Nzingha Stewart

writing

2011-08-17T12:36:00.001-07:00

Starting on a new project today. This is a work for hire, which is always a little different than when you're writing your own idea, but still, you want to do a great job. Actually just booked two jobs, so, juggling.

I picked up Lajos Egri's "Art of Dramatic Writing" because sometimes when I don't know where to begin, it helps to start by just reading about writing.

He quotes Ibsen (who funny enough I just read as further inspiration for one of these new scripts) who says -

"When I am writing I must be alone; if I have eight characters of a drama to do with I have society enough; they keep me busy; I must learn to know them. And this process of making their acquaintance is slow and painful.

I make, as a rule, three casts of my dramas, which differ considerably from each other. I mean in characteristics, not in the course of the treatment. When I first settle down to work out my material, I feel as if I have to get to know my characters on a railway journey; the first acquaintance is stuck up, and we have chatted about this and that.

When I write it down again, I already see everything much more clearly, and I know the people as if I had stayed with them for a month at a watering place. I have grasped the leading points of their characters and their little peculiarities..."

Well, Lajos, didn't write what the third pass was, but these two were a good start. I too hate to see people and do a bunch of socializing when I'm immersing myself in a new writing project, so I felt a kinship with Ibsen from the start of the quote. But I think what he's really saying, a great script is not something you enter into casually. It takes everything you have, and it should.

Like Red Smith says, "There's nothing to writing, you just sit at a typewriter and open a vein."

Anyway, that's more or less me putting my friends on notice that you probably won't see me for a while... going Ibsen.

Good Humor Fridays

2011-03-11T09:18:00.001-08:00

If more nature shows were like this I would watch them all the time. Doesn't really have too much to do with filmmaking, but I'm designating Fridays as Good Humor Fridays. Enjoy!

I Will Follow

2011-03-07T15:13:00.000-08:00

This Friday. March 11th. Support black film.

Brooklyn Mike!!!

2011-03-04T11:20:00.001-08:00

I don't know when Mike Tyson became my favorite comedian, but...

Oscar Talk with Mike Tyson & Leonard Maltin from Mike Tyson

Change

2011-02-19T11:15:00.001-08:00

The Surprising Truth About What Motivates Us

2011-02-11T10:29:00.001-08:00

Really great video for all filmmakers-

10 Movies Every Photographer Should Watch

2011-02-09T12:48:00.000-08:00

I read this article on a blog (see link) and thought it was a great list for filmmakers and writers as well since the primary goal is to tell a story visually.

Feel free to add your own favorites in the comments section.

10 Movies Every Photographer Should Watch
13, September 2010

A Still Image from the Movie “The Night Porter“

SO much is going on that I barely have time for anything other than taking care of what’s right in front of me. David had surgery last week, all is good there, he’s recovering nicely. We’re packing up our house, downsizing for the move to NYC! You never realize how much stuff you accumulate until you move! We’ve got a lot of exciting things going on with the Blog that I can’t exactly share just yet, but I think you’ll all be pretty stoked when the news breaks! And I have been working: I shot an ad campaign last month for some nice $$. I shot another Harper’s Bazaar Arabia editorial, this time I shot the cover too! Have an editorial coming out in KURV Magazine in Australia that I’ll blog about once that hits the newsstands and my portfolio now officially is in NYC full time and won’t come be in my possession again until I’m living there! It’s been called in about once a week to various advertising clients and magazines. The transition is going smoothly but it’s non-stop work! AND, we’ll be back in NYC this weekend for our first ever NYC Seminar! We’re shooting at Drive In Studios in Chelsea and we have a great group of people coming that I’m really excited to meet and work with! Damian Monzillo, my brother from another mother, soul friend and hair stylist extraordinaire will be doing the hair for the seminar! He rocks the Universe with his hair, he’s that good! And he’s MY official hair stylist, giving me those razor sharp bangs, my signature trademark. One thing that makes me so happy to be moving to NYC is that Damian lives there! We have such a passion for inspiring work and we love collaborating so my excitement for the move is doubled by knowing Damian will be along side me on the crazy ride that NY surely will be!

Inspiration! I get asked what inspires me almost every day! Most people ask what blogs I follow and they’re disappointed to find out that I don’t really follow any other photographer’s blogs. I follow fashion blogs like Fashionista but I don’t subscribe to any photographer’s blogs. I don’t really check out too much photography either because I get my inspiration from my life experience much of the time. I know I have to keep current with the trends, fashion moves forward with every season and keeping up to date with what’s NOW is really important. Even fashion photography has it’s trends and of course I have to keep up to date with those trends as well. But I don’t sit on other photographer’s blogs reading about photography. If I really am honest here, and I know you appreciate this blog because I’m honest, I get my lighting inspiration from movies. I learn lighting from watching cinematography. I found the cinema before I found the camera. And I was completely hooked from a young age.

