Ever want to work in a studio or major production entitiy?  Don’t know where to start?  Below, I have a list of jobs/careers web pages for most of the major production companies and studios in the entertainment industry. 

Here you will find a cournucopia of different jobs and careers, from production to studio operations and services, to accounting and legal.  It’s all at your fingertips.

Thankfully, media consolidation has made this list very small.

(That was snark, by the way)

Bookmark this page and use it as your launching point for your job search.

Happy hunting!

Disney/ABC is headquartered in Burbank, CA.  Most jobs will be at or near the studios.  However, there are listings for all the ABC affiliate stations throughout the country, so you will probably find opportunities near you.  You will also find jobs for Marvel Entertainment, Miramax and Pixar on the Disney site.

https://disney.recruitmax.com/main/careerportal/default.cfm

Part of the Disney family, Pixar Animation Studios also list their own jobs on their own site.  Most of the listings are for jobs at their Emeryville, CA studio.

http://www.pixar.com/companyinfo/jobs/index.html

ESPN is also part of the Disney family, but they have their own dedicated site as well.  Most of the jobs listed here are in Bristol, CT.  However, they have offices throughout the country, so you may be able to find something in your area.

http://espncareers.com/

Time Warner Inc. is the parent company of Warner Bros., HBO, Turner Networks and many publishing divisions.  Here, you can browse jobs at Warner Bros. Studios, HBO, Cartoon Network or even DC Comics.  One of the largest employers in the entertainment industry.

http://www.timewarner.com/careers/

A search launch site specifically for Warner Bros. including a wide variety of positions available at the Burbank studios.  Most people that I know who work in the studio system, have taken a check from Warners at some point in their careers.  And that includes myself.

http://www.warnerbroscareers.com/Search/index.htm

Another entertainment industry juggernaut, Viacom’s careers page also has links to Paramount, MTV Networks and BET jobs.

http://www.viacom.com/careers/Pages/default.aspx

Part of Viacom Paramount Pictures’ jobs site lists a variety of positions available at the famous Paramount Studios on Melrose Avenue in Hollywood.  Most jobs will be standard studio jobs from accounting to legal to general operations and services.  But keep an eye out because incredibly, Paramount posts juicy production jobs from time to time.

http://www.paramount.com/studio/jobs

Dedicated site for MTV Networks, including Nickelodeon, Spike TV and Comedy Central jobs careers.  Most listings are for their New York or Los Angeles area facilities of this Viacom subsidiary.

http://www.mtvnetworkscareers.com/

Listings for the entire Fox Broadcasting Company network including 20th Century Fox, Fox Broadcasting, Blue Sky Studios, Fox Sports, FX, Nat Geo, News Corp. and many more.  Most of the positions will be at their Los Angeles broadcasting center on W. Pico Blvd., but you will find stuff all over the country.

http://www.foxcareers.com/

NBCUniversal don’t need no stinkin’ hyphens.  Just make it all one big word.  Like Disney, Viacom and Time Warner, NBCUniversal is a media meta-juggernaut , except that they’re (about to be) owned by an even bigger media meta-juggernaut called Comcast.  However, on this site you will find the listings for jobs amongst the entertainment divisions, which still go under NBCUniversal banner.  NBC, Syfy, Universal Studios, MSNBC, Comcast Sports etc.  They have listings for jobs throughout the country, and always seem to have dozens of openings.  New York and Los Angeles areas are still your best bets, though.

http://www.nbcunicareers.com/

This is the master list of Sony jobs from their electronic divisions to video games to music.  A giant entertainment conglomerate, Sony offers careers on a multitude of platforms.

http://www.sony.com/SCA/jobs.shtml

Specifically for Sony Pictures, the jobs posted here can be anywhere in the world, including Sony Pictures Studios in Culver City.

http://www.sonypicscareers.com

Technically an indie or mini-major these days, MGM has a rich and proud history.  Their jobs search feature can be found halfway down the corporate page.

http://www.mgm.com/corporate/section/info/index.html

Parent Company of Encore, Anchor Bay and Film Roman, Starz offers a wide variety of entertainment jobs are listed regularly for the Starz network of companies.

http://www.starz.com/careers

Jobs with Dreamworks SKG are primarily at their Glendale studio, but you can find opportunities at any of their other facilities throughout the world.

