Script Notes by Chad Gervich

More Good News for Writers...
Posted by Chad

Hey, all--

Got an email from the WGA this morning-- and Variety and Nikki Finke have now picked up the story-- but CBS's Internet writers have voted unanimously to join the Writers Guild, meaning people writing CBS's online sports, news, and promotional content will now be covered by the union! This is a huge step for writers everywhere... and gives the Guild great leverage to convince other networks, studios, and productions to follow suit!

Click here to link to the Variety and Deadline Hollywood Daily articles...

Digital Media and Web Series | Industry Updates

Friday, July 31, 2009 9:50:08 PM (GMT Daylight Time, UTC+01:00)

Comments [0]

Road Trip to No Piracy
Posted by Chad

Hey, guys--

Wanted to post this great blog, courtesy of Charlie, written today by Brad Riddell, a screenwriter (American Pie: Band Camp, Road Trip: Beer Pong, and Slapshot 3: The Junior League) who also writes The L.A. Dime, a blog about life in LaLaLand.

He's got a GREAT piece today about movie and video piracy. I know we all hear about piracy, but I feel like sometimes it all tends to sound like teachers showing us anti-drug videos... we understand the message, academically, but it's rarely presented in a way that feels personal and relevant.

But Brad not only does a terrific job illustrating the personal effects of piracy, he has a great (and funny) story about outing the pirates out there...

Hope you enjoy!

http://www.bradriddell.com/?p=1508

Interesting Talking Points

Friday, July 31, 2009 2:21:35 AM (GMT Daylight Time, UTC+01:00)

Comments [0]

Thursday, July 30, 2009

American Idol Contestant Strikes a Blow for Reality Writers
Posted by Chad

Who says reality doesn't have writers? Certainly not American Idol semi-finalist Ju'Not Joyner (to be fair, I think the guy's a little bitter... but bitterness aside, he still spills the truth)...

http://www.popeater.com/music/article/junot-joyner-says-idol-is-fake/596370#atabc

Interesting Talking Points | Reality TV

Thursday, July 30, 2009 6:37:57 PM (GMT Daylight Time, UTC+01:00)

Comments [1]

Monday, July 27, 2009

READER QUESTION: What if drinking means drowning in Hollywood?
Posted by Chad

Hey, all—

Wanted to reprint an interesting email I got from Rebecca, one of our loyal friends and readers, in response to the book review I recently posted for Tom Malloy’s, “Bankroll: A New Approach to Financing Feature Films.” I don’t agree with her, but I thought she raised some interesting points that warranted discussion. So here’s her email, and I’ll respond afterwards…

Although the book itself has some extremely useful information, I would not recommend it for one main reason.

The author encourages go-along-to-get-along, pimp-yourself-out, anything-goes-to-ingratiate-yourself, values.

In several sections, he says to do anything to please the guys who may have the money. He applauds himself for getting out of bed in the middle of the night, and leaving his wife, to meet with a potential financier.

And he repeatedly says that if the potential financier or attachment is drinking, you should match him in chug-a-lugs.

What if the guy is really trying to score on a female producer by drinking with her? What if you're an alcoholic? What if you are just opposed to drinking alcoholic beverages? What if you just don’t like the taste of alcohol? What if, for any number of reasons, you just don’t want to drink alcohol.

According to the author, you should do it anyway.

And while you’re drinking, what if the potential financier wants you to snort a little cocaine? Your resistance is already lowered by the alcohol. And the author seems to condone doing what the potential financier does.

I have a close personal friend whose clients were always taking her to Vegas and giving her thousands to gamble with. Now that the economy has tanked, neither her company nor the clients have the business they used to.

No more free trips and chips. But, now she is addicted to gambling. So, she’s up there using her own funds, quickly dwindling.

So, I just think it's irresponsible to encourage people, especially young people who may take his word as gospel and people just entering the business who don’t know any better, to abuse substances just to fit in and close the deal.

That's not called being a good producer. That's called being a whore.

Just my opinion.

Rebecca

Like I said—I don’t agree with Rebecca, but I think she touches on some interesting points and raises questions that confront many people in Hollywood. How important is it to fit in in Hollywood? What if someone asks me to do something I’m uncomfortable with? Where are the lines drawn for acceptable social/business behavior?

