Where Screenwriters Meet
NYCSCREENWRITER ON THE ROAD
HOLLINS M.F.A
SCREENWRITING PROGRAM
In the summer of 2009 I was invited by the Hollins University screenwriting summer program director, Dr. Klaus Phillips, to teach two workshops. My topics were: Reaching Your Creative Goals and How to Pitch. Both were successful and the students enjoyed learning how to pitch their scripts. Afterwards, Klaus took me to lunch and offered me a teaching job for the following summer's screenwriting program. I immediately accepted. This would be a great opportunity to expand my teaching credentials and to spend the summer on the bucolic campus of Hollins University in Roanoke Virginia.
After two delayed flights on United Airlines -- The Greyhound Bus of The Sky -- Klaus picked me up from the airport. Before checking into my housing he took me to lunch. Has anyone ever say no to free food? In reflection, I think Hollins works so well because his leadership. He's not only generous and magnanimous, but he knows exactly how to make students and faculty feel at home, and at ease to do their best work. In other words, a Mensch!
I wandered the sprawling Hollins campus with its antebellum buildings coupled with their state-of-the-art Visual Arts Center and the magnificent $14 million Robinson Library. (It would become my "office" for the summer.) My housing was located across the Highway, but centrally air-conditioned, and had a brand-new TV/DVD player thanks to Klaus.
That evening I met the other members of the faculty. It was serendipitous for we got along extremely well. The other faculty was: Tim Albaugh, Christa Maeker, Joe Gilford, Stephen Prince and Seth M. Donsky (who will be teaching a workshop for NYC screenwriter in October). All talented teachers; and great fun too!!
My class was intimate, only five students. I had three women and two men. The requirement for my advanced class was the first-year basic screenwriting course. Each student had their own unique voice and great stories to tell. However, we got off to a slow start due to Logline Trauma. It is amazing how difficult one sentence can be to create. But after some rewrites the students quickly caught on and we flew for the rest of the term. In the very first class, I laid down my Rules of Critiquing. In previous teaching situations writer comments were dismissive and non-constructive. I determined it was not going to happen again. This class needed to be a "safe place" where students can make mistakes and not only learn from them, but flourish. The first round of criticism must be entirely complementary.
What did you like about the writing?
What did you like about the characters?
Are there particular moments in the writing that delighted you?
Then we did our second round of critiquing -- the criticism. Criticism is not a dirty word. It is vital to receive criticism in order to make you a better screenwriter. Surprisingly, my class had a difficult time in praising and an easy time criticizing. But soon all balanced out and everyone's script was better for it.
Each student was required to write seven pages a week. Next a short movie clip demonstrating "High-Concept". E.g. - Liar, Liar -- the lawyer's son makes a wish that his father must tell the truth for 24 hours. Please click on my VLOG for an expanded definition.
Also, I was a worksheet monster. Each session had at least one in-class worksheet and several informational take-home worksheets. The three hours usually flew by and so did six weeks.
However, teaching only occupied a minority of my time. With the help of my wonderful and talented friend Hillary Homzie (a professor on the children's literature side) I accepted a personal challenge and wrote a script in two weeks entitled, Mafia In A Dress. I needed new material for the CineStory Writers Retreat (co-sponsored by the Academy Awards) in September. Location: Idyllwild, California.
I had written a High-Concept script, Mafia In A Dress, two years ago. The concept was great. My execution stank. Not wanting to abandon such a good idea, I rewrote 97% of the original screenplay. I trudged to the library every day (with the heat hovering at 100° it was a no-brainer) and to my favorite computer terminal and turned out the pages. It was the ultimate Butt In Chair Time. In two weeks I was finished. I'm ecstatic at the finished script, and eagerly anticipate my CineStory mentor's critique.
Another benefit of the Hollins M.F.A .screenwriting program are the informative workshops offered. My lecture was: How To Make A Film for under $10,000 and Win At Two Film Festivals. I'm officially in love with PowerPoint!
Among the other lecture guests was Scott Kosar the screenwriter of: The Machinist, Texas Chainsaw Massacre and The Crazies. What a fascinating story on how, The Machinist got made via the connections he fostered through his UCLA masters degree. Additionally, screenwriting guru Lew Ackerman spoke about his famous book and his newly published novel; and, finally, Peter Riegert of Animal House fame. The cumulative experience was a 24/7 screenwriting paradise!
Should you get an M.F.A. in screenwriting?