http://www.dreamworks.com/jobs/jobs_v2.swf

Specifically for the Dreamworks Animation division, this site has Job listings for their Glendale and Redwood City facilities.  They list actual animation jobs like motion control, CGI and software architects.

http://careers.dreamworksanimation.com/

Out of NYC, AMC Networks the parent company of AMC, IFC and Sundance Channel.

http://www.amcnetworks.com/career.jsp

Jobs for Lucasfilm, Lucasfilm Animation, LucasArts, Industrial Light & Magic, Skywalker Sound, etc.  Most jobs will be at their San Francisco campus in the Presidio or at Skywalker Ranch in Marin County, but they occasionally post jobs for their Singapore facility.

https://jobs.lucasfilm.com/

A major indie, Lionsgate is one of the larger employers in the entertainment industry having their hands in financing, production and distribution.  They are partnered with MGM and Paramount in the new pay channel Epix and distribute some NBCUniversal content.  Most jobs listed will be at their Santa Monica offices.

http://corporate.lionsgate.com/careersearch.asp

In addition to their careers page, Lionsgate posts a lot of openings on EntertainmentCareers.net, so don’t forget to check it out if you are interested in working for them.

http://www.entertainmentcareers.net/company/?company=Lionsgate

Another media giant, CBS Entertainment has a giant variety of different positions in ALL media on offer.  If you are into radio, TV, interactive, mobile development or even studio work, CBS might have something for you.  They run CBS Studios in Studio City, CBS Television City in Hollywood, and have multiple facilities all across the country.  Though they are no longer part of Viacom, both entities are still owned (and chaired) by Sumner Redstone.

https://sjobs.brassring.com/1033/ASP/TG/cim_home.asp?partnerid=25084&siteid=5129

A subsidiary of CBS, these are jobs specifically with the Showtime Networks companies including The Movie Channel, Smithsonian Channel and Flix.

http://www.sho.com/site/about/careers.do

Producers of Tree of Life, Source Code and the Twilight series, Summit Entertainment is one of the more prominent independent studios.  Look for “Career Opportunities” in the “Company Info” section of the web page.

http://summit-ent.com/

BONUS:  INDEPENDENT PRODUCTION STUDIOS

Even though there are dozens of independent studio facilities in the L.A. area, the studios below have their own jobs pages.

Raleigh Studios is an independent studio chain that has facilities in Hollywood (across the street from Paramount Studios), Playa Vista, Manhattan Beach and in some cinematic tax rebate havens such as Atlanta, Detroit, Baton Rouge and…  Budapest.  Their careers page can be accessed through their corporate homepage.  They also run production equipment house Hollywood Rentals.

http://www.raleighenterprises.com/html/

One of the biggest independent production studios in Hollywood, Sunset Gower/Sunset Bronson Studios is a full service facility with equipment rentals, expendables shops and a cafes.  There are opportunities for lots of different jobs here.  Their available positions will be on their opportunities page, but you must apply for the jobs through EntertainmentCareers.net.

http://sgsandsbs.com/opportunities.php

There you have it.  If there are any sites that I missed, or any companies you would like resources for, let me know in the comments.

Also, if you know of any other avenues into these companies or studios, feel free to share.  I will be updating this page regularly.  Don’t forget to bookmark it!

Kevin McDermott, writer/director of THE DRIVEWAY, has a new short film project in the works called THE COMPANY, and he needs our support.  He has just launched his Kickstarter campaign to raise $5500, enough to complete the film.  Come on!  We can raise that!  Let’s do it for “Mac.”

If you have a spare $10 or $20 or more, and you like original and imaginative short films, then here is your opportunity to invest a small amount for the sake of the arts.

$20.  What’s that, a bar bet?

Having worked with Kevin “Mac” McDermott on The Driveway, I can say first hand that he is a wonderful and imaginative filmmaker and I love what he does.  This time, he’s got a fantastic script written by Frank Mulvey.  I won’t give it away the ending, but it’s a humdinga.

Please do what you can to help THE COMPANY get made.  Shorts are one of the purest forms of filmmaking.  It’s done for the love of storytelling.  Mac is doing this for his love of filmmaking.  Let’s show him some love and show him how a community can come together, even for the simple things.

