Episode 95
Screenwriter and BlueCat Founder Gordy Hoffman
Gordy Hoffman Talks About Kickstarter And Having A Long Lasting Screenwriting Career
Episode 94
Matt Dy - Austin Film Festival Screenplay & Teleplay Competition Director
Austin Film Festival Screenplay & Teleplay Competition Director, Matt Dy, Talks About The Competition
Episode 93 - Director Michael Polish Of Amnesiac
Director Michael Polish talks about his latest thriller film, Amnesiac, Starring Kate Bosworth and Wes Bentley
Episode 91
Lee Jessup offers practical advice for both professional and emerging screenwriters.
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EXCERT FROM THE PODCAST:
As many of you know, this has been one of the most exciting months in the history of the Jacob Krueger Studio. We have recently signed a lease on a new location in New York City with an expected opening date of January 1st. We're going to have three brand new classrooms, eight one-on-one offices for our Protrack mentorship program, and plenty of space for our students to write and to gather.
This is the culmination of a dream that started about ten years ago for me and my staff. And in the process of finding and now building out that space, I've learned a lot of lessons, many of which apply not only to New York City real estate, but also to screenwriting.
So, in this series of podcasts I'm going to be sharing some of the lessons that I've learned and how they relate to screenwriting.
LESSON #1: The perfect space & the perfect idea have one thing in common:
Neither Of Them Actually Exist.
Over the past six months I have probably looked at about five hundred spaces all throughout New York City. And I'm not even going to talk here about the spaces that were obviously not a fit for my school, I want to talk about the ones that potentially were.
Because the process of finding a space is a lot like that unenviable hunt for the perfect screenplay idea. Oftentimes during the process of searching, it feels like we're never going to find that right idea or we're never going to find that right space. |
In this live Curious About Screenwriting podcast, we offer a teleconference with Jen Gristanti – one of the top writing coaches and consultants in the business right now. Jen is also an instructor with NBC’s Writers on The Verge, and was previously a programs executive under Aaron Spelling. Jen, alongside the Director of Community Outreach with the ISA, Max Timm, offers her insights on the writing process with a focus on how character drives story and the importance of balancing character and plot. Very basically, character drives plot and plot drives character. She uses many examples of current and past shows, but the focus of this interview really is the Q&A portion and answering the callers’ questions. We answer multiple questions that focus on many different topics – from the business of writing in general, to the specific gem at the end about what should and should not be included in a TV series bible.
As always, get your pen and paper handy and take notes. What Jen offers here is invaluable on so many levels, but one of her core missions is to support a writer’s overall growth as a writer – in other words, it’s more than just giving story advice. She gives the kind of emotional and motivational support that all writers need. We hope you get a lot out of this Q&A, and please share these podcasts with anyone who you believe will learn from them. Don’t forget to find the Curious About Screenwriting podcasts on iTunes and to rate us there. We offer these interviews to you for free, and getting your rating on iTunes helps us push forward in our mission to provide top quality content through the International Screenwriters’ Association. Thanks and enjoy.
One of the most well-connected guests we’ve had on yet, Tony Krantz joined us to talk about a number of things – so many of them we could have discussed even further in depth – but after working as an agent with CAA for 15 years, Tony went on to help create Imagine Television. From Imagine he moved on to direct his own films, and now he’s writing and developing major TV projects. A fascinating career, really. From packaging shows at CAA such as Twin Peaks, The West Wing, ER, and then producing the Fox mega-hit, 24, and so many others, Tony’s career is something most industry people dream of. He has been able to work at all levels of the industry and continues to focus on his artistic side through his new TV projects in development.
Probably one of the more enlightening aspects of this interview is Tony’s breakdown of how the TV industry is working right now, and comparing it to the feature and movie world. It’s an extremely exciting time with so many opportunities, and with Tony’s breakdown, we can see why the opportunities are there, especially in television.
Enjoy this interview, everyone, and a huge thank you to Tony for joining us. We wish him all the best on his future projects. And don’t forget, subscribe to Curious About Screenwriting on iTunes! By subscribing, you can be sure that all future episodes will be automatically downloaded for you, and while you’re there, feel free to rate us. Your opinion matters. Thanks so much for listening and enjoy our interview with Tony Krantz.
Danny Rose joined us on another podcast today, and Danny has been producing some of the best episodic television for 20 years. After graduating from NYU’s Tisch School of the Arts, he started working on the hit sitcom SPIN CITY. He then went on to produce 182 episodes of the show SCRUBS, which is nothing short of impressive, and then produced another hit over 100 episodes even of the Courtney Cox starring show, Cougar Town.