If you have any aspirations to teach it's definitely of enormous benefit. Also, it marks you as someone who is dedicated and serious about the craft. Additionally, it opens professional doors through your teachers and mentors. This is especially true for screenwriting programs at UCLA and USC, and Hollins too. However, you can win an Academy award with only a G.E.D. high school diploma. It's all about your passion and dedication to the screenwriting and the wacky business. But if you are looking for a higher degree I definitely recommend Hollins. It has much to offer.
In conclusion, I grew as a writer from by teaching, learning from my students and the plethora of guest speakers. For you are constantly exposed to ideas, structure, dialogue and character development it eventually seeps into your own writing. That was true for me. Thanks for listening and see you at the next event.
Remember, keep writing!
After being a winner Atlanta screenplay competition last September, I knew I wanted to submit the short film I co-wrote, Helium Man --what happens if you sucked too much helium and floated away -- to the their film festival in April. Started in 1977 it was now one of the premiere annual festivals in the US. After much nail biting, the acceptance arrived. I did my Happy Dance and off I flew to ATL.
Again, the first thing I noticed about Atlanta is its vibrant, multicultural population and thriving arts scene. It is clean, new and very accessible city, however the traffic is thick as grits and, at times, I felt like I was driving in LA. It's an incredibly livable city and I thoroughly recommend a visit.
The fest kicked off with the world premiere of the documentary Freedom Riders at the Carter Center. It was a harrowing exploration of a dark time in our country’s past where the south was Jim Crow segregated and, through the actions of a few brave African-Americans, broke the “color line” and sat at the “white only” lunch counter in Selma, Alabama. And even more wondrous is that several of the freedom riders that were featured in the documentary attended the screening. It is truly moving to hear their stories and exhilarating to see them honored with ovations and accolades.
For the rest of the screenings, the organizers projected the films around a single venue -- the Midtown Arts Cinema. It is a state-of-the-art movie complex showing the sixty chosen films and shorts. In the lobby was the proverbial “red carpet”. In turn, each filmmaker, was interviewed by local press.
Full disclosure: I've always had a red carpet fantasy and it was finally fulfilled! I can knock one off my Bucket List.
Before Helium Man screened I viewed nearly 16 short narrative and documentary features. I especially enjoyed the documentaries including Racing Dreams and The Mormon Proposition. Each skillfully told and thought-provoking. Most of the narratives were well done and very intuitive. Others were incomprehensible and had no idea why they were chosen. Oddest Observation: some films come with a “buzz” and, like a freight train, you can’t stop the film even if it is terrible. Some chief filmarazzi anointed the project and it became the “it” feature no matter how bad; I likened it to the emperor’s new clothes. But again, in our shared business is all about perception. Good luck gettin’ “the buzz”.
My fav thing about attending festivals are meeting my fellow filmmakers. I really tried to see as many films as I could to support each and every artist. I think it vital. It’s brutal out there and we can, at least, do that for each other.
Parties are another fest staple. It's a great time to drink, drink and drink some more but also network and enjoy other filmmakers who are sharing your journey. On the gifting side, film fests have great sponsors and Atlanta was no exception. I've never drunk so much Fuse and Ocean Spray cranraisins in my life.
Since no man can live on film alone, I rented a car and took a trip to the Atlanta History Center. Enclosed was a pocket museum with civil world war relics and ephemera. I was struck by how small the soldiers of the 1860s were compared to the size we Americans are now. We are fattening! Also, on the grounds was Swann House, an opulent turn-of-the-century mansion with all the gilded age trappings. I sure beats living in a minuscule studio in Times Square!
The final evening of the festival was the award ceremony. It was catered by amazing BBQ restaurant that specialized in pulled pork. It was worth the trip to Atlanta just for that mouth-watering food.
Ironically, several of the winners in each of the categories were not present. It became an open joke that you could only win an award if you DID NOT show up. But there were several winners in attendance and each accepted with humor and profuse thanks to the many people who got them to the podium.
Helium Man was very well-received and the audience was truly entertained. It's really a fantastic experience to see your name on the Big Screen and your audience cheering and laughing at the words and situations you helped to create at your computer 3am in your underwear during a bout of insomnia. I highly recommend shooting a short film and jumping on the Film Fest Express.
In conclusion, going to film festivals is an excellent way to expand your career by networking with other filmmakers who actually do and not complain about their craft. It's an amazing way to create more work, through partnerships, or inspiration from fellow creatives.
Remember, keep writing.
I wandered the sprawling Hollins campus with its antebellum buildings coupled with their state-of-the-art Visual Arts Center and the magnificent $14 million Robinson Library. (It would become my "office" for the summer.) My housing was located across the Highway, but centrally air-conditioned, and had a brand-new TV/DVD player thanks to Klaus.
