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 Thursday, May 22, 2008
What Are the Upfronts?
Posted by Chad
Hey, screenwriters— As many of you know, last week was television’s biggest week of the year… the New York upfronts… and I’ve gotten several emails discussing, speculating, and asking about this year’s announcements. Several people asked exactly what the upfronts are, so I wanted to take a moment and discuss… what exactly are the upfronts, and why are they so important to television? “Upfront week” is usually held mid-May, and—on the surface—it’s the week when all the broadcast networks descend on New York to hold massive presentations at which they announce their fall schedules to advertisers and press. They unveil new shows, returning shows, midseason possibilities, etc. Traditionally, these presentations are multi-million-dollar stage shows, complete with fun segments like special short films, spoofs of TV shows, etc. A couple years ago, FOX shot a short “ 24” parody starring Keifer Sutherland, and NBC has done “ E.R.” spoofs. Marc Cherry, creator of “ Desperate Housewives,” once did a choreographed musical number with the women of Wisteria Lane, and last year CW had president Dawn Ostroff snuggle on stage with a live panther to announce the pick-up of “ Life Is Wild” (which turned out to be one of the worst-performing and quickly canceled new shows of the season). Most networks also trot out big-name TV stars, casts, showrunners, and producers of their shows. After the presentation, which usually lasts 1-2 hours, everyone heads to a restaurant or giant tent for a gala party where the media and advertisers can rub elbows with TV big-wigs and actors. Click HERE to read TV Week’s post-upfront report on all the shows each network picked up.This year’s upfront presentations were a bit different than in years past. Thanks to the writers strike, many networks hadn’t finished all their pilots or decided what new series would definitely be debuting. Also, because networks took financial hits because of the work stoppage, many scaled back the extravagance of their network presentations, shortening presentations and/or eliminating the after party. NBC took an interesting tack; rather than holding a traditional stage show which spotlighted just their primetime TV schedule, they created “ The NBC Experience,” an “interactive” carnival-like event that illuminated the many different platforms on which NBC content plays: TV, mobile phones, the Internet, etc. Guests could screen TV shows, take photos with stars, play games with the American Gladiators, eat food from Bravo’s Top Chefs, etc. Broadcast networks aren’t the only distributors to hold upfront presentations. Cable networks also hold upfronts, but rather than holding them in May, with the broadcasters that dominate most of television, cable channels and kids networks hold them a few weeks earlier, usually in March and April. Cable upfronts also don’t tend to be as gargantuan and flashy as the broadcast nets’. In fact, cable upfronts are often as simple as network executives meeting with individual ad buyers and presenting their schedules face to face (which many feel is a more intimate, effective way of doing business). Also, as online entertainment continues to grow, many Internet production companies and distributors are beginning to hold upfronts. Broadband Enterprises and MSN both held upfront presentations this year, announcing their own online shows and series. Here’s the interesting thing about TV upfronts… The term “upfront” itself is actually a bit of a misnomer. People usually use it to refer to the “ upfront announcements,” or presentations. But the truth is, the announcements and presentations are simply the kick-off for the upfront buying season, which is the most important part of the upfront process. Here’s why… As you know, broadcast networks (and many cable networks) make most of their money by selling advertisements in their TV shows. Networks’ ad salespeople sell ads in their TV shows year-round… but during the upfront buying season, which begins with the May announcements and ends just before the fall season begins, they offer advertisers special incentives to buy ads. They may sell ads at reduced rates or guarantee shows will draw audiences of a certain size. In other words, the upfront buying season is like a GIANT BARGAIN PRE-SALE… and it’s where broadcast networks sell up to 90 percent of the coming year’s ad spots. Ad spots that aren’t sold during the upfront season are sold on the “ scatter market,” which means they’re sold a la carte throughout the year. Ads sold on the scatter market are not sold with the same incentives given to buyers during the upfront season. In fact, the cost of an ad in a particular show can rise or fall as the year progresses, depending on how popular the show is and how high demand is to advertise in it. Ads in super-popular shows obviously cost much more ( "American Idol" sold ads for a million dollars this year), and less popular shows cost less. The most expensive scripted show to advertise in is “ Grey’s Anatomy,” which—last year—charged over $400,000 per ad spot. The least expensive shows last year were the CW’s comedies—“ Everybody Hates Chris,” “Aliens in America,” “Girlfriends,” etc.