I realized that for all of my discussion about the Gotham Writers’ Workshop a couple of entries back, I neglected to post a link to it.  Enrollment is open for winter classes so if you’re interested in finally tackling that Outsourced spec script, here’s a potential launching pad:

http://www.writingclasses.com/

'Cuz losing American jobs is HILARIOUS! And India is so dang wacky!

I finally watched a film I’ve been eager to see.  Winter’s Bone tells the story of Ree Dolly, a seventeen-year-old girl living in a bleak, impoverished community in the Ozarks who has to find her crystal meth-making father before the family home is repossessed.  Total laugh riot, eh?  This film won Sundance earlier this year, though, and definitely earned that win in my opinion.  It’s raw and real…an unflinching look at a world I only glimpse at during certain episodes of Intervention on A&E.  Imagine navigating a closed community of ravaged, paranoid addicts and addict-adjacents just to keep a roof over your head.  The stakes are efficiently established from the get-go.  And what an unsettling journey it will be.

Except without the "intervention" part.

Watching films like this are a great educational exercise as I think about the type of movie I want to make.  Director Debra Granik shot it on the RED digital camera, a much cheaper option than a standard 35 mm movie camera and one I’m considering for Beneath the Surface.  I first heard about the RED from Athena Lobit – she and her sister Alyssa used the camera on their indie film The Things We Carry.  As digital cameras go, it’s a hot one now.  Films that don’t necessarily need to take the cheapest route possible are using the RED camera – films like The Social Network and the next installment of Pirates of the Caribbean.  I like the fact that a less expensive camera allows you to have more of them on set – two cameras give you that much more coverage, so you can get all of the action and reaction happening within a scene.  That can be crucial when it comes to a drama that hinges on realistic performances.

It just so happens to be my favorite color!

Which brings me to one of the things that impressed me the most about Winter’s Bone: the casting.  I’m again reminded of how critical the performances can be in an independent film.  There are two or three semi-recognizable actors in the movie, one of whom is John Hawkes (from the indie film Me and You and Everyone We Know as well as supporting roles on the HBO series’ Deadwood and Eastbound & Down).  As Ree’s alternately terrifying and protective Uncle Teardrop, Hawkes is commanding every time he’s on screen.  The lead actress, Jennifer Lawrence, also gives an especially powerful, genuine performance – her character exhibits a toughness and weariness that feels all the sadder given that the character is only seventeen.

Lawrence was a relative unknown when she was cast in the lead role.  In fact, most of the speaking parts were cast locally in Missouri.  And I think Granik and Anne Rosellini (producer and co-writer on the film) were smart in taking the risk of using unfamiliar actors, marketing departments be damned!  Every choice they made was pitch-perfect – the actors selected truly seemed to inhabit their roles.  And this wise dose of authenticity kept me focused on the story rather than distracted by any “name” actors.   Even indie filmmaker Gregg Araki says of the film that he “hadn’t seen a world as unusual as this since the movie Avatar.”

You may not recognize her now...but just you wait...

When I attended the Independent Filmmakers Forum we were given a huge booklet of information and resources to utilize.  The book also included case studies of a variety of low-budget films; Winter’s Bone was one of the movies profiled.  I appreciate the parting words Rosellini offers up in regards to her filmmaking experience.  “Bottom line advice: choose well whom you work with,” says Rosellini.  “…You’re more conscientious about keeping things healthy and in a good space if you’re starting off there.”  She and Granik certainly chose well.

NEXT UP: I’m blogging from Britain, Mates!

Hello, dear readers!  I’m afraid this post is going to be short and sweet as it’s been a busy week.  In addition to much activity happening at the office, my ex-boyfriend-now-good-friend is in town visiting.  JJ is what you might classify as an acquired taste – he is a unique individual with an energy level and intellectual curiosity that is both astounding and exhausting.  At some point, I may unleash him to do a guest post on this little ol’ blog of mine. (Consider yourselves warned!)

