WELCOME MESSAGE FROM THE AUTHOR

Welcome dear Film Freaks --- this is your Asylum.


As defined, an Asylum is a place of security and tranquility. If you are about the task of converting your talents into a career in Film, you have most assuredly come to the right place.


Please take note that everything here is given freely. These pages are not cluttered with any manner of Advertising Banners or Pop-Up’s, there are no Google Ad’s; any commercial site Links you find here are provided solely for their value to you as a resource. All are Direct Links to the site indicated, I do not profit in any way from your going to those sites from this page. You will quickly find that all of the information provided here is rock-solid, valuable information obtained through two years of extensive in-depth research and interviews with Industry Professionals; information and resources that will save you a vast amount of time, heartache and money if you apply what you learn here.


Come now - enjoy, employ, post your comments, email me with any of your thoughts or questions, Subscribe and be the first to receive fresh insights and updated information; and please, do expose this quality Blog to your friends and colleagues so that they too might take advantage of Film Freaks Asylum's rich and rewarding resources. And, please be aware that the humorist in me has given way to some occasional R-Rated banter.


The best of success to you; Rick Denny

3/29/09

FREE - EXPERT ADVISORS FOR SCREENWRITERS

Writing Truth Into Your Fiction

Back in the day, even the Major Studios were producing Films that tended be a little hokey, a little too detached from the real world. Even a layman with a little knowledge of things could catch the elements of a Movie that didn’t wash with the real world. Today, Movie goers are far more particular, and considerably more educated. Filmmakers know that being inaccurate takes the viewer out of the Picture, making adherence to the facts of life in Screenwriting an essential consideration in the writing process.

Today’s Filmmakers apply themselves, their Production Crew and a portion of the Film’s Budget, towards assuring that the real life elements in their Film are as accurate as possible. It is now common practice for Producers to budget for and to hire as needed - Experts, Consultants, and Trainers to assure the highest possible degree of real life accuracy in any given Film's Production.


THE TRUTH AND NOTHING BUT

In the process of developing the story that is your Screenplay, the Screenwriter must be mindful that he or she does not write into the Script things that never could take place in the real world (unless of course it is your intention to do so, and it makes sense in context to the Movie).

EXCEPTION TO THE RULE: Writing Sci-Fi and Fantasy requires of us that we stretch, if not all together defy the bounds of our present understanding of the real world. In writing to these Genre’s the writer is thus commissioned with the high calling of inventing an alternate reality that is foreign to, yet at the same time makes every bit of sense to the viewing audience. Where Fantasy can stretch to the outer limits of our reality, Sci-Fi tends towards being a Prophetic view of our realities future, and must adhere more closely to what is understood to be real. For example: If you’re going to defy Gravity in your Film, you do well to write into your Script something that makes that seem plausible, not far fetched; or worse still, ridiculous.

COMEDY–Exception To The Exception - However; if you're writing Comedy, and the style of comedy can support the outlandish, pretty much anything goes if the gag gets a laugh. And for my money, great Comedy does just that.



For the Spec Script Writer on a god-awful tight budget, finding resource material to assure that we are writing in facts and not foibles can in certain instances prove labor intensive. I purposed myself from the beginning to avoid these matters by drawing from my own personal life’s experience, and for the better part, do stick to writing only about those things I know well for my experience.

Nevertheless, I found just the other night that the Screenplay I’m in development on demanded an element that I know little about, that I have no personal knowledge of, so I had to embark on some research to make sure that what I had in mind would stand the test. I wrote that the Characters came upon and entered and abandoned Missile Silo. I liked the vib of this; envisioned this perfect for a Horror Movie building. But, alas, when I conducted my research, I found I couldn’t use it. Missile Silo’s are primarily subterranean structures. With a little additional research I discovered that an old abandoned Military Bunker would suit the bill.


HOW YOU CAN GET THE FACTS

We may find ourselves writing something as mundane into our Screenplay as a Household Plumbing leak, a pipe bursting in a wall that floods the house. But can that actually occur in the real world the way we wrote it? If so, are the conditions right for it? It’s quite easy for us to write a Scene, but if it doesn’t happen in the real world, we’re taking people out of the Movie who know better, and making ourselves look lazy, if not stupid.

QUICK TIP: When it comes to something like a pipe bursting in the walls, I’d call a Plumber and inquire if what I intend to portray really can and does take place in the real world. With anything visual, anything that has to do with History, Structure, Location, Set Design or Set Dressing, I turn to Google Image Search, and have never failed to find what I need there.

<>Google Image Search
On the Google Home Page there’s a Link at the top of the page titled “Images.” This opens up a new page similar to the regular search page, but gives you the opportunity to search all of the relevant images in the Google search network. In the case just sited, I typed in “Missile Silo,” and saw instantly that Missile Silo’s are buried beneath the earth; I couldn’t use it. Then I looked up “Bunker,” and found in the same brief time that this would work. It amounted to no more than 5 minutes research time for me to get the facts I needed to write real world accuracy into the story.


ASK AN EXPERT – FOR FREE

Do you need important detailed facts for your present work in process? Need to know about the intricate workings of a certain type of Firearm? Something about Computers? Breast Cancer Surgery perhaps?

The following Link will take you directly to a Resource Page on the Writers Guild of America (West) website titled “FYI Listings: Ask The Expert”, which is a list of Experts in a wide range of fields who avail themselves to helping Filmmakers and Writers keep their facts straight. The list is rather extensive, covering all manner of interesting topics. Of course, I can’t tell you that all of the Email Addresses and Phone Numbers in the list are still current; let’s hope the WGA is keeping it up to date. Just the same; let’s give it up to the WGA for providing such an invaluable Resource at no cost.

My recommendation to you is that you go there now and review the list to familiarize yourself with all that is available to you there.

WGA - FREE List of Experts


ATSA RAP

Now, let’s get out there and make a career for ourselves, Writing and Directing Short and Feature Length Films that really --- KICCASS

SHOULD I COPYRIGHT MY SCRIPT?

A Brief Tutorial

It’s Sunday morning here Film Freak’s; been raining for the past three fuck’n days; freezing ass cold at night. It’s supposed to be Spring; maybe all that cold came down from all those damn melting Glaciers and shit; I don’t know. Man, after the Millennium Bug thing passed without a glitch, ya gotta wonder if you can trust anyone out there to shoot straight with you on anything anymore; you know what I’m saying? I’ve thought for a long time now that our Presidential Candidates are picked for their ability to lie and feel all noble about it and shit. --- Anyhow; I’m seeing a bright, warm sunny day out my window and want to get out there and snatch me some. So; I’m speeding through this pretty damn important topic for purely selfish reasons.


IF YOU CREATED IT, YOU ARE PROTECTED

Many have themselves believing that in order for your work to be “Copyright Protected” you have to take some kind of action and lay out some kind of money to “obtain” a Copyright. POINT OF FACT: If you are the original creator of anything, that thing, be it Audio, Visual, or Written Material, is automatically protected under Copyright Law.

Repeating; you do not have to file your intellectual nor creative property with the US Governments Copyright Office, for your work to be protected under Copyright Law.


IF SO, WHY WOULD ANYONE BOTHER?