So here’s my response…

First of all, I don’t think Malloy is suggesting that alcoholics need to fall off the wagon or women should let themselves get rudely hit on in order to succeed in entertainment. I’ve actually had many drinks with friends or colleagues who don’t drink, and they simply order something else or tell me proudly, “Six years sober,” and I say, “Congratulations—that’s awesome,” and we move on.

Malloy is operating under the assumption that both parties share a mutual understanding that this is a legitimate, above-board business meeting… which MOST Hollywood drinks meetings are.

But what he IS saying is that, for better or worse, Hollywood has a specific culture… and if you want to have as much success—and control over your success—as you can, you must participate as much as possible in that specific culture.

This doesn’t mean you need to chuck your ideals and belief system, but you do need to fit into the culture and the cultural rituals embraced by the industry… and drinks meetings are a big part of the Hollywood culture. If you don’t like going to drinks, find a suitable alternative… go to lunch, dinner, grab coffee. But drinks meetings ARE a pervasive part of Hollywood, from one-on-one drinks at Social or Lola's to industry mixers at Spanish Kitchen or St. Nick's, and eventually, you’re probably gonna have to do some drinks meetings. They’re part of the culture, like it or not.

(Similarly, I run a summer internship program for Vanderbilt University, and last summer we had an intern working at a major production company/mini-studio here in L.A. After two weeks, he left because he was uncomfortable with all the swearing in the workplace. Now, I’m not necessarily condoning foul language, but the truth is—Hollywood offices are lax, and four-letter words are commonplace. If that bothers you, I’d recommend looking into another career, as you’re going to have a VERY tough time surviving here. That doesn’t mean you’re not talented or ambitious or can’t figure out another way in, but it does mean you’re going to have a tough time being comfortable in places where much of Hollywood’s business takes place. People swear here. A lot. It’s how it works. You wanna join the fray, deal with it.)

Malloy’s also giving you Sales Advice 101; to make a sale, you need to connect to your buyer. Make them feel you speak the same language, like the same things, think in the same ways. And if your buyer’s a big drinker—not an alcoholic with a problem, but someone who enjoys a bar after work—then it HELPS you to join him and prove you speak the same language. It’s not necessarily required, but if Joe Buyer has a choice between doing business with you—and you don’t like drinking, talking sports, or whatever other things Joe Buyer likes to do—or another guy who LOVES doing all the things Joe Buyer like to do… who do you think he’s going to choose? The other guy.

Malloy’s NOT saying, “You need to match him drink-for-drink, even if you get wasted and can’t drive home.” And he’s NOT saying, as Rebecca posits, “Even do cocaine if the producer offers.” That would be ludicrous… not to mention illegal. He’s simply saying, “Immerse yourself 100% in the culture and language of this business, then learn how to read your buyer and connect with him. Make him feel like you're kindred spirits.”

So while you obviously have to use your head and avoid situations that feel sketchy and dangerous, I do agree with Malloy—if you want to make it in Hollywood, you DO need to learn to fit in as much as possible.

I’ll be honest—there are areas where I DON’T fit in… and I often encounter moments where I’m outside the conversation and can’t participate. For instance, I hate sports. I have never followed a sport in my life. But men in Hollywood LOVE talking sports, especially the Lakers. And when those conversations come up, I sit woefully on the bench. It’s a point of disconnect between me and whomever I’m talking to… I wish it wasn’t—I’m just not a sports guy.

Anyway, Rebecca—thanks for the great email and the great points it raises, and I’m interested to see what our other readers think. So…

Readers? What do you think on all this?

Books Tools Resources | Career Advice | Interesting Talking Points | Reader Questions

Monday, July 27, 2009 4:50:54 PM (GMT Daylight Time, UTC+01:00)

Comments [1]

Wednesday, July 22, 2009

The Wind Up... and the Pitch
Posted by Chad

Hey, TV writers--

If you have an idea for the next Flight of the Conchords, Burn Notice, or Nurse Jackie (which, by the way, I just started watching this week-- really funny!) but aren't sure how to sell it, I'd love to see you next Tuesday, when I'm teaching my pitching seminar for mediabistro here in LA! It's a great seminar and a fun night... here's the scoop...

THE ART OF THE TV PITCH
How To Sell Your Television Series Idea

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

Click here for more information...

