You are the Box Office Smash: the Personal Screenplay by Gordy Hoffman

Right this very second, in the heart of every struggling, undiscovered screenwriter, in the dark, hidden corner deep within, there is a voice, a clear whisper, saying one thing:

You're never gonna figure this out.

And this is not referring to the story with its gaping hole, the finale missing a payoff, the hit and miss humor, the flat title.

I'm talking about freedom. The freedom to work as a screenwriter. Compensation for a home for family and a life. The resources to wake up and ply your craft and pay the freight, without obstacle. The chance to see your writing made into pictures, to work with the industry's best, to fulfill this goal of professional screenwriter. Hollywood success.

Behind this voice is the idea that somehow, some way, you'll find the hero, or the hook, logline or pitch that will punch your golden ticket. If you could only figure out what the studio wants, if you can only get a solid bead to this game, you know you can write and execute. What is the script I should write to get an agent? What is the one that will sell? It's not that I don't know how to write, I know how to write screenplays, I just need to know what they want, even though I think I know what they want, but I don't think I have the idea that they want. Yeah.

I'm not gonna figure this out, whispers the voice.

Why this uneasiness? Does it originate within ourselves? I don't think so. But where does it come from? The daily obsession with box office grosses? The news of the seven figure deals to newbies? The endless procession of boneheadedly conceived franchises-in-waiting arriving in the theatres every Friday? People winning Academy Awards for movies you would not be caught dead writing? Recognizing an idea you came up with years ago on your couch, produced with a $130 million budget drowning in CGI?

All these things are but a few of the possible reasons why this seeds unhealthy doubt and confusion in the modern screenwriter. Tracking these forces outside us and beyond our control in an effort to trudge the path to a successful screenwriting career will prove to most to be unproductive and corrosive. Basically, trying to figure out what Hollywood wants will land us in a resentment that makes “giving up” a sane response to the very challenge which used to inspire us. In short, we cannot chase a perceived trend and remember our dreams.

You cannot look at the marketplace and find your voice. You can find ideas, trends, and inspiration there, perhaps, but you can find these things driving in traffic as well. But listening to your voice is the key to creating original, compelling stories.

Your life is your own story. You have a completely unique thread of experience. By allowing yourself to express these emotional experiences, your screenplay, your story, will be different from any other and powerful, as original as your fingerprint.
Why is it powerful? When we have the courage to be specific about what we know about living, we create an authentic world an audience recognizes as the life they are living on planet Earth. This connects your audience to your story. This connection is the foundation of the phenomena o

Why does story mean so much to us? We recognize the triumphs and tragedies of our lives, with all the hilarity and tears. By seeing it, we are validated and it underscores meaning and purpose to living.

If we don't use what we've collected in life in our hearts and spirits, then our story loses its authenticity and the connection the audience should make fails. They do not see themselves, and when they leave the theater, they do not call their friends. When people do not call their friends after seeing a movie, the movie bombs.

When a writer opens their person to their work, when they allow themselves to be vulnerable, to risk exposure of the secrets of their life story, they take a huge step towards creating a screenplay of substantial value, a screenplay with a greater potential of a large number of tickets sold.

This is precisely why art and commerce have remained bedfellows for thousands of years. To look at the relationship between art and commerce as adversarial or incompatible is just plain foolish. Art happens when people invest their spirits in their work without fear, and story is artful when the writing is truthful and the writer is authentic.
And what do we have to be honest about? We can only lie about what we know, and we can only tell the truth about what we know. And that is what has happened to us, our life story. This is what we share.

This is not a pitch to write "what you know." This is not about writing stories about where you work or where you live. This is about writing about what you felt. You can imagine characters and worlds and actions and speech you've never personally experienced, but if you remember to infuse your choices with your emotional and spiritual struggles and victories as a human being, your screenplay will be different in the very best sense of the word.

The question you have to answer is not what does Hollywood want today. The question is how honest of a writer do you want to be. I guarantee you can write a blockbuster, you can write a box office hit. This will happen when you find an audience. And the correct path to this crowd of people is listening to yourself. If you practice, you will develop an inner ear for who you are and what you know and you will become masterful in loading your work with your fingerprints. Writing is personal work. You are the guitar. You are the box of paint. Give of that and your audience will remember why life is good and they will talk of you.

About the Author
Winner of the Waldo Salt Screenwriting Award at the Sundance Film Festival for LOVE LIZA, Gordy Hoffman wrote and directed three short films for Fox Searchlight in 2002. He made his feature directorial debut with his script, A COAT OF SNOW, which world premiered at the 2005 Locarno Intl Film Festival. A COAT OF SNOW made its North American Premiere at the Arclight in Hollywood, going on to screen at the Milan Film Festival and the historic George Eastman House. Recently, the movie won the 2006 Domani Vision Award at VisionFest, held at the Tribeca Cinemas in NY. A professor at the USC School of Cinematic Arts, Gordy is the founder and judge of the BlueCat Screenplay Competition. In addition, Gordy acts as a script consultant for screenwriters, offering personalized feedback on their scripts through his consultation service, www.screenplaynotes.com.

Website Dedicated To Science Fiction Movies Launched

A website called SciFiSoup.com (http://www.SciFiSoup.com) has been launched to provide people with a science fiction movie resource unlike others on the web. The website is purely concerned with science fiction movies released over the last fifty years, and gives movie reviews from the perspective of its 25 year-old founder Julian Card, who has just recently watched the films.

"I just realized how much I enjoy science fiction movies," said Julian Card, founder of scifisoup.com. "There are so many great scifi films out there, as well as some outstandingly terrible movies that are just as fun to watch."

The website features science fiction movie reviews, upcoming scifi films, and an extensive science fiction movie database including movies released over the last 50 years. The movie reviews, written from the perspective of the 25 year-old founder Julian Card, feature a fresh perspective of the movie genre.

"A lot of people get caught up with the fact that the movie is a classic, or are nostalgic because the movie was released when they were 10 years old," stated Julian Card. "I think this skews the fact that some of the films are not very good and can be downright boring and unentertaining. In addition, some great scifi films lacked the advertising budget to be seen by many people that would enjoy them. I'd like to identify these movies to true scifi movie lovers so they could discover them just like I did.

An Advocate for Your Screenplay by Michael C. Murphy

I think a lot of struggling screenwriters believe if they could just get an agent they would sell a script, get a bunch of writing assignments, and life would be beautiful, but I'm not sure that's the case.

What follows is information taken from my conversations with agents, talking to other screenwriters who have agents, panel discussions I've watched with agents, interviews with agents I've read or witnessed, or other bits of information I've stumbled over through the years.

First of all, most agents don't read query letters. I get the feeling that even those who say they do - don't. Agents much prefer to get their clients by referral from producers, other known screenwriters, managers, or some other person they trust. Of course, there are agents who read every query letter, but I'm not sure those are people you would actually want as an agent.

This is a complicated problem for screenwriters trying to break in, because often the advice I hear from top agents is that we should look for a hot agent just starting out, someone who is hungry for clients. That would be those agents reading all the query letters, but how do you know which one is "hot"?

The "Fade In" directory is probably the best source to look for agents, since it gives a little information along with the phone number and address. And there is the old standard WGA list of guild signatory agents, which is an important consideration, because it means they abide by the WGA guidelines that protect writers.

But you still have that problem of knowing which one is honest and capable of actually helping you get where you want to go. Personally, I want to be with one of the major players:

Creative Artists Agency William Morris Agency International Creative Management United Talent Agency Endeavor Agency The Gersh Agency Innovative Artists Paradigm Agency for the Performing Arts Broder-Webb-Chervin-Silbermann Agency

Now, agents leave these companies and form their own agencies, and those agents probably have some good contacts. And it may be better to be with a smaller company, since you are less likely to get lost and forgotten about, but you will miss out on those inside agency connections. In a big agency, agents communicate with each other about who is looking for what, and packaging deals are made that could make it easier for your agent to find you work. The most important reason to have an agent is to gain access to all the assignment work available. When studios are developing projects, they often put out a call for screenwriters to adapt a book, or rewrite someone else's screenplay. Often, that spec script that you think is going to be your first big sale, actually becomes your writing sample, which your agent will use to get you writing assignments.

Remember, when you go looking for an agent, that agents are generally not looking for screenplays as much as they are looking for clients. In other words, they generally don't want someone with just one script. They usually look for someone with several solid scripts, who has the ability to be marketed in several different directions at once. They play the odds, and if you only have one good script the odds aren't that good.

Also, agents don't like scripts that have already been shopped around. A good agent wants a fresh script that has never been seen anywhere, so he/she can build some buzz, before sending it out to a large group of production companies all at once, in an effort to start a bidding war.