Excellent question. You may, especially as you become increasing more successful in your creative career, want to have every move you make Registered with the US Copyright Office. What Registering your work does accomplish is to provide the original creator with proof dating. Thought it may seem like a high improbable thing, it has happened throughout the history of creative man that more than one person created the same or similar thing during the same period of time.

Registering your creative and intellectual property provides you with evidence that you created it, and you didn’t steel it yourself.


SHOULD AN UPSTART COPYRIGHT?

If the expense won’t break you bank account, go for it. But truthfully, you could send your Script out to a thousand Agents and Producers, if you could, and there isn’t a one of them out there looking to steel a Screenwriters work. Agents and Producers are looking for Screenwriters that can count on to be productive for years on end.


SHOULD I REGISTER WITH THE WGA?

Why not; at a minimum it will make you feel like you’re in the business. And it really does provide you with a proof date of creation if you ever need it. Keep in mind that the WGA is not a Government Entity, it’s a Union. I’m not saying that’s good or bad, I’m just laying out the facts here. Also, the WGA doesn’t hold your Script on file for time immemorial; they hold it for all of five years. Weight this against the fact that many Inde Spec Scripts have taken over 5 years to get into Production. So, you re-register. Registering with the US Copyright Office has you covered for 70 years; long time before others can Publish your work for their own gain and give you not a piece of the action.

But, check this out.


WHAT ISN’T PROTECTED

I trust you are actually going to go the Copyright Office site and study this out for yourselves; but let me tell you here what is not protected under Copyright Law.

<> The Title
<> The Idea

Hell, if you pitch your idea and Title to someone who was so inclined they could go out and write a Script for a Movie of the same concept and title, and cut you out altogether. They don’t need your original Script, just the idea and Title, if they like it enough to run with it. No protection, nothing you could do. But, how often do you thing some upstart, wannbe Script Writer has had his idea and Tile ripped off?

I wouldn’t go Paranoid over the off chance that this would ever happen to you. Do everything in your power to make yourself and your talents known to Industry People. It’s a who you know business, and what they’re looking for more than a one shot Script or Finished Inde Film are Writers and Directors who can get the job done again and again consistently.


BEST PLACE FOR COPYRIGHT INFO

There is no better place for copyright information than from the people who do the copywriting. At the end of this article you will be provided the Link to the US Copyright Office.

It is, of course, the Federal Government that handles these matters. If you’ve ever tried to find information on a Government Website, you will be absolutely astonished at how easy it is to find what you’re looking for on this website.

US COPYRIGHT OFFICE


ATSA RAP

If you want hook up with more information on who the Writers Guild of America (WGA) are and what they do, including registering Scripts and how to do it, I have their Link posted on this Blogs Home Page on the right hand column. Just the same, here you go:


WGA EAST (Califonia)

WGA WEST (New York)


Now go:

KICCASS

3/27/09

FILM BUSINESS BOOT CAMP

Though having talent certainly does count in the long haul, having connections in the business counts for everything on the front end. Whether you think it should be this way or not matters not in the least to the people in the Business. This is the way it is, and that’s what we’re all up against; so we deal with the fact, or we fade into oblivion. There is no prize for being an Also Ran.

Trying to make a break into the Film Industry with no connections to it is like a skinny kid with a little dick and no pubes trying to hook up with the Head Cheerleader; nothing good will come of it. You’re in Boot Camp dear Film Freak’s, not Summer Camp, and it’s one hell of a tough fuck’n thing you’re trying to accomplish.

So; the question before us is how do we make those all important connections? How do we establish relationships with people inside the Film Industry who can give us the leg up we need?

If you live in or near the hub of the Film Industry, you may have easier access to such individuals than do those of us who live a great distance from it. Even then, reaching out to such people for their assistance remains no small thing to accomplish. You may know from your own life’s experience that most all business people are (1), often too busy or simply uninterested in stopping to chat with someone they don’t know; and (2), have enough friends in their inner circle already even to consider your request to be Sheparded in.


HOW YOU CAN MAKE CONTACT

If you have availed yourself of my previous postings, you know that I am repeating a theme here. However, studies have proven that it takes repetition of information and action to change set patterns of both thought and behavior, making this article no less valuable to your pursuits than any other containing similar information.

Making contact with and holding the attention of Film Industry Insiders requires that you are in full possession of a relaxed, confident demeanor; while at the same time presenting yourself with the utmost of professionalism. When you do find an opportunity to approach someone in the Industry, you must do so in an unhurried yet concise manner, as chances are great that you will only be granted but a moments time to impress such individuals that you are worthy of their time and attention.


<> Always Be Prepared
Our quest to enter the Business of Film, like any other business, requires that we are always prepared to pitch our product and/or services, in a moments notice. Regarding those of us who are Writers with Spec Scripts we are looking to sell, this means knowing the story backwards and forwards, and having in our minds at all times a pitch that drives home the value of our Screenplay in just one, potent, concise sentence. If we are seeking to establish ourselves as a Director, we have to possess the confidence and capability of impressing upon the Industry Professional that we can do the job. That requires evidence in the way of a Short Film or Directors Reel. But do remember, it is you they first buy, and not your Script or Finished Film; you.

<> Mind Your Language
You should set it in your mind that when the time comes to meet with an Industry Professional, that it may be the only shot you will ever have in your life to make that all important impression. Hopefully this will not be the case, but it is the mindset you must have going into that one opportunity.

There are valuable, powerful things you should include in your brief introduction of yourself that may impress people just enough to give you fair consideration of your proposal. And there are things which in the saying equates to cutting your own throat.

Things you should never say:
(1) I want.
(2) I need.
(3) I can.
(4) You can trust me.
(5) You won’t regret it.

Thing you should say:
(1) I have.
(2) I will.
(3) Allow me to show you.

Throughout the years I’d spent involved in straight commission sales, I had both read and heard it said with mantra like repetition, “Sell the Benefits.”


<> What Good Are You?
The question the Industry Professional will most likely never voice, but will certain have in his or her mind, is: “What benefit is there to me and/or my associates and friends if I were to help this person?” It may be contrary to your present view of things, but you must fully contend with the fact that Filmmaking is not an act of making Art for Art sake. It is fully and completely the business of making an Entertainment Product for Profit. This, and no other, is the perspective the Industry Professional possesses.

You must fix it in your mind that when you are given any opportunity to make a pitch, whether it’s in person, by phone, by email or in a letter, is that the people on the receiving end of your words are first interested in what financial benefit you might have to offer them or those they know. So, you must think long and hard on what benefits you bring to the business, and how you can best present yourself in that light.


<> Get Up In Their Face
No matter how you might first make contact, it remains that the greatest value to you for launching your career is in the face to face meeting. Remember, (1) you are the product; (2) it’s a who you know Business. It may be that your first contact is by phone or some other method, but get the meeting. Chances are good, if they like you, you have a shot.


<> Ready – Set – GO!
I cannot over state the importance of being prepared for even the off-chance, unplanned encounter. You must always be ready to present yourself and your benefits to those who have the potential of helping you get that break you need. Again, the Film Business is a Who You Know Business. Until you are asked for material of any kind, you (not what you have) are the thing that you are selling.

BUSINESS CARDS: If you haven’t done so already, have yourself some Business Cards printed up and carry them with you at all times. Your card should be the same kind of card people of importance carry. Resist the compulsion to express your inner creativity with something flamboyant. For every one person in the Business who might think your splashy card is just so cool, there’s a thousand who will view it as adolescent. So stick to a simple default design on soft white or cream colored linen Card Stock. With this in mind, you may opt to have your text printed with colored ink as opposed to black.