WHEN: Tuesday, July 28, 7-10 pm
WHERE: Beverly Hills Bar Assoc., 300 S. Beverly Dr., 2nd Fl., Beverly Hills, CA 90212
COST: $65 ($50 for avantguild members)
TO SIGN UP: Call 212-547-7890 or click HERE

Hope you can make it... and to get you in the mood, here's a great pitching sketch from The Whitest Kids You Know.

Classes Seminars Workshops | Events Activities and Things To Do | Pitching

Wednesday, July 22, 2009 8:55:59 PM (GMT Daylight Time, UTC+01:00)

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Tuesday, July 21, 2009

MOVIE TALK: The Ugly Truth
Posted by Chad

The best part of “The Ugly Truth,” which opens this Friday, July 24, is that its title pretty much writes the review for you.

A romantic comedy so bland and paint-by-numbers that it’s astounding it even got made (and more astounding that Katherine Heigl and Gerard Butler chose it), it begins by following Abby, an idealistic, micro-managing TV news producer in Sacramento. When her news show begins failing, her station manager hires Mike, the obnoxious-yet-charming, chauvinistic-yet-honest host of “The Ugly Truth,” a relationship and dating advice show on the local cable-access channel.

Abby and Mike could not be more diametrically opposed; Abby, a “strong independent woman,” approaches dating by having a literal checklist of things she needs in a man… and if he doesn’t meet all ten, the date’s over. Mike is hedonistic; he loves chicks in bikinis, jello-wrestling, one night stands, you name it. Although these two characters despise each other, they’re forced to work together because Abby’s news show needs the higher ratings Mike’s schtick is earning.

But when Abby develops a crush on Colin (Eric Winter), her cute and perfect next-door neighbor, she needs Mike’s blunt and insightful advice to snag him. Thus, Mike becomes a kind of Cyrano to Abby’s Christian, guiding her through a series of dating set pieces: coaching her on her first date via a hidden ear-bud… helping her through a business dinner when her vibrating panties accidentally begin giving her a series of massive orgasms… etc.

Over the course of helping Abby woo Colin, Mike falls in love with her himself. I won’t bother telling you the ending, not because there’s anything remotely unpredictable in it, but because you already know where it’s going.

Now, there’s plenty of stuff wrong with “The Ugly Truth,” but to me, there’s one weakness that outshines them all. One weakness that, I believe, is the key to ANY good romantic comedy. And if done well, any other flaw in the movie can be forgiven. And that weakness is…

YOU NEVER LONG FOR THESE TWO PEOPLE TO BE TOGETHER.

And if the audience isn’t DYING for the two main characters of a romantic comedy to be together—think “When Harry Met Sally” or “Annie Hall”—almost nothing else in the story matters.

Having said that, it’d be easy to blame this problem on the actors’ lack of chemistry, but I think the problems start not with the performers, but in the script.

There are 2 reasons why the script itself never makes us want Abby and Mike to get together…

1)   We don’t see how they need each other. Or, rather, we see how Abby needs Mike—he teaches her how to loosen up, be sexy and flirty, and enjoy life—but we never see why Mike needs Abby. Sure, Katherine Heigl is pretty… but by the end of the movie, even Mike’s chauvinistic character has learned that love isn’t about looks… yet we don’t see him learn what the hell it IS about! Abby doesn’t teach him to do anything… she barely improves his show… she does NOTHING for him.

All the great romantic comedy couples work like a yin and yang; they complement each other’s strength’s and weaknesses. Annie grounds Alvy and helps him grow up; Alvy helps Annie break out of her shell, become more confident and able to live a life.

But that doesn’t happen in “The Ugly Truth.” It’s a one-sided relationship; and when we can’t see what one of the characters gets from the other, emotionally, it makes it very tough for us to root for them being together.

2)   The story, especially in its supposedly comic set pieces, doesn’t explore the Abby-Mike relationship, so we never feel like their relationship is being progressed. Or rather, since the main plot points—and main comedy points—aren’t illuminating or exploring Abby and Mike, we never get the fun of seeing them spar, butt heads, reach new levels of understanding and connection, etc.

The first set piece involves Abby on a date with Colin at a baseball game. Mike, a few rows away, is feeding her lines through a hidden headset in her ear. Aside from the fact that nothing Mike says is particularly unique or helpful, the whole scene feels overly-familiar, trite, and painfully uninspired. Like when a girl accidentally spills on Mike’s jeans and Mike says, “What the fuck,” so Abby repeats “What the fuck,” and Colin wonders who she’s talking to. So Mike says, “I wasn’t talking to you,” and Abby says, “I wasn’t talking to you,” and Colin wonders who she’s talking to. (I mean, come on, screenwriters Nicole Eastman, Karen McCullah & Kirsten Smith—you guys can do better than this.)