With JJ in town, my last few evenings have been filled with lengthy dinners and discussions.  We happen to share the same birthday (albeit a few – okay, eight – years apart with me playing December to his May) along with a serious passion for films.  In fact, we first met in an AOL movie chat room back when AOL was relevant. (Seriously, people, do AOL chat rooms still exist in the evil empire that is Facebook?)

Make room for the social network!

 The great thing about JJ (in addition to his commanding karaoke skills) is that because he is a voracious student of movies, he introduces me to films and filmmakers off the beaten path.  We generally have the same cinematic tastes although we do lapse into Siskel & Ebert territory on occasion. (Just ask certain friends and family members who have been the trapped bystanders witnessing our ardently argued disagreements – so sorry, loved ones!)

I'm Siskel, he's Ebert. I'm also always right.

Luckily, a recent discovery had us on the same cinematic page…er…um…screen.  There is a lovely short film that JJ insisted we watch the other night.  It’s called Cousin and it was created by an Australian stop-motion writer/director named Adam Elliot.  Despite my initial skepticism at watching a film I had never even heard of, I ended up being totally charmed by it.  It’s a great example of simple, poignant storytelling married to enchanting visuals, which just happen to be molded out of clay.  Do yourself a favor and spare four minutes for it.  I dare you to not be moved by it!

\”Cousin\” by Adam Elliot

NEXT UP: No wonder it ruled Sundance this year:  WINTER’S BONE.

This week I had the honor of reading the work of two writer-friends of mine who are in the throes of readying projects to pitch.   One friend had an outline to share while the other had a pilot script based on a popular blog that he created and helmed for a few years.  Both friends are really strong, entertaining writers with a fun range of concepts, so I was thrilled to be asked to offer my feedback.

These analytical exercises are a good reminder of how critical the “reading” experience is to screenwriting.  I always appreciate receiving feedback, but I also find it helpful to give it.  It’s exciting to see new ideas take fruition and I enjoy the challenge of figuring out what works and what needs more honing in a project.  In resolving these elements, I am hopefully making myself a better writer.

I didn’t study film in college (yeah, one of those woulda/coulda/shoulda regrets), so I was never formally trained in screenwriting.  While I’ve always loved film, I didn’t really start writing until six years ago.  When I started out I read a number of helpful “how to” books – Save the Cat, How Not to Write a Screenplay, Screenwriters’ Master Class to name a few.  I also had the good sense to take a class in screenwriting.  Like most 21^st century knowledge-seekers I turned to the internet to find my source of movie-making education.

You DO hold all the answers!

Thanks to Francis Ford Coppola’s Zoetrope website, I stumbled upon The Gotham Writers’ Workshop, which is based in New York City.  You can attend live classes there yet they also offer online classes.  This allows those of us who don’t live in the Big Apple to sit in our pajamas and share a virtual classroom with people from all over the world.  It should be noted (pay attention you writers out there!) that the organization offers a wide variety of writing classes, ranging from fiction writing to blogging to travel articles.  I’ve taken three screenwriting classes from the Writers’ Workshop and they’ve all provided me with the following: 1) the structure of deadlines, which forced me to write regularly; 2) helpful information about creating compelling cinematic stories; 3) exposure to some really amazing…and amazingly bad…screenwriting. (Okay, I’m not saying I’m William Goldman by any stretch, but there were some people in class who thought Joe Esterhaus was the embodiment of artful writing.)

A blight on your Final Draft program!

Appropriately enough, I had dinner tonight with one of my former Gotham classmates, Mr. F.  Yes, he and I have gone from exchanging ideas over the info superhighway to actually meeting face-to-face.  Mr. F was living in New Jersey when we landed in a screenwriting class together and he was an immediate standout.  Simply put, I was blown away by his writing.  Talk about a strong, confident voice – his characters were clearly drawn and grounded in reality and his descriptions were the kind of verbiage I aspire to create myself.   I knew I had to stay in touch with him.