If you are unable to contribute financially, you can still help out and spread the word by tweeting, facebooking or linking to this article, or The Company’s Kickstarter page below:

Kickstart THE COMPANY here!

Anything you can do to spread the word will be greatly appreciated.  He’s only got 32 days to raise this money.  We need to move now.

My many thanks in advance to everyone who chips in or passes this message along.

In the meantime, watch the infomercial!  And wish Kevin luck!

Kino has announced that their restored version of Giorgio Moroder’s restored version of Fritz Lang’s METROPOLIS will do a 20-city theater tour this fall ahead of its November 15th dvd-blu ray release.

Film restoration has now gone meta.  It was just a matter of time, I suppose.

In 1984, Academy Award winning composer and famed music producer Giorgio Moroder released a very unique and controversial version of Fritz Lang’s 1926 silent science-fiction classic film METROPOLIS.

Upon release, it met with harsh criticism from film purists.  The main complaints were the use of contemporary pop artists like Billy Squier, Queen and Loverboy to replace the original score; and the colorization of the film.  Many saw the effort as an attempt to turn an important piece of design and film history into an MTV-style, long-form music video.

Truth be told, they were right.

The very first time I ever saw Metropolis, it was the Moroder version.  As maligned as it was, this was my introduction to the film, and my introduction to silent movies in general as it was the first one I had ever seen beginning to end.  Moroder’s Metropolis ignited a spark in me to see every silent movie I could possibly get my eyes in front of.  As a child of the 80′s, it was pretty tough to see all the movies you wanted; VHS was still relatively new, and there was no Netflix or bitTorrent at your avail to help with hard-to-find titles.

Metropolis was a bitch hard movie to see!

Back in 1981, Moroder began a painstaking and thorough restoration of the film.  In the 55 years since its original 1926 release, Metropolis had been shortened and re-edited so many times that the only versions available had very little resemblance to Fritz Lang’s original vision.  Moroder attempted to restore Lang’s original storyline, cobbling together as much footage from as many different versions he could find.  The result of his efforts yielded what was at the time the most complete version of Metropolis since the film’s premiere.  That is something all film buffs should be thankful for.

But Moroder didn’t stop there.  He took the extra (and controversial) step of colorizing the film and adding new special effects.  In the mid 80′s, colorization was a very bad word.  Media mogul Ted Turner, creator of CNN and TBS, colorized dozens of classic black and white films to show on his cable networks.  Film purists (including myself) were outraged that some gazillionaire had the gall to change the very way in which these great movies were presented.  However, in Turner’s defense, he did complete restorations of these films before going at them with his “crayons.”  The restoration effort ultimately ensured that the films would survive and be available for generations to come.  Ironically, they are now seen in HD, fully restored, in their original colors and aspect ratios on Turner Classic Movies.  Heh.

Also in Turner’s defense, I would not have seen films like THE MALTESE FALCON, CAPTAIN BLOOD, HIGH NOON or HOLIDAY INN when I did if not for their colorized versions.  And those are some of my favorite movies.  Turner brought classic cinema to mulleted, New Coke drinking teenagers like myself and inspired us to seek out and value the original versions.  The same can be said about Moroder’s Metropolis.  I would not have seen it when I did, were it not for his version.

The argument could be made that none of us would have seen any major restoration of this film were it not for Moroder.  It was this version that inspired film historian and preservationist Enno Patalas to embark on his quest to restore the film (like, for real) a couple of years later.  Patalas’ efforts led to the discovery of the original script and score for Metropolis, from which the most recent, complete, 2010 restoration was made possible.  For that matter, we may not have Patalas’ restoration of BATTLESHIP POTEMKIN either had not Moroder’s Metropolis so spurred him into action.  He may have feared Moroder would put Night Ranger on the Odessa Steps or something.

Speaking of Night Ranger, another thing that drove the film purists bonkers was the soundtrack.  Moroder enlisted some of the biggest pop stars of the day to provide songs for the film.  Although there was no Night Ranger, artists like Queen, Adam Ant, Billy Squier, Pat Benatar and Bonnie Tyler made Metropolis seem more like some kind of funky musical than a piece of classic cinema.  But Moroder was not creating a funky musical, nor was he attempting to bring classic cinema in its purest form.  Moroder was on to something different.  He was re-interpreting Metropolis for the tastes of the day.  Taking the same imagery, emotions and themes, and re-purposing them for a contemporary audience.  Proletarian classicism was OUT, Proletarian rock and roll was IN.  Though he might not have known it at the time, Moroder was inventing the remix.