Finally, keep in mind an agent works for you, not the other way around. Don't just grab the first agent that shows interest. Get face-to-face with anyone you are considering and look in their eyes for sincerity. Ask probing questions. Don't sign a contract without legal advice, and don't expect your agent to do all the work - they won't.

Michael C. Murphy is the founder and president of The Writers' Building, a nonprofit organization and online screenwriting workshop, dedicated to helping aspiring screenwriters succeed. Join the workshop at The Writers' Building.

Writing Scripts Takes Commitment by Zinn Jeremiah

When considering the more popular forms of fiction writing, the screenplay form must be near the top of the list, and perhaps stands alone at the top. Interest in screenwriting and in developing a screenwriting career has exploded over the last few decades. The evidence for this is easy to find. There are several books on screenwriting some of which have gone on to become best sellers and become printed in multiple editions. Screenwriting competitions are now commonplace, and are regularly used as a method for trying to establish a screenwriting career. There are also now even screenwriting programs at several universities, and some of these programs are so competitive that they're nearly impossible to get into. Screenwriting today is as popular a form as it's ever been.

People write screenplays for various reasons. Some people simply enjoy the process, and have no real intentions on pursuing a career. Some who write screenplays will only write one or two of them, then never another. There are those who consistently write screenplays, hoping in many cases to establish a screenwriting career. The lure of a screenwriting career holds different things for different people, obviously: there are those who hope for the opportunity to work in Hollywood's glamorous setting; others hope to become rich; and then some just have a burning desire to create drama.

A commitment to writing scripts is a trait nearly all screenwriters share. It's vital to have this sort of commitment for at least a couple of reasons. Firstly, it takes time to learn to write screenplays at what's considered a professionally acceptable level. There is not set length of time for learning to write screenplays, but in most instances it takes years. The notion of a person taking up screenwriting and having a screenwriting career several months later is essentially unheard of. There are people who move to screenwriting from other writing forms, but typically they're established writers who've been writing for years.

The other reason for needing a sense of commitment is gaining entry. Within the entertainment industry, screenwriters who aren't established don't get much consideration. To ultimately launch a screenwriting career typically takes significant perseverance: doors don't open easily for the unknown. There's also typically a lot of rejection to endure along the way. Becoming a professional screenwriter certainly isn't impossible, because people do it. The best policy with respect to a screenwriting career however is to go into the situation understanding it won't be easy. Those who have the desire as well as the ability have the best chance to succeed.

Zinn Jeremiah is a freelance writer. To learn screenwriting, visit screenplay writing.

Screenwriting Tips from a Screenplay Contest Judge

Do you realize what you're saying??

In the theatre, they read plays aloud over and over in the process of script development, and one of the reasons they do this is to hear the dialogue. When I hear dialogue in my head, it might sound very good, but then when I hear a person actually speak it, I often have an impulse to jump in front of a bus. And over and over and over and over, when I read screenplay entries to BlueCat, I am immediately dismayed when the characters start speaking. Excellent everything else, awful dialogue. And I often wonder if the writer has actually heard the lines they have written for their characters out loud. Either read the whole thing aloud to yourself, or even better, get a group of your friends to read it. You do not need professional actors to evaluate dialogue. Just people excited to help. Videotape it. I have videotaped readings, and then sat down and worked out an entire rewrite off the tape, addressing every single line that bothered me. Which leads me to another thing.

Ha.

It's hard to pass a screenplay on to industry contacts if an unfunny joke is sitting in the middle of page two. It's highly difficult if there's twelve by page five. You might have a payoff in your third act that would break my heart, but if your jokes are poor, the heart of your audience will be shot, probably resentful, and your work will be recycled. Please try your humor out. If your beats aren't funny to some people, rewrite. Trust a truly hilarious bit is coming. Think of the patience you need to muster through this writing process as courage, because it is.If you find you are not funny, write a script that is not funny. Many, many great scripts are not funny, as we all know.

Mispellings.

Do you think the development people in Los Angeles, basically the smartest people in the film industry, will not be annoyed and continue to read your script when you have misspelled three words in the first five pages? Perhaps. How do you feel when you're reading something and you find misspelled words? How does your attitude shift towards the author? Exactly. If you don't think many scripts have this problem, start a screenwriting competition.

OKAY, WE GOT IT!

Try to limit your scene description. When a person opens your script, how many INCHES of action slug are they looking at on page one? Is there anyway you can convey what you want us to SEE with less words? I always go back and CUT CUT CUT to prevent my screenplay from fatiguing my reader with excess words as they try to listen for my story. Do we need to know what necklace someone is wearing? We all understand making motion pictures is collaborative. I strive to let the art department and the costumer and the prop master and so on DO THEIR JOB by not making their decisions in the screenplay, because I have little passion for it and don't do it well. They will make their own choices, and most likely better ones, so why bother? Always use fewer words to say the same thing.

It's not show and tell, it's show not tell.

I constantly find myself being told something by the screenplay the viewer of the film will not be aware of. Screenplays are not literature. They are words assembled to describe what motion pictures will play out on the screen. Telling us a character is a jealous person is passive and dull. Showing a character in an act of jealousy is more effective and essentially cinematic. Let the words and actions of your characters carry your story. This is not easy. You want the actor or director to understand what you want and what you mean. Allow the description of physical actions and the recording of spoken words reveal the narrative to the filmmakers. The script will read faster and offers the reader a richer opportunity to imagine and discover.

The Joy of Making Things Up.

I really cherish the idea, that as a writer, I can make things up. If I want the guy to say something, all I have to do is type it. But I have to fight against creating characters and interactions amongst characters derived from movies I have watched and television I have seen. I often find myself writing a scene only to realize I'm not drawing from my imagination or my own life experience or my observations of people, I'm drawing from the millions of hours of observing actors play human beings on television and in movie theaters. And because I'm writing a “MOVIE,” it is even more difficult, because I'm fighting against a subconscious or unconscious observation that this is "how people act in movies." Stop yourself and ask, would this happen on planet Earth? Do I know how people from Miami really speak? What would a person actually say if they had a gun in their face? Can you possibly imagine what could happen? This is your opportunity to be truly imaginative. Answer your own expectations of original work. A mature writer develops a strong capacity to recognize and reject the false.

Ouch.

Forced exposition. This is when a brother tells a sister on page two that he will be attending a school which dad wouldn't pay for because he bought a farm that the whole family will be moving to tomorrow because he found that the city was a really bad place to live in after mom was really scared because of that mugging thing that happened after they came back from the sister's graduation from high school. When characters engage in an unbelievable conversation about matters in which they would be familiar with, or when they proclaim something completely out of nowhere simply to inform the audience of key facts crucial to their understanding of the movie, you have a problem. This awkward exposition will not be seen as genuine human behavior and will detach your audience from the emotional current of your story. Exposition is necessary and difficult to execute. Be careful how you offer information crucial to your story at the start of your screenplay. This is a common problem in early drafts. Exposition needs to be seamless and graceful.

Format.

You know what? Go get a script and copy what you think it looks like and you'll be fine. Trust me. Spec scripts are sitting on desks all over Hollywood and their format is not consistent at all. Getting crazy about format sells screenwriting software. I use two tab settings and copied stuff from a book and not one person in the film industry has ever said a thing to me in ten years. But if your script looks like a book, or a poem, or a magazine article, your screenplay format is wrong. Just make it look a little like a movie script, and if it kicks ass, guess what.

So do you.

Gordy Hoffman

Article URL address: www.bluecatscreenplay.com/About/advice.php

Interview With Twilight Screenwriter Melissa Rosenberg

A few days ago The Movie Blog had a chance to sit down and chat with Twilight Screenwriter Melissa Rosenberg about the film, the challenges that come along with adapting such a popular novel and how she approached it.

The Movie Blog: You were given the daunting task of condensing Twilight, a 600+ page book, into a 110 page screenplay, while at the same time trying to handle the expectations of the huge fan base that Twilight has gathered. Was it intimidating? What principles did you use in deciding what to cut out?

Melissa: In terms of "was it intimidating," I was not all that aware of the fan base. The minute I became aware of it, I stopped looking because I knew that it would become intimidating. So I purposefully kept myself in the dark because I wanted to be in a place of being able to tell the story and translate the story without the outside influences of the fans. And just to be able to tell the best story possible.

The most important thing [principle] was to stay true to the characters' emotional arts. There are going to be scenes that are either compilations of a couple of different scenes of the book or missing scenes, but the important thing is if the soul of the book is there and if you go away feeling the same way you feel when you read the book. That's what my objective was - to keep the soul of the project.