And he made it that much easier for me by moving to Pasadena with his wife earlier this summer!

What a treat it was to sit across a table from him tonight and compare thoughts on writing, movies, music, etc.  It made me realize that one of my goals in establishing my production company is not just to further my own projects, but to offer a channel through which the creations of others can gain notice.  There is so much talent out there creating meaningful, original work and that talent deserves to have an advocate.   I would love to be that advocate – hey, it’s a win-win situation because the talent gets produced and *I* look like a genius!

The Greatest Show on Earth!

NEXT UP: Small Screen Scrutiny

At the Filmmaker Forum last weekend, I sat in on two panels that featured independent film producer Celine Rattray.  Her credits include a number of small movies I’ve heard of but have never seen (Lonesome Jim, Grace is Gone, New York, I Love You) and one big-small film that I’ve heard of and am very eager to see: The Kids Are All Right.  I’m guessing a lot of you have seen the film – it’s been one of the year’s best-reviewed movies and provided a headier alternative to the usual summer blockbuster fare.  The one-sentence logline to describe the plot (courtesy of movies.com): The son of a same-sex couple seeks out the sperm donor who made his birth possible.  Or as Dave White tags it in his own movies.com review: Moms Interrupted.

How about Mark Ruffalo instead of David Crosby?

According to producer Rattray, you would think the film had everything going for it when she initially started shopping it to studios and potential investors looking for a low-budget project.  1) Proven art house writer-director Lisa Cholodenko (High Art, Laurel Canyon) was at the helm; 2) Well-respected actresses Annette Bening and Julianne Moore were attached; 3) The material, while provocative in its exploration of “non-traditional” families, was timely and relevant; 4) It was packaged as a comedy – always a good selling point.

Over 500 executives/investors/Hollywood-types passed on the film.  PASSED.  I believe the final number was 576.  Rattray made a note of it.

"You're Passing? Mm-hm...okay. I'm just adding you to the list."

In the end she found thirteen investors to pool together $4.3M to make the movie.  She was also fortunate enough to line up a distributor, Overture Films, as the film went into production.  Then halfway through shooting, that partnership fell through.  Rattray was devastated.  Her investors were nervous.  Like most indie films, Rattray’s hope was now with film festivals and positive word-of-mouth.

Victory #1: The Kids Are All Right was accepted into Sundance.

Yes, it's another shameless Sundance plug!

Rattray had screened films at the festival before.  But this was the first screening she attended for one of her films where the distributors sat through the Q&A afterwards rather than rush off to another screening.  Within hours, Rattray found the film the object of a bidding war between seven prominent distribution companies including Summit, Focus Features, and The Weinstein Company. And when it came time to make a final decision about which company to go with, it was no longer about the money – it was about which distributor would best serve the film.

Focus Features won out because it was clear to Rattray that they had genuine passion for the movie and were well-calibrated to position it, having found success with their campaigns for Brokeback Mountain and Milk.  Focus bought the distribution rights for $7M.  So before the film had even experienced a proper theatrical release it had already more than earned back the initial investment put into it.  All in the course of one night.

Let's get this party started!

Now I’m not going to kid myself that these scenarios are common.  While it’s exciting to hear about the Little Miss Sunshines and Slumdog Millionaires and all of those other little-films-that-could, I know that they are the exception not the rule.  But those are the stories I will cling to when a well-tailored agent from one of the top agencies in town politely tells me that “drama” is a dirty word while surreptitiously glancing at her strategically placed Blackberry during our ten-minute meeting.

Don't think I didn't notice!

Yeah, Lady…were you among the 576 to pass on The Kids Are All Right, too?

NEXT UP: It’s a mystery wrapped in an enigma enveloped in foggy blogginess.