Moroder was hardly the first to re-purpose things for contemporary audiences.  Andy Warhol made a career of it through pop-art.  Today, thousands of DJ’s are doing the musical version of pop-art through remixes and mashups.  They are taking what is old and reinterpreting it through the prism of what is new.  Taking what is classic and clashing it with the contemporary.  But it is never meant to replace the original.  It’s finding new ways to appreciate, or have fun with it.  It’s confirming the greatness of the original material and creating new access to it for contemporary tastes.  The remix is the gateway drug for the great stuff of the past.

How many times on the dance floor do you see people stop and ask “What was that song?”  Then someone says “Billie Holiday… remixed” and within minutes Billie Holiday’s music is downloaded to their phones and a great new musical mother lode is discovered.

These DJ’s don’t remix bad songs.  They only do the great ones.  Songs they love.  This is exactly what Giorgio Moroder did with Metropolis.  He confirmed the film’s greatness.  He loved that movie.  And if you just think about it that way, it becomes easier to swallow.  Heck, it almost becomes art.

Moroder’s Metropolis was the cinematic remix that became my gateway drug to great cinema.  It is an addiction that I have yet to shake.  It is a part of me.

For that, I am grateful.

The original Hollywood Reporter announcement is here.

Here’s the original 1984 trailer.

Bonus:

The Giorgio Moroder produced, original 17 minute version of Donna Summer’s “Love To Love You baby.”

Why?  Becasue I can, and this track simply rocks.  So just shut up and let it play.

UPDATED FOR 2011.Looking to break into the entertainment industry?  Maybe you can’t write, or act, or hold a camera, or even make a decent cup of coffee, but you’re a wiz at accounting.  Maybe you’re a genius at managing resources and want to take a shot at producing movies.  Maybe you want to work in rights and acquisitions or even contracts, but don’t know where to start your job search.

Or maybe you are a seasoned entertainment pro who’s looking for that next gig in hard times.

Maybe you’re an actor, writer or producer just looking to make ends meet while you work tirelessly to make that big break for yourself.

If you are looking for a job in the entertainment industry from production crew to writing, to promotions to assistant work, your best bet will always be to use your personal connections.  The best jobs in film and television go to someone who knows someone.  That’s just the law of the jungle.

But what if you don’t know anybody?  Or, what if your connections don’t have anything for you in these hard economic times?

There are resources online to find work in the entertainment industry.  As with everything, some sites are better than others but success will always depend on your own preparation, diligence and follow through.  But good industry jobs are posted every day for beginners and seasoned pros alike.  Below are what I consider some the best web resources for finding that industry job.

All of these sites are free sites.  They do not charge you to browse through the job listings.  However, some sites offer extra services to paying members like the ability to post your resume and promote yourselves on their site.  Such services can be useful for those who want an extra edge.

But what I will not list are paid membership sites that charge you to even look for a job.  There’s no reason for it.  Most of the job listings on pay sites were culled from studio job pages anyway so the odds of one of the pay sites holding a valid job so special and so unique that you have to pay to look at it…  It all smells scammy.  The job providers are already paying to post their openings, so charging the job seekers to access them is like double-dipping.  I personally think they are taking advantage of people.  However, I leave the decision to join a pay site up to you.  It’s your money.

In addition to the sites below, I also suggest going to the websites of some of the big production companies or distributors if you are looking for studio job.  They all have a jobs or careers section.

Most of the sites below do not offer studio executive, or other high profile jobs.  They offer mostly entry-level or indie work.  But you will find casting calls for actors, crew jobs, production office work and the occasional entry level studio “Gofer” gig.  At least you can find something that will pay your bills.  It’s all about survival, right?

So here we go…

9 Free Websites For The Film/TV Job Seeker

1. Mandy.com

Mandy.com has always been one of my favorite industry job sites.  It has been around forever and is one of my go-to resources when I need to fill a crew position fast.  I list my own job openings on Mandy.  I use them.  What more can I say?