—which charged less than $50,000 per ad spot. The upfront buying season consists of intense jockeying and negotiating between networks selling ads and advertisers buying them. Networks use tactics to try and boost ad prices, while advertisers try to get the best deal possible. And because everything is negotiated, different advertisers often end up paying different prices for the exact same spots within a show! Networks also must strategize how many ad spots in each show to try and sell during the upfront season. For instance, if they have a new show they believe will be a humongous hit, but advertisers aren’t giving them the dollars they think the show is worth, they may opt NOT to sell many ads during the upfronts… then, when the show becomes a smash hit that fall ad buyers are clamoring to put their ads in it, the network can jack up the price. Of course, as new mediums bubble up and Tv’s business models change, so will the process of buying and selling ads. I don’t think the upfront buying season is going away any time soon—and even though cable and the Internet are eroding broadcasters’ holds on audiences, broadcast networks are still the indisputable big dogs of the TV landscape (at least for now)—but we are starting to see the ad buying/selling process evolve. Some places have experimented with reverting to TV’s old model of having advertisement-free shows which are simply sponsored by a single company, brand, or product. FOX cut out half the commercials in its upcoming sci-fi series, “Dollhouse” and “Fringe,” allowing them to have less “clutter” in each episode and charge more for ad spots. Other advertisers and networks are bypassing traditional ads altogether in favor of “ product integration,” where an advertiser pays a show, or its network, to integrate a particular brand or product into the show’s story. This is different than mere “product placement,” where we simply see a character drinking a Coke or eating a Snickers. Production integration involves making the product a legitimate part of the story, like when Gabrielle, on “Desperate Housewives,” gets a job as a model for the Buick Lacrosse. It’ll be interesting to see how TV advertising changes over the next few years… especially as it affects TV’s creative processes. For now, however, I hope that was a helpful crash-course on the world of TV advertising. And keep the questions and comments coming! You can post them in the comment section below, or email me at WDScriptNotes@FWPubs.com. Talk to you soon! -- Chad
Industry Updates | Reader Questions
Thursday, May 22, 2008 9:26:39 PM (GMT Daylight Time, UTC+01:00) 
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Sunday, May 18, 2008
VIDEOS OF THE DAY: Take That, Bill O'Reilly!
Posted by Chad
And as long as we're talking politics, you gotta see this clip from Thursday's Hardball, where Chris Matthews destroys right-wing talk show host Kevin James with his own petard. (They're discussing Bush's Thursday morning speech to the Israeli Knesset, or Israel legislature, in which he compares Democrats today to Nazi appeasers.) Hardball: Chris Matthews & Kevin James(Although I have to say: the Democrats won't shut up about how inappropriate and uncouth it was of President Bush to criticize Barack Obama, a political rival, while on foreign soil, and I really wanna say, " Really, guys? That's what you're upset about? He criticized a rival while he wasn't standing on U.S. soil? Do we really live in a world where you can't talk about someone-- especially if you're saying something inordinately stupid-- unless you're standing in the same country? In a world of globalization, supersonic jet travel, and the Internet, what does that matter?! As if Bush would've been standing in Alberton, Montana, or Leesville, Louisiana, that somehow would've given the comments a better context?! Really?!!" Come on, Democrats, you can do better than that.)
Digital Media and Web Series | Fun Stuff
Sunday, May 18, 2008 6:30:10 PM (GMT Daylight Time, UTC+01:00)
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Saturday, May 17, 2008
READER QUESTION: How Do Recent College Graduates Break In To Hollywood?
Posted by Chad
Hey, screenwriters— Today’s mailbag question comes from Zane, a college student who writes: “Do you know of any good opportunities in Hollywood for recent graduates? I have a strong interest in the industry, but am not sure of the best method to start my career. I am considering other work options and then getting an MBA, after which I might come back to my search in Hollywood.”Well, Zane, you’ve come to the right place. I love helping college students, and I actually run an alumni networking organization, Vandy-in-Hollywood, for my own alma mater, Vanderbilt University. So I’ll tell you what I tell those students… First of all, getting a job in Hollywood is almost always about contacts and relationships more than resumes and grade point averages. So unless your uncle runs Paramount or your sister has a hit TV show, your first step is to put yourself in places and situations where you can rub elbows and meet people who can help you. Which basically means… MOVE TO LOS ANGELES. Unlike other jobs, where recruiters and interviewers come to college campuses, hire young employees, then give them time to move to the new city, Hollywood jobs rarely hire you unless you are currently living in L.A.. This is because when you’re hired, most employers want you to start asap. As in, tomorrow. Or in a couple days. Which doesn’t work if you’re living somewhere else, and many out-of-towners flake out before actually showing up. Secondly, be prepared to start at the bottom. Almost everyone who starts in Hollywood begins as an assistant of some kind—usually a production assistant (or P.A.), which means you’ll be fetching coffee, running errands, making copies, stocking the fridge, etc. It’s grunt work no one else wants to do, but it allows you to observe the industry, learn