The Movie Blog: Besides introducing the villains early on in the screenplay version, there were virtually no differences I was able to catch. and I guess that's a good thing. Were there any significant changes you included in the script?

Melissa: That was my absolute objective, if you felt the same. There were actually a lot of adjustments, but again, it's really about "Did you have the same experience? Am I taking you along for the same emotional ride that Stephenie did?" That was the objective for both Catherine [Hardwicke] and I - to make sure that nothing fell out.

In the middle of the book, there are several chapters that have got question and answer dialogue, which is all very compelling when you are reading, but to see two people sitting and talking for long periods of time is not very entertaining. One of the biggest challenges of condensing the book is that you want to be able to hear that mythology. It was a matter of picking and choosing the specific parts of dialogue and dispersing it through several scenes. As well as having other scenes where that information can come across that isn't just two people sitting at a table talking.

The other thing that was different was, for example, with Bella's discovery that Edward is a vampire. In the book, the way he is revealed as a vampire is through a conversation that rolls out over the course of several chapters. It's the conversation Bella has with him [Edward] in the car that she approaches the idea. What we did was to condense all that and have that a real turning point in the movie, making it more of a confrontation. It was really about hyping up certain moments in the book, condensing long passages, while keeping it true to the book because you are still getting that emotional moment.

The Movie Blog: I did notice a lot of instances in the film where much of the conversation that occurs between characters, such as those between Bella and Edward, were illustrated not by dialogue, but through musical montages. Is that how you wanted to portray a lot of the lengthy dialogue from the book?

Melissa: As a writer, you have to recreate scenes to leave space for the actors to act and the director to direct. You always try to let something be portrayed visually as opposed to verbally.

The Movie Blog: What was the hardest scene(s) for you to cut?

Melissa: There were a few things, but ultimately when I saw the film it was hard to remember what those were. I have to say that I didn't miss any of those scenes on screen.

The Movie Blog: Did you consult with Stephenie Meyer when writing the screenplay?

Melissa: Yes. Initially, I was very protective of my creative process. I was intimidated by her celebrity and sort of afraid, on some level that I would be overshadowed and my own creative voice would get drowned out. When I met her I realized that was completely unfounded. She is a very down to Earth, grounded and kind person, who was open to collaboration. She ended up being really valuable in terms of giving me insight into the development of the characters.

I approached Twilight the point of view of a reader and I really wanted to adapt the book without any outside influences and to have it be, in some ways, pure. So, when I say "Yeah, I collaborated with Stephenie," I'm talking everyday, every line. It was like having a writing partner.

The Movie Blog: Was there a character in the book that you could not get a grasp of?

Melissa: Bella's character was quite interesting. Initially, when I read the book, my first thought was that we should just shoot the entire film in Forks and forget about the parts of the book that are set in Arizona. It was Catherine who expressed how important it was to keep the scenes that were set to shoot in Arizona because it was such a significant part of the book. We then met with Stephenie and she spoke to us about being a normal girl in Phoenix, a land where there was a great deal of money and artificial beauty. She discussed how even an attractive girl would feel out of place in such an environment. Stephenie also touched on Bella's relationship with her mother, Rene. She illustrated the idea that Rene is the only person that Bella would risk her life for because Rene can't even take care of herself. Therefore, going back to Arizona to save her and risk her life for her made much more sense to me after Stephenie emphasized that point.

The Movie Blog: The Movie Blog is developing a post on the top 100 film adaptations of a novel. What would be your favorite film adaptation of a novel?

Melissa: I thought The World According to Garth was really well done. I'm also a big John Irving fan, so I would add Cider House Rules. The most recent one I saw was Brokeback Mountain, which is probably one of the best adaptations I've ever seen. If you've ever read the short story, it's just so beautiful and spare. They had the opposite challenge that I did, turning 30 pages into a screenplay. It was a true lesson in how to adapt a book into a screenplay.

The Movie Blog: What's next for you? Will you be involved with the next film, New Moon?

Melissa: We're talking about it, but nothing has been decided in regard to me being involved in the Twilight saga. I can't really say much more than that.

Source: RushPRNews.com Reprinted with permission.

You're an Idiot: Making Value From Reaction to your Screenwriting

If you're like me, if someone doesn't like something about my screenplay, my very first reaction is always the same.

You're not as smart as me. If you knew what I knew, you would understand what I wrote. And you don't understand what I wrote, because you don't know as much as I do. About everything, in general. In short, life. You know, people. Planet Earth.

If you really don't understand what I'm doing in my script, my first feeling is I don't respect you. I have contempt for you. I feel attacked personally, and with my feelings hurt, I want to denigrate your position, and while I won't call you an idiot, basically the foundation of my exchange with you in the wake of you reading my script is you are, in fact, some kind of idiot.

Someone once told me I can be right or I can be happy. Or you can be right, or you can get your screenplay produced into a motion picture. I have had this happen twice, and I can tell you if I had committed myself to being right about everything during the development of the screenplay, they would still be living as files in my hard drive. Any produced screenwriter will attest to this.

Whenever a reader doesn't get information from my screenplay, facts crucial to the function of the story, stuff I feel is so obvious that the only reason they could've missed it all is carelessness, I know I am responsible for the breakdown. Writers over and over complain about this, appalled that someone could miss something so blatant in the script. Two ways you can take this note. One, reader read poorly. Two, you have clarity problems. What is the constructive reaction? You have a clarity problem.

You might get a note saying they don't believe a character would do or say something, particularly dialogue or actions of a certain time period or profession, such as a cop, or a farmer from the 18th century in Russia. The writer defends the charge by citing historical facts, or stating they have seven relatives in law enforcement, or they grew up in Canada, and they do, indeed, talk like that. Well, it doesn't matter. If your audience is distracted by your authenticity rubbing them as cliché or improbable, you need to revise. Screenwriting is compression and art. It's truth, not a transcription. Where do clichés come from anyway?

I recently got a reaction from an audience member to a movie I wrote that I had never heard from anyone EVER. My first instinct was to say to myself, well, um, that's stupid, because EVERYBODY else thinks differently. This is another reaction I've run into quite a bit with writers. "Everybody else thinks it's funny or realistic or a perfect movie or…"
Who is your "everybody else"? Consider your sources, and keep your mind open. In the end, "everybody else" doesn't exist.

Notes on your screenplay are not a personal attack. They might feel like that. You have made an investment of self, and you love what you have created. It is you. But someone's reaction to your writing is not a reaction to you. It is a reaction of the person who read your screenplay. Same screenplay, different people, different reactions. So the reactions are personal to the readers. Detach from the notes to the degree to which you can improve your screenplay. Their reactions are formed primarily from their lives, not your words. Which leads me to this.

Do not embrace the extremes. Listen to the ends of the spectrum of opinions, but do not wallow there. If someone thinks your script is the worst attempt at screenwriting on record, take what you can, but do not stay with this, toss it off as something off and wild. If someone thinks your script is so awesomely perfect and beautiful that there's really nothing to be changed, take what you can, but do not stay with this, toss it off as something off and wild.

Let's say you've offended someone. They think your choices about language or characterization or action are patently offensive, maybe immoral, bigoted, racist, or sexist, disturbing to the point of quit. Do you need to change something? Perhaps. It's up to you. Know that you've offended someone. I have written disturbing material and I didn't change it. But I've learned to sincerely respect that reaction and allow it to help strengthen my creative positions.

Do not listen to hysterical advice about formatting, but if people say they found typos, that means you don't respect your movie and you need look at your attitude to your work on story.

Don't ever question the credentials of your reader. We can seek the experienced and the professional, but in the end, to discredit notes because the reader is "not a screenwriter" or "some punk in a mailroom" or "the assistant fresh out of blah blah", I put this to you. Where exactly do you think the studios come from? Do you know where the executives started? Do you know how Hollywood began? Who is sitting in the movie seats every Friday night across the planet? Screenplay consultants? No. Your audience.

Seek their reaction. They are the flashlight that works. You can gleam the most incredible insights from any one who reads your screenplay, if you put aside your fight and remember the goal of production. We can't wait for the "qualified" to tell us what's wrong. We don't have to.

I don't remember what the newspapers wrote about the movies I've written, but I do remember what the audiences said. The hell with right. I want to make movies, and I strive for that direction.