They have a drop down menu interface where you can browse jobs by category, region and whether or not to include no/lo paying gigs in your search.  Very handy.

Mandy also has sections that list services, vendors, casting calls and even a film market section where filmmakers and distributors can connect with each other.  You can also create a profile and upload a resume to better market yourself.  Over all, Mandy is one of the best online resources around.  Mandy.com

2. Production Hub

ProductionHUB has extensive job search features and categorizes them by aspects of production like pre-production, post-production, support, etc.  What they don’t have, are a lot of job listings.  Lately it seems like one or two a week.  But who knows?  That all may change.

A free membership to the site allows you to upload your reel and/or work samples.  There is also a classifieds section and an events section.  ProductionHUB also offers a service where they will hire a crew for you.  ProductionHUB

3. Entertainmentcareers.net

This is another site that seems to have been around forever.  My only complaint is that paid members get early access to job listings, meaning that they withhold them from from the free members for a set amount of time.  This is a pretty big advantage.  Besides, there are very few jobs on this site that you can’t otherwise find on Mandy or the studio sites anyway.  Some, but not many.  Membership costs $9.95/mo with small discounts for longer enrollments, so it is one of the less expensive membership sites.  But again, if the majority of listings can be found for free elsewhere…  EntertainmentCareers.net

4. Craigslist

Ah, good ol’ trusty Craigslist…  Ah, good ol’ scam infested Craigslist.

Honestly, I have actually landed a few decent jobs here over the years, including my very first PA gig.  Did I ever mention that I’m an “Award Winning Producer?”  Yeah…  I got the first one by responding to a Craigslist ad.  No joke.  Good jobs do show up here, you just have to be patient.

I have also hired from Craigslist.  No complaints from me.  I’ve found good people here.  The only problem is that you could get a hundred responses for one job.  Be prepared to spend some time reading resumes.  All said, Criagslist is probably still one of the best overall resources for entertainment industry jobs.

A word of caution though: being so free, so open  and so popular, you need to be on your guard against scams when looking for work on Craigslist.  Tread carefully.  Many job offers are not actually job offers but absolute scams.  Also keep in mind that half the world is using Craigslist too, so there is  a lot of competition.  Craigslist.org

5. Massify

As much a social networking site as it is a job search site, massify connects indie minds with other indie minds.  Here, you won’t find big studio or network jobs, but you are likely to find decent jobs working with the crew, or in the production offices for independent films.  But not at the rate of Mandy or Craigslist.  A few jobs a week will be posted on Massify.

They also have a feature that allows producers to promote their projects in what is called “The Studio.”  Details are on their site.  Massify is partnered with Lionsgate and Killer Films, so there will be good opportunities to mingle with the Indiewood community online.  With over 50,000 members, Massify is well worth a look if you are jonesing to break into the indie world.    Massify.com

6. Showbizjobs.com

SBJ seems to be a free site with premium pay services.  However, free accounts appear to have the same access to job listings as the paid accounts.  I count it as a free site.

The paid accounts offer opportunities to post your resume and better market yourself to potential employers, and at $35 for six months it’s relatively inexpensive.  Over all, SBJ appears to be a decent resource, even if the interface is a bit wonky to navigate.  It would be nice to be able to browse ALL new jobs, but I have not found a way to do it.  If you know how, I’m all ears.  Showbizjobs.com

7. Job Monkey

How cool is Jobmonkey?  You can find listings here for nearly any kind of job you might want; from Alaska fishing boat crew to costumed mascots.  Jobmonkey has some interesting opportunities.  Though their film and TV sections are small and not updated as often as Mandy or Craiglist, they sometimes pull job listings right off the company websites, same as the pay sites.  It’s worth a visit if you are looking for that film/TV gig, or something else completely out of the ordinary.  Jobmonkey.com

8. Variety Media Careers

The job pages in the daily Variety were once the most looked at job listings in the entertainment industry.  Today, Variety has taken their job listings online.  There aren’t nearly the number of listings as there were in the past, but they still have some interesting entries.  You might even find jobs for some of the major studios and agencies.  Variety Media Careers.

