will be generated from your own personal email so industry
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_______ ___________
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