He’s currently producing the hit CBS drama SCORPION (Mondays at 9pm/8c) and the MTV show TODRICK, which recently premiered at the end of August. Danny is one of the busiest guys in town, as you can see, and the advice he gives to aspiring writers and filmmakers is inspiring to say the very least. From getting bad advice from a psychic, to discussing the future of TV, it was a pleasure to have Danny on and we can’t wait to see what he works on next. In the meantime, we’ll continue to enjoy Scorpion, and heed his advice at every writing corner possible.
Thanks as always for listening, and please subscribe to Curious About Screenwriting on iTunes. By subscribing and rating us, you help in the ongoing production of these fantastic interviews. Keep writing, and happy listening.
A long time friend of the ISA, Jeff York has been our most dedicated member of the ISA Development Program. His work has landed him multiple contest wins and placements, but his understanding that writing is rewriting has allowed him to be the consummate participant in his writing development process. We are continually pushing Jeff’s work to multiple companies and managers around town, and expect Jeff and his material to land in the right hands soon. His comments and advice in this interview on the writing and contest submission processes are invaluable, and we can all learn a lot from Jeff’s continued devotion to the craft.
Hailing from across the pond, Steve Prowse is a UK-based writer with well over 100 contest wins and placements under his belt. After sifting through multiple projects and searching for a way in to this ever-evolving writing world, Steve’s continued Success Stories posted on the ISA’s website helped the ISA discover him and his work. By posting his contest wins on the ISA website, one of his projects was sent out to various production companies, and now has a mid six-figure option! Steve is on his way to great success, and we couldn’t be more excited for him.
The ISA’s recent Fast Track Fellowship picked two winners to join us in Los Angeles and take meeting with nine mentors – executives and experts within the entertainment industry. Chris DeWan's TV pilot, Wunderland, has garnered him interest over the years, but his Fast Track experience, as he explains in this interview, has truly lit a flame under his burgeoning career. Having taken a literary approach to his writing since his early days, his continued dedication to the writing craft has proven that with hard work and determination, good things can and will happen. Chris is an example of a writer that has a calm, never say die attitude, and his this spotlight interview he shares his process, expectations and excitement for what he loves to do.
A recent Fast Track fellow, David Baugnon’s TV pilot, The Messiah Project, was one of the two winning scripts chosen for the second round of the ISA’s Fast Track Fellowship. His insights on how his life experience has become invaluable to his writing process continues to inspire not only himself, but others around him. The ISA is proud of our Fast Track Fellows, and we’re excited to see what kind of success can be mined through the mentor meetings he participated in during our recent Fast Track week. David has been working hard as an aspiring screenwriter since the late 90’s, and now he is beginning to see the light at the end of the tunnel. The ISA will devote itself to continuing David’s success and look forward to seeing where that success will lead.
Having worked her way through Hollywood as an actor for many years, with guest starring roles on various sit-coms as well as an initial soap opera offer that technically drew her out to Los Angeles in the first place, Jamie Anderson has since switched gears and focused her time on screenwriting. Her comedic voice is hip and at times politically incorrect, but all the while extremely entertaining and engaging. Her comedic writing chops recently landed her as a finalist in the TrackingB.com screenplay contest, and that placement helped her find representation with Luber Rocklin Entertainment. Jamie is a rising star within the ISA’s Development Program, and we look forward to pushing her career forward even further.
It’s no easy feat being a screenwriter. We all know that. But telling a story and writing a script the reader can “see” is only part of the challenge. We also need to ensure the script grabs the reader and keeps them hooked through 100 plus pages all without the benefit of actors, music or special effects. One of the ways to do this effectively is through a compelling theme. In this podcast with long-time consultant, Ruth Atkinson, we discuss the importance and power of theme, and how every story – from the age of Socrates to present day – has something to say and it’s saying it through theme.
Ruth believes, and I agree with her, that theme is one of the most important elements of storytelling, but it’s also the most challenging to define. In a nutshell: Theme is what your story is “about”; it is the deeper meaning behind the plot events. It’s the controlling idea that keeps us emotionally engaged and invested through to the very last scene. Ruth discusses in detail here, how to draw out your theme and uses multiple examples from existing stories.
It’s a note-taking type of podcast, folks, so take a listen and enjoy. Don’t forget to share our Curious About Screenwriting interviews, and stay tuned to networkisa.org for upcoming news and fun announcements. Thanks for listening.
After working as an actor, David Rambo caught the writing bug and wrote and produced plays, making a rather successful career out of playwriting. When one of his plays was recognized by the staffers at CSI, David’s career was suddenly changed forever. He was hired as a staff writer on CSI and, as David remarks, his seven seasons on the show was like his grad school. Learning the intricate ins and outs of the TV writing world, as well as the hierarchy of a writer’s room, David has been working regularly ever since. He eventually moved on to Co-Executive Produce the show “V”, then the NBC hit (that I’m still disappointed is no longer on the air), Revolution, to the now airing and massive success, Empire. David was the Co-Executive Producer on Empire’s first season, and we talk a lot about the show’s impact on the TV culture, as well as the shifting trends of the industry.