That evening I met the other members of the faculty. It was serendipitous for we got along extremely well. The other faculty was: Tim Albaugh, Christa Maeker, Joe Gilford, Stephen Prince and Seth M. Donsky (who will be teaching a workshop for NYC screenwriter in October). All talented teachers; and great fun too!!
My class was intimate, only five students. I had three women and two men. The requirement for my advanced class was the first-year basic screenwriting course. Each student had their own unique voice and great stories to tell. However, we got off to a slow start due to Logline Trauma. It is amazing how difficult one sentence can be to create. But after some rewrites the students quickly caught on and we flew for the rest of the term. In the very first class, I laid down my Rules of Critiquing. In previous teaching situations writer comments were dismissive and non-constructive. I determined it was not going to happen again. This class needed to be a "safe place" where students can make mistakes and not only learn from them, but flourish. The first round of criticism must be entirely complementary.
What did you like about the writing?
What did you like about the characters?
Are there particular moments in the writing that delighted you?
Then we did our second round of critiquing -- the criticism. Criticism is not a dirty word. It is vital to receive criticism in order to make you a better screenwriter. Surprisingly, my class had a difficult time in praising and an easy time criticizing. But soon all balanced out and everyone's script was better for it.
Each student was required to write seven pages a week. Next a short movie clip demonstrating "High-Concept". E.g. - Liar, Liar -- the lawyer's son makes a wish that his father must tell the truth for 24 hours. Please click on my VLOG for an expanded definition.
Also, I was a worksheet monster. Each session had at least one in-class worksheet and several informational take-home worksheets. The three hours usually flew by and so did six weeks.
However, teaching only occupied a minority of my time. With the help of my wonderful and talented friend Hillary Homzie (a professor on the children's literature side) I accepted a personal challenge and wrote a script in two weeks entitled, Mafia In A Dress. I needed new material for the CineStory Writers Retreat (co-sponsored by the Academy Awards) in September. Location: Idyllwild, California.
I had written a High-Concept script, Mafia In A Dress, two years ago. The concept was great. My execution stank. Not wanting to abandon such a good idea, I rewrote 97% of the original screenplay. I trudged to the library every day (with the heat hovering at 100° it was a no-brainer) and to my favorite computer terminal and turned out the pages. It was the ultimate Butt In Chair Time. In two weeks I was finished. I'm ecstatic at the finished script, and eagerly anticipate my CineStory mentor's critique.
Another benefit of the Hollins M.F.A .screenwriting program are the informative workshops offered. My lecture was: How To Make A Film for under $10,000 and Win At Two Film Festivals. I'm officially in love with PowerPoint!
Among the other lecture guests was Scott Kosar the screenwriter of: The Machinist, Texas Chainsaw Massacre and The Crazies. What a fascinating story on how, The Machinist got made via the connections he fostered through his UCLA masters degree. Additionally, screenwriting guru Lew Ackerman spoke about his famous book and his newly published novel; and, finally, Peter Riegert of Animal House fame. The cumulative experience was a 24/7 screenwriting paradise!
Should you get an M.F.A. in screenwriting?
If you have any aspirations to teach it's definitely of enormous benefit. Also, it marks you as someone who is dedicated and serious about the craft. Additionally, it opens professional doors through your teachers and mentors. This is especially true for screenwriting programs at UCLA and USC, and Hollins too. However, you can win an Academy award with only a G.E.D. high school diploma. It's all about your passion and dedication to the screenwriting and the wacky business. But if you are looking for a higher degree I definitely recommend Hollins. It has much to offer.
In conclusion, I grew as a writer from by teaching, learning from my students and the plethora of guest speakers. For you are constantly exposed to ideas, structure, dialogue and character development it eventually seeps into your own writing. That was true for me. Thanks for listening and see you at the next event.
Remember, keep writing!
ATLANTA FILM FESTIVAL
BEVERLY HILLS SHORT FILM FESTIVAL
With my limited LA experience, I learned Santa Monica is the perfect place to live. It is an ideal location: cool breezes, close proximity to the beach, and best of all, the unbearable car traffic always seems to go your way. I booked my flight on United (airline from hell) and headed west. The three hour time change made me look younger.
Since I was house-sitting, I extended my stay to two weeks. Taking advantage of my extended visit, the manager I'm working with set up a meeting at William Morris Endeavor. My script, Smell Me, got positive coverage and generated a meeting.