how things happen, and—perhaps most importantly—network and make contacts. You’ll meet everyone from other entry-level P.A.’s and executive/administrative assistants to agents, producers, and executives. You can learn more about getting a P.A. job in THIS POST from a few months ago. Thirdly, know what you want to do. If you don’t, which is fine, know what you DON’T want to do. Many college students make the mistake of saying, “I’ll do anything,” which makes you just about the LEAST HIREABLE PERSON ON THE PLANET. Employers want to hire people who are focused and ambitious, who will pour their heart and soul into even the most basic job because they intend to use it as a stepping stone. And while students often worry that being specific about their dreams and goals will close off certain opportunities, employers rarely want to hire the person who is simply willing to “do anything.” Having said this, many young people genuinely aren’t sure what they want to do, and that's okay. But spend some time thinking about it. A good place to start is thinking about what you DON’T want to do. For instance, if you know you have no desire to work in television, or with costume designers, or in special effects, eliminate jobs that point you down those career paths. Think about what kinds of entertainment you like best. Do you prefer comedy over drama? Independent films over blockbusters? Adaptations over original material? See where your likes and dislikes take you, and while you may not be ready to say, “I want to do set design for low-budget period films,” you MAY find you’re able to say, “I know I like reality shows and documentaries, and I prefer cable channels to networks.” That helps you begin finding your focus and telling employers what you want. Having said all this, Zane, I realize I haven’t REALLY answered your question. Which is: “Do you know of any good opportunities in Hollywood for recent graduates?”So let’s get to that. HERE is a link to a post that lists some good job-hunting websites and strategies (it's the same link as above, if you've already been to it). Another great way to get your foot in the door is to get an internship, which basically means you’ll be working for college credit instead of a paycheck. Unfortunately, California makes it tough for recent grads to get internships, because state law requires you to get EITHER money or college credit… and since most internships are unpaid, you must receive credit… which is tough if you’re already graduated. However, you can sometimes persuade your school to “not graduate you” for a few months so you can receive credit for the internship. Or, enroll part-time in a local community college, like Santa Monica College, where you can often pay less than a hundred dollars to receive one hour of internship credit. HERE is a link to another recent post about internships.Lastly, Zane, I’ll say this… an MBA will only help you in Hollywood in a handful of jobs, mostly in the financial/business sector of the industry. While an MBA will obviously give you lots of knowledge and information, it probably WON’T help you get a job as a development executive, or a writer, or a lighting designer, or a director, or even an agent. I have plenty of friends who have gotten their MBAs in hopes of becoming an agent or manager or executive, and they STILL must start at the bottom, working as an assistant, and climb the ladder with everyone else. They may climb a little faster, simply because they have a broader base of knowledge, but—with a few exceptions—having an MBA probably won’t help you get a typical “Hollywood” job. HERE is a link to a recent post about graduate film school… which obviously isn’t the same as business school… but, I think, speaks to many of the same pros and cons. Anyway, I hope this all helps. Good luck… feel free to email with other questions… and, when you have that killer job, HIRE ME! Chad
Career Advice | Reader Questions
Saturday, May 17, 2008 8:01:15 PM (GMT Daylight Time, UTC+01:00)
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Tuesday, May 13, 2008
Mama vs. the Maid
Posted by Chad
Hey, screenwriters— Saw two movies this last week— Made of Honor and Baby Mama—that I thought made an interesting comparison of romantic comedies. Neither is particularly brilliant, but I think Baby Mama succeeds more as a romantic comedy, or relationship comedy, and I wanted to look at why. Although there are plenty of things to pick apart in each one, I want to focus on the primary difference—the one thing which makes Baby Mama succeed in a way that Made of Honor never does. And that’s this… Unlike in Baby Mama, we never fully believe that our main characters in Made of Honor truly, desperately need each other.In other words, Made of Honor fails to illustrate how much Tom ( Patrick Dempsey) and Hannah ( Michelle Monaghan) need/love each other in the same way Baby Mama does with Kate ( Tina Fey) and Angie ( Amy Poehler). Take a look… At the beginning of Made of Honor, Tom and Hannah have supposedly been best friends for ten years. Tom is a perpetual bachelor, bedding every woman he meets; Hannah is just another single woman pushing thirty. But when Hannah’s job sends her to Europe for six weeks, Tom misses her in a way he’s never thought about… and suddenly realizes he’s in love with his best friend. Hannah, of course, is busy meeting the dashing Kevin McKidd (Colin McMurray), and when she returns with a ring on her finger, Tom realizes he must win back his best friend. But like I said, here’s the problem… We never believe Tom really loves her... because the movie never shows us this.