A cruel fact of business life is that the Needer’s nearly never lose a Business Card, and the Haver’s almost always do. That said; handing an important, busy man or woman your card will most likely not result in the thing you desire; a call to set a meeting. Very often, business people will ask you for Your Card, only as a device for ending a conversation. --- You have to be real sure of yourself; calmly bold and assertive. But knowing this to be the case, you may be able use this knowledge to your advantage, if you have the balls to step up to the plate in that moment.

I’ve turned things around in a heartbeat in those moments when a busy individual to whom I’m a perfect stranger has just asked me for my Business Card for that sole purpose of bring the chance meeting to an end so they can get back on their way. I might say something like, “That’s funny. Whenever someone I don’t want to talk to takes me away from what I’m doing, I always ask them for their card as a way of ending the conversation.” --- In doing something so brazen as this, I put myself on an equal footing with them, and since that really is what they were doing, grab a bit of respect for being so intuitive, and ballsie enough to grab that last millisecond of opportunity. Even if they really do have to be on their way, a move like this works towards making me a man worthy of their time in the future.

If you hope to actually land a real meeting where you can ultimately prove your benefits by presently either your Screenplay(s), a Short Film or Directors Reel, don’t just hand them your Card, ask them for theirs. Even if they decline, you prove to them that you have the balls it takes to make it in the Business. --- Ask them for their Card. Get their phone number and Business Address. If you have impressed them as being a person of worth to the business, they will most likely grant you a meeting, even if you have to cold call them at their office to get it. --- Get it!


KNOW YOUR SHIT

As shared previously, I was presented with an opportunity to pitch my Sci-Fi Comedy, ANTENNA MAN, to famed Producer Bo Zenga (Produced Scary Movie and others). It was my first such opportunity. He actually said to me, “What do you want?” Bold ass guy that I am, his gruff approach to me didn’t shake me in the least. “I have a Script you would be a perfect match for, I replied. “Yeah? What makes you say that,” he questioned. “You produced Scary Movie, that makes you the perfect Producer for this kind of Comedy,” I said in response. “OK,” he offered, you have 30 seconds. What’s the Movie.”

Given that I read over my Screenplays many, many times; and that I have written and rewritten for each of them a Log Line, a Synopsis, and a Treatment, when I’m asked the question, “What’s the Movie,” I’m fully prepared to give a 30 second pitch.

Bo responded positively to my pitch and requested I email the Script in total to his Assistant. --- In conclusion, Bo took a pass on the Script. But his Assistant, who does all of his reading, gave me praise for the Script and requested I contact them with any future project. --- Being balls out honest with you my dear fellow Film Freaks. I’ve since sent addition Scripts that they haven’t gone for. But, the value in all of this is that I have made inroads with a successful Producer and his Assistant. Telling this to others in the business has proven beneficial. I now have a Writer/Producer interested in Sheparding me into the business. The moral being: Never underestimate the value of even someone in the business taking a pass on your work.


ATSA RAP

You may, like myself, enjoy dressing very casually. But when the time comes for that all important meeting, the old adage, “Dress for success,” cannot be overstated. I would add here, dress like they do. If you’re meeting in a casual environment, like at a Golf Course, a Restaurant, or in their home, dress appropriately to the environment and occasion. If you’re meeting in their office, and you know they dress in business attire, wear a suit and tie if you’re a man; dress femininely and professionally if you’re a woman. Most every woman I’ve ever known always have appropriate clothing it their closet; but Men, if you don’t have clothing of this nature, and can’t afford it, dress as professionally as you possibly can. Better to be neat and clean than to wear a Suit that doesn’t fit well, or is out of style. Get yourself a can of Starch, pull on the iron and press out the wrinkles before to leave the house.

Make an effort to make an impression. Do everything in your power to remove any possible negatives from your appearance, demeanor, and manner of speech. Sell yourself first; then the benefit of what you have to offer.

KICCASS


3/26/09

WHAT IS A FILM FREAK?

FILM FREAKS are a very special breed of people. I know; I am one.

Film Freaks come in many colors, sizes, shapes, taste preferences, and degrees of natural as well as practiced talent. Some are profoundly talented and immensely humble, like myself. Others are Sortta-Cans, who with a little mentoring, time and practice can indeed hone their craft and make it in the business. Still others are sad, pathetic, lonely losers who maybe do, maybe don’t know they have no valuable talent or a shot at ever breaking into the Film Industry in any other roll than maybe as a Best Boy, Grip or Craft Services Server. Too often such emotionally crippled individuals of this ilk gravitate towards the Arts, writing and such. Not because they are natural artists, what I like to call “Creatives,” but because they believe that calling themselves a “Writer,” or “Artist,” even a “Director,” will win them some form of approval that is sorely missing in their sad, empty, wanting lives.

NOTE: If I’m describing you here, please don’t despair, and please never consider harming yourself as a solution. I would like to see everyone enjoy a rich full life. If you write, for example, and people who know great writing think you don’t have it, stop kidding yourself and apply your time and energy towards finding something to do that you are good at, that you find fulfilling and financially rewarding. Trying to be creative when you just don’t have it is an insane venture. Move on.

I’ve worked at helping hurting, needful people for over two decades. Nearly 100% of the time such as these find peace and fulfillment in doing a hard days work along side of people who enjoy their company. Truthfully, one of the worst things a lonely soul should do is sit alone for endless hours writing bad fiction.



REAL FILM FREAKS HAVE REAL TALENT

There are as many kinds of Film Freaks in the world as there are types of people and personalities. Me; I have more personality than I can use in a single day. Then, there are people who are not only right now in the business who have no personality to speak of, but they’re very successful at what they do. So, having a great personality may make you popular at parties and shit, but it isn’t a requirement for being a serious Film Freak.

That said; a Film Freak is anyone who lives to make Movies, Short or Feature Length, no matter the Genre. And this, at all cost.

If you are a Film Freak, this is your Asylum. Hang out. One day soon, my Movies will be playing in a Theater near you. And you can brag to all your buds and lady friends that you knew that Film Freak back in the day.


ATSA RAP

Asylum: defined:

(1)a place of peace and tranquility.
(2)a place for crazy people.


KICCASS

3/25/09

EXPOSING YOURSELF FOR MONEY

A Quality List of Real Opportunities For Breaking Into The Film Biz

There are a lot of bull shit Lists for Screenplay Competitions out there on the Web that by all appearances have been created for no other reason than to put the Film Freaks eyes in front of a bank of Click Through Advertisements. Many such Lists are filled with crap that will only prove to be a waste of your time. To help you in your journey dear Film Freak, I’ve compiled a List that has real value for you. All meat; no bones. Except for one that I included just for a fuck'n laugh.


ESTABLISHED FILM FEST SCREENPLAY COMPETITIONS

Remember: Entering a quality Screenplay into a Festival Competition is a good thing. Being there in person and rubbing up against the people who can make a career a reality is a powerful thing.

Austin Film Festival
(Find Submissions Links down left hand column)

Rhode Island International Film Festival
You may ask, "Why the hell would I ever want to go to Rhode fuck'n Island?" You would want to go to Rhode fuck'n Island because it's only a couple of blocks down the street from New York fuck'n City; that's why. And Industry types from New York will be there in attendance; a big why for.