9. Media-Match

It looks like a free job site with optional paid premium services, but it’s not.  And they don’t tell you that until after you click on the listing.  While media-match has a thorough job listing section, they withhold the contact details of the more attractive jobs for paid subscribers only… shame.  So while many aspects of this site are free, we are going to categorize them as a pay site.  Besides, it looks like they pull some of their studio jobs off of the studio websites, so if you see something you like, then go to the studio’s own web page.  Nobody should have to pay to answer a job listing.  media-match.com

BONUS: The UTA Jobs List!

There is a secret jobs list distributed every couple of days or so by United Talent Agency.  Normally reserved for Hollywood professionals, this is the “good stuff.”  Executive positions, Producing Positions, High-Profile personal assistant gigs and tons of PA and Intern listings at some of the most well known companies in the business.  So yeah, it’s a goldmine for the enterprising outsider who wants to break in.

The funny part is, UTA will not confirm that this list actually exists.  Haha.  It’s the worst kept secret in Hollywood, but one of the least known resources for outsiders.

The Secret UTA Jobs List

Temp X deserves all the credit for putting this up on The Hollywood Temp Diaries.  If you want a good laugh (and some insight into what life is really like as a Hollywood grunt), then Temp Diaries is a must visit.

Any other sites that I missed?

Let me know and I’ll add them.

Also, if you have any good or bad experiences with some of these companies that you would like to share, please do so.  It would help everyone.

Last summer, I produced Kevin McDermott’s short film THE DRIVEWAY, and now I’m pleased to announce that it has won an Award of Merit from The Indie Fest, and will screen at the upcoming Hoboken International Film Festival on June 7, 2011.

THE DRIVEWAY is a coming of age story about a boy who makes a date to go bike riding with the girl he fancies, but he must first get past the obstacles standing in his own driveway; specifically, the neighborhood bully.

Personally, it was an honor to be a part of this project.  The script was wonderful, the cast and crew were fantastic, and director Kevin McDermott (Harlan’s Fortune) was a joy to work with.  He is such a talented and creative filmmaker who has this delightful knack for telling a story that can get straight to your heart in the most simple of ways.

From a production standpoint, this film is a great example of what is possible on a tight budget.  The final product looks like it cost ten times more than it actually did.  But through perseverance, personal connections and the chutzpah to ask for what you want, we were able to make a little bit of money go a very long way.

Of course, it all starts with a good script.  Not only was THE DRIVEWAY well written, but Kevin really connected with one of life’s big rites of passage that most of us are familiar with; that time in all our lives when we first tested our self-worth (in this case, asking out the girl), then were challenged to defend it (getting out of our own driveway to meet her).  This rite is primal and it’s relevant to adults as well as children.  Just watching Henry go though it reminded me of the times in my own life when I had to stand up and justify my own sense of worth and risk getting punched in the gut for it.  In fact, I had to do it all over again recently, but don’t we all?  When your film can evoke something from the viewer that’s meaningful to their own life experience, then you’ve struck gold.  It doesn’t matter how much you spent on the film.  You won.

With a good script in hand, we were able to attract a fantastic cast and crew.  Experienced young actors Andy Scott Harris (House M.D., Big Love) and Ava Allan (True Jackson, Criminal Minds: Suspect Behavior) eagerly hopped on board and really brought their characters to life.  Also, their influence on newcomer Jake Long helped him blossom and hold his own as the neighborhood bully, Vinny.  On the crew side, we were able to bring in Director of Photography Tahlee Booher (The Guild) and Gaffer Iggy Scarpitti (Collateral) as the entire lighting/grip department.  I can’t give enough praise to Iggy.  It was a lot of exhausting and demanding work and he really came though for us.  Everyone did.

One of the interesting logistical aspects of putting together THE DRIVEWAY is the fact that it takes place in 1971.  It’s a period piece.  That doesn’t seem like such a big deal, but on a shoestring budget, things can get complicated… and expensive.  Period pieces cost money, whether you are doing the French Revolution or suburban 1971.  The wardrobe, the props, even the cars in the background must be consistent with the period.  Kevin and set decorator Amanda Spiva painstakingly collected clothing, bicycles, baseball cards, album covers, a pair of no-so-cheap comic books and some vintage National Geographic magazines.  While it was a lot of effort, the set dressing certainly did not explode on the frame.  Rather, it stat in the background, nearly invisible, allowing the wonderful story and characters to take center stage.  Like it should.  But it was such an important touch for such a small film.