Sure, we see Tom and Hannah spend time together, but we never see how much they NEED each other. Tom brings her coffee in the morning, they browse antique shops, and they go to brunch every Sunday. Yet while this is all sweet and good-natured, it doesn’t signify a super-strong BOND. In fact, a weekly brunch hardly signifies a once-in-a-lifetime relationship. I have friends I see or talk to once a week… but I also have friends I see or talk to EVERY DAY. Not to mention: Tom’s willing to sleep his way around town until Hannah heads to Scotland… then he suddenly wakes up and he decides he loves her—which is kinda hard to swallow after the story has already established he's an impulsive playboy. Especially when he announces to his buddies: “I don’t know… I think there might be more to my relationship with Hannah than just friends,” which is quite possibly history’s most UNCONVINCING declaration of love ever. I wish the movie had shown us a scene of them relying on each other when the chips were down. I.e., have Hannah call Tom just after her heart has been broken, and Tom races to her... maybe he even ditches a gorgeous date to go console her. Have Tom’s career be on the line and he has 24 hours to put together a job-saving proposal or presentation… and Hannah cancels all her plans to help him. Basically— show us these two characters need, want, and care for each other more than anything else on the planet.Baby Mama does this simply and beautifully. First of all, it sets up how badly and desperately Kate wants to have a child. We see her pining after babies, trying to meet husbands, hoping to get pregnant. Ultimately, of course, she learns she’s infertile and decides to hire a surrogate mother: Angie, the world’s most inappropriate mom. But there’s one perfect little scene that sets up their entire relationship… Kate and Angie are standing on Kate’s balcony, having just finished the interview where they’ll decide whether or not Angie is going to carry Kate’s baby. And Kate says to her (I’m paraphrasing because I don’t really remember): “I really want this. And I think you’re great. I hope you choose me, because I need you, and I think you’re wonderful, and I’ve never wanted anything so badly in my life.” And Angie says: “I think you’re wonderful, too. And I think I’d be really good at this, and doing this for you would make me feel important and valued, and that’s something I don’t have anywhere else in my life.” So even though it’s simple, direct, and on-the-nose, Baby Mama does what Made of Honor doesn’t… it bonds those characters inextricably. They NEED each other more than anything else on the planet. Thus, we’re willing to buy all the hijinx and complications throughout the rest of the story because we’re so invested in Kate and Angie’s relationship. So I guess the takeaway lesson is this: in a romantic comedy, the ROMANCE must come before the COMEDY. If we don’t buy the romance—or the relationship between our leads—we’ll never care enough to laugh with the comedy. And I think if you look back at some of the great romantic/relationship comedies— When Harry Met Sally, Annie Hall, you name it—the movies always put the spotlight on the relationship, and let the comedy bubble up behind or around it.
Movie Talk | Writing Advice
Tuesday, May 13, 2008 4:36:33 PM (GMT Daylight Time, UTC+01:00)
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Friday, May 09, 2008
UPCOMING FILM FESTIVALS: May Edition
Posted by Chad
Hey, filmmakers-- Here's a list of upcoming film festivals that you can both attend and submit to. Much of this comes from MovieMaker Magazine, which does a great job compiling these things. Do yourself a favor and-- if you don't wanna subscribe-- become a regular at their site and sign up for their emails... they're terrific. Also, thanks to Lori B. and everyone else who has sent in festivals to promote. And if any of you know of other upcoming festivals, please let me know and I'll try and get them out there next time... The Nashville Screenwriters Conference (NSC) will bring some of Hollywood’s top writers to Music City the weekend of May 30- June 1. Guests will include writers and producers from ABC’s Grey’s Anatomy, Scott Frank (Minority Report, Get Shorty), Ted Griffin (Matchstick Men, Ocean's Eleven), Steve Nicolaides (School of Rock, A Few Good Men, When Harry Met Sally), and many more. Anyone interested in film and TV can network and learn at the open-to-the-public event at Union Station Hotel. On Friday, May 30 at 1 PM screenwriter Larry Wilson (Beetlejuice, The Addams Family) will offer his “ Method to Madness” program about horror writing, and “ The World’s Fastest Screenwriting Course.” There will also be an advance screening of the HBO Films miniseries Generation Kill, by The Wire creators and Rolling Stone journalist Evan Wright, on Friday, May 30 at 5:30 PM at the Country Music Hall of Fame. A Q&A will follow the screening. Then, the “ Music in Film & TV Luncheon” will return this year on Sat., May 31 at 12 PM at the Country Music Hall of Fame, focusing on placement of music in films and TV. More info available at www.nashscreen.com. The ANGELUS STUDENT FILM FESTIVAL honors future filmmakers for creating works that respect the dignity of the person. Award-winning films reflect values such as redemption, spirituality, tolerance, equality, diversity, hope and triumph of the human spirit. Angelus Award alumni include Sundance winners Patricia Cardoso (Real Women Have Curves) and Tony Bui (Three Seasons and Green Dragon). Get complimentary tickets to the festival called “best bet” for student filmmakers by MovieMaker