This past weekend I attended the Los Angeles Filmmaker Forum.  Film Independent hosted it at the very cool Directors Guild of America building.  For a fee, working/aspiring filmmakers get to sit in on seminars and panels that feature a variety of industry types sharing their own unique case studies related to the indie film world.  The forum serves as a resource of information, inspiration, and cautionary tales.  Is it worth it for a struggling filmmaker to shell out a couple hundred bucks to attend?  Every penny.

Panels and Seminars and Case Studies, Oh My!

I’ve decided to list a sampling of the notes I took throughout the weekend.  Needless to say, I was an information-absorbing sponge.

Valuable tidbits (read: paraphrased/extrapolated from my chicken scratch notes) from keynote speaker Joe Drake  – COO/President of Lionsgate:

• “It’s not only innate talent that helps achieve success, it’s intense practice to master your craft.”
• “Learn from the ‘nos’ that you get.”
• “It’s not okay in this business to simply have a dream.  You have to have a plan.”
• “Does your project fit within the context of what the market tells you it wants?”
• “Words you want to hear: Hysterical.  Heartbreaking.  I couldn’t stop talking about it.”

I couldn't stop talking about it...

Other stuff I gleaned from various panelists:

• When evaluating state tax incentives, be true to your project.  Shoot the right movie in the right place.
• A tax rebate is better than a tax credit.  Especially when it comes to paying back your investors.
• You have to have so much passion to power through the rejection.  Accept that rejection is part of the process.
• The producer’s job is helping the investor/distributor see the film’s potential.
• Casting is insurance – distributors like “above the title” names.

Name above the title? DONE!

• The windows (theatrical, home video, video-on-demand, etc.) are collapsing.  The new financial model will be ubiquitous distribution.  Instant cinematic gratification.
• Don’t forget the importance of behind-the-scenes materials (especially publicity stills!) and social networking.  Generate buzz as early as possible.
• Don’t give away the worldwide airline rights! (Weird advice but, hey, maybe my Admiral’s Club membership will give me some clout in this arena?)
• If you’re not succeeding financially from your film, you’re not going to be able to sustain your career.
• When deciding on a distributor, make a choice that serves your investors, but one that will also get the film out there to be seen.
• “No” means “Yes, just not yet.”
• Friendraising is just as important as fundraising. The friends you make along the way are the future ambassadors for your film.

Thanks, Future Ambassadors!

That last point (from Wendy Cohen at Participant Media) is one I thoroughly agree with.  So thanks for staying engaged, reader-friends-ambassadors!  You are important to me.

And another valuable take-away from the forum is that I got to shake the hand of screenwriter John August! (A link to his blog can be found screen-right.)  I gave him twenty-seconds of my best gushing.

I'm you're biggest fan! (But not in a "Misery" kind of way. I promise.)

There’s more to reflect on post-forum, but I’m a little too tired to delve into further detail.  And, oh yeah, did I mention I am no longer in escrow?  Ah, fickle home buyers…you didn’t deserve my condo anyway.

NEXT UP: Apparently, “drama” is a dirty word.  More tales from the Filmmaker Forum.

An offer has been made on my condo.  Yes, I’m in escrow.

I’m not exactly sure what “escrow” means other than a ton of paperwork to sign and a heightened awareness of rental notices around my neighborhood.  I have thirty days to find my next living – and, hey, working – space, so I’m trying to be mindful of what will provide me with the best environment for the anticipated (i.e. hoped for) productivity ahead.  Plus, I have to make sure it’s a place that Lucy and Sophia will like.  Those four-legged creatures have discriminating taste.

Is there a dishwasher and washer/dryer hookups?

As the year speeds along and my 2011 “Sabbatical” approaches, I find myself thinking a lot about what this interval is going to be like.  I’ve been working steadily for almost two decades now and soon I will have the luxury of time.  Total.  Unstructured.  Time.

<GULP!>

Priority number one will be re-establishing some of that structure.  For it gets a little scary to envision one day blending into the next…and me camped out on my sofa glued to marathons of The Real Housewives of Atlanta while monitoring my Facebook newsfeed.  If I become a disciple of the Mighty O, I’ll know I’m really in trouble.