A Still Image from the Movie “Chinatown“

My parents were one of the first in our neighborhood to get cable TV. Yeah, way back in the day! We had ON TV. It was one of the first cable TV providers. ON TV had foreign films on it, late at night of course because they were “risque”. I was about 15 years old and couldn’t sleep one night so I was up watching cable and this film came on by Bernardo Bertolucci called La Luna. The story line was pretty racy: a mother and son’s “distorted” relationship involving heroin and opera! Epic drama! But the lighting! I could’ve watched this film with the sound turned off because the visual imagery was so moving. Vittorio Storaro was the cinematographer on La Luna and his work has since then captivated me. He’s lit such other epic films as “Reds“, “The Conformist“, “Last Tango in Paris“, and my personal favorite, “Apocalypse Now“. Who can forget the richness of lighting in that film?? The Robert Duvall scene where he made his troops go surfing during a bombing. Or the deleted scene where Martin Sheen has an affair with the French opium addict. The lighting in the bedroom of that scene sits in the archives in my brain as “go-to” lighting monumental moments!

Shortly after I was transfixed by Bertolucci and his beloved Storaro, I saw a picture in the LA Times advertising a film by Francois Truffaut: “Small Change“. I fell in the love with the picture in the ad and begged my mom to drop me off at the local Landmark theater in Pasadena, The Rialto. The Rialto played all the foreign films on the big screen. I went by myself and sat and watched “Small Change” and “The 400 Blows” by Truffaut. And I was hooked. I went as often as my mom would drop me off to that little theater on Fair Oaks. I soaked it in. I was 16 when I first saw “Last Tango in Paris” and I nearly fell out of my chair. Ha!! But it was the lighting, mainly, in these films that really moved me. And it’s the lighting that still does really move me when I watch a film. And to be even more honest, I can forgive a movie for it’s weak story line or tepid characters if the lighting is profound. In other words, I will watch a movie deemed by the critics as “bad” if the lighting is interesting.

Still Image from the Movie “A Very Long Engagement“

Below is a SMALL list of the 10 movies that have made an impact on me as a photographer. This list is small because there are 100′s of movies that have inspired me. They’ve inspired my lighting, my aesthetic, my sensibility, my eye. Some of them have even inspired me in the way I shoot fashion. I’d love to hear what movies have inspired you as photographers. If I haven’t seen it yet, I will check it out because I am always looking for movies that help direct and guide me on my path of learning and growing as a photographer.

The Night Porter: This film will always be controversial. You have to see it to understand why. But for me, the lighting in it was amazing. It’s such a twisted dark story but even the main female character, Lucia, who’s name means “light” and her leading man’s guilt complex being afraid of the light just adds so much more intrigue for me as well. I have watched this movie so many times and I always see something new every time I see it. Alfio Contini lit this dark story beautifully.

Apocalypse Now: I mentioned this film earlier and have to mention it again. Although the story carries the film itself and Francis Ford Coppola is truly a genius, the lighting is equally brilliant and so strong that it made you feel like you were really there with the gang on their journey to find Colonel Kurtz. I mentioned a few scenes that stand out to me but I’ll mention another one; the final chapter where Martin Sheen confronts Marlon Brando! I mean, the lighting in that scene is so incredible. I’m getting goosebumps now just writing about it. If you haven’t seen this movie, it’s just simply a must.

The Godfather: Again, Francis Ford Coppola’s epic film will remain one of the top films ever made. The story, the actors, the art direction, they’re all amazing in this movie. But the lighting was impeccable. I remember the first time I saw this movie. The first scene had me. The lighting had me. Gordon Willis has always been one of my favorite cinematographers. He also lit my favorite Woody Allen movies, “Manhattan” and “Annie Hall”. AND he lit one of my all time favorite movies ever: “Klute”. I put Klute on as background when I’m in bed working on my computer.

Don’t Look Now: Anthony B. Richmond: Genius!!! He also did The Pianist which is phenomenally lit. I go back to “Don’t Look Now” about once a year and watch this movie. Again, it’s a disturbing tale but the lighting informs us that we want to have sympathy for these characters and the grief they’re feeling with the loss of their daughter. It’s just a must-see for the whole entire movie.

Days of Heaven: Nestor Almendros and Haskell Wexler did such an amazing job on this film that it won an Academy Award, as did a lot of the movies I have mentioned so far. I was basically unconcerned with the story and can’t even remember the plot line too well but I could talk about the cinematography for hours. Nestor Almendros also did “Sophie’s Choice”, another beautifully lit movie.