The second set piece involves Abby accidentally wearing a pair of vibrating panties to a business dinner where she’s taken Colin, her date. And when the panties’ remote control falls out of her purse and is picked up by a curious kid at the next table, orgasms ensue. Firstly, the whole scenes a poor, sad man’s version of Meg Ryan’s orgasm scene from “When Harry Met Sally,” especially when another female diner watches Abby’s orgasm and says, “What in the ceviche?”

But more importantly—the scene does NOTHING to further the Abby-Mike relationship. The scene worked in “When Harry Met Sally” because the two of them were alone at a table, discussing women’s ability to fool men… and Sally’s performance not only proved her point, but it put Harry on the spot. So it illuminated their different belief systems—AND showed how far Sally would go simply to prove Harry wrong.

Yet the similar scene in “The Ugly Truth” lacks all the subtle character/relationship understanding of “Harry & Sally” and is nothing more than a soulless scene about a women having an orgasm in public.

So the lessons to take away from this, romantic comedy screenwriters:

1)   Make sure your romantic comedy characters each need—and receive—something from each other. Actors’ chemistry is not enough; each character must, on the page—and this is gonna be a poor choice of words, but I’m gonna use it anyway—fill very specific holes in the other. (EMOTIONAL HOLES! Get your head out of the gutter.)

2)   Make sure your major scenes and set pieces are somehow exploring and deepening the relationship between your two leads. This doesn’t mean they have to be visibly and obviously falling in love or showing affection—they can certainly be conflicting… and fall in love later—but it does mean we should be seeing new aspects of their relationship.

In fact, “The Ugly Truth” ends with an exchange of dialogue that beautifully illustrates all it’s greatest weaknesses…

ABBY: You’re in love with me? Why?
MIKE: Beats the hell out of me.

Exactly.

The Ugly Truth trailer

Movie Talk | Screenwriting (Film)

Tuesday, July 21, 2009 4:58:09 PM (GMT Daylight Time, UTC+01:00)

Comments [3]

Friday, July 17, 2009

WEBSITE OF THE DAY: JokeandBiagio.com
Posted by Chad

Hey, guys--

Just wanted to point out a great new blog/website...

For anyone wanting to learn more and break into reality TV, check out JokeandBiagio.com, a new blog from my good friend and super-talented reality producer Biagio Messina, which offers "tips, tricks, tales and tutorials on producing TV and film."

Biagio and his wife, Joke Fincioen, are the founders and Executive Producers of Joke Productions and have produced Beauty & the Geek (CW), Scream Queens (VH1), Foody Call (Style), Caesars 24/7 (A&E), as well as pilots and development projects for NBC, CBS, Logo, Bravo, and just about every other network you can think of.

...And now Biagio has launched a blog to help newbies and aspirants learn more about producing reality, telling nonfiction stories, and breaking into the business.

Joke and Biagio are incredibly talented writers, producers, and filmmakers (who I've worked with multiple times)... and Biagio is a technicial genius who can work magic with Final Cut Pro, After Effects, and all the other post-production software which I know nothing about. He has worked with and taught techniques to some of Hollywood's best post producers, including guys at Industrial Light & Magic, so if you have questions-- even super-technical questions-- about post software, don't be afraid to ask him on the blog... I promise: you'll get an amazing, dead-on answer.

A couple highlights from the blog...

Becoming a Producer with HOP (Hands-On Producing)

How You Get Your First Job in Hollywood

Anyway, there's some great info up there... and I know there's more to come... but you should also ask tons of questions... this blog is an incredible resource!

Books Tools Resources | Career Advice | Reality TV

Friday, July 17, 2009 1:55:39 AM (GMT Daylight Time, UTC+01:00)

Comments [0]

Tuesday, July 14, 2009

BOOK REVIEW: Bankroll
Posted by Chad

I’ve never worked in independent film. I like independent film. I have friends who work in independent film. I’ve written screenplays that could be independent films. But me, personally—I don’t think I could do it. For one main reason…

One of the main duties of an independent filmmaker is to round up money, the financing, and the thought of doing that—quite honestly—terrifies me. Not only because I’m terrible with math and numbers, but the idea of asking someone for money seems horribly awkward, confrontational, desperate, uncomfortable. Who do you ask? How do you ask them? What if they say no? If they say no, does it mean your idea sucks? What if they say yes? What if they say no and never talk to you again? What if they say yes and never get a return? What if they laugh at you?