WME is a behemoth agency with buildings all around Beverly Hills. (They will physically consolidate some time next year -- I think.) As I strolled through the lush office, I passed a corridor of 27 assistants, answering phones and fetching bottled water. All I could think is that Entourage got it right. But my experience couldn't have been better. The agent was extremely gracious and was very positive about the script and Helium Man. Me likie WME. Cross your fingers.
The BH fest had an amazing screening location - Raleigh Studios. It is the historic studio founded by Charlie Chaplin nearly 100 years ago. An active studio lot, it is the production home of The Closer and several other episodics. I always make a point to see as many films I can to support my fellow filmmakers. That meant sitting through 20 hours of films and a very sore ass.
The quality of films ran the gamut from sublime -- To Comfort You, the eventual winner of best film -- to the absolutely dreadful - - Virgin Mary and Joseph trying to have sex as Jesus watched over them critiquing! I was not offended religiously -- rather it was so poorly written and executed it made me cringe. They broke the cardinal rule of comedy: Thou Shall Be Funny. You must have a strong concept and central idea and exploit it, exploit it, exploit it. That was one of the biggest hurdles for the screened shorts - -coherency. Especially, the science fiction shorts. You must establish the Rules of the Magic and stick to them. You could be writing about a galaxy far far away, or how a nuclear power plant operates -- The China Syndrome. You must see how it works properly first then blow it up.
Helium Man had a full-size movie poster courtesy of my best friend Patrick. So there was a buzz at the festival for our short. Again, no one had seen it but the perception was that it was great. Why? Because of the really great poster! Hollywood doesn't care about you so much as a writer than it does as a perception of you as a writer. It's ludicrous but true.
Thank you great poster.
DARK RIVER FILM FESTIVAL
~~~~~~~~~~
ATLANTA FILM FEST WEEKEND
~~~~~~~~~~~~~~~~
AUSTIN FILM FESTIVAL
~~~~~~~~~~~~~~~~~~
NORTHWEST SCREENWRITERS GUILD
After being a winner Atlanta screenplay competition last September, I knew I wanted to submit the short film I co-wrote, Helium Man --what happens if you sucked too much helium and floated away -- to the their film festival in April. Started in 1977 it was now one of the premiere annual festivals in the US. After much nail biting, the acceptance arrived. I did my Happy Dance and off I flew to ATL.
Again, the first thing I noticed about Atlanta is its vibrant, multicultural population and thriving arts scene. It is clean, new and very accessible city, however the traffic is thick as grits and, at times, I felt like I was driving in LA. It's an incredibly livable city and I thoroughly recommend a visit.
The fest kicked off with the world premiere of the documentary Freedom Riders at the Carter Center. It was a harrowing exploration of a dark time in our country’s past where the south was Jim Crow segregated and, through the actions of a few brave African-Americans, broke the “color line” and sat at the “white only” lunch counter in Selma, Alabama. And even more wondrous is that several of the freedom riders that were featured in the documentary attended the screening. It is truly moving to hear their stories and exhilarating to see them honored with ovations and accolades.
For the rest of the screenings, the organizers projected the films around a single venue -- the Midtown Arts Cinema. It is a state-of-the-art movie complex showing the sixty chosen films and shorts. In the lobby was the proverbial “red carpet”. In turn, each filmmaker, was interviewed by local press.
Full disclosure: I've always had a red carpet fantasy and it was finally fulfilled! I can knock one off my Bucket List.
Before Helium Man screened I viewed nearly 16 short narrative and documentary features. I especially enjoyed the documentaries including Racing Dreams and The Mormon Proposition. Each skillfully told and thought-provoking. Most of the narratives were well done and very intuitive. Others were incomprehensible and had no idea why they were chosen. Oddest Observation: some films come with a “buzz” and, like a freight train, you can’t stop the film even if it is terrible. Some chief filmarazzi anointed the project and it became the “it” feature no matter how bad; I likened it to the emperor’s new clothes. But again, in our shared business is all about perception. Good luck gettin’ “the buzz”.
My fav thing about attending festivals are meeting my fellow filmmakers. I really tried to see as many films as I could to support each and every artist. I think it vital. It’s brutal out there and we can, at least, do that for each other.
Parties are another fest staple. It's a great time to drink, drink and drink some more but also network and enjoy other filmmakers who are sharing your journey. On the gifting side, film fests have great sponsors and Atlanta was no exception. I've never drunk so much Fuse and Ocean Spray cranraisins in my life.