Currently working on two pilots that were recently picked up by major networks, David took a story break and jumped on the phone with us. His knowledge and expertise knows no bounds, so we really hope you all listen closely. He has some real nuggets of advice and wisdom here. As always, thanks for listening to the ISA’s Curious About Screenwriting podcasts, and when sharing them on social media, don’t forget to tag us @networkISA on Twitter and Instagram, and you can find your host, Max Timm, on Twitter @iMaxTimm and on Instagram @InstaMax9. Thanks for being a fan of the ISA, and happy writing.
Don't send your script out right after you finish it. You only get one chance to make a first impression. Don't blow it.
--Get feedback before submitting
--How to get your script read
--What readers look for when reading
What every writer needs to do after finishing their script; get feedback from friends who write screenplays, too, consider their input, get feedback from a professional writer, consider their input, how to get your script read, with or without an agent, what are the best contests to enter, send your script to studio internship programs, and learn the KEY elements producers will be looking for when they read your script. In this teleconference, veteran script consultant and therapist, David Silverman, joins us again for a 16-point breakdown of what to do once your script is done. We will discuss the intricate do's and don'ts, and give you inspirational tips to keep you moving forward after you've finished your project.
Episode 90: Screenwriter Tyler Hisel talks about his latest horror/thriller film Dark Was The Night.
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Often times we think of formatting as the grammar of screenwriting. We think of it as this very simple, basic, elemental set of rules that you go and look up in The Hollywood Standard in order to do properly.
But the truth of the matter is formatting is much more than grammar. It's a way of speaking to your audience, thinking about your movie like a filmmaker, and capturing the visual eye of your reader.
Thinking about formatting like it's simply grammar cuts you off from all this. And ignores the way grammar actually works outside of middle school.
Because the truth is, nobody speaks proper grammar, and nobody speaks proper formatting. If you actually spoke proper grammar you’d most likely have no friends. “To whom should I direct this email?” You’d just sound too darn formal. And the same is true for “proper” formatting. It’s just not going to work for you.
And, at the same time, we all know bad grammar when we hear it! And just like bad grammar, when we see bad formatting in a screenplay, we make instant judgements that can really end up leaving your script at the bottom of the pile.
So today I want to talk about formatting. But I want to talk about formatting in a creative way. Because I feel like a lot of writers at all different levels are stuck on this idea of formatting. And instead of looking at it as a creative tool of their craft they’re looking at it as something that gets in the way of their creativity.
I want you to understand that formatting only exists for one purpose. The whole purpose of formatting is to isolate visual moments of action.
When you learn to isolate the visual moments of action in your script, you'll be doing four very important things for your art, your craft, and your career as a writer:
So let's talk about what each of the those four words mean: "isolate," "visual," "moments," and "action…" |
Tangerine is a brilliant illustration of just how little you need to actually succeed as a screenwriter or a filmmaker. To make a successful film you do not need millions of dollars. To make a successful film you do not need years and years and years of experience. To make a successful film you do not need to follow the rules or follow a formula. To make a successful film there are really only two things you need:
You need a Want, and you need an iPhone.
Tangerine was shot entirely on an iPhone 5s. And not only does it look beautiful, but it also tells a compelling story, taking two characters on a profound journey of change. And, though it doesn't have the most complicated plot in the world, the simplicity and the drive of its main characters' wants provide it with a rock solid structure.
In a way (and this is a funny thing to say) Tangerine is the Indie film version of Mad Max: Fury Road.
For those of you who've listened to my Mad Max: Fury Road Podcast, you understand that the plot of Fury Road is essentially “they drive East, and then they drive West.”
But the structure of Mad Max: Fury Road is about a character who is trying to find an escape, who finally learns that she has to go back and confront where she came from. In a similar way, Tangerine is built on that simple, primal want of its main character Sin-Dee.
Essentially Sin-Dee's journey in the movie is to head East and then to go back West. She starts out at Donut Time and she ends back at Donut Time. And her journey is also compelled by a very simple want: to find her boyfriend's mistress, and to beat the crap out of her!
That simple want provides the foundation of the entire structure of this beautiful little film.
Sin-Dee, like many of the characters in this movie, is a transgendered prostitute working the streets of Hollywood. Sin-Dee has just spent the last couple of months in prison, and now that she is out, she has learned that her pimp boyfriend is shacking up with another girl. And even worse, the girl isn’t even transgendered!
The structure of Sin-Dee’s journey grows from the hunt to go find this girl and, like the Charlize Theron character, Furiosa, in Fury Road, at each step, Sin-Dee is assaulted by obstacles, events and characters that stand in the way of her quest to find that girl.