Add Oprah and I've entered my own private Hades...

After all, I do have things to do.  I have a film to make!

And I know the first few months will entail the continuing recruitment of investors.  Phone calls, e-mails, general schmoozing.  But I don’t think it’s going to fill up entire days.  So I need to set some goals – get that list going, DLB!  1) Write another screenplay in 2011…maybe two; 2) Workout regularly – even on those cold, dark mornings when I’m snuggled cozily in my nest of a bed; 3) Attend/watch more movies; 4) Volunteer frequently – you get what you give; 5) Visit more museums – heck, the Norton Simon museum and the Huntington Gardens are practically in my backyard!; 6) Do a better job of keeping in touch with faraway friends. (Consider yourselves warned, Nicole and Wendy and many others!)

So much culture, so little time...

In general, I will try to better myself as a human being.  I need to savor this upcoming freedom.  I’m a very lucky lady to get this gift of creative independence, so I promise not waste it.

And being the movie nerd that I proudly am, I do have to offer up another cinematic gem for your consideration.  Today’s thirty-minute treadmill tango had me scanning the cable channels until finally landing on a classic that I’m going to assume we’ve all seen: WITNESS.  I was at the height of my Harrison Ford crush when the film came out and I just happened to be celebrating birthday number sweet sixteen.  It was the perfect storm of teenage hormones mixed with hunky actor mixed with filmmaking greatness.  So seeing it again this morning, if only for a brief period of time, had me in awe of its effective simplicity and emotional authority.  Understandably, the film is often sighted as a great example of compelling cinematic storytelling.

John Book = My Bestseller List!

So many of the movie’s stunning visuals reminded me of some of the Dutch Masters I studied in art history class.  Director Peter Weir used a lot of stark composition and limited light sources to capture the austerity of the Amish lifestyle.  He also chose to shoot some key character moments from behind, which I found very interesting and, ultimately, powerful.  We don’t see detective-in-hiding John Book’s face when he calls back to Philadelphia and first hears the news that his police partner has been suspiciously killed “in the line of duty.”  But Weir’s tight close-up on the back of Book’s head still cues us to know that the character has turned an emotional corner and is not long for the straw-hat-wearing, barn-raising, milking-cows-at-four-thirty-in-the-morning lifestyle.  No matter how yearningly a radiant Kelly McGillis stares at him.

Seriously, dear readers, instead of renting some mediocre “I-heard-this-was-okay” Netflix offering, why not revisit a film-watching experience that’s guaranteed to be satisfying?

Wait a minute…I think I need to start following my own advice.  Add it to the goal list!

How many more stairs do I need to climb?

NEXT UP: Speed Dating Hollywood-Style.  Hello, Los Angeles Filmmaker Forum!

I stumbled across the beginning of Superman this past weekend.  What an amazing movie.  And I’m talking about the original Richard Donner-directed one, not the bloated, empty Bryan Singer version.  I remember seeing Superman when it first came out in 1978.  I was only nine years old, but I was totally blown away by the wonder of it all.  I really did believe a man could fly.

I BELIEVE!!!

Watching it again in the year 2010, I was struck by how it still holds up.  For me it is the quintessential superhero film, high above the rest.  I only got to see the first twenty minutes of it, but I wondered if a big-budget franchise of today could open in the same way?  For the beginning isn’t some big, explosive, action-laden set piece; rather, it simply establishes the origin of this particular superhero.

It opens on the planet Krypton where we meet the principled Jor-El (father to the future man of steel – and played by the superhero of actors, Marlon Brando).  He leads a tribunal against some traitors to the planet (conveniently setting up Superman 2) and then unsuccessfully tries to urge his peers that Krypton is on the brink of destruction.  He can’t convince them, though, so he makes the choice to send his infant son off in a star/snowflake-shaped satellite to have a future on a distant planet called earth.  It’s all very serious and, some might say, ponderous, but I’d argue that it effectively presents us with Superman’s back-story and makes us care about the character.  We get on board with this strange creature and his superhuman powers.