I'm giving you the Submissions Link due to the fact that their web site, though beautifully designed, doesn't make the Submissions Link easy to find. FYI, they have a separate Horror Competition now, which is cool.

Vail Film Festival
Really a Foxy Website this one. If you can afford the flight and the high cost accommodations out there, I'd go just for the babes (boys; whatever you're into), if nothing else. Point of fact: If you know you are at present less than a Rising Star, save your money for less expensive alternatives like posting your work on Ink Tip and/or Script Pimp (see below).

Slam Dance (Click on the Writing Link)
Quoting: “Slamdance Film Festival has joined forces with Angel Baby Entertainment and Executive Producer Michael Malagiero to annually produce a feature film based on that year's prize-winning entry culled from the newly-created Slamdance Horror Screenplay Competition. In addition to having their screenplay guaranteed to be made into a feature motion picture, the winning writer will receive an upfront payment of $10,000 against 5% of the film's budget, plus net profits participation on the movie and payments for any sequels made of the motion picture. Production of the completed script will occur during the ensuing months, with the intent of having the film's World Premiere during the follow year's Slamdance Film Festival.”

Sundance Film Festival – Screenwriters Lab
Quoting: “In addition to the annual festival, the Institute puts on a Screenwriters Lab (a five-day workshop for developing scripts) twice a year in January and June. Those chosen to participate develop their films under the concentrated guidance of veteran filmmakers and actors.”

Eerie Horror Film Festival
Got to admit, this one’s iffy. I read that they take Screenplay Submissions, but couldn’t find a Link anywhere on their site. I sent an email to the President, and will update you when I get a reply. If you write horror, you may want to contact them yourself.


Moon Dance Film Festival
I almost left this one out because I hate bigots and their web site looks like shit. I feel strongly that no one should trust people like this, and I’m only including it so I can rag on it. Though they never say “No Cocks Allowed” on their site, I’ll tell you, if you swing a dick I’d stay clear of this one. If you’re a Daddy damaged, ugly, fat ass cat hugging rug muncher, this one’s designed just for you. Quoting just one line of the overwritten, pseudo-intellectual crap they spout on their Missions Page, they write:

“Our work on reaching out toward women film-makers and women writers everywhere in the world is primary and ongoing.”

Makes me want to fuck'n blow chunks.



NON-FESTIVAL OPPORTUNITIES


<>Competitions

Scriptapalooza
Heralded in the press for excellence, Screenplays are judged by Industry Professionals, and sometimes deals are made and Representation secured. Beside these all important facts, Marc, the President, has proven to me to be a really cool guy worth an Atta Boy, a Back Slap, and a Beer on me.

Final Draft Big Break
Put on by the same people who make the Industry popular Script Writing/Formatting Software. Their entry fee is a bit higher than most.

<>The Nicholl’s Fellowship
Associated with The AMPAS, the people who put on The Oscars, The Nicholl’s Fellowship is unique in that it is not related to a Festival, and is markedly different from all other Screenplay Competitions.

Quoting: “We typically select ten finalists, occasionally fewer, and twice we’ve selected eleven. But there is no set number. It’s a matter of making a determination based on the judges’ scores and comments. --- The winners receive $30,000, spread over a one-year period. It’s distributed in five $6,000 checks, paid quarterly – the first installment on day one and the second through fifth at the end of each quarter.”

The thing that I find troubling is that, Quoting: “Of the 106 scripts that have earned their writers fellowships from 1986 to 2008, 14 have been produced.’ --- They go on to state that there is one presently in Production, the fifteenth.

Winning the Nicholl’s may put some much needed money in your pocket, and would be a nice little feather in your cap. But it doesn’t make for a career.

There are better ways. The following are two are worth your time and consideration.


<>Expose Yourself

Here are two very unique opportunities worth your consideration. For a reasonable fee you upload your Script onto their server. You post your Bio and a pitch for each of your Screenplays. Producers and Agents are grant free access to their data base of Scripts. If they like your pitch they read the Script. If they like the Script they give you a call. It really is a brilliant concept and opportunity

Ink Tip
Quoting them: “Every week, up to eight screenwriters sell or option their scripts on our site. Sell your script. Get your screenplay seen by producers.”

Script Pimp
They’re quite similar.


<>Sell Your Shit

The American Film Market
This is as powerful an opportunity as a Serious Film Freak will ever find. The AFM is an annual Market providing Screenwriters and Filmmakers alike an opportunity to meet face to face and pitch what they have to Production Executives and Distributors from the US and around the world who assemble annually there for that purpose.



ATSA RAP

Now go out there and KICCASS

GET THEIR BIO BEFORE GIVING YOUR’S

Before contacting anyone in your effort to break into the Movie Biz, let the voice intelligent reason, if not the voice of a bitchy, concerned woman resonate in your minds ear: “Who the hell are you calling now?”

So, you have someone on the phone; maybe you’ve contacted them by email, whatever. Before they’ll give you the time of day they want to know your Bio; want to know who you are and what you’ve done; fine. But do you have any fuck’n idea who they are? The fact that they have an office on Wilshire Boulevard simply means they can afford the rent, it doesn’t prove that they make their money in a legitimate business.

In this offering I’m addressing 2 case hardened facts. If they’re not yet known to you, please take what I’m sharing here deep to heart.

That I could find, no Survey has ever been conducted to determine just exactly how many people in our Country are trying to break into the Film Business at any given moment in time. Certain people give up, and probably should; others start up to replace them that probably never should have. Maybe you’re not one of those Pipe-Dreaming Loser’s, but the fact remains, there are a lot of No-Talent fuck’s out there mucking things up for the profoundly talented and humble Film Freaks like me, and hopefully you, who are working at getting their break in the business. Those talentless losers are, point of fact, the Jungle through which a profoundly talented and immensely humble man like myself has to chop his way through, just to get a fuck’n meeting.

As I have said and will say again, the Film Industry is more a who you know business than it is a what you know business. Metaphorically speaking, if trying to break into the business without connections is the Jungle, the No-Talents are the thick undergrowth in your way. That’s point one.

Point two: There are a lot of Snakes in the Jungle curled up and poised to strike at the heals (read: wallet) of the unsuspecting Wannabe Film Professional.



KNOW WHO YOU TALKING TO BEFORE YOU DO

Perhaps I should say, “If you can’t identify their credentials, don’t talk to them.” Perhaps you’ve discovered this already; but let it be said, the least effective way to locate the contact information for legitimate Agents and Producers is by doing an Internet search. You may very well find office numbers to a small handful of real Professionals. I did. But be assured of this, every Snake out there has a website.

As I have said in previous posts, Film Festivals stand apart as the best opportunity for people with no connections to the Industry to get next to people who can Shepard you into the business. Not only do famous Actors attend Film Festivals, but so do Agents, Producers, and Studio Executives who are always on the lookout for new talent. You may enjoy yourself by sitting in on the Film’s that are being shown, but that’s not going to put you next to the right people. What will, what is most important to our goals, is that we attend the Panels and After Parties where the Industry folks in attendance avail themselves to conversation with those like us. --- Interestingly, those who are impossible to get to during regular business hours prove to be immensely open and amicable to being approached at Film Festivals.