About the Author
Winner of the Waldo Salt Screenwriting Award at the Sundance Film Festival for LOVE LIZA, Gordy Hoffman has written and directed three digital shorts for Fox Searchlight. He made his feature directorial debut with his script, A COAT OF SNOW, which world premiered at the 2005 Locarno Intl Film Festival. A COAT OF SNOW made its North American Premiere at the Arclight in Hollywood, going on to screen at the Milan Film Festival and the historic George Eastman House. Recently, the movie won the 2006 Domani Vision Award at VisionFest, held at the Tribeca Cinemas in NY. A professor at the USC School of Cinematic Arts, Gordy is the founder and judge of BlueCat Screenplay Competition. Dedicated to develop and celebrate the undiscovered screenwriter, BlueCat provides written script analysis on every script entered. In addition, Gordy acts as a script consultant for screenwriters, offering personalized feedback on their scripts through his consultation service, http://www.screenplaynotes.com/.

Breaking Into Hollywood - Do I Really Need a Screenwriting Seminar?

I'm a producer who has enjoyed both sides of the writing seminar experience. As a writing fellow years ago, I attended many diverse seminars. Then, as a story analyst for a major production company, I developed my own system for understanding and applying story structure which I now teach in a seminar of my own. There are three things I explain to people who question or resist "learning how to write" through professional seminars.

First, writers often (mistakenly) interchange "story" and "structure." These are two separate elements of the writing process. Story is the creative experience that only you can uniquely express from your vision. Structure is the foundation for that story, and the rules of structure have been accepted for thousands of years. The easiest way to grasp the distinction is to think of a dinner party. What you cook is entirely up to you (story). But you must serve your guests the appetizer first, then the entrée, then the dessert, in that order, and those dishes have to complement each other (structure). If not, no matter how great the food is, your guests are going to think you have no idea how to make dinner. And they won't come back to dine with you again. Writing seminars tend to focus on teaching structure, NOT story, so that creative genius has a chance of being understood and enjoyed by buyers and audiences who innately expect a certain foundation to a script. And story instincts can be honed and expanded with professional guidance, as well.

Second, virtually all professions have rules for writing. Just as lawyers must learn proper structure and format for legal briefs and programmers do the same with software code, screenwriters must learn and apply rules of structure and format to screenplays. Most professions have training expectations, too. Just as no one is going to give you $100,000 to perform open heart surgery on a patient just because you've always dreamed of being a doctor, no one is going to give you $100,000 to write a script just because it's your lifelong fantasy. Doctors, lawyers and other professionals get degrees and regularly attend seminars to maintain their chops and their edge, and so do writers. No matter how strongly emerging writers believe that Hollywood is a get-rich-quick-with-no-effort industry, in order to succeed, you will have to replace that belief with the simple acceptance of show business as a business.

There simply is no benefit to railing against the industry's insistence that writers get some training before they attempt to get paid for their work. Any time you are asking someone to pay you, you must anticipate their establishing rules for that income. If you don't want to have to learn the insider rules, the simplest solution is to write for free. But if you want to sell your work, just as in any other business, you have to respect the guidelines. The good news is that the rules of writing get far more flexible after a first sale!

Third, it's common for people to mistrust writing teachers as unnecessary snake oil salespeople who are not personally successful themselves. Yes, the rules of story structure that Hollywood subscribes to are fairly standard. The laws of physics are standard, too, but not many people easily grasp and apply them! Training helps writers master the rules so they can craft solid scripts that can actually be sold. And just as you learned better from some teachers than others in high school, you will find in the variety of books and workshops at least one approach to structure that will help you effectively integrate it into your work.

Remember, selling a script is neither a requirement for nor a guarantee of being able to teach screenwriting. I've produced many writing panels and seminars, and many successful screenwriters lack the communications skills and the clarity of process to adequately guide another writer to a successful script. For my part, I teach from the point-of-view of the buyer instead because that was my background and because my personal business strategy is to always understand what the person who writes the check is looking for. Believe this - whatever an individual teacher's approach, the ability to teach a subject well enough for students to grasp it is its own gift.

Finally, let me be a bit frank just to give you a glimpse into the perspective of your potential buyers. From the industry's point-of-view, writing exactly what comes out of your head, spirit and heart, with no structure or training, is not screenwriting...it's "typing." For a parallel, dancing around a living room on your toes is not professional ballet, and it does not warrant the expectation that you should be equally respected as trained ballet dancers in the world of classical dance. Next, I can think of few industries that offer as accessible an education in the basics as screenwriting's swath of books and seminars. Please compare those demands on your time and wallet to what dentists, accountants, attorneys and other professionals must do before they can earn a professional paycheck. If attending a well-respected course for a few hundred bucks helps buyers have confidence in you, do whatever helps you crack those barriers to entry! Last, try very hard to name any industry where training destroys natural talent rather than enhances or develops it. Still a skeptic? Buy a couple of writing books and take some classes just to prove everyone wrong. What I know you will discover, instead, is that training can take what's good and makes it great.

Happy screenselling.

About the Author:

DMA is a former film story analyst who is now the executive producer of Tidal Wave TV, a new media and reality TV production company in Los Angeles, and the director of Hollywood's one-day, comprehsenive filmmaking seminar,Movie in a Box. Learn how to sell a screenplay from DMA's industry guide "The 1-3-5 Story Structure Made Simple System: The Nine Essential Elements of a Sellable Screenplay."

For DMA's national speaking schedule and more insider resources for breaking into Hollywood, please visit Planet DMA. It is our goal to mentor you through your career in the entertainment industry!

22 Ways to Improve Your Screenwriting

Whether you are trying to win contests or sell your script, it is important that you take advantage of every opportunity you can to increase your chances of success.

Some people have estimated the odds of a good screenwriter selling a script to be in the neighborhood of 1 in 5,000.

What if you could cut that in half just by one action? Now, you're at 1 in 2,500.

Then, what if you could cut that by 1/5th by taking a series of actions. Now, you're at 1 in 500. And if you continue on that path, sooner or later, you'll get to 1 in 10 or even 1 in 2.

If you don't believe that, let me ask you this: What are the chances of Charlie Kaufman selling another screenplay?

He wrote BEING JOHN MALKOVICH, ADAPTATION, and other screenplays. Would you say that his chances of selling another screenplay are pretty high? Would you be shocked to hear that he sold another script in the next six months? I doubt it.

But if you'd met Charlie Kaufman when he first began writing, wouldn't you say he was right in there with the 1 in 5,000 odds against him?

My point is this: Everyone starts at 1 in 5,000 odds and it is up to us to shift the odds until they are in our favor. Shifting those odds is just a matter of constantly improving and taking advantage of the opportunities that come to us.

Below is 22 ways to improve your screenwriting. I've started with the most obvious and built to some ideas that are out of the ordinary.

I present this list so you will always have a way to improve your screenwriting, even if you are trapped in your room by yourself with no money and no contacts.

1. Write every day.

2. Read produced screenplays and search for what they did well. Read for a contest and see the difference between the winners and the ones that didn't make it.

3. Take a screenwriting class. I can easily recommend a few.

4. Get feedback on your writing.

5. Critique another writer's scripts.

6. Join a screenwriting group.

7. Take your favorite screenplay and transcribe it, noticing the choices the writer made.

8. Select a technique to improve and use it in one or more scenes.

9. Write the same scene a completely different way.
- Reverse a scene or character
- Increase the stakes
- Change who prevails in the scene
- Use a twist to change the end of the scene
- Put the characters in a worse position

10. Have another writer write one of your scenes in a completely different way.

11. Take a character to an extreme to see what other possibilities are available.

12. Take a line of dialogue or description and rewrite it 10 different ways or more.

13. Stretch yourself: Give your character an unsolvable problem and then solve it.

14. Pick a scene in a movie you like and write it. Once you have completed it, read the writer's script for that scene and see how he or she wrote it differently.

15. Watch a movie, stopping it at the end of each scene. Write down what happened in the scene, how the characters changed, what was the in and out points, and what was the most interesting part of the scene.

16. Take your best idea and top it in some way! Sometimes, it is not about the writing. It is about the thinking and the breakthroughs and getting used to coming up with fresh ideas. Force yourself to top your best ideas on a regular basis and soon, you'll have the best ideas in Hollywood.

17. Find out what a producer or reader wants in a script. This can shift your chances dramatically. It may save you from writing something that has no chance of success.

18. Take an acting class.

19. Do a read-through with actors.

20. Shoot a short on DV. For anyone who has done this, you've had the experience of seeing actors bring your script to life. Until you do, you can't imagine the amount of pride and embarrassment you'll experience. But directing even one scene will change how you write.

21. Give yourself permission to write from your heart with no holding back.

22. Decide that you will constantly improve your writing until you are one of the best screenwriters there is.

There you are. 22 ways to shift the odds of your success. Many of which do not even require that you leave your computer. If you're serious about writing, I wouldn't let a day go by without doing at least one of the above.