So now the bird has left the nest, and it’s taking wings on it’s own.  No matter if it’s a multi million dollar spectacular, or a seven-minute short shot in a weekend, to see your creation appreciated by others is one of the great joys of filmmaking.

At this time, the only way you can see THE DRIVEWAY is to get a ticket and go to the Hoboken International Film Festival on June 7.  I can’t post the film online just yet for contractual reasons, but we will do so as soon as our obligations are met.

THE DRIVEWAY stars Andy Scott Harris, Ava Allan and Jake Long.  Featuring Bill Burns, Amanda Spiva, Marianne Long and Gary Hannah.  Music by Eric Haltmeier and Wilbo Wright.  Edited by Mark Sult.  Produced by John D. Estes.  Written and directed by Kevin McDermott.

Visit the Web Page at www.thedrivewaymovie.com

Here we are at the Script Frenzy half way point. So how is it going for me? So, so. Not getting as much actual script writing done as I would like, but I am moving along with story development. It’s how I do it. I crack the story and devlop the characters in the treatment, then write the script out in a couple of weeks. At this stage, I’m at the step outline. When I do the step outline, I create a list of scenes in order and plan out the screenplay. I have zero reported script pages done, but I am about 3/4 done with the step outline.

Also, my producing partner wants some story changes, and that’s going to take some time. But that’s not at all a bad thing. My partner has a very creative mind and is very picky about story (which is one of the reasons we are partners). His input will only improve the final product.

Our intent is to make this script into a feature film. Because of this, project needs are first priority. “Winning” the frenzy is secondary. However, I still think I can bring it in on time.

So what is the script about? I will only say that it is a horror/comedy. In time, I will fill you in with all the gory details as I will be chronicling this film’s development as a live case study here at Dogponyshow.com. I will go through story development, writing the script, packaging, fundraising, all phases of production and exhibition/distribution. Watch for the announcement.

So how about you? Anyone else doing the Frenzy this year? If so, share your experiences. What do you like/dislike about the process? Are you barreling forward with your script? Are you finding the holes in your story and patching them is slowing you down?

Chime in and share. Post links to your blogs if you like. I would love to see what others are doing.

UPDATE 5/1/2011

Okay, I didn’t make it.  But 56 pages isn’t bad.  My partner and I came across a new opportunity that we had to act upon right away, so I had to set down the script and start a different one.  *sigh*

You’ve got to be ready to switch gears at all times.  Business comes first.

Perhaps next time I will “win.”  I think the trick is to already have your story plotted out and outlined before April 1st.

What do you think?

Today I have another clip from WHITEWASHED ADOBE: THE RISE OF LOS ANGELES to share with you.

This is the interview we did with Rosa Lemus Carlos, a former resident of Simons Brickyard in Los Angeles.  Rosa is such a sweet person and was, at first, reluctant to share her stories with us.  But she eventually welcomed us into her home and into her past so that she could share her story with the world and preserve it forever.  And we are eternally grateful.  Its a permanent document of her personal experience with an important but largely forgotten chapter in Los Angeles history.  Putting it on record turned out to be as important to her as it was for the rest of us.

We did the interview a while back, but i wanted to give the readers here an opportunity to see it.  She is wonderful.

Rosa Lemus Carlos grew up at Simons Brick Company Yard No. 3 in Montebello, California.  Her father was a decades-long employee there.

Simons Brick Company, established in the Los Angeles area before the turn of the last century, grew to become the largest brick producer in the world.  They made the millions of bricks that were used to build much of Los Angeles, rebuild San Francisco after the 1906 earthquake and build cities throughout the country.

Simons imported thousands of workers and their families from Mexico to Los Angeles in order to work and live at their 300 acre facility.  It was almost literally it’s own town, where generations of families lived, worked, went to school, worshiped and shopped – and died.

The work of making bricks was back-breaking and the pay was low.  But as Rosa Carlos’ interview shows, their lives were centered around far more than work.  Simons families’ cultural and social life was multi-layered, multi-faceted and enriching in its own way.

The Simons Brick Company went bankrupt in the 1950s and closed after more than sixty years of existence.  Changing construction methods caused brick sales to decline drastically.  The shanty homes of the workers and their families were condemned and demolished, along with the entire brick yard.  Hundreds of residents saw their homes torn down and the debris set afire, but their memories of their lives at Simons live on.