Since no man can live on film alone, I rented a car and took a trip to the Atlanta History Center. Enclosed was a pocket museum with civil world war relics and ephemera. I was struck by how small the soldiers of the 1860s were compared to the size we Americans are now. We are fattening! Also, on the grounds was Swann House, an opulent turn-of-the-century mansion with all the gilded age trappings. I sure beats living in a minuscule studio in Times Square!
The final evening of the festival was the award ceremony. It was catered by amazing BBQ restaurant that specialized in pulled pork. It was worth the trip to Atlanta just for that mouth-watering food.
Ironically, several of the winners in each of the categories were not present. It became an open joke that you could only win an award if you DID NOT show up. But there were several winners in attendance and each accepted with humor and profuse thanks to the many people who got them to the podium.
Helium Man was very well-received and the audience was truly entertained. It's really a fantastic experience to see your name on the Big Screen and your audience cheering and laughing at the words and situations you helped to create at your computer 3am in your underwear during a bout of insomnia. I highly recommend shooting a short film and jumping on the Film Fest Express.
In conclusion, going to film festivals is an excellent way to expand your career by networking with other filmmakers who actually do and not complain about their craft. It's an amazing way to create more work, through partnerships, or inspiration from fellow creatives.
Remember, keep writing.
The fest kicked off with the world premiere of the documentary Freedom Riders at the Carter Center. It was a harrowing exploration of a dark time in our country’s past where the south was Jim Crow segregated and, through the actions of a few brave African-Americans, broke the “color line” and sat at the “white only” lunch counter in Selma, Alabama. And even more wondrous is that several of the freedom riders that were featured in the documentary attended the screening. It is truly moving to hear their stories and exhilarating to see them honored with ovations and accolades.
For the rest of the screenings, the organizers projected the films around a single venue -- the Midtown Arts Cinema. It is a state-of-the-art movie complex showing the sixty chosen films and shorts. In the lobby was the proverbial “red carpet”. In turn, each filmmaker, was interviewed by local press.
Full disclosure: I've always had a red carpet fantasy and it was finally fulfilled! I can knock one off my Bucket List.
Before Helium Man screened I viewed nearly 16 short narrative and documentary features. I especially enjoyed the documentaries including Racing Dreams and The Mormon Proposition. Each skillfully told and thought-provoking. Most of the narratives were well done and very intuitive. Others were incomprehensible and had no idea why they were chosen. Oddest Observation: some films come with a “buzz” and, like a freight train, you can’t stop the film even if it is terrible. Some chief filmarazzi anointed the project and it became the “it” feature no matter how bad; I likened it to the emperor’s new clothes. But again, in our shared business is all about perception. Good luck gettin’ “the buzz”.
My fav thing about attending festivals are meeting my fellow filmmakers. I really tried to see as many films as I could to support each and every artist. I think it vital. It’s brutal out there and we can, at least, do that for each other.
Parties are another fest staple. It's a great time to drink, drink and drink some more but also network and enjoy other filmmakers who are sharing your journey. On the gifting side, film fests have great sponsors and Atlanta was no exception. I've never drunk so much Fuse and Ocean Spray cranraisins in my life.
Since no man can live on film alone, I rented a car and took a trip to the Atlanta History Center. Enclosed was a pocket museum with civil world war relics and ephemera. I was struck by how small the soldiers of the 1860s were compared to the size we Americans are now. We are fattening! Also, on the grounds was Swann House, an opulent turn-of-the-century mansion with all the gilded age trappings. I sure beats living in a minuscule studio in Times Square!
The final evening of the festival was the award ceremony. It was catered by amazing BBQ restaurant that specialized in pulled pork. It was worth the trip to Atlanta just for that mouth-watering food.
Ironically, several of the winners in each of the categories were not present. It became an open joke that you could only win an award if you DID NOT show up. But there were several winners in attendance and each accepted with humor and profuse thanks to the many people who got them to the podium.
Helium Man was very well-received and the audience was truly entertained. It's really a fantastic experience to see your name on the Big Screen and your audience cheering and laughing at the words and situations you helped to create at your computer 3am in your underwear during a bout of insomnia. I highly recommend shooting a short film and jumping on the Film Fest Express.
In conclusion, going to film festivals is an excellent way to expand your career by networking with other filmmakers who actually do and not complain about their craft. It's an amazing way to create more work, through partnerships, or inspiration from fellow creatives.
Remember, keep writing.
BEVERLY HILLS SHORT FILM FESTIVAL
Helium Man, a short film I co-wrote, was recently accepted to the Beverly Hills short film Festival. The fest took place in the epicenter of LA, therefore rife for networking. I immediately contacted my good friend and the director of the short, Nick Piper, and told him, "I'm on my way!" However, serendipity intervened as his sister was getting married in the United Kingdom the same weekend of the festival. He was gracious enough to offer his beautiful Santa Monica home for the length of my stay; adorable dog included.