Make Krypton proud, son.

I didn’t get to watch the rest to the film, so I missed the lovely performance by Glenn Ford as the earth father to Clark Kent/Superboy.  Yet, I remember so vividly how powerful those early scenes are in the film.  Again, they set-up the emotions that the boy wonder has to contend with – being a stranger in a strange land, feeling both attached to its inhabitants and isolated by them.  We empathize with him and also aspire to be like him.  And, of course, when Superman is fully realized and makes his way to Metropolis, then the real fun and games begin!  Lois Lane, Lex Luther, Perry White – all rich, layered characters who are grounded enough in reality to keep the emotional stakes high for Clark and Superman.  Breathtaking adventure all around.

Best First Date Ever

And is there a better opening credit sequence in the history of film?  Against a black backdrop, names fly towards the audience while the incredible John William theme plays underneath.  Maybe the purpose of such exciting credits are to counter the more serious, dramatic, anti-action tone of the opening scenes.  In any case, those credits are AWESOME!

Here they come!

NEXT UP: Did I mention I’m in escrow?

Aside from the general work craziness that comes when you’ve been away from the office, I found that I over-programmed my evenings this first week back.  It was all good stuff, mind you, but I am now feeling the effects this Friday evening.

On Tuesday night I enjoyed a delicious home-cooked dinner prepared by fellow transplanted Madisonian, Jesse.  She was housesitting for a co-worker and had three charming doggies under her care.  Of course, I thought it was a brilliant idea to bring my beloved high-strung Lucy over to join in the fun of this canine club.   Despite a few instances of raised hackles and bared teeth (mostly between Lucy and Polly, the playful juvenile for whom Lucy had little patience) all four-legged creatures escaped unscathed.  (Meanwhile, the two-legged creatures were slightly anxious, but well-fed!)

We need you, Cesar!

Wednesday night had me assuming one of my favorite roles: patron of the arts.  My good friend and regular theatre-going buddy, David, and I went to see The Glass Menagerie playing downtown at LA’s Mark Taper Forum theatre.  This production stars Judith Ivey as the formidable-yet-misguided matriarch Amanda.  In addition to acquiring a couple of Tony awards for her other prominent stage work, Ivey’s been in a bunch of films including The Lonely Guy, The Devil’s Advocate, and Flags of Our Fathers.

I am a big Tennessee Williams fan and I was excited to revisit this play since the one and only time I saw it was in high school.   Back then it featured an Amanda who had just acquired her Driver License, but I still found myself moved by Williams’ language and the trapped and tragic nature of its primary familial trio.

The production at the Taper was interesting and thought-provoking because it was a much different interpretation than the play I remembered.  There was a broadness to the performances, which resulted in many laughs from the audience.  I thought this play was more drama than comedy?  This isn’t to say that the actors were caricatures, but they were “actorly” and affected much of the time.  I was put-off by it at first, but I also found some startlingly fresh interpretations of the dialogue among these choices.  It served as a reminder of how words on a page can be internalized and delivered in such a way that it has a significant influence on the overall tone of a piece.

Hey, you, in the balcony! Can you see us emoting?

Is it strange that in this particular staged version, the most authentic performance came from TV/film actor Ben McKenzie as Jim, the Gentleman Caller?  This guy was in The O.C. for godssakes!  I always feel trepidation about watching attractive on-camera actors trying to flex their muscles with the stalwarts of theatre.  But McKenzie did a great job – and I commend him for diving in with confidence and commitment. Then again, the Gentleman Caller is described in Tom’s opening monologue as “the most realistic character in the play, being an emissary from a world of reality that we were somehow set apart from.”  McKenzie definitely inhabited the part.