A 1% improvement every day is a 365% improvement over the next year. Keep doing that and sooner or later, you'll be in Charlie Kaufman's league -- making those 7-figure deals.

About the Author:

Hal Croasmun is a writer/producer and the author of "33 Ways to Break into Hollywood." He publishes the ScriptForSale newsletter with articles about screenwriting and interviews with A-List screenwriters at http://www.scriptforsale.com/

Scott Stuber to Produce Film With EA; Scott Z. Burns to Write Screenplay

Electronic Arts Inc. has closed a deal with Universal Pictures to bring EA's new franchise and top-selling videogame, ARMY OF TWO, to the big screen.

Scott Stuber, through his Stuber Productions shingle, will produce the film along with EA, and screenwriter Scott Z. Burns, who recently co-wrote the blockbuster THE BOURNE ULTIMATUM, has signed on to adapt the game for the screen. Universal Pictures, Stuber Productions and EA are planning to begin production of the film in 2009.

ARMY OF TWO, which has grossed over $100 million(a) in sales since its release in March 2008, is the second film project that EA has set in motion as part of an aggressive strategy to move its IP across more entertainment platforms. The company is also currently developing THE SIMS at 20th Century Fox with producer John Davis.

The Weinstein Company Acquires Worldwide Rights to Feature Film

The Weinstein Company (TWC) has acquired the worldwide rights to produce and distribute the feature film adaptation of the multiple Tony Award-winning play August: Osage County. Harvey Weinstein, co-chairman of TWC, will serve as one of the producers on the film. Weinstein will join Jean Doumanian Productions and Steve Traxler, president and co-founder of Jam Theatricals, who had previously signed on to produce.

Weinstein is a co-producer of the Broadway production of August: Osage County; Doumanian and Traxler are lead producers as are Jeffrey Richards and Jerry Frankel who are on board to executive produce the feature film adaptation.

The film is currently in development, with playwright Tracy Letts, who won the 2008 Pulitzer Prize for August: Osage County, writing the script. The winner of five 2008 Tony Awards, including Best Play, and the 2008 Pulitzer Prize, the critically acclaimed August: Osage County premiered in summer of 2007 at Chicago's Steppenwolf Theatre and debuted on Broadway in December 2007.

Ben Famiglietti, vice president of production and development, originally brought the play to Weinstein, who immediately signed on as a co-producer of the Broadway production. Famiglietti also brought the movie rights to TWC. Famiglietti and Rob Scheidlinger, executive vice president of production and business affairs, will oversee the production on behalf of TWC. Patrick Daly, Vice President of Production and Development at Jean Doumanian Productions, will liaise with TWC on August: Osage County.

Scheidlinger negotiated on behalf of TWC, George Sheanshang negotiated on behalf of Doumanian, Traxler, Richards and Frankel.

August begins an eight week engagement at London's National Theatre on November 21, 2008. The national tour of August launches in Summer 2009.

How Can I Get My Screenplay Read?

"How can I get a producer to read my screenplay?"

That's one of the most common questions aspiring screenwriters ask, says Phil Gladwin, the established TV writer behind the Screenwriting Goldmine website.

Phil, who has written a number of dramas for the BBC and ITV, knows how hard it is to get that lucky first break.

So in a series of exclusive audio interviews, Phil has asked his friends and colleagues who have worked on award-winning shows to share their ideas on how you can get your big writing break.

For example:

Bryan McDonald explains how, within 48 hours of writing 25 pages of a spec script for the TV Western show 'Deadwood', he had been flown to Hollywood and hired by series creator David Milch, who also created 'NYPD Blue'

Vanessa Haynes is head of development at Steve Coogan's Baby Cow production company - she describes what she looks for in new comedy - and gives a very clear idea of what she wants to see in a spec script.

Toby Whithouse talks about how he submitted an idea for 'Doctor Who' and ended up writing the episode where the Doctor and his former assistant Sarah Jane Smith are reunited. Toby also explains how his own show, 'No Angels', was commissioned.

Silvia Manning shows how her experience as an actress, the contacts she had made (and a large helping of steely determination) meant she was been able to create and write her own sitcom, 'City Girls' - ending up as executive producer.

The interviews are being released as part of the countdown to the launch of the new-look ScreenwritingGoldmine.com.

The site builds on the success of Phil's popular learning package, 'Screenwriting Goldmine: How to Write a Screenplay People are Desperate to Read'. People who use the package, follow Phil's blog, or contribute to the ScreenwritingGoldmine.com forum, can tell you how much they appreciate the advice and input that Phil gives.

Call for Natural History Film Entries

With the deadline fast approaching there is still time to enter the ROSCAR (Rhino sculpture) Awards, which forms part of the Durban Wild Talk Africa Film Festival and Conference.

Entries will be judged by well-known industry professionals and talented filmmakers, and include representation from Animal Planet, National Geographic Television, National Geographic Channel International, France 5, Parthenon Entertainment, NHHZ, ORF, NHK (Japan Broadcasting Corporation), New Delhi TV, Off the Fence and others. To read the biographies of all the ROSCAR Judges visit http://www.wildtalkafrica.com/

The ROSCAR Awards categories for 2009 are; Editing; Cinematography; Natural History Production with a Limited Budget; Children’s Natural History Production (to be judged by schoolchildren); Environmental Production with a Conservation Message; Eco-Tourism, Travel and/or Culture Production; Use of Music in a Natural History Production; Script for a Natural History Production; Series for a Natural History Production; Sound Design for a Natural History Production; Newcomer and an Outstanding Achievement for African Wildlife Filmmaker Award. Any production which noticeably impresses the judges will automatically be put forward for the Judge’s choice Award.

The winners of the ROSCAR Awards will be announced at a spectacular gala event which takes place on the finale evening during the Durban Wild Talk Africa Film Festival and Conference, which runs from 19 – 23 April 2009 at the ICC Durban. The prestigious evening event promises to be a highlight as tribute is paid to filmmakers for the outstanding contributions that they are making to the natural history industry.

To enter your production, visit http://www.wildtalkafrica.com/ for the entry form and rules, the entry fee is R350 per entry and the deadline for entries is 28 November 2008.

Camelot to Launch New Program for Struggling Filmmakers

Camelot Production Services Group is planning to launch a new program designed to assist struggling filmmakers attempting to gain market acceptance.

Under the new program, Camelot will work with filmmakers to explore various methods and ways to bring their projects to market from various aspects of the production process, from inception to completed films ready for distribution.

Camelot envisions bringing together experts from different filmmaking disciplines to assist in the process, along with assets from its film and distribution operations in Camelot Film Group. Specific details of the new program are expected to be released later this quarter. Additional information concerning this program can be obtained by emailing pwinn@camelotfilms.com .

Website: http://www.camelotfilms.com.

Tax Incentive Insurance for Filmmakers

Tax Incentives have become a significant part of film budgets with many states and countries offering generous tax incentives of up to 40% of production costs for productions filmed in their state or country. Producers can now protect themselves and purchase insurance coverage in the event they suffer a loss and fail to qualify or receive the tax incentive/rebate.

Bob Jellen has played a leading role in Hollywood for many years providing insurance for the major studios and independent film and television production companies. Bob Jellen, President of Entertainment Insurance Consultants, Inc. recently developed Tax Incentive Insurance so producers can now insure the tax incentive/rebate that they expect to earn on their film or television production.

Filmmakers can be covered in the event of damage to sets, property, locations, or facilities, hurricane, flood, earthquake, epidemic, or death or disability of cast or crew which prevents them from completing their required filming in a state or country. They can also be covered in the event of bankruptcy, insolvency or repudiation of a state or countries financial obligation with respect to the tax incentive/credit.

For additional information: http://www.filmtaxincentives.biz

Independent and Freelance Filmmakers: Grow Your Portfolio

Today, XLNTads has launched Poptent.net, the first social platform for the video creator community.

Poptent offers an unprecedented array of tools for video project management and collaboration. In addition, Poptent enables independent and freelance videographers to showcase their work both to their peers in the video community and to brand advertisers. They can develop working relationships with brands that need quality, affordable media solutions and earn money for their creative work.

Poptent will host rotating brand assignments and also its own ongoing Reel of the Month assignment. With Reel of the Month, creators will have a unique opportunity to gain recognition and visibility. A judging panel comprised of ad executives and Hollywood luminaries will select one creator to highlight each month based on their demo reels. The recipient of this honor will also earn $500 from Poptent.