And much like Furiosa, in situations where any other human being would have given up, Sin-Dee keeps on going, driven by the strength of her want. This makes it easy to root for Sin-Dee even though she may not come from our world, and though she’s taking actions that none of us would ever condone in real life...
Aaron has been writing for television since 2000, when he started on the original Law & Order. After 4 years on the NBC show where he was promoted to Producer, he worked on the only season of Eyes for ABC. His other TV credits consist of Criminal Minds on CBS and Damages on the FX network. For the latter he was nominated for an Emmy and a Writers’ Guild award as a writer/producer. Aaron made his AMC debut on The Killing. From there, he went on to become the Creator/Showrunner and Executive Produce for Resurrection on ABC. He is represented by the United Talent Agency.
TOPICS OF DISCUSSION
Wendy is currently the Co-Executive Producer on Game of Silence. She started her writing career working Gideon’s Crossing, Law & Order: SVU, Line of Fire, Hawaii, The Closer, K-Ville, The Beast, Dexter and The Black List.
Scott is currently a Consulting Producer on The Following. Reynolds started on E-Ring and then started as an assistant on Dexter four years ago and became a writer in year two, and has done quite a phenomenal job.
TOPICS OF DISCUSSION
Every writer wants representation. Which is right for you? When are you REALLY ready? And once you get a rep, how do you sustain the relationship?
Important Topics:
Learn the Representation Landscape
Define Agent/Manager Differences
Find Out What They're Looking For
In today’s ever-changing industry, the competition for representation has never been stiffer. In order to stand out, you must have a clear understanding of not only the writer/rep relationship, but also of expectations and requirements. Discover what reps are looking for and how to attract and sustain rep attention, determine whether an agent or manager is right for you, understand the varying business models & percentage structure and learn how to present yourself as a professional.
A good agent or manager can serve as the writer’s best and most vocal advocate in the professional space. Agents and managers are responsible for introducing their writers to the marketplace, strategizing a path to writing assignments, feature spec or pilot sales, staffing their writers on television shows and providing an overall vision for the screenwriter’s sustainable and lasting career.
In order to position yourself for and make the most of a future or current relationship with an agent or manager, learn all about what they’re seeking in a client, how an effective brand can lead to a powerful industry fan-base, which of the two does what on behalf of their writers, what you can expect from your rep, and what they are likely to expect from you.
In an increasingly saturated space, the competition for each open spot on an agent’s or manager’s client list has never been fiercer, and first impressions have never been more critical. In order to approach your new search for representation or support/develop a preexisting relationship most effectively, learn all about the varying business models, from single-manager operations to agency-like management firms, explore the risks of signing with big agencies or fringe managers, and learn all about recent agency shake ups that have effected the representation game.
This teleconference is dedicated to exploring all you need to know about the representation game, and answering all of your burning questions whether you are managing a current industry relationship or looking to secure the right representation for you.
Another inspiring interview, and this time with a recent Emmy winner, Jane Anderson. Jane won the Emmy for best writing for her work on the HBO mini-series, Olive Kitteridge, and her interview here is so thought provoking, meaningful, and truly practical in terms of writing advice and support. She’s a born mentor, and her story and advice at the end is beautiful.
Like all writers, Jane has pushed through a writing career to where she is now able to work on the projects only she wants to work on. It is the privilege of a successful writer, but Jane reminds us that we can all get there – we just need to keep going.
Thank you for being a regular listener of our Curious About Screenwriting Podcasts, and of course please remember to share and subscribe on iTunes. These podcasts are like a free film school and writing class, so we hope you’re taking advantage as much as you can. Thanks again, and enjoy this interview with Jane Anderson.
If you’ve only just now heard of Matthew Robbins because of his upcoming Guillermo Del Toro directed film, Crimson Peak, than you may not have been paying attention to the screenwriting credits on some major Hollywood movies. A lifelong screenwriter, Robbins made his way with the “in” crowd of the 60’s, working with Francis Ford Coppola, George Lucas and Steven Spielberg, among many others, and finally got his breakthrough assignment on Spielberg’s The Sugarland Express. From there, Robbins worked on so many others, from Close Encounters of the Third Kind, Batteries Not Included, to the Del Toro film Mimic, and the 2010 film Don’t Be Afraid of the Dark.
While in this podcast, we talk a lot about Crimson Peak – with a really interesting tidbit about the house they use for the central focus of the film – we talk even more about the writing process. And coming from a veteran screenwriter like Matthew, to say his advice is invaluable is a massive understatement. From telling stories of working on films with today’s icons, to looking at screenwriting as a true craft, Matthews interview should leave you inspired and even more ready to finish your next project. If you’re not feeling the flow and need a break, though, we suggest checking out Matthew’s Crimson Peak. Maybe it’ll scare you back into your writing chair.