These questions are so daunting to me I’ve never been able to fathom actually doing it… and I have near-total awe and respect for those that do.

But now comes a new book—Bankroll: A New Approach to Financing Feature Films, by Tom Malloy—that explains how to gather financing for your independent film from the perspective of a guy who’s done it. And most importantly, a guy who is—and I mean this in the BEST way possible—a COMPLETE NOBODY.

Bankroll walks newbies through the process of raising money for indie films with budgets of $300,000 - $8 million. Malloy talks about where to find HNI’s (High Net-Worth Individuals)... how to put together a business plan… and how to approach and pitch them. He also spends a lot of time coloring the lessons with stories and experiences from his own career. Normally, I’m not a big fan of books that claim to teach you the ropes and instead just spout their own stories, but Malloy strikes a nice balance; he tells a lot of stories, but he then uses each story to illustrate a lesson. And perhaps most importantly…

YOU’VE PROBABLY NEVER HEARD OF TOM MALLOY OR ANY OF HIS MOVIES. (Anyone seen—or heard of—The Attic? Gravesend? The Alphabet Killer?)

This, to me, is the book’s biggest selling point. We’ve all read books or articles about how Slumdog Millionaire got made, or Reservoir Dogs, or other “indie classics.” And while we’d all like to write the next Terminator or sex, lies, and videotape, the truth is… most of us won't. Most indie films come from small, but still talented, filmmakers just trying to raise enough money to make their movies and get them into contests, festivals, etc. If the movie goes on to become Star Wars or The Usual Suspects, great—but it’s nearly impossible to control or predict this. So while learning how George Lucas or Robert Rodriguez or Quentin Tarantino worked their magic is indeed inspirational, I usually find it unhelpful. Those men are anomalies, and it’s tough to learn to be an anomaly; this doesn’t mean we shouldn’t aim as high as possible, it just means it’s much easier to start learning at the ground floor.

(And just to be clear—I’m not saying you shouldn’t shoot to be the best you can be. I’m just saying that it’s tough to say, “I want to be the biggest, most legendary film producer of all time.” It’s much easier, and more realistic, to say, “I want to spend my life and career making good movies I love and care about.” If they go on to become the next The Matrix, great—but you can’t really engineer that to happen.)

This, to me, is Bankroll’s biggest selling point. When Malloy is telling stories about raising money for one of his films… or walking you through his sample business plan (which is great, by the way—like having a step-by-step template right in front of you)… or even just talking about how he psychs himself up for a pitch or investor meeting… you’re aware that the info is coming from a guy who, very recently, was in YOUR EXACT SHOES. Unlike George Lucas, who is light years ahead of the rest of us, career and money-wise, Tom Malloy is only one, two or three steps ahead of the rest of us… and he’s giving us the path to get where he is.

So if you’re struggling to figure out how raise money for your latest script… or you’re thinking of dabbling in the low-budget indie film world… take a look—it’s a great primer. And while I don’t think I’m quite ready to dive into the indie film world myself, I’m definitely a lot less scared.

Books Tools Resources | Career Advice | Screenwriting (Film)

Tuesday, July 14, 2009 4:49:16 PM (GMT Daylight Time, UTC+01:00)

Comments [1]

Wednesday, July 08, 2009

Sex & the Island
Posted by Chad

Thought you guys might be interested in these new DVD's, hot off the press from the Writers Guild Foundation...

WRITERS GUILD FOUNDATION RELEASES LOST AND MICHAEL PATRICK KING DVDs

The Writers Guild Foundation has released two new titles in its popular Writers on Writing DVD series - Inside the Writers Room with Lost and Michael Patrick King.

Inside the Writers Room with Lost is a special panel discussion with the creators of the phenomenally popular ABC television series. Producers Damon Lindelof and Carlton Cuse and writers Edward Kitsis, Adam Horowitz and Elizabeth Sarnoff talk about the story development and writing process on one of the hottest TV series in years.