The judging panel for Reel of the Month includes thought leaders such as Lance Weiler, founder of the Workbook Project, the leading resource for content creators on the Web. Mr. Weiler was recently named one of BusinessWeek Magazine's "18 People Who Changed Hollywood." Another judge is Dreamworks Senior Animator David Schoneveld who has worked on such films as "Pirates of the Caribbean" and "Kung Fu Panda."

To join Poptent sign up for a free membership at http://www.poptent.net/. Members can upload their work, build their profiles and begin working on special assignments from Anheuser-Busch around a designated drivers campaign and from Brand Affinity Technologies for three top professional athletes (including star quarterback Carson Palmer, baseball great Brooks Robinson, and basketball star Robert Horry).

Big Screen Entertainment Group Acquires Feature Film, "Sodium Babies"

Big Screen Entertainment Group (OTC:BSEG) is very excited about the attention its newly acquired feature film, "Sodium Babies," has been receiving both internationally and domestically.

Big Screen Entertainment Group is selling worldwide rights for the film as well as planning a big campaign for this year's American Film Market. So far, the following top websites have picked up on the trailer and new poster just released:

http://www.dreadcentral.com/story/sodium-hell-twilight-posters

http://www.bloody-disgusting.com/news/13871

"'Sodium Babies' was made over a five (5) year period of time by the extremely talented filmmakers, Julien and Benoit Decallion, using state of the art special effects. Due to the numerous requests for screenings and the buzz from international buyers and horror fans alike, we are expecting very good results from the movie. We have already received requests from several major studios after viewing the trailer," said Kimberley Kates, BSEG's CEO.

"A cross between 'Sin City' and the new HBO vampire series 'True Blood,' 'Sodium Babies' is a very original, extremely visual, and powerful story with an intense theme," said Kates.

For more on the film, please visit the following:

http://www.myspace.com/sodiumbabies

The Five Paths for Australian Screenwriters

Australia is not Hollywood. Australia is not Hollywood. Australia is not Hollywood.

Sometimes, I have to remind myself. It's the only way to preserve my sanity.

See, I'm an independent film producer who's been involved in the film industry since before I was a teenager (over 20 years now, eeesh!). And because I grew up in Los Angeles, the film industry was all around me.

It never even occurred to me that people might consider a career in film "impossible".

So when I got to Australia and started looking for screenplays, I was genuinely surprised by how few people were doing it. At first, I saw it as a tremendous opportunity. Over time, I began to realize it was a tremendous obstacle.

Without many screenwriters in Australia, the screenwriting community remains small, which makes it a very lonely profession. (Writing's always a lonely profession, but when no one around you even understands what you do, it gets downright desolate.)

As it turns out, many Australians who WOULD turn their ideas into screenplays DON'T... simply because they don't think it's feasible.

Well, I disagree.

If you can excel at screenwriting in Australia, you can get noticed. The local industry is continually crying out for quality material. Why shouldn't it be you that writes it?

But Australia is not Hollywood. So the career path of a screenwriter here is not quite so obvious.

That's why I've identified five different and clearly-marked paths that would-be Australian screenwriters can take. I don't know if these are the ONLY paths, but they're the five that I could identify without much thought.

If you're looking to write a screenplay, pick a path and write FOR it, and your chances of seeing something in return for your efforts will multiply exponentially.

1) Write for the Government
It's no secret that government funding dominates the Australian film industry. And many would-be screenwriters see government money as the only source of income. It's not, but it's the most obvious. To attract government funding, you'll need to understand what those funding sources need to see in a screenplay (specifically, cultural relevance). In Australia, most of the competition is writing for this market, but it remains alive and well).

2) Write for local producers
Australian producers exist in a difficult environment. They typically have very little script development money, and can't claim development expenses against their taxes unless the project goes into production. The result? Films get pushed into production prematurely. Australian producers aspire to make brilliant films just like everyone else does. To write for this market, research who's who, who does what, and what they're looking for. Craft something powerful that's specifically designed for them, and you'll get noticed very quickly.

3) Write to self-produce
Partly from a do-it-yourself attitude, and partly from the necessity of surviving in a small market, many writers aim to self-produce their work. If this includes you, you'll need to learn the myriad other skills involved, which will necessarily limit the time and energy you can put into perfecting the screenwriting craft. Be sure to get objective feedback on your project before racing into production. Most writers misunderstand self-producing, assuming it's the easiest (or at least most direct) route to a completed film. In fact, it's about twenty times the work for half the reward. But it's a viable avenue that can be legitimately considered.

4) Write for me (or someone like me)
Although I'm technically just one of the many producers who fall under category 2, I'm a little unique down here, in that I believe in applying "Hollywood" techniques to local stories. My philosophy is simple: If you make movies that make money, you get to make more movies -- so let's start making mainstream entertainment that can keep the quality industry alive. Many in the local industry reject that kind of American influence, arguing that Australian film should be pure and free of commercial considerations. It's a valid point of view, and I absolutely respect it. But I want to reach out to the cineplexes, so I seek "High Concept" stories that can be easily marketed to a wide audience. There are several Australian producers with this philosophy, and we all fit into this category.

5) Write for Hollywood
Yes, believe it or not Aussie screenwriters, despite being this far away, writing for the Hollywood market is a legitimate and viable path. Ironically, many Australian writers have found it easier to "break in" to the Hollywood market than Americans. Largely the result of very few Australian films getting released in the US (and then, it's only the good ones), Hollywood has a distorted perception of Australia, and makes assumptions in your favour. The challenge to this path is that, in the end, you're competing with about 100 times as many writers, including the best in the world. Your skills had better be world-class, if you hope to compete.

So. Which path is best?

The simple answer is that there's no answer to that question. It's whichever is right for you, your project, your personality, and your goals. Don't rule out -- and don't settle for -- ANY of these, simply because they look easier or harder than the others.

The point is not which path to take.

The point is that there are at least five real, potential, viable career paths for Australian screenwriters.

So if you've got an idea for a screenplay, or you have any inkling that screenwriting might be something you'd like to do, I strongly encourage you to consider it seriously.

Australia needs quality screenwriters. We make 30-odd films per year, on average. If every one of them was amazing and powerful, or far-reaching and entertaining, the local culture would flourish.

Keep on writing!

About the Author:
Jeff Bollow is an award-winning filmmaker, acclaimed screenwriting teacher, founder of Screenplay.com.au, and best-selling author of Writing FAST: How to Write Anything with Lightning Speed, available through writingFAST.com and Amazon.com.

Hollywood Movies Still Thrive During Tough Times

According to SNL Kagan's recent study, "Economics of Motion Pictures," theatrical box office revenues hit a gross record of $9.67 billion domestically in 2007, besting the previous mark of $9.29 billion set in 2002.

SNL Kagan's "Economics of Motion Pictures" analyzes all films released on 1,000 or more screens from 2003 to 2007, providing 10-year pro forma models based on genre and budget range, with varying distribution structures. Included are detailed costs for action, animation, comedy, drama, family, horror, romance, sci-fi/fantasy and thriller films.

Overall, SNL Kagan found the most expensive films posted the largest revenues and average net profit. The nine films in the $90 million-$100 million range for negative costs posted an average net profit of $374.7 million under a major-studio distribution fee structure. The 80 films that cost more than $100 million to make generated an average net profit of $282.3 million. The 741 films in the study averaged $66.4 million in net profit.

Within each negative cost range, results varied by genre. The SNL Kagan study reveals that animated films performed best, with an average net profit of $230.6 million under a major studio deal. Horror films had the best results in the $0-$10 million range with an average net profit of $40.3 million, compared to $21.9 million across all negative cost ranges.

2003-2007 Average Film Profits by Genre for Major Studios
Film Genre.....Avg. Domestic Gross ($000)…..Avg. Net Profit ($000)
Animated.....106,521…..230,631
Sci-Fi/Fantasy..…115,652.....195,260
Family.....78,967.….120,563
Action.….79,288.....97,270
Drama.....42,715…..38,615
Comedy…..49,773.....35,905
Romance.....35,443.….22,164
Horror.….34,494.....21,862
Thriller.....38,644…..18,553
Tot./Wtd. Avg…..58,106.....66,353

© 2008 SNL Kagan, a division of SNL Financial LC, est. and analysis of industry data. All rights rsvd.

"When the going gets tough, consumers go to the movies," said Derek Baine, senior analyst at SNL Kagan. "Historically, theaters have been fairly recession proof, and this year looks to be no exception."

Website: http://www.snlkagan.com/

Training for Screenwriters by Zinn Jeremiah

Screenwriting is a bit of an invisible profession. Most people who watch movies or television give very little thought to how the actors come to say what they say; but the fact of the matter is, aside from the occasional ad lib, everything film and television actors say is written for them by someone else. And the someone else who writes what film and television actors say is typically known as a screenwriter.