That said; Festivals only come around once a year. If you’re anywhere near as aggressive in your pursuit of a career in the business as I am, you’re going to be making efforts to get something cooking in the off season as well. And if you live far from the Hollywood and New York action, as I do, that means trying to get Agent’s and Producer’s on the phone, which is no small feat. Even if you can afford the cost of a Directory containing their business phone number, you will most likely not been afforded the opportunity to speak with the successful Agent or Producer without someone they know and respect introducing you to them. --- But, if you’re as tenacious as I am, and you have yet to make such connections, the following may be of some help.


DIRECTORIES

If you’re so inclined, and can afford the cost, here are the most valuable resources available that provide current contact information for Agents, Producers and other relevant Industry Professionals (the least expensive being IMDB Pro):

The Hollywood Creative Directory


Global Producer


IMDB Pro



But, gotta say, good luck in your effort. Having their phone number doesn't mean you'll be granted even a moment of their time. I'll say it again like a fuck'n mantra: It's a who you know business. If you don't know someone they know, they don't want to know you.


COME AGAIN - PLEASE

Let’s recap: At any given moment in time there are a lot of Wannabe’s out there trying to get a break in the business, the vast majority of which having no appreciable talent to speak of; and there are no small number of Con Artists out there willing to take money from the vast preponderance of desperate individuals trying to do so.

Before you contact anyone, you can save yourself a lot of brief by first doing your homework to uncover just who these people really are. With regards to Agents, that’s considerably more difficult to accomplish than it is with regards Producers.

<> Contacting An Agent
As shared in a previous post, I’ve attempted to contact in the order of 100 Agency’s. Only one was courteous enough to give me the time of day; yet the result was the same: “No Unsolicited Materials Accepted.” I have to tell you that, being the aggressive guy I am, I was shooting high. The Agencies that I contacted were all listed with the Writers Guild of America. I really wasn’t surprised by the outcome, but had to give it my best shot.

In order to submit a Screenplay to an Agent, or just to get a meeting of any kind, you have to have a third party connection to that Agent or Agency. You have to find someone who either knows the Agent personally, or who has a business relationship with that Agent who is willing to introduce you to them, and there are a plethora of ways in which one might accomplish that end. Of course, that will never happen if we don’t get out there and meet people that are in or around the Business. And, at the risk of being redundant, the best way for a complete outsider to accomplish that is to attend Film Festivals.


<> Contacting a Producer
The most successful Producers are next to impossible to contact by any means other than in person, or though a connection. If you can get a Producer on the phone, you may be in for trouble. If a Producer has done anything, they’re going to be credited for it. And that credit is going to be available on IMDB.


<> What is IMDB?
IMDB stands for Internet Movie Database. Most every Film ever made is posted there. To find out if someone claiming to be a Producer actually is, simply go to:

www.imdb.com

At the top of the Home Page you’ll see a search box, which you will see is set to “All.” Leave it on that setting and type in the name of the person or Production Company you’re interested in, and if they’ve made a Movie, it will come up.



HOW DO I GET NEXT TO THEM?

That’s the hard part. Fact is, if you have no trouble getting a purported Agent or Producer on the phone, you’re probably in for trouble. Both groups make it next to impossible for Wannbe’s like you and me to get to them during business hours. Remember, what those of us who have no connections to the Industry are trying to accomplish really is profoundly difficult to attain. Only the very few, very talented, highly tenacious ever survive the journey.



ATSA RAP

Get close to people in the Industry by attending Film Festivals, and most importantly, the Panels and After Parties. Before you contact anyone, prove to yourself that they’re legit. Only summit your Screenplay(s) into legitimate Screenplay Competitions (See my post titled: LEGIT SCRIPT COMPETITIONS); there are very few, but a lot of Cons out there eager to take your money. The greatest value in entering a Screenplay competition is not in the competition or even in the winning, so much as it is in being there in person to make contacts with Industry Personnel.

With that, let me tell you that there are just a small few exceptions to this rule, which I will outline for you in an upcoming post titled: EXPOSING YOURSELF.



KICCASS

3/23/09

BEWARE THE SCRIPT CONTEST CON JOB

I’m 53, grew up in Miami, Con Job Capital of the world, just behind New York. So, I’ve got a lot going for me keeps me from getting fucked standing upright.

I’m writing this now because I got a call this evening. Let me tell you first that I do a lot of research; a lot of fuck’n research. By the time I break into the business, I’ll have just short of a perfect handle on the Screenplay and Script Competition Scammers that seem to be out there in relatively large number.

The call; I got a call from a guy named Eddy. I researched Eddy best I could. Eddy is a Producer, not an Agent, he doesn’t do contests; a Producer. On his website he’s pictured with a highly respected, majorly famous Celebrity. Eddy was responding to an email I’d sent him, liked my lean to the point pitch. Politely; I said not interested to Eddy.

After a few minutes exchange Eddy told me that the way he operates, he take a %15 Commission on the sale of the Script, and that to retain his services I would have to give him a $600.oo advance; if he couldn’t sell the Script, he would refund my money.

Now; I’ll wait until you’re done laughing. I have a friend, also a man in his 50’s, wife and kids, the whole shmeel. He wants to be in the Music Biz, a Musician. He paid not one, but two guys, companies, whatever, each the sum of $1200.oo for a Music Production deal. --- See, you read that and thought, “How could anyone be so stupid?” But he’s just a regular hard working Joe, trying to make something happen for himself in an Industry he sadly knows nothing about. Though, that is his fault point of fact.

Listen to me FILM FREAKS.

The Talent doesn’t pay, the Talent gets paid. They pay you, never the other way around. As bad as I want my first break, I know the world of business and the ways of Scumbag Scammers to tell you, no matter what Eddy may have done with or for others in the past, his angle violated the basic principles of sound business practice.

Back to the issue of Screenplay/Script Competitions and Contests. Best I can tell, and I’ve been studying this out for many months now, there are only a hand full of Legit Script Competitions in America, the rest I wouldn’t give the time of day, let alone any of my money. Kiss that shit goodbye.

If you’re not going to take my advice on this point, please do take this advice before you send your printed pages, PDF’s and money to anyone. --- READ, READ, READ.

Study up on the Organization, the people who run the thing, if there really is a thing. Best you know, every Script goes into the furnace. One thing I have done with a number of Online Script Contests is send an email asking them who the Principles of the Company are; what their history in the Business is, what’s their Bio; and for the address to their physical place of business. Then, if they provide that (many never responded) I do further research to verify that the information is correct. I had one place give me an address that didn’t exist; called the regional Post Office in that city to discover the facts.


LISTEN CAREFULLY NOW

Unless you’re independently wealthy, work you a job, make all the cash you can, live lean and do everything in your power to physically get your ass down to some good Film Festivals and meet people in the business. Submit your Scripts into the established physical location Film Festivals that take such Submissions (I only know of 3 worth messing with), and go there in person. Few people win. But deals are known to happen at the festivals with Writers that haven’t won. But they were there. --- Between you and I, I’ll take a career over a dollar amount Trophy any time. I'm looking for the Golden Goose, not a single egg.