With my limited LA experience, I learned Santa Monica is the perfect place to live. It is an ideal location: cool breezes, close proximity to the beach, and best of all, the unbearable car traffic always seems to go your way. I booked my flight on United (airline from hell) and headed west. The three hour time change made me look younger.
Since I was house-sitting, I extended my stay to two weeks. Taking advantage of my extended visit, the manager I'm working with set up a meeting at William Morris Endeavor. My script, Smell Me, got positive coverage and generated a meeting.
WME is a behemoth agency with buildings all around Beverly Hills. (They will physically consolidate some time next year -- I think.) As I strolled through the lush office, I passed a corridor of 27 assistants, answering phones and fetching bottled water. All I could think is that Entourage got it right. But my experience couldn't have been better. The agent was extremely gracious and was very positive about the script and Helium Man. Me likie WME. Cross your fingers.
The BH fest had an amazing screening location - Raleigh Studios. It is the historic studio founded by Charlie Chaplin nearly 100 years ago. An active studio lot, it is the production home of The Closer and several other episodics. I always make a point to see as many films I can to support my fellow filmmakers. That meant sitting through 20 hours of films and a very sore ass.
The quality of films ran the gamut from sublime -- To Comfort You, the eventual winner of best film -- to the absolutely dreadful - - Virgin Mary and Joseph trying to have sex as Jesus watched over them critiquing! I was not offended religiously -- rather it was so poorly written and executed it made me cringe. They broke the cardinal rule of comedy: Thou Shall Be Funny. You must have a strong concept and central idea and exploit it, exploit it, exploit it. That was one of the biggest hurdles for the screened shorts - -coherency. Especially, the science fiction shorts. You must establish the Rules of the Magic and stick to them. You could be writing about a galaxy far far away, or how a nuclear power plant operates -- The China Syndrome. You must see how it works properly first then blow it up.
Helium Man had a full-size movie poster courtesy of my best friend Patrick. So there was a buzz at the festival for our short. Again, no one had seen it but the perception was that it was great. Why? Because of the really great poster! Hollywood doesn't care about you so much as a writer than it does as a perception of you as a writer. It's ludicrous but true.
Thank you great poster.
My heart skipped a beat when I saw my name in the closing credits. I'd never seen my name on the "big screen" before and it was thrilling. There were hearty applause and many compliments following. The after Q&A was a lot of fun, and the question I got asked the most was -- how did you make him fly? Though we do have great special effects I believe it's the protagonist that people truly rooted for -- he's goofy and endearing. All essential.
Conclusion: A short film is the best way to have your work seen and exposed. It does not have to cost $1 million but it does have to be well scripted and have a point of view. Again, the shorts that worked best were the ones with a solid script and characters you truly care about. Jeez! Doesn't always start with the script?
Keep Writing.
Conclusion: A short film is the best way to have your work seen and exposed. It does not have to cost $1 million but it does have to be well scripted and have a point of view. Again, the shorts that worked best were the ones with a solid script and characters you truly care about. Jeez! Doesn't always start with the script?
Keep Writing.
DARK RIVER FILM FESTIVAL
After being accepted to the Dark River Film Fest for my first feature, I Killed You 'Cause I Had To, I flew down and were treated to almost thirty film premieres shown in competition. The highlights were meeting the other filmmakers and talking "shop."
The icing on the cake: winning BEST FEATURE HORROR/THRILLER!
The icing on the cake: winning BEST FEATURE HORROR/THRILLER!
~~~~~~~~~~
ATLANTA FILM FEST WEEKEND
I was a winner of the Atlanta Film Festival screenwriting competition. I, along with other writers, were housed, feed, spoiled and mentored. The weekend included having my script, Grilled Cheese Virgin analyzed by two professionals and hearing an excerpt read aloud by actors. I made connections. improved my script and, most of all, found new friends.
~~~~~~~~~~~~~~~~
AUSTIN FILM FESTIVAL
NYCscreenwriter's Steven Arvanites made a pilgrimage to the screenwriting mecca, the Austin Film Festival. There I met industry execs, attended numerous panels, networked and made a lot of new friends. Also, met and chatted with Oscar winning director Ron Howard -- the nicest man in show business.
So sit back, grab a BBQ rib and enjoy!
So sit back, grab a BBQ rib and enjoy!