Magazine! Just e-mail tickets@angelus.org or call 323/874-6633. For details, go to www.angelus.org or contact Monika Moreno at 800/874-0999. The 15th Annual AUSTIN FILM FESTIVAL runs October 16 – 23, 2008 in Austin, Texas. Film categories: Narrative Feature, Short, Student Short, Documentary Feature, Short and Animated Short. Early Deadline: June 5, 2008, Late Deadline: July 5, 2008. Do not forget about their screenwriting competition! Screenplay Competition deadline: May 15 (early), June 1 (late). Teleplay Competition deadline: June 1. Get $5 off your film entry fee with a copy of this e-mail. For an entry form and more information, visit: www.austinfilmfestival.com. The 5th Annual BIG APPLE FILM FESTIVAL is now accepting entries for this year's event taking place November 19 - 22, 2008 at the world famous Tribeca Cinemas in the heart of the greatest city in the world. The BAFF is dedicated to showcasing and promoting the highest quality films from the New York City independent film community, as well as additional specially selected films from across the country and around the world. The festival includes special New York City premieres, interactive panel discussions with industry professionals, networking parties and a closing night awards ceremony. Alumni films include Suffering Man's Charity directed by Alan Cumming, Love, Ludlow (Warner Home Video), Owl and the Sparrow ( 2008 Spirit Award nominee) and Chubb Chubbs Save Christmas (2007 Sony Pictures Release). Previous panelists, guests and keynote speakers include representatives from Samuel Goldwyn Films, Magnolia Pictures, HBO, Current TV, Wellspring Media, Cinematical.com, Zeitgeist Films, Wild Bunch Films, First Run Features and Gen Art. In order to bring the most elite talent to the silver screen, BAFF partners with a variety of New York City independent film organizations and media outlets including IFP, The Village Voice, Indiewire.com, Cinematical.com, The L Magazine and MovieMaker Magazine. For more information go to www.bigapplefilmfestival.com. Compete for more than $3,500 in cash prizes at West Texas’s 4th Annual FLATLAND FILM FESTIVAL this September. Contests for live action, documentary, animated and experimental works. Flatland also screens invitational features by up-and-coming directors, brings in industry guests for a topical panel discussion and rounds out the evenings with fun parties. Visit to enjoy their Texas hospitality and mingle with filmmakers, enthusiasts and industry professionals at the beautiful Firehouse Theatre inside the Louise Hopkins Underwood Center for the Arts in Lubbock, Texas. Visit www.flatlandfilmfestival.com or call 806/762-8606. The HAYDENFILMS 4.0 FILM FESTIVAL is now accepting entries! Haydenfilms is the premiere online platform for independent and student film producers to showcase their work. The festival is open to all student and independent films, with all genres accepted for review. Your short film could win the $10,000 grand prize! Each entry received must be accompanied by a completed Haydenfilms Official Submission Form, or be submitted through the Withoutabox.com entry process. The extended deadline is July 15, 2008. Visit www.haydenfilms.com/rules.html for more information on how to enter your short into this season's festival! The INTERNATIONAL HORROR & SCI-FI FILM FESTIVAL is now accepting submissions. Get your film and screenplay in now. Be part of the coolest genre fest in the country. Directors of acquisition from distributors will be in attendance to view films for consideration. This event will receive press coverage from the top genre press, both online and traditional. Submit your film and screenplay now to become part of the madness that is the International Horror & Sci-Fi Film Festival. Go to www.horrorscifi.com for more information. PALM SPRINGS SHORTFEST—August 21-27, 2008. Now in its 14th year, the Palm Springs ShortFest has become known world-wide for the extraordinary community of filmmakers it attracts and the quality and scope of its programming. This is the largest festival of its kind in America, showcasing over 350 short films from more than 40 countries, with a library of more than 2,200 films available to film buyers, industry and press in the Film Market running concurrently with the Festival. Included are seminars, technological demonstrations and 'one-on-one' meetings with industry experts and filmmaking professionals, free to all participating filmmakers. www.psfilmfest.org. The POPPY JASPER FILM FESTIVAL of Morgan Hill, CA seeks to showcase international independent short films. Taking its name from the rare Morgan Hill poppy jasper gemstone, the festival mines the fast-growing niche of less-than-30- minute films and brings the passion of filmmaking to the community. The festival has attracted the attention of a number of filmmaking notables, including Academy Award winner John Bruno (Titanic), screenwriter Victor Miller (three-time Emmy winner) and producer Susan Cartsonis (What Women Want, No Reservations and Where the Heart Is). Film submissions accepted until May 31, 2008. For further information, please visit www.poppyjasperfilmfest.org. Georgia’s ROME INTERNATIONAL FILM FESTIVAL, one of MovieMaker Magazine’s “20 film festivals worth the entry fee,” is one of the best film festivals in the southeast. Each year RIFF features more than 100 films from more than 30 countries, including shorts and features in the categories of documentary, narrative, experimental and animation. Jury awards are presented for best narrative feature, documentary, narrative short, experimental film and animated