ATSA RAP

The only Script Competition not attached to a Film Festival that I have found to have any real merit is Scriptapalooza. There are others out there I’m certain are genuinely paying out the cash prizes they promise, but just don’t have the Industry attention and respect that Scriptapalooza possesses. Just Google Scriptapalooza and see how many articles are written about the President, Marc Andrushko; how many people in the business speak well of him and how competently he runs his competition. Do this, and you will learn a great deal more than what I’m sharing with you here.
Now, go,



KICCASS

HOW TO WRITE a Killer Script in 30 Days

I Do It Consistently - So Can You

At this moment there are just a few people who are actually in the business who have ever heard my name. The one used to be the VP of Productions for HBO Pictures, now President of the Fort Worth International Film Festival, blew me off like I was a load of ice cold shit. But besides that asshole, I did have an opportunity to pitch my Comedic Gem, ANTENNA MAN, to Bo Zenga (Boz Productions; Produced Scary Movie and others). Bo was cool; he requested I send the Script in total. And, fingers crossed, I’ve got a meeting scheduled this coming week with a guy whose name I won’t mention, used to Write and Produce Music Documentaries for VH-1; talk's like he’s going to help me line out an Agent.

That said; the point here is that I’ve been telling stories and writing in one form or another for decades; got pretty good at it. Can’t say for sure that you’ll be able to do what I do, but if you want to write Screenplay’s, you might save yourself a lot of time and tuition by trying my method.



PREPARE YOURSELF

Before you proceed on to my method, you really must first be educated in the basics of Script Writing, formatting and the like. If you don’t know what a Slug Line is, you can still write your Screenplay, but you need to keep studying.

But don’t freak out about what you don’t know yet. First, it’s not all that complicated really. Second, remember that just before Quentin Tarantino Directed Reservoir Dogs, he sold a Script that wasn’t formatted at all, and was full of spelling errors. --- I wouldn’t bank on that happening for you though. So, learn now how to format your Script according to Industry Standard.

There are a good number of books out there on the subject that can get you over that hump quickly. However, if you’ve never laid eyes on a properly formatted Script, this link from The Academy Of Motion Picture Arts and Sciences (the Oscars people) will open up a PDF of an Industry Standard Formatted Script that will help you get started.

www.oscars.org/awards/nicholl/scriptsample.pdf



THE RICK DENNY METHOD OF SCRIPT CREATION

<>The Right Tools For The Job
I do pretty much all of my writing on a Word Processor. Using a computer gives me a great deal of flexibility and options in the writing process that I recommend you take advantage of, if you’re not doing so already. I’ll get to the importance of this in a moment.


<>Begin At The Beginning
This is the most important part of the process. --- I think. Put another way, the most important part of writing a Screenplay is not the writing, but the seeing of what you are about to write. You might accuse me of being an asshole for saying it, but if you can’t see the story in your minds eye, you’ll most likely end up numbered amongst the many who tried to write a Script one day, but didn’t. Or, what they did write is complete shit.

I envision the story. First the place, then the time, then the people in that place, then what the people there are doing. It’s the old “Who, What, Where, Why, When” thing, only not in that order. Your process here may take a different pattern, and if it works for you it’s a perfect pattern. But being a Painter as well, I see the location as the foundation, the canvas upon which I apply the Characters, Action and Dialog. --- Where the story is set affects everything, including the all important budget.

That said; the first thing you need to determine is what the Genre of your Screenplay is going to be. What’s the Movie? Are you writing a Romantic Comedy, a Thriller, a Horror, what? Knowing what Genre you’re about to start writing gives you all the rules you need for a successful end product. The Genre is the immovable foundation upon which your Script is to be constructed. It’s the road you’re traveling on towards your final destination, the End Scene. Follow the rules of the Genre, and they will reward you greatly. Break the rules and you’re more than likely fucked.


<>Tell Yourself The Story First
After knowing the rules of the Genre, after seeing the story in your mind, before you endeavor to delve into the actual Script Writing/Formatting process, tell yourself the story first.

Now at my computer, I create a File Folder and name it with the the intended Title of Screenplay; someday to be a Movie by the same name. Perfect example is the one I’m working on now. I had the title before I knew any of the Characters or where the story would take place: PHOBIA.

So, I created a File Folder titled PHOBIA. Next, I create a Document titled in the manner: “NOTES (Phobia),” and saved it to that folder before I write the first word. Since I do this for every Screenplay, I have to include the name of the Screenplay next to NOTES, because if I open more than one Screenplay's NOTES Document, I can see at a glance what Script those notes correspond to.

NOTE: If you’re not Computer savvy, have someone teach you the basics quick. Computers, like cars, break down. Cars leave you stranded, computers lose your work. So back up everything often to an External Storage Drive. --- I met an Published Author who was writing yet another book who backed up to two Storage Drives, thought he had himself well covered against any lose of data. His office burned down and he lost his computer, both External Storage Drives, and all of his work for that book. With that in mind, I keep a spare drive out in my Art Studio, separate from the house where I do all of my writing.

So, tell yourself the story first. Here’s an example; I’m making this up in this moment so you can get a clear idea of what I do in this beginning process of developing the Script.
--------------

NOTES (Sample Story)


GENRE: Comedy (R)-Rated

Two college dorm mates fall in love with the same girl, the daughter of the Dean. The Dean has a comb-over, a lap dog, hates both of our guys.

Two College guys, one from Kentucky, the other from New York, attend college in Florida. The guy from Kentucky is a virgin, religious, carries a Bible everywhere he goes, listens to old time Country Gospel Music. The New Yorker is the son of a Pimp, a real player, popular with the ladies, loves Rap. They both talk with thick regional accents and have trouble understanding what the other is saying; each to the other is like talking to a foreigner. The Kentucky guy drives an OLD RED BEATER PICK-UP TRUCK with spots of gray primer, the New Yorker drives a BLACK CONVERTIBLE CAMARO.

The College and the dorms are co-ed.

Etc, etc, etc.
----------

As you line out the details of the story in this way, it takes form in your mind, becomes increasingly more clear what needs to happen next, to the point where you begin to see the big picture. Every answer to the ”Who, What, Where, Why, How” question, creates additional questions you have to provide the answer to. Answer all the questions, and in the end you have everything you need to begin the Script writing process.

By telling yourself the story in this manner, you aren’t shackled to any manner of Linear Rules of story telling. In my first Screenplay titled THE CHOSEN, I had the title and the End in mind first. “A guy turned off to God by the hypocrisies he witnessed throughout his youth, is tagged by God as a reluctant modern day Prophet.”



I NEVER HAVE WRITERS BLOCK

I do get writing fatigue, but never Writers Block. If I’m tired of thinking on the story, I go do something else, put it out of my mind completely for a time. I don’t pressure myself in the creation process. I might break for an hour, or for days depending on needs in life that I have to contend with. Though I do most all my work on the computer, if something comes to mind while I’m raking leaves, or driving into town, I write it down, add it to my Notes later.

I read over my Notes many time. In the reading I see more of the story; see more clearly the holes that need to be filled. As my Notes develop, the story takes form in my minds eye to the point where I know exactly how it begins, what happens in the middle (2nd Act), and how it needs to end.


THE VALUE OF THE COMPUTER IN WRITING

When I have come to the point in the process where the story is so clear that it’s time to start writing a Formatted Script, I create a Document titled “SCRIPT (Sample Story).” Remember, all of the Documents I create are being saved into the Folder I first created with the Screenplays Title.