~~~~~~~~~~~~~~~~~~
NORTHWEST SCREENWRITERS GUILD
After being a winner Atlanta screenplay competition last September, I knew I wanted to submit the short film I co-wrote, Helium Man --what happens if you sucked too much helium and floated away -- to the their film festival in April. Started in 1977 it was now one of the premiere annual festivals in the US. After much nail biting, the acceptance arrived. I did my Happy Dance and off I flew to ATL.
The fest kicked off with the world premiere of the documentary Freedom Riders at the Carter Center. It was a harrowing exploration of a dark time in our country’s past where the south was Jim Crow segregated and, through the actions of a few brave African-Americans, broke the “color line” and sat at the “white only” lunch counter in Selma, Alabama. And even more wondrous is that several of the freedom riders that were featured in the documentary attended the screening. It is truly moving to hear their stories and exhilarating to see them honored with ovations and accolades.
For the rest of the screenings, the organizers projected the films around a single venue -- the Midtown Arts Cinema. It is a state-of-the-art movie complex showing the sixty chosen films and shorts. In the lobby was the proverbial “red carpet”. In turn, each filmmaker, was interviewed by local press.
Full disclosure: I've always had a red carpet fantasy and it was finally fulfilled! I can knock one off my Bucket List.
Before Helium Man screened I viewed nearly 16 short narrative and documentary features. I especially enjoyed the documentaries including Racing Dreams and The Mormon Proposition. Each skillfully told and thought-provoking. Most of the narratives were well done and very intuitive. Others were incomprehensible and had no idea why they were chosen. Oddest Observation: some films come with a “buzz” and, like a freight train, you can’t stop the film even if it is terrible. Some chief filmarazzi anointed the project and it became the “it” feature no matter how bad; I likened it to the emperor’s new clothes. But again, in our shared business is all about perception. Good luck gettin’ “the buzz”.
My fav thing about attending festivals are meeting my fellow filmmakers. I really tried to see as many films as I could to support each and every artist. I think it vital. It’s brutal out there and we can, at least, do that for each other.
Parties are another fest staple. It's a great time to drink, drink and drink some more but also network and enjoy other filmmakers who are sharing your journey. On the gifting side, film fests have great sponsors and Atlanta was no exception. I've never drunk so much Fuse and Ocean Spray cranraisins in my life.
Since no man can live on film alone, I rented a car and took a trip to the Atlanta History Center. Enclosed was a pocket museum with civil world war relics and ephemera. I was struck by how small the soldiers of the 1860s were compared to the size we Americans are now. We are fattening! Also, on the grounds was Swann House, an opulent turn-of-the-century mansion with all the gilded age trappings. I sure beats living in a minuscule studio in Times Square!
The final evening of the festival was the award ceremony. It was catered by amazing BBQ restaurant that specialized in pulled pork. It was worth the trip to Atlanta just for that mouth-watering food.
Ironically, several of the winners in each of the categories were not present. It became an open joke that you could only win an award if you DID NOT show up. But there were several winners in attendance and each accepted with humor and profuse thanks to the many people who got them to the podium.
Helium Man was very well-received and the audience was truly entertained. It's really a fantastic experience to see your name on the Big Screen and your audience cheering and laughing at the words and situations you helped to create at your computer 3am in your underwear during a bout of insomnia. I highly recommend shooting a short film and jumping on the Film Fest Express.
In conclusion, going to film festivals is an excellent way to expand your career by networking with other filmmakers who actually do and not complain about their craft. It's an amazing way to create more work, through partnerships, or inspiration from fellow creatives.
Remember, keep writing.
BEVERLY HILLS SHORT FILM FESTIVAL
Helium Man, a short film I co-wrote, was recently accepted to the Beverly Hills short film Festival. The fest took place in the epicenter of LA, therefore rife for networking. I immediately contacted my good friend and the director of the short, Nick Piper, and told him, "I'm on my way!" However, serendipity intervened as his sister was getting married in the United Kingdom the same weekend of the festival. He was gracious enough to offer his beautiful Santa Monica home for the length of my stay; adorable dog included.
With my limited LA experience, I learned Santa Monica is the perfect place to live. It is an ideal location: cool breezes, close proximity to the beach, and best of all, the unbearable car traffic always seems to go your way. I booked my flight on United (airline from hell) and headed west. The three hour time change made me look younger.
Since I was house-sitting, I extended my stay to two weeks. Taking advantage of my extended visit, the manager I'm working with set up a meeting at William Morris Endeavor. My script, Smell Me, got positive coverage and generated a meeting.