short. Audience awards are presented for best feature and best short. RIFF is always the weekend after Labor Day in early September. Located in historic downtown Rome, Georgia, all festival venues are within walking distance. The festival also includes the Southeastern Film Industry Expo, a film industry convention featuring representatives from throughout the southeast. For more information, visit www.riff.tv. The SAN DIEGO FILM FESTIVAL, co-founded by an award-winning filmmaker, features four days of 100 films, industry panels, inviting audiences and hands-down the best parties. It’s no wonder San Diego Film Festival has been named one of MovieMaker Magazine’s Top 25 Fests Worth The Entry Fee; Ultimate Film Festival Survival Guide’s Best Beach Fest, Best Party Fest and Best Regional Fest; plus one of the Top 10 Film Festival Vacations. Visit www.sdff.org. The 8th Annual SCREAMFEST HORROR FILM FESTIVAL & SCREENPLAY COMPETITION takes place Oct. 10 – 19, 2008 at the prestigious Grauman’s Mann Chinese 6 at Hollywood and Highland in the heart of Hollywood. Call For Entries deadlines are approaching for new horror feature films, shorts and feature length screenplays. Film submission deadlines: Early—July 15, Final—August 15. Screenplay submission deadlines: Early—June 15, Regular—July 15 and Final—August 15. Winning screenplay receives $1,000 cash and Movie Magic software. Screamfest is sponsored by Boost Mobile, Write Brothers, Inc. and InBaseline. For more info www.screamfestla.com or email screamfestla@aol.com. STARZ DENVER FILM FESTIVAL * November 13-23, 2008 * Now entering its 31st year, SDFF presents approximately 175 films over 11 days and hosts more than 150 visiting filmmakers. Known for its exceptional hospitality and diverse programming SDFF has become an increasingly important stop for any filmmaker. Entry information available at www.denverfilm.org. “Few American festivals have put it all together in terms of size, scope and intimacy as well as the Starz Denver Film Festival.” —MovieMaker Magazine; “The best kept secret on the US Film Festival circuit may well be the Starz Denver Film Festival.”— IndieWire
Events Activities and Things To Do
Friday, May 09, 2008 7:44:39 PM (GMT Daylight Time, UTC+01:00)
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Thursday, May 08, 2008
The Art of Pitching - Wednesday Night!
Posted by Chad
Hey, TV writers-- If you have an idea for the next The Big Bang Theory, Bones, or Dancing with the Stars, I'm teaching a 3-hour seminar at mediabistro this coming Wednesday on "The Art of the Pitch: How to Sell Your Television Series Idea." Here's the scoop... WHEN: Wednesday, May 14, 7-10 pm
WHERE: mediabistro.com, 7494 Santa Monica Blvd., Ste 303, West Hollywood, CA
COST: $65 ($50 for avantguild members)
TO SIGN UP: Call Stefanie at 310-659-5668 or click HERE
To learn more, check out this webpage, or here's a little blurb...
You've
seen the perfect TV show. It's got great characters, weekly
cliffhangers, comedy, drama -- everything you could want in a hit
series. There's just one problem: it's still in your head.
This seminar will help take your idea from seed to sale. After all,
selling your show isn't merely the first step in bringing your vision
to life; it's the most important step. What are networks looking for?
How should a pitch be structured? When's the best time to pitch? Do you
need a franchise? Does attaching talent help?
We will break pitching into three stages: honing your idea, crafting the pitch itself, and getting your foot in the door with producers and executives.
We'll examine different kinds of shows and the necessary elements of
each. We'll then discuss how to structure a pitch to make it accessible
to producers, writers, and executives. Lastly, we'll explore the business
of pitching; not only how to gauge the marketplace to make your idea
irresistible, but how to navigate television's labyrinthine
network/studio system and what you can expect once you get there.
In this seminar, you will learn:
- The necessary elements every show -- and every pitch -- must have
- The difference between different types of shows, and how to pitch them accordingly
- How to structure a pitch, both verbally and as a written document
- Who you want to pitch to at networks, studios, and production companies
- When to attach actors, writers, or directors to your idea, and when not to
- What to expect when you're in the room, making your pitch, and what happens when you leave
Please note:
While we will discuss in class your ideas and how to best pitch them (if you feel comfortable sharing), this class is not about evaluating ideas. To be honest, we have no idea what's a good idea or not. After all, we're not the ones who bought Desperate Housewives. Or, for that matter, Jerry Springer.
Events Activities and Things To Do
Thursday, May 08, 2008 5:30:35 PM (GMT Daylight Time, UTC+01:00)
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Monday, May 05, 2008
Iron Man Update...
Posted by Chad
Marvel Studios doesn't waste any time. After Iron Man opened at over $100 million, they've already announced the premiere date of Iron Man 2... April 30, 2010! This is less than two months before the premiere of Thor, which is scheduled for June 4, 2010. The following summer, Marvel will release Captain America on May 6, and The Avengers in July. (For those of you who don't know The Avengers, they're Marvel's superhero team-- kind of like The Justice League of America-- that originally consisted of Iron Man, Thor, Ant-Man, Wasp, The Hulk, and-- eventually-- Captain America. The Hulk's movie opens next month on June 13.)