It always occurs that as I’m telling myself the story in Notes, that a scene begins to unfold. I see the Characters interacting and talking with each other. When that happens, and I don’t force it, I will actually write the dialog between the Characters in the NOTES Document, like this:



CHUCK
Man, dude? Where are you going?

BART
I told you, I got to go get my sister.

CHUCK
Well, shoot bro. I thought we were going to the beach?


Since I’m in the moment as the dialog plays out, and I’m not yet into the Script writing process remember, I don’t give any thought at all to the formatting of the dialog. In this manner of telling myself the story first, I don’t give any energy to anything other than the raw creative process.

When I get into the actual process of writing and formatting the Script, I can Cut both the valuable Scene descriptions and Dialog I written from the NOTES Document, and Paste these into the Script. Very efficient.


WHAT ABOUT SCRIPT WRITING SOFTWARE?

You got me there. By everything I've read of the Final Draft Script Writing Software, I will purchase it first chance I get. But presently, I stand as a classic example of Starving Artist Syndrome; can't afford it. What I do know is that Final Draft (I provide a Link on this Blogs Home Page) is the most respected and popular Program designed specifically for writing and formatting a Script. On their site, (which provides other resources for the Screenwriter worth exploring) you can purchase Final Draft at a cost of $229.oo.


THAT’S A RAP

If you have any questions, give me a shout. I love talking about this shit.





KICCASS

3/22/09

Calling All FILM FREAKS




WATCH OUT FILM FREAKS: THIS IS ALL (R)-RATED CONTENT & SHIT


INTRODUCTION

SPECIAL NOTICE: This Introductory Blog is intended to be humorous. If you don't find it funny, there's something seriously fucking wrong with you.


EVEN BIGGER SPECIAL NOTICE TO ALL FILM FREAKS: This Blog contains hidden mysteries which can only be revealed by reading it while stoned, drunk, or recovering from a frontal lobe injury. Uncover those mysteries and you'll win something extra special.


Greetings fellow Film Freaks;

In this my first ever Blog on subjects relevant to the wild world of Wannabe Inde Filmmaking, and in particular, my own stunningly magnificent talents in the field, I’m gonna be laying all kinds of interesting shit on you for your own personal edification and potential education. And if that don’t happen, maybe at least you’ll do something useful with your sad ass excuse of a life and tell your non-asshole friends if you have any, to come check out my mother fuck’n Butt-Log. (What the fuck does “Blog” mean anyhow? I think it means Butt-Log, because you know the guy who invented that word takes it up the Boy Cunt; right?)

So, let’s tap that ass shaped brain of yours for a sec, see if there's anything worth a damn up in there. Whether it’s floating on the surface like a fresh morning turd after a long night of beans and corn, or it’s just stuck somewhere deep down in the muck of your subconscious, you are asking the question already, and if you have an IQ in excess of 85 points, you'll be asking the question again and again, “Who the fuck does this guy think he is?” --- Now, that’s a good fuck’n question.

I, dear Film Freaks, am a big fat fuck’n no body. At least, that is, where breaking into the Film Industry without any fuck’n connections be concerned. But, I’ve lived far more than just your basic everyday rich, full, astonishingly interesting life, and I’m enjoying the hell out of the process of working towards that day when those who say, “No Unauthorized Materials Accepted,” realize just what a profoundly talented and immensely humble man they’ve been so coldly rejecting; --- the fucks. (I mean that in a good way)




SO --- WHO THE FUCK IS THIS GUY?

Good question, you potty mouthed freak ya.

Being stoned as you are, you may have missed the name:


RICK DENNY

Remember that name dear Film Freaks,


RICK DENNY

because one of these days you’re going to not only be watching my Movies,


RICK DENNY

but shitting yourself over how mind blowingly incredible they truly are. And I want you to feel free, on that day when I’m all decked out in my Important Mother Fucker Tux, walking the Red Carpet towards my latest Premiere, to come up to me and say, “Hey Rick, KICCASS dude; I used to read your Blog back when you were a big fat fuck’n No Body.” And then I’ll blow you off, proving I’ve really made it as a Big Time Holey Shit Film Fucker, while some oversized security fuck named Bruiser crawls all up in your shit like a Pimp on a day late Crack Whore.

But for now, I live humbly in a dilapidated old fuck’n Mobilehome tucked away in the rolling wooded hills of East Texas, where the towns are small, and the minds of the people living in them are even smaller. Out here, in order to qualify as a Town you’re required by law to have at least two competing Churches of the Baptist Franchise, a Dairy Queen employing at least one gal named Kristal, a Gas Station with a mechanic named Bubba, and a drooling mother fucking retard who roams up and down Main Street all day alternating between picking his nose and debating with tree stumps.

In a town not far from me, the Town Retard up and died one day; poor guy never could quite make out the difference between a cow and a bull. A cow will just stand there like nothings happening (is what they tell me); a Bull ain't taking nothing up it's ass. Anyhow, the Town lost their Town Retard and with him their right to be a Town. So the Mayor had to recruit a new retard from a Dallas psych ward. Rumor has it the job pays better than out at the Walfart (name cahnged to protect my ass). I was wondering why they drove all the way to Dallas when all the best retards already work at the Walfart. Anyone of them would have jumped at the chance to step up to a better job, I'm sure.

Anyhow Film Freak’s, I don’t live in town. Where I live there’s more fuck’n squirrels than there are people. Strange digs for a guy who grow up in Miami half naked and water skiing. I think I moved here because I got sick of being driven off the road by Yiddish midgets who couldn’t see over the steering wheel of their shiny new Lincoln's. I do miss the Cuban Coffee though. And, truth be told, out here in the country I go all naked; which is nice.

Point here is; I live way far away from everyone and anything to do with the Film Biz. So when I do get my break, you know I fuck’n had to bust a nut to get it. --- KICCASS.


BUTT SERIOUSLY FILM FREAKS

Before I get all serious and shit, I just want to clarify that I’m not a Retard Bigot or anything. Fact is; I like Retards just fine. Many of my best friends, and every President we’ve had in my lifetime, were all Retards. Shit, if there weren’t any Retards in the world, I don’t know what the fuck I’d do. I mean, you can blame a Tard for just about everything you fuck up, and they just smile that precious retard smile of theirs.

Alright, serious shit now. Here’s a bit of a Bio, a little something more about my favorite topic: the ever humble, profoundly talented, me. I’m 53. Now that you know that, take a look at my picture again. I’m blessed to be one of those freaks of nature that just doesn't know how to grow old. Shit, my Dad’s in his Eighties and he only has three fuck’n gray hairs, and they're all in his left ear.

I thoroughly possess the zestful energy of twenty five year old in the middle of his second affair. I work seven days a week and don’t take many breaks because I genuinely love everything I do; except maybe for paying taxes, which sucks. Hell, I still get morning wood, like, twice a day.

Anyhow, over twenty-five years my life had been centered around giving aid to the hurting, homeless, addicted and destitute, out of both my own personal resources and home. Back in 2004, I myself had suffered a crushing personal loss, which forced me to reevaluate things. An Insurance Adjuster specializing in Catastrophic Events by profession, after my assignment into Hurricane Katrina I decided to make a radical change in my life, at age 50, to return to my first love, my Art and Music, and to pursue a long ago misplaced and passionate desire to make Motion Pictures.