Michael Patrick King is a writer/producer most renowned for executive producing Sex and the City in its latter seasons, and for writing and directing the film adaptation of the series. This disc is essential for fans of the series and for aspiring writers of romantic comedies.

Writers on Writing is a series of one-on-one (or in some cases, one-on-several) DVD interviews with Writers Guild Foundation moderators about the exceptional careers of some of the top screenwriters working today.

Both Inside the Writers Room with Lost and Michael Patrick King are available online.

Click HERE to purchase Inside the Writers Room with Lost ($24.95)...

Click HERE to purchase Writers on Writing: Michael Patrick King ($19.95)...

Click HERE for a complete list of DVDs of Writers Guild Foundation events.

Books Tools Resources

Wednesday, July 08, 2009 11:52:46 PM (GMT Daylight Time, UTC+01:00)

Comments [0]

Tuesday, July 07, 2009

Teach Your Kid To Be A Movie Critic!
Posted by Chad

Hey, folks--

This was such a fun and interesting event, I had to post it up here.

On Tuesday, July 21, KidsPickFlicks.com-- the movie review site for kids-- presents “Popcorn, Pop and a Paycheck: How to Get the Life of a Movie Critic” at the Variety offices here in L.A.

For those of you who don't know KidsPickFlicks, its a movie review site which was started five years ago by a Cole McNamara, a 9-year-old who was sick of seeing movies he enjoyed panned by adult critics. So he started a site where he reviewed kids movies from a kids' perspective... and where other kids could post reviews as well. It's taken off and is now run by Cole (who's 14) and his 9-year-old sister, Riley.

I interviewed Cole a few years ago, just as KidsPickFlicks was taking off... he's a great kid, incredibly savvy and articulate... and if you have children interested in movies or movie reviews, I have no doubt this will be a great program.

Basically, Variety critics Todd McCarthy, Brian Lowry and Justin Chang will meet with young, aspiring Leonard Maltins and Rober Eberts to share their stories of how they got into the business, what their life is “really” like, and the ups and downs of being film critics. Lowry will also teach kids his three fun and simple rules of writing a movie review.

If you're interested, here's the scoop...

WHEN: Tuesday, July 21, 2009; 1 - 2:30 pm
WHERE: Variety, 5900 Wilshire Blvd., Los Angeles, Calif.

Register kids 8 and older at KidsPickFlicks.com. Space is limited.

For more information, please contact Trish Vogel at Starshine Media, 615-400-3660 or Tara@KidsPickFlicks.com.

Riley's Picks & Icks (from KidsPickFlicks)

Career Advice | Classes Seminars Workshops | Digital Media and Web Series | Events Activities and Things To Do | Fun Stuff

Tuesday, July 07, 2009 5:07:04 AM (GMT Daylight Time, UTC+01:00)

Comments [1]

Thursday, July 02, 2009

Got Legal Advice?
Posted by Chad

Hey, screenwriters and filmmakers--

Just wanted introduce you to today's Website of the Day... Legal Ease, an outstanding legal Q&A blog from FilmIndependent.

It's been up and running since the beginning of the year, answering questions on everything from options and Writers Guild minimums to licensing songs and obtaining book rights.

All the questions are answered by Jesse Saivar and Matt Galsor, two lawyers from the LA-based entertainment law firm Greenberg & Glusker, and it's an excellent resource for writers, directors, actors, and producers who can't afford a high-end attorney but still need to get their questions answered quickly and completely.

So check it out... and if you want to submit a question, email Carolyn at CCohagan@filmindependent.org.

Books Tools Resources | Career Advice | Digital Media and Web Series

Thursday, July 02, 2009 2:04:15 AM (GMT Daylight Time, UTC+01:00)

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Click here for more information...WHEN: Tuesday, July 28, 7-10 pmWHERE: Beverly Hills Bar Assoc., 300 S. Beverly Dr., 2nd Fl., Beverly Hills, CA 90212COST: $65 ($50 for avantguild members)TO SIGN UP: Call 212-547-7890 or click HERE

Click here for more information...

WHEN: Tuesday, July 28, 7-10 pm
WHERE: Beverly Hills Bar Assoc., 300 S. Beverly Dr., 2nd Fl., Beverly Hills, CA 90212
COST: $65 ($50 for avantguild members)
TO SIGN UP: Call 212-547-7890 or click HERE