The rare person who does have some form of interest in screenwriting often hopes to be a screenwriter him or herself, presuming they aren't one already. The fact of the matter is, there are a variety of ways for one to become a paid screenwriter. Notice the mention of the word paid. Virtually anyone has the capacity to write a screenplay. A small number of people have the ability to write a legitimately good screenplay. And some few literally earn money by writing screenplays.

All things considered, the number of people who are paid to write screenplays or television scripts is small. Screenwriting is a competitive industry in the sense that more people would like to get in than are needed, and that it's often difficult to connect with people who pay for scripts: the path to established entertainment industry professionals who regularly pay for some form of screenwriting is blocked by any number of gatekeepers. This isn't to infer that becoming a paid screenwriter is an impossibility as it's clearly not, but there are challenges involved.

One of the forms people take to establishing screenwriting careers is to get screenwriting training at a university. There are a number of universities that offer screenwriting programs, and those programs with established ties to the entertainment industry are very competitive to gain entrance into. The southern California schools UCLA and USC both have established and competitive screenwriting programs. Since these schools are located in what is essentially the capital of the entertainment industry, the immediate area around Los Angeles, they have an inside access schools located elsewhere don't have. This geographic advantage adds greatly to the prestige of these schools' screenwriting programs.

It is absolutely not mandatory to attend university screenwriting training. Many screenwriters have established careers, some quite successful, without any formal screenwriting training at all. At the end of the day, all that's required to become a professional screenwriter is to have a screenplay that the industry wants to buy. No one in the entertainment industry cares much if at all about how a screenwriter learned their trade. The only concern is for the finished product, and that's the script, which in screenwriting is the most important thing of all.

About the Author:
Zinn Jeremiah is a freelance writer. To read more of Zinn's writings, visit article exchange. For screenwriting resources, go to screenplay writing.

The Screenwriting Instinct: How to Know if You Have It?

Although it seems obvious that one would love to do their hobby, the work that interests them most or the work they feel is pretty natural to them, it is a fact that some people are unable to do so because of quite an unbelievable, basic reason:

They simply haven't explored themselves enough to find something that they are naturally talented or gifted ones in.

Yes, it is indeed the case with some people. This is also what the command "Know Thy Self" was for. Moreover, a lot of people have written 'still discovering' in the about me area of their online profiles.

If you are one of those people, I would like to bring your attention to what some would say 'the solution from an unexpected place while the place is not at all strange' - thoughts... in terms of movies.

If you have noted it at some point in your life that your mind sometimes, often, or all the time thinks of a fictional event (or fictional events) or an imaginary person (or imaginary persons) as you see or after seeing any object, person or scenery such as the royalty-free photo from GettyImages.com above, you have a good reason to think that you have the ability to think in terms of movies or you do possess the screenwriting instinct.

Screenwriting is really all about stories and characters (and their telling, of course). It takes inspiration and creativity to create them, and screenwriting and inspiration & creativity go hand in hand. That means, if you are a creative person, you have fulfilled the most primitive requirement of being a screenwriter.

If by having a look at the above still scene-picture of the movie Thelma and Louise for example, your mind pops up the memories of the film as to what was the story and who were the characters, and you could tell that your mind, after or as you watched the movie, thought about the incidents other than those happened to the characters in the movie happening to the characters and/or your mind thought of the characters other than the actual characters of the movie going through the exact same incidents as depicted in the movie, then you, for sure, have the instinct to write movies.

That goes without saying that even Now, if, as you see or after seeing the photo of the movie for example, your mind imagines (or wishes) different, more interesting events happening to the characters of the movie Thelma and Louise or different, more interesting characters going through the exact same events of the movie, or simply if your mind can imagine, or better, often imagines out of nowhere any interesting incidents or people with interesting characteristics, then there is no doubt that you have what it takes to take screenwriting on as your hobby, the work that interests you most or the work you are naturally talented in. And you can know that you have the screenwriting instinct.

The best part is, as with all types of hobbies, with little or some efforts, you can use this natural talent of yours to reach a stage where you get paid to do what you love doing and are naturally talented in.

About the Author:
M.d. Tabish Faraz is a screenwriting teacher, screenwriter, creative web content writer, article writer, and copywriter.
http://writertabish.blogspot.com

ION Television Inks Multi-Year Film Acquisition Deal

ION Television, the "Positively Entertaining" general entertainment network reaching over 94 million homes, has inked a multi-year film acquisition deal with Warner Bros. Domestic Television Distribution. Extending from fall 2008 through summer 2010, this multi-year deal brings 27 critically acclaimed and Academy Award-winning films to the network's film slate.

TV and Film Characters Influence Reckless Driving

1.3 million UK motorists claim to have picked up their bad driving habits from TV and film characters, according to the latest research from Confused.com - the UK's leading car insurance price comparison site.

A shocking 1 in 4 (23%) of 17-24 year olds, claim that they have picked up bad driving habits from films, such as Casino Royale and the Italian Job - an admission which is supported by the fact that 3 in 4 young drivers claim to drive with one hand on the wheel, and more than 1 in 2 (55%) frequently drive over the speed limit.

Londoners are the worst in the country for trying to emulate their TV and film heroes, with nearly 1 in 5 (18%) claiming that watching films has a direct impact on their driving styles. This becomes even more significant when taking into consideration the fact that only 2% of drivers from other regions in the UK claim to be influenced by film and TV characters.

Will Thomas, head of car insurance at Confused.com, says: "It is very concerning that so many drivers admit to being influenced by film and television stars. While some motorists dream about emulating the driving styles of James Bond and Knightrider, the reality is that driving erratically and dangerously is far from astute - especially for people who live in regions which are as built-up as London.

Website: http://www.confused.com/

Seven Arts Pictures Delivers Drunkboat Starring John Malkovich

Seven Arts Pictures plc (Seven Arts) announced the delivery of Drunkboat directed by Bob Meyer, and starring John Malkovich and John Goodman. Initial revenues on the movie will be realized in this fiscal year 2009.

Drunkboat is produced by Golden Globe and Academy Award nominee John Malkovich, and directed by Bob Meyer. It is the touching story of a man making a difficult and tenuous return to family life in Chicago after many years of lonely self destruction. His nephew has teenage dreams of leaving home and sailing to distant horizons and purchases a beaten-up wooden sailboat and a journey with his uncle unfolds.

2008 Indie Short Film Competition

The launch of the 2nd annual international short film and video competition for independent filmmakers has been announced by The Indie Short Film Competition.

The Indie Short Film Competition is the most innovative international short film and video competition for independent filmmakers worldwide. It’s not your usual brick and mortar film festival, it’s a unique online competition whose focus is on creating opportunities for aspiring filmmakers from around the world by bringing support and recognition to excellence in the art of filmmaking. The Indie Short Film Competition is a great opportunity for indie filmmakers to advance their career, gain recognition in the filmmaking industry, and receive international exposure. Winning filmmakers will also receive awards, cash prizes, and merchandise & services from industry sponsors that can help further your career in filmmaking.

Entrants stand a chance to win over $25,000 in cash and prizes. Short films and videos may be entered in 10 different categories (Comedy, Horror / Thriller, Documentary, Music Videos, etc.). Filmmakers may enter as many short films as they wish. Submissions accepted now through November 29, 2008. Enter today at http://www.indieshortfilms.net/

Winners will be selected by a judging panel of industry professionals who are looking for the next generation of creatively talented filmmakers out there. Entering this short film friendly competition gives you a shot at being discovered by the right people and opening the right doors to get your short films seen by top industry professionals in the filmmaking business.

The 10 Most Popular Movies of All Time

Are you a movie dunce? Do you not know your Corleone from your Kurosawa? Would you recognise a lightsaber if it hit you in the face? Well, don't panic. To help you catch up on your movie knowledge here's the first instalment in your 2-part crash course in the top 10 movies of all time, as voted by the readers of the Internet Movie Database. Careful, though… here be spoilers.

10. Star Wars IV: A New Hope

A long time ago, in a galaxy far, far, away . . .

Luke Skywalker, farmhand and son of Darth Vader, is torn from his home when his aunt and uncle are murdered by Imperial Storm Troopers searching for the stolen plans to the Death Star, a space station with weaponry capable of destroying planets. Luke escapes with his two droids, Jedi Knight Obi Wan Kenobi, smuggler Han Solo and first mate Chewbacca.

After escaping Tatooine, the ragtag crew stumble upon the Death Star shortly after it has destroyed the planet Alderaan. Caught by its tractor beam, their ship is dragged in. While attempting to escape the Death Star the team rescue Princess Leia, held prisoner in the ships bowels. During the rescue Obi Wan sacrifices himself to allow the others to escape.