SIDE NOTE: My profession required extensive travel, long stays away from home, 7 day work weeks, 12 to 18 hour days, working in often dangerous locations; a 50/50 mix of days in the field and extensive paper work in the evenings. Try to tell me I don't have the balls to be a Director of fine Film fare.


BEFORE YOU CAN SHOOT & SCORE, YA GOTTA HAVA A GOAL

Some wise ass mother fucker once said; and I remembered it: “If you aim at nothing, you’ll hit it every time.” Back in the day, we kids used to kick the shit out of all the Philosophers in the neighborhood. But this guy, he’s on to something I think. I mean, even if you’re just talking getting laid; right? No goal, no payoff.

It is certainly no curse that I possess a highly potent imagination, in addition to both a profound sense of humor and irony. New Screenplay ideas come to me naturally, and in the development and writing process I quite literally see in my minds eye these places and people as they go about their experiences and dialog with each other. When I’m in the throes of the writing process I turn out on average 4 pages a day. (Do the math. For an average Script page count of 120 pages, that equates to completing a first draft in 30 days). I see the Movie playing in my mind; overhear what the Characters are saying, and simply write down what I see and hear. I don’t know if that means I’m fucked in the head or not. It’s not like I’m hearing it in 5.1 or anything.

That said, some days better than others. I often find in the Polishing that more than one of the Characters sounds way too much like me. Cool thing about Directing what you write is that after you’ve Cast the right talent, and cut them loose on the Character, it becomes that bigger better thing you always intended but can’t really write; right?

So in the read it sounds to me like me. But that won’t be the case in the Finished Film. Just the same, a great deal of the work I put into Polishing is in developing each of the Characters own voice; how each person in a scene relates to others through their own unique, or perhaps completely American generic speech patterns and Ismizations.

On my first Screenplay titled THE CHOSEN, I actually turned a 40 page day one day. Sitting in that damn chair for 16 hours fucked up my body so bad I can tell you I’ll never do that again. --- Anyhow; the Polishing Process on each of my first drafts takes upwards of another solid month to complete. Before I’m willing to hand a Spec Script over to anyone else to read, I will have read over every page as many as 100 times, important Scenes even more, making changes as I go. Amongst all my many other profound and humble talents, I’m also a mind blowing Painter of KICCASS Paintings. When I paint I look at the Painting for many hours; study every line, the way things flow together, oppose each other, and amalgamate. Like when I sharpen a blade; run my finger over the edge; feel a burr. When my eye lands on a burr in the esthetic, I paint, continuing this process until that time that my eye is thrilled by every beat of the viewing. Likewise, when I’m reading in the Polishing Process and I hit any manner of burr; in the Character, the Plot, continuity, timing, dialog, anything; I write. --- It takes about a month of Polishing for me to bring that first draft to a point where when I read it through, it reads sharp; no burrs.


HANG'N DOWN ON JUMP STREET

That’s The Starting Line for you dumb fucks who don’t speak New Yorker.

Even though I really couldn’t at the time envision turning away from my previous life to pursue what has all the qualities of a really stupid thing to do; of quitting a lucrative career to go after something so beyond my present grasp, knowing from my vast life’s experience that actually achieving my goals were going to be one hell of a bitch to pull off. Deep down within me, before I had it firmly fixed in my mind that this would be the course I would take, I had very innocently started the process of preparation through ever increasing personal study of all things Film, and of the Industry’s ways, as far back as 2001.

Now that I’m actively engaged in writing, first one Screenplay then the next, I have slowed down in my viewing of Films, and now only watch 3 most every night between 11pm and 3am. But, for two years solid, throughout 06 and 07, I would watch in excess of a thousand Films a year; some weekends five Films back to back. Films of every Genre and quality. And I’m not just watching these Movies, I study them. What works magnificently; what’s OK; what sucks major drippy dick. The way the camera moves or remains fixed; the lighting; the acting, of course; the way it’s cut together; the use of both Diagetic and Non-Diagetic sound. -- KICCASS.


BEFORE YOU CAN SHOOT & SCORE, YA GOTTA HAVA A GOAL (cont’d)

My Business Plan of Action was first to have something to show. As of this moment, that something is now 4 brilliantly conceived Screenplays that are perfectly fit and ready for Production. In addition to these master works of cinematic prose I have 1 that I’m 70 pages into, and one equally brilliant idea that's presently in Development.

My next goal, the target I’m fixed on now, is to secure aggressive Representation, an Agent with both the balls and connections in the Industry to make a budding career come to fruition. The 5 year plan is that I’ll be Directing my own Comedic Screenplays, building my business on the models of Adam Sandler, The Farrelly Brothers, and Judd Apatow.

However, as much as I love Comedy, I have so much more percolating within me that’s just bursting to hit the page and Big Screen. That said, my only other interests are for the Horror Genre, developing Screenplays that in my estimation more closely resemble the horrors and mysteries of real people stuck in really horribly fucked up circumstances. So, the plan is to sell my Horror Scripts for others to Direct, and will Direct my Comedies myself.


AT’SA RAP FILM FREAKS

Here is but a taste of the profoundly brilliant Screenplay's I have written:



WAREHOUSER - (R); High Concept Comedy
A gag per page rambunctious stoner piece set in a lively secluded warehouse complex.

Heart broken by the untimely loss of his parent's, and the bizarre death of his bastard alcoholic boss, good guy Jeff Warehouser takes up residence in the warehouse, discovers a booty of hidden cash, transforming the lives of his odd band of warehouse compatriots.


ANTENNA MAN - (PG-13); High Concept Fantasy Comedy
Film School Student Brent Ariel is transformer into a reluctant Superhero when the Cell Tower he leans against is struck by lightning. Now supercharged with a Magnetic Force Field, and able to hear cell phone signals in his head, he and his whacky crew set out to do battle with the evil Doctor Gammaradon, who is convinced that Brent contains the secret to a cheep source of electrical power.


DEVIL'S WOOD - (R); Mystery/Thriller/Horror
Two life long friend's Pete and Frank, destined for the FBI, home on Spring Break, are pressed with a moral dilemma when they discover Pete's mother has cancer and canceled her health insurance to make his tuition.

Lured by the promise of cheep potent weed, they find themselves lost in the deep woods, at the mercy of a cult of cannibal's, and the tree dwelling demons they worship.


THE CHOSEN - (PG-13); Spiritual/Mystery/Drama
Turned off to God by the gross hypocrites of the church people he's witnessed throughout his life, a good at the core, salt of the earth rugged man, is pursued by a mysterious disappearing man, witnessed unspeakable miracles, and is tagged by God, the most reluctant Prophet ever Chosen.

In Process

MODERN DAY SANTA - (R); High Concept Comedy
Deadly hack golfer and wealthy Jewish rogue of a Country Club owner, Christopher Cringlestein, discovers the truth of his bizarre childhood and ends up playing Santa to a rundown Orphanage operated by his father's ex-lover. - Inspired by CADDY SHACK, but far more hilarious.


Now In Development

PHOBIA -(R); Mystery/Action/Horror
Now successful adults, six former teen psych patients, each with their own phobia, are invited to a secluded Island Resort for a tenth year anniversary reunion, only to discover that they have become trapped in an abandoned Military Bunker turned deadly labyrinth from which they must work together and against their deepest fears to escape live. In order to succeed they must unlock the mystery: Who put them in this situation, and why?



KICCASS