WME is a behemoth agency with buildings all around Beverly Hills. (They will physically consolidate some time next year -- I think.) As I strolled through the lush office, I passed a corridor of 27 assistants, answering phones and fetching bottled water. All I could think is that Entourage got it right. But my experience couldn't have been better. The agent was extremely gracious and was very positive about the script and Helium Man. Me likie WME. Cross your fingers.
The BH fest had an amazing screening location - Raleigh Studios. It is the historic studio founded by Charlie Chaplin nearly 100 years ago. An active studio lot, it is the production home of The Closer and several other episodics. I always make a point to see as many films I can to support my fellow filmmakers. That meant sitting through 20 hours of films and a very sore ass.
The quality of films ran the gamut from sublime -- To Comfort You, the eventual winner of best film -- to the absolutely dreadful - - Virgin Mary and Joseph trying to have sex as Jesus watched over them critiquing! I was not offended religiously -- rather it was so poorly written and executed it made me cringe. They broke the cardinal rule of comedy: Thou Shall Be Funny. You must have a strong concept and central idea and exploit it, exploit it, exploit it. That was one of the biggest hurdles for the screened shorts - -coherency. Especially, the science fiction shorts. You must establish the Rules of the Magic and stick to them. You could be writing about a galaxy far far away, or how a nuclear power plant operates -- The China Syndrome. You must see how it works properly first then blow it up.
Helium Man had a full-size movie poster courtesy of my best friend Patrick. So there was a buzz at the festival for our short. Again, no one had seen it but the perception was that it was great. Why? Because of the really great poster! Hollywood doesn't care about you so much as a writer than it does as a perception of you as a writer. It's ludicrous but true.
Thank you great poster.
My heart skipped a beat when I saw my name in the closing credits. I'd never seen my name on the "big screen" before and it was thrilling. There were hearty applause and many compliments following. The after Q&A was a lot of fun, and the question I got asked the most was -- how did you make him fly? Though we do have great special effects I believe it's the protagonist that people truly rooted for -- he's goofy and endearing. All essential.
Conclusion: A short film is the best way to have your work seen and exposed. It does not have to cost $1 million but it does have to be well scripted and have a point of view. Again, the shorts that worked best were the ones with a solid script and characters you truly care about. Jeez! Doesn't always start with the script?
Keep Writing.
Conclusion: A short film is the best way to have your work seen and exposed. It does not have to cost $1 million but it does have to be well scripted and have a point of view. Again, the shorts that worked best were the ones with a solid script and characters you truly care about. Jeez! Doesn't always start with the script?
Keep Writing.
DARK RIVER FILM FESTIVAL
After being accepted to the Dark River Film Fest for my first feature, I Killed You 'Cause I Had To, I flew down and were treated to almost thirty film premieres shown in competition. The highlights were meeting the other filmmakers and talking "shop."
The icing on the cake: winning BEST FEATURE HORROR/THRILLER!
The icing on the cake: winning BEST FEATURE HORROR/THRILLER!
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ATLANTA FILM FEST WEEKEND
I was a winner of the Atlanta Film Festival screenwriting competition. I, along with other writers, were housed, feed, spoiled and mentored. The weekend included having my script, Grilled Cheese Virgin analyzed by two professionals and hearing an excerpt read aloud by actors. I made connections. improved my script and, most of all, found new friends.
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AUSTIN FILM FESTIVAL
NYCscreenwriter's Steven Arvanites made a pilgrimage to the screenwriting mecca, the Austin Film Festival. There I met industry execs, attended numerous panels, networked and made a lot of new friends. Also, met and chatted with Oscar winning director Ron Howard -- the nicest man in show business.
So sit back, grab a BBQ rib and enjoy!
So sit back, grab a BBQ rib and enjoy!
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NORTHWEST SCREENWRITERS GUILD
NYCscreenwriter founder, Steven Arvanites, was invited to give a Creative Goal Workshop at the Northwest Screenwriters Guild in sunny Seattle. We caffeined, wrote, got inspired and rode the Space Needle.
Press "play" to see our screenwriting hi jinks!
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EERIE HORROR FILM FESTIVAL
EERIE HORROR FILM FESTIVAL
After being accepted to the Dark River Film Festival for my first feature, I Killed You 'Cause I Had To, I flew down and were treated to almost thirty film premieres shown in competition. The highlights were meeting the other filmmakers and talking "shop."
The icing on the cake: winning BEST FEATURE HORROR/THRILLER!
The icing on the cake: winning BEST FEATURE HORROR/THRILLER!
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