Rosa’s recollections are both moving and enlightening.

WHITEWASHED ADOBE: THE RISE OF LOS ANGELES is a four-part documentary series I am co-producing with writer/director Walter Dominguez.  It tells the story of the birth of Los Angeles and how it transformed from a small Mexican pueblo into a major United States metropolis almost overnight.

To learn more, and to support this vital history project, go to www.whitewashedadobe.com

It’s that time of year again.  Script Frenzy is upon us!

Script Frenzy is an online writing event that takes place once a year, in which writers all over the world simultaneously challenge themselves to complete a 100 page screenplay during the 30 days of April.

This year’s frenzy begins April 1, 2011.

A community driven event, Script Frenzy does not charge to take part in this event.  It’s free.  And they do have a fundraiser halfway through to help pay the org’s bills.  (BTW I encourage everyone, writers and non-writers to give on donation day)

I have signed up for this year’s frenzy.  As it happens, I am developing new project from scratch and am currently starting on the script.  I’ll post more on the project as it develops and have regular updates on how it’s all going on this site and on the DPS Twitter/Facebook sites.

If you are in the frenzy, my handle there is dog_pony_show and I’m in the Los Angeles chapter.  Swing by and say hello.  Perhaps we can meet at a write-in.

If you are a screenwriter, this is fantastic exercise and a great opportunity to get things done with a fantastic group of fellow writers.

Script Frenzy is a project of The Office of Letters and Light.

Check it out at scriptfrenzy.org.

Here is the latest clip from the documentary series I’ve been working on; WHITEWASHED ADOBE: THE RISE OF LOS ANGELES.

“Stories From Los Angeles” is a short featurette, just over a minute long, where we hear from two distinct voices in Los Angeles’ history.

In the first segment, noted author/historian George Sanchez (Becoming Mexican American) gives us a little insight on what makes Los Angeles so uniquely complex when it comes to social interactions.

In the second segment, longtime resident Jack Sanchez (no relation) reflects on what made him and his wife choose to move to los Angeles those many years ago.

Take a look.

WHITEWASHED ADOBE: THE RISE OF LOS ANGELES is a four-hour, four part documentary series about the early history of Los Angeles and its transformation from a small Mexican pueblo into a major world metropolis.

It’s also a sometimes painful examination of the ethnic interactions between the people who built it; from the ethnic Mexicans who suddenly found themselves American citizens, but were treated like foreigners in their own home, to the Anglo Americans pouring in from the East to claim their “Manifest Destiny,” to the growth of the African American and Asian communities.

We hold no punches as we explore the tensions between all these diverse people and show how the great modern metropolis of Los Angeles would not have been possible without the significant contributions of each of them.

It was a true multi-cultural effort.

Based on the acclaimed book Whitewashed Adobe: The Rise of Los Angeles and the Remaking of its Mexican Past by William Deverell, the documentary film series is produced by Walter Dominguez and John D. Estes and directed by Walter Dominguez.

WHITEWASHED ADOBE: THE RISE OF LOS ANGELES will feature interviews from historians, scholars and people who were there; vintage photographs and clips; and high-quality re-enactments to bring this important but seldom told story to life.

Currently in production, our goal is to air WHITEWASHED ADOBE on PBS in 2012 or 2013.

To learn more, go to www.whitewashedadobe.com.

The trailer for the new film SUPER from writer/director James Gunn (Tromeo and Juliette, Slither) is now officially online ahead of it’s screening at the SXSW film festival.  You can watch it here.

The latest in a line of recent independent superhero films, SUPER’s contemporaries include Kick-Ass and Defendor and have much more in common with past films like Hero at Large than they do with studio tentpoles like Iron Man or The Dark Knight.

I’m looking forward to checking this out.

SUPER tells the story of Frank (Rainn Wilson) who creates a super-hero alter ego named Crimson Bolt to take down his ex-wife’s drug dealing new boyfirend (Kevin Bacon).  Joining him on his crusade is sidekick Boltie (Ellen Page) and The Holy Avenger (Nathan Fillion).

SUPER goes into limited release April 1, 2011.  You can get more U.S. play dates and locations straight from director James Gunn here.

Shut up, crime!  And watch the trailer…