Industry Updates | Movie Talk
Monday, May 05, 2008 5:20:31 PM (GMT Daylight Time, UTC+01:00)
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Sunday, May 04, 2008
MOVIE TALK: Iron Man
Posted by Chad
Before I begin this post, I need to warn you: spoiler alert! If you haven’t seen Iron Man, and you want to, be warned: I am about to give away parts of the movie. So proceed at your own risk… Saw Iron Man last night. And all in all, it’s a fun way to spend two hours. Robert Downey Jr. is terrific—charming, funny, loveable—and there’s plenty of cool blowin’-stuff-up. But it’s also a flawed movie, and while its flaws don’t necessarily detract from the overall experience, I think they illuminate some interesting thoughts about how comic book heroes are written… and screenplays in general. To me, there are two main weaknesses to Iron Man: WEAKNESS #1: He's not an underdog. For those of you who don’t know the story of Iron Man, here’s the Cliff Notes version: Iron Man’s true identity is Tony Stark, a technology genius/fun-loving playboy who’s made his money as a multi-billion-dollar arms manufacturer. (Imagine if Bill Gates ran Lockheed Martin… but was also a hard-partying ladies man.) When Tony is captured and tortured by terrorists, he realizes the damage he has been inflicting and has a change of heart, deciding to stop making weapons and instead create machines of peace. (How this plays out in the movie is a bit different than in the comics, but same idea.) So he makes a giant suit—complete with guns, missiles, jets, you name it—to defeat evil and protect innocents around the world. Sounds good, right? Well, in real life, it would be. In a comic: not so much. (And by the way: as I say all this, know that I am NOT an avid comics reader. I know Iron Man is beloved by fans everywhere. I know the movie will make thousands of dollars and win the weekend. I even think it deserves to. I liked it. A lot. Still, I think there’s a major flaw in the concept of Iron Man, and here’s why…)
Iron Man is not an underdog. He’s rich, good-looking, funny, charming, irresistible… and just decides to become a super-hero. Because he’s a good guy. But the best superheroes are those who are “forced” into it, or those for whom being super-powered is a burden, a curse that prevents them from being whom they truly want to be. Batman is haunted by his past and his own psychosis… the bat suit is his only escape (or his cross to bear, depending on how you look at it). Peter Parker is an anti-social geek who’s suddenly given powers… that no one can know about. Even Superman must wear a disguise to fit in to normal society. But Tony Stark becomes Iron Man because he wants to. It’s just another of his outstanding attributes. And while you could argue that becoming Iron Man is his redemption for being a war-monger in his “previous life,” we certainly never get the sense he’s tortured by his past. Even if the story suggested this, he’s so damn loveable WE never feel he needs to be redeemed. Having said this, we still—for the most part—root for Tony/Iron Man. But Iron Man doesn’t hold the same sense of wonder and fascination and magic as Spiderman or Superman or the X-Men. I always think one of the coolest things about those classic superhero stories is that they tap into how we all feel; they’re stories of people who don’t fit in, but the reason they don’t fit in is they each hold extraordinary gifts and abilities… and if other people could just see those special gifts, and realize how awesome they are, they’d be accepted. (This never works out, of course—as soon as their gifts are revealed, they’re ostracized… which is why they must keep their true identity secret. It’s a catch 22: the one thing that should be recognized and celebrated is the one thing they can never share.) And the genius of these superhero stories is: we've all felt like this. We all know the pain and frustration of feeling like we’re special, unique, valuable people… if only others could recognize this. But Iron Man never lets us feel like this. It’s the story of a rich, successful, handsome, dashing, powerful guy who becomes… well… better. And nowhere is this more evident than in the fact that Iron Man lacks some of the key scenes/sequences/moments that make superhero movies so much fun: the moments where the superhero uses his powers in ordinary, everyday situations. The moment where Peter Parker uses his spider skills to catch his falling lunch tray or humiliate a school bully. Or when Wolverine kicks ass in a bar fight. Or Clark Kent takes Lois or Lana on an extraordinary date. The moments that make us go: “Yeah! That’s exactly what I'd do if I had superpowers.” But Iron Man never has these scenes. We never see Tony use his abilities as a normal person. Not only because his abilities are confined to a giant robotic suit, but also because—ultimately— he's not a normal person. He’s not like any of us. He’s a superhero even before he becomes a superhero. WEAKNESS #2: Iron Man isn't about relatioships. (By the way, before you read further: I am about to give away the entire ending of the movie.) Sure, there are “relationships” within in the movie, but in the final battle of the movie, it suddenly dawned on me: Iron Man, the movie, isn’t about anything except itself. It’s about nothing more than a man who suddenly decides to become an anti-war superhero. Here’s why… The final battle is a massive fight between Tony Stark, in his Iron Man suit, and Obadiah Stane (Jeff Bridges), an old friend of Tony’s late father, and Tony’s partner at Stark Enterprises. Stane builds his own Iron Man suit (called Iron Monger), which is bigger and more powerful than Tony’s original suit, and these two duke it out in the movies final climax. Here’s the problem… Screenwriters Mark Fergus & Hawk Ostby and Art Marcum & Matt Holloway never flesh out the Tony/Obadiah