Not Just Another Pretty Face

Last night (Thursday) was Friday Night Lights catch-up time for me and my pal, Kevin.   We’re almost done watching the fourth season of this overlooked series and, oh, what a good season it has been.  Clear eyes, full hearts, can’t lose.  Plus, I got to meet Kev’s two new feline wards, Emma and Jasper.  While they remain ensconced in Kevin’s guest bathroom, our regular visits to them throughout the evening brought ridiculous amounts of kitten adorableness.

And today…well, today started with a Martial Arts demo in the Nickelodeon gym.  Ninja martial arts to be exact.  A certified Sensei and two of his talented, brave, and bruise-worthy students hosted the exhibition which included a fair amount of striking, resisting, and quick kicks to the floor.  I got to witness this demo because I have the honor of working on a certain pilot that requires this type of research.  The pilot is about ninjas…and teenagers…and turtles…and mutants.  And it’s pretty damn cool!   I learned that, at heart, ninja martial arts are defensive.  The Sensei asked our group what we thought the difference was between offensive martial arts and defensive martial arts.  The answer?  Intention.  Those on the defensive must stay relaxed and intuitive to whatever force may strike – they anticipate and act accordingly.

Don't mess with me!

This could be a useful philosophy for a first-time indie film producer navigating some unpredictable Hollywood waters.

NEXT UP: Hmmmmmmmm…I’m sure I’ll figure out something!

Now that most of my businessy writings are just about done, I’m ready to get back to the business of writing.  Screenwriting, that is.  For the fuel of Deliberate Productions is supposed to be my creative projects, correct?  And I’ve neglected my Final Draft software for far too long.

I have two screenplays I’d like to bring to acceptable draft status before the end of the year.  One is a sci-fi thriller and the other is what I like to call a coming-of-age monster movie.  Yeah, I’m a regular genre masher.  The latter was written this past April during a challenge known as Script Frenzy.  Script Frenzy is based online and the collective mission is simple: Write 100 pages of original scripted material in the thirty days of April.  There’s no fee to enter and there’s no prize to win – except for the coveted bragging rights of knowing you completed (or are on your way to completing) a screenplay.

Feel the Frenzy!

Here’s the website link: http://www.scriptfrenzy.org/

Being a girl who likes structure, I really welcome this month-long experiment.  I think a major obstacle for writers to overcome is simply having the discipline to write.  We have so many distractions surrounding and tempting us (Project Runway, martini shaking, Facebook) that it can be difficult to make time to write on a regular basis.  In fact, one of the things I appreciate about the occasionally arduous task of maintaining this blog is that it provides me with an outlet to generate some creative writing every few days. (Although you may disagree with the “creative” part.)

Anyway, Script Frenzy is from the creator of another popular online challenge, National Novel Writing Month.  And that event is coming up in November….yes, NEXT  MONTH.  The challenge is described on the website as “thirty days and nights of literary abandon.”  I haven’t taken part in it because I find prose so intimidating, but I thought it was worth mentioning to those of you who may be itching to break out that next Oprah’s Book Club contender buried deep within your creative soul.

I have the power to anoint you!

If you think you can write 50,000 words in thirty days (that’s 1,666 words a day), then I encourage you to check out the website: http://www.nanowrimo.org/

Who knows?  Perhaps you’ll be so inspired by your accomplishment that you, too, will start a blog devoted to creative pursuits.

Whoa. This blog excerpt is totally fascinating. Who is dlb?

NEXT UP: The Week in Review

Autumn is my favorite time of year and it is particularly beautiful in Wisconsin.  And right now it’s also seventy degrees here.   We’re in October, right?  I could get used to this.

Check out those colors!

I have spent the last few days working out of my mother’s office: Marcia Brenner Associates.  My sister, Alicia, and brother, Peter (aka: the Prince), work here, too, so it’s a full-fledged family affair.  It’s been nice hanging out in the conference room – partaking of the free soda and internet access.  I have a feeling I will be spending A LOT more time in this room come 2011.  I think Peter is already trying to figure out how much to charge me in rent.