In a grand finale, Luke destroys the Death Star by firing a missile into a weak spot in the structure of the ship and Darth Vader, is cannoned off into the depths of space.

Quote: I felt a great disturbance in the Force, as if millions of voices suddenly cried out in terror and were suddenly silenced.

Trivia: Al Pacino, Burt Reynolds and James Caan reportedly turned down the role of Han Solo.

9. Pulp Fiction

A movie whose various plotlines are far too intertwined to summarise in a paragraph or two, Pulp Fiction simply tells the story of a day in the life of a group of unusual people -- two hitmen, the wife of a gangster, and a boxer who killed in the ring among others.

Edited to tie each story together, the movie often plays out of sequence -- to the point where the final scene and the opening scene take place at the same time. Full of pop culture references and quotable lines, Pulp Fiction stays true to form as a Tarantino movie.

Quote: Zed's dead, baby. Zed's dead.

Trivia: Vincent Vega (John Travolta) is the brother of Vic Vega, also known as Mr Blonde, in Reservoir Dogs.

8. The Good, the Bad and the Ugly

Set during the US Civil War, the movie follows the three protagonists Blondie (The Good), Snake Eyes (The Bad) and Tuco (The Ugly) in their search of a hoard of gold stolen by bank robber Bill Carson. All three want 50% of the gold -- resulting in a good old-fashioned standoff. Snake Eyes is shot dead, and the honorable Blondie allows Tuco his share of the booty.

Quote: You see, in this world there's two kinds of people, my friend: Those with loaded guns and those who dig. You dig.

Trivia: Clint Eastwood wore the same poncho for all three ‘Man With No Name' movies -- without washing it once.

7. Schindler's List

Schindler's List tells the true story of Oscar Schindler, a Nazi industrialist who becomes so moved by the plight of the Jewish people during World War II that he devotes himself to saving as many as he can. Even after rescuing over 1,100 Jews from the gas chamber, Schindler bemoans the fact that he could have saved more had he sacrificed everything he had.

Quote: I could have got more out. I could have got more. I don't know. If I'd just... I could have got more.

Trivia: Steven Spielberg refused to take any pay for the film, claiming that it would feel like he was taking ‘blood money'.

6. The Seven Samurai

Regarded as Akira Kurosawa's greatest film, the Seven Samurai tells the story of a terrorised village in war-torn 16th Century Japan. Constantly attacked by gangs of bandits, the residents enlist the services of seven ronin, or samurai without masters, to protect them.

Despite initial tensions between the villagers and the samurai, they together successfully defend the village against the bandits. However, their success comes at the cost of the lives of four samurai.

Quote: What's the use of worrying about your beard when your head's about to be taken?

Trivia: The three samurai whose characters survived the film were the first three to die in real life.

So, you're up to date on five of the top ten most popular movies of all time - but that's not good enough! To complete your movie knowledge, why not read up on the top five movies in the final instalment of your crash course?

About The Author
James Shenton is a freelance writer and cinema buff whose work can often be found gracing the pages of industry journals and entertainment portals.

You can find more of his work at the Internet's best movie downloads site, http://www.elitemoviedownloads.com/

Vanuatu Very Short Film Festival Seeking Submissions

Vanuatu Very Short Film Festival is accepting entries for the 2008 festival.

"In only its second year the festival has already grown to be one of the top 18 film festivals in the South Pacific" claimed festival board member Aaliya Ahmed.

The Festival is an initiative of local NGO Oxfam International Vanuatu and aims to showcase the rising talent in local film making. This year's theme is 'black and white' which you can be interpreted anyway you like.

"I want to encourage lots of ni-Vanuatu entries" said Oxfam Youth Officer, Nelly Willy. "We don't care about the quality, if you have an interesting story that you can tell in less than 3 minutes we want to see your film."

Last year's 'Best Film' winner Ross Fraser used the recognition from the short film festival to launch his short film career. "It was frustrating being almost famous for so long. I can't thank the organiser enough for this break."

After sell out success of last year and the growing level of international interest this year, the festival has put Vanuatu on the film festival map."A lot of people have been calling this the 'Cannes of the Pacific' and I'd say they are right on the mark" said the intense fast-talking organiser, Torrey McDonnell.

Monies raised from the event will go to supporting projects by the Oxfam Youth Action Partners.

Get your entries in by 24th November 2008.

Vanuatu Very Short Film Festival
Tim Hewatt
+678 7755657
Vanuatu.Very.Short.Film.Festival@gmail.com

U.S. Sports Film Festival - Oct. 23-26, 2008

The inaugural U.S. Sports Film Festival, the most comprehensive sports film festival in United States history, today announced the first series of films selected to be screened during the four-day run from October 23-26, 2008.

The festival also will debut the Mixed Martial Arts documentary "Renzo Gracie: Legacy," the life story of the Brazilian jiu-jitsu master and the American patriarch of one of the world’s fastest rising sports, as well as the debut of "Basketball in the Barrio," the story of two former University of Texas El Paso basketball players who started a program teaching basketball to the impoverished immigrant children of South El Paso, and the stories of those who used basketball as a tool for fulfillment.

Other critically-acclaimed films slated to run at the USSFF include "Kicking It," the Ted Leonsis-produced film about a team of homeless soccer players and their life stories and successes on the pitch; "Run For Your Life," the true-life story of the man who created the New York City Marathon, Fred Lebow; and "Kassim The Dream," the story of Ugandan-born boxing world champion Kassim Ouma, a kidnapped child soldier and his struggles to break free and regain his life as a professional athlete.

Each film will include a series of events involving the stars and makers of the films, who will be on hand to discuss all the elements that went into making these landmarks. Already, nearly 100 films have been submitted for review ranging from the traditional sports to Mixed Martial Arts, Extreme Endurance Racing and even Pin Trading. The remaining list of films, many to be seen on a big screen for the first time, will be released in the coming weeks.

Additionally, the first films also include a series of classic films by producer Mark Ciardi, including "Invincible," "Miracle," and "The Rookie."

To obtain tickets to the U.S. Sports Film Festival go to www.ussportsfilmfestival.com or call (646) 233-2033.

Techniques of the Film Masters

If student filmmakers want to learn how to direct great films, then they should study great film directors. Studying a director close-up will encourage and motivate students of film and provide a role model for them to follow as they continue to mature their own creative artistic elements in filmmaking. In learning about a film director, it is important to analyze their personality, vision of cinema, directing style, creative artistic elements in film, as well as any other aspect of motion picture production that communicates their talents.

"Techniques of the Film Masters" (ISBN: 978-1-4357-4347-2) is a new book recently released by Infinity Films of Williamsburg, Virginia. Tailoring the book to the needs of student filmmakers, Adrian Robbe (author and founder of Infinity Films) gives student filmmakers a unique look at four outstanding masters of film directing -- Steven Spielberg, Martin Scorsese, M. Night Shyamalan, as well as Orson Welles. With the goal of serving as a source of encouragement and valuable reference for beginning as well as seasoned film directors, "Techniques of the Film Masters" was written with that aim in mind.

The introductory chapter of "Techniques of the Film Masters" focuses on the Media Equation Theory popularized by Byron Reeves and Clifford Nass as a valid model and concept of communication. Represented by the expression that Media = Real Life, the author (Adrian Robbe) describes how the Media Equation can be applied to the communication medium of motion picture film; and, in particular, the craft of directing a film. In the remaining chapters of the book, the author explores the directing style of the following masters of film: Orson Welles, M. Night Shyamalan, Martin Scorsese, and Steven Spielberg. After presenting a short biography of each film director, he describes their independent directing styles. Each of the major techniques they utilize as a form of artistic presentation in their role as a motion picture director is examined through several of their landmark films.

In Chapter 2, Mr. Robbe discusses Orson Welles and his movie Citizen Kane (1941) and the various tools of narrative cinema that he implemented in this great Hollywood classic.

Chapter 3 is dedicated to analyzing the directorial style of M. Night Shyamalan in his motion pictures Signs (2002), Unbreakable (2000), and The Sixth Sense (1999).

In Chapter 4, the author examines the artistic style and cinematic techniques of Martin Scorsese in his films Mean Streets (1973), Taxi Driver (1976), Goodfellas (1990), and Gangs of New York (2002).

Chapter 5 is devoted to the Hollywood film industry leader, Steven Spielberg. This final chapter of the book explores a multitude of Steven Spielberg's films from an analytical perspective and reveals foundations of his human compassion and artistic cinematic techniques.

Website: www.lulu.com/infinityfilms