relationship… so the final battle means almost nothing to us. Sure, we see Tony and Obadian together, and we know there’s a history there, but this relationship should be the heart of the entire movie… so by the time the two guys are punching it out in the end, we feel like this is a relationship being ripped apart at the seams. Yet we’re never sure what these two men mean to each other: is there relationship father/son? Two brothers? Teacher/student? Best friends? We don’t know… so there’s almost nothing at stake when they finally come to blows. (Sure, you could say Tony’s life is at stake… but since we know he’s not going to die, there needs to be more.) This was the beauty of the Spiderman movies: when Spiderman fought Green Goblin, it wasn’t just Spidey fighting a villain—he was fighting a friend, someone he’d loved and trusted. So the final fight was the culmination of all the bumps, betrayals, twists, and turns that comprised that relationship. But Iron Man fails to give us this. We never feel the love, friendship, trust, or adoration between Obadiah and Tony. So we don’t feel the pain of either of them, especially our hero, in the movie’s climax. This, together with the lack of Tony’s “underdog status,” combine to make a movie that’s a terrific and visually pleasing thrill ride… but has about as much heart as the metal used to make Iron Man’s suit. Anyway, I “like” these two weaknesses because—for all Iron Man’s strengths—I think they illustrate the two elements most important to brilliant screenwriting and storytelling: • RELATABILITY – the ability to see reflections of our own lives in a story and its characters • RELATIONSHIPS – connections and relationships between characters that makes us care about, root, and hurt for them Of course, Iron Man may also prove the most important rule of screenwriting: if you have an awesome star and plenty of explosions, none of the other stuff matters. IRON MAN TRAILER
Movie Talk
Sunday, May 04, 2008 1:23:30 AM (GMT Daylight Time, UTC+01:00)
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Thursday, May 01, 2008
TALKING POINTS: The Top 5 Most Influential Bands?
Posted by Chad
Okay, guys-- I'm turning to you to weigh in on a debate I was having with my neighbors a couple nights ago. My wife and I were having a barbecue with our neighbors and we decided to make a list of the top 5 most influential bands/musical artists of the last... well... we didn't really clarify, but I guess we're pretty much talking about the 5 most influential artists who have shaped rock/pop music today. This doesn't mean they're necessarily our favorites, it just means they're major "rocks" that changed the course of the stream. Here's my list... 1. The Beatles2. Led Zeppelin3. Elvis Presley4. The Sex Pistols/The Clash/The Ramones (3-way tie, depending on who you credit with the real birth of punk-- which technically, would probably have to be The Sex Pistols, but I think the others are valid choices) 5. Bob Dylan (to be fair, my original list included a 2-way tie here between Nirvana and Black Sabbath, but then I got talked out of it-- I think rightfully so-- to put in Dylan) Anyway, things got heated when some people felt The Rolling Stones should be included in the top five. Now, I like the Stones... but come on-- they weren't really all that influential. Or at least, not "top five" influential. I mean, anything they did, the Beatles did first: first hit, first album, first Ed Sullivan appearance. And while Keith was an incredible guitarist, I don't know that he contributed more than Jimmy Page, Hendrix, or-- perhaps most importantly-- Chuck Berry. In fact, you could probably argue that the Stones' biggest influence on music wasn't music at all... it was their bad-boy/fight-the-establishment persona, which-- honestly-- may be more important than anything music-related anyway. (I'm not actually arguing that, I'm just saying you could. If you wanted to. Which I'm not. Yet.) Anyway, things got pretty fiery around the grill, so I figured I'd open up the floor to you guys and the comment section. So... whaddaya think, screenwriters? Who are your top 5 most influential bands/musical acts? And do the Stones deserve to be in the top five? Post away...
Fun Stuff
Thursday, May 01, 2008 12:53:33 AM (GMT Daylight Time, UTC+01:00)
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Wednesday, April 30, 2008
WEBSITE OF THE DAY: TVbytheNumbers.com
Posted by Chad
Hey, TV fans-- Wanted to introduce you to my new favorite website/blog, TVbytheNumbers.com. Here's what's awesome about this site... first of all, it's dedicated only to TV ratings, so unlike Variety or The Reporter or Mediaweek, you don't have to wade through a bunch of other news and information in order to get the numbers. It's just ratings. Second of all, it gives you easy-to-understand analyses and puts shows' ratings in the context of other shows, networks, and recent history. The two bloggers, Bill Gorman and Robert Seidman, aren't TV professionals, but they're astute observers and analysts. They're also unabashed TV fans, so they're not afraid to inject their their opinions on what good shows (like 30 Rock, one of their favorites), should be doing better. TVbytheNumbers also lets you sign up for daily ratings emails, which is terrific, because Variety and The Hollywood Reporter's emails come out at night, so you don't get the ratings till the end of the day, which is pointless. Anyway, take a look... it's a wonderful site... and a terrific help for anyone who loves or works in television... (P.S. And I swear to you, these guys didn't pay me to write this. I've never even met them--but I think I'll drop them an email and tell them how much I like the site...)
Books Tools Resources | Fun Stuff
Wednesday, April 30, 2008 4:42:13 AM (GMT Daylight Time, UTC+01:00)
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