Deliberate Productions: Madison Branch

Executive Producer Dad and I have been finalizing the business plan.  We had our first official conference call with Stuart Markowitz (aka: attorney for Deliberate Productions) to get his insight on federal tax incentives.  After analyzing the potential numbers, I think my Dad has concluded that Hollywood studio executives  are worse than Wall Street executives.   We have our gameplan, though, and we’re starting to put out the proverbial feelers for accredited investors.

The trip overall has contained ups and downs – since inconsistency and unpredictability seem to be the norm on this movie-making adventure, I’m just trying to go with the flow.  It’s always an “up” to spend time with my family – especially my two kooky nieces.  Their refreshingly straightforward world-view helps me keep my own in perspective.

Obviously, it was disappointing that Dad and I had to cancel our fundraising events.  It was yet another reminder of how challenging the money-raising is going to be.  Investing in movies is a high-risk venture, so how do I make Beneath the Surface stand out as a potential money-maker?  Every little bit of validation helps.

Is it misleading to say Taylor Kitsch is attached? (In my fantasies...)

Alas, that validation didn’t come by way of a Producers Lab offered by the Los Angeles organization Film Independent.  Film Independent runs the LA Film Festival as well as the Independent Spirit awards – it’s an impressive organization dedicated to educating and supporting the independent filmmaker.  The organization hosts a seven-week Producers Lab, complete with comprehensive seminars and discussions, for budding producers who have a specific project they’re trying to get off the ground.  I applied for it back in July and found out yesterday that I (Applicant #1854) am not one of the twelve lucky participants selected to take part in it.  <SIGH>  I know it would have provided some great insight, practical advice, and helpful exposure at an ideal time for me since I’m at the beginning of my journey.  Being part of that lab would have also given Beneath the Surface that extra oomph of validation.  I find myself once again drawing from the coaching staff of the New York Jets (as seen on HBO’s Hard Knocks): discouragement is the strongest tool in the Devil’s arsenal.  So I’m banning it from my brain and still keeping my fingers firmly crossed for Sundance!

Please believe in me, Bob!

As for the other “ups” of the week…

While in NYC, I chatted with a highly successful producer there who I met through a mutual friend.  The guy had a big hit a couple of years ago that has catapulted his company into major film and television deals.  The best part about him, though, is that he’s a really cool, down-to-earth person.  We talked for about half an hour and seemed to share the same cinematic sensibilities.  I pitched him a few of my script loglines, including Beneath the Surface, and he asked to take a look at my work.  Three script PDFs have now been e-mailed off to him and I’m hopeful that he might take an interest in one or more of my projects.

Do we have a deal?

Another “up” occurred on Wednesday night, which was supposed to be the night of the “wine & cheese” fundraiser.  Dad and I thought it might be a good idea to head over the restaurant where it was supposed to happen just in case any invitees appeared for the canceled event.  We parked ourselves at the bar with a clear view of the front door.  No stragglers showed up, but we did end up talking with the man sitting next to us.  His name is Larry.  Larry works in flood insurance.  Now, I realize this may not sound like the most glamorous of encounters, but it’s significant to me because the catalyst for my film is the discovery of a car at the bottom of a flooded out lake bed.  Yeah, when you’re the writer typing that setting into your script it sounds like a powerful, haunting opening image; but, when you’re the producer trying to figure out how the heck to execute it, a few more wrinkles appear on your forehead.  Where do you find a dried out lakebed?  In Wisconsin?  Well, Larry knows – he’s an engineer whose livelihood is studying the effects of floods.  So when it comes time to shoot that scene, Larry will be able to help us.  A small victory – and one I’ll cling to as I keep plodding forward.

One more thing: I stumbled upon this trailer today and it reminded me of why I love movies in the first place.

The Return of Rooster!

It may be a remake, but I CAN’T WAIT to see it!  All hail the Coen Brothers!

NEXT UP: Back in La-La Land.  Who knows what the smoggy bloggy will bring?