“Chinatown“: John A. Alonzo lit this tragic story in the harsh Los Angeles sun thus informing the viewer that a film noir doesn’tand “The Pianist”. He’s a genius and he chooses genius cinematographers. Watch all of his films. He just proves that film noir does nothave to be shot in black and white to convey the heaviness of a story. Roman Polanski directed this film and he really is one of my favorite directors. He also directed “Repulsion” and “Rosemary’s Baby”

Strangers on a Train: We can’t leave Hitchcock. And there is so much to learn about photography and film making by watching his movies. I listed Stranger’s on a Train here but Robert Burks, Hitchcock’s premier cinematogapher also was the cinematographer on “Vertigo”, “Birds”, “North by Northwest”, “To catch a thief”, etc. etc. And there is much to learn from all of these films. When 4 of the films I just mentioned either won an Oscar or was nominated for one, you have to study the cinematographer earning that kind of respect. And while I don’t watch Hitchcock’s films on a regular basis, I did when I was going to Art Center and learning about lighting for the first time.

“Out of Africa“: David Watkin’s lighting was so moving that I literally was choked up throughout the entire film. I saw this at the Graumann’s Chinese Theater on Hollywood Blvd in 1985 and my first husband was so mad at me because I couldn’t stop crying. Ha! Just see if you haven’t. But watch it alone. ; )

“Se7en“: Darius Khondji’s lighting in Se7en is magnificent and flawless. He was also the cinematographer on “Stealing Beauty” which isn’t one of my favorite movies but the lighting was gorgeous! I study Darius’s lighting for Se7en a lot and it’s another movie I will keep on as background. Brilliant!!

“A Very Long Engagement“: Another one of those movies that had me choked up the whole time because of the lighting. Bruno Delbonnel’s lighting in this sad little love story is so over the top beautiful that I immediately watched, back to back, every one of his movies after seeing “A Very Long Engagement”. Delbonnel is probably more famous for “Amelie” but I prefer “A Very Long Engagement”. Maybe it was Gaspard Ulliel who starred as the lost lover in this film that has me won over the other movie. He’s been someone I’ve wanted to photograph for a very long time!
I had to keep this list short! There isn’t enough room or time (or memory in my own mind) to create a list of every movie that has ever moved me. But the above list is a start. Now I want to hear what films have inspired YOU!

The Force

2011-02-07T08:20:00.001-08:00

This was my favorite of the night. What was yours?

ANTE UP!

2011-02-06T19:16:00.000-08:00

The Contenders

2011-02-04T16:56:00.001-08:00

The following is a post from John August's blog... www.johnaugust.com a blog EVERY screenwriter should have bookmarked. It was about the WGA's panel "The Contenders" - where eleven of this year's writing nominees were gathered to discuss their projects including rock star Aaron Sorkin. I loved it and felt like the exchange below was one of the better moments of the night so figured I'd share.

"When to talk about your idea

Last night, I moderated a panel with eleven of the writers nominated for WGA screenwriting awards. By any normal standard, it was way too many people to have on a stage, but we managed to make it work. My thanks to the panelists, the WGA and the Writers Guild Foundation for putting it all together.

The organizers had already decided there wouldn’t be a Q&A afterwards, but I wanted to give the audience a chance to participate a little. So I told them to tweet their best question to @johnaugust. I would pick one to ask before the end of the session.

I chose one by @oHaiZZ:

Lawrence Turman suggests asking random people for their opinions of your concept. Any panelists do this or is mums the word?

Aaron Sorkin cautioned that talking about what you’re planning to write can easily sap your enthusiasm for it. Stuart Blumberg agreed, noting that even one ‘meh’ response might scare you off your dream project.

Lisa Cholodenko said that while they were working on The Kids Are All Right, they hadn’t talked to many folks about the plot. Only after the movie was finished did an executive mention that she’d read a couple of scripts with similar storylines over the years. Had Cholodenko known there were competing projects, she might have had second thoughts, worried that someone would beat her to the screen.

I largely agree with these opinions, but I also agree with Turman. I think the difference is that Larry Turman is a producer, not a writer.

A producer serves several functions, but one of the most important is pitchman. He needs to convince directors, actors, studios — and ultimately audiences — to invest their time and money in a movie. So he’s constantly testing and refining his message. He doesn’t have to write “Wuthering Heights with mummies” — he just has to gauge if there’s interest. If no one sparks to it, he has very little at stake.

The writer, on the other hand, has spent days, weeks or months thinking and writing. It’s so easy to get derailed and never finish. So my advice depends on your job title:

Producer – pitch constantly.

Screenwriter – zip it and write.

The 20-page threshold

Several panelists mentioned how valuable they found it to get feedback from trusted colleagues at around the 20-page mark. By that point, you’re far enough into the script to feel you have a handle on it. You hopefully like what you’ve written. But you’re wondering if it’s actually any good.

That’s a good time to get feedback.

It doesn’t have to be 20 pages. For Monsterpocalypse, I shared the first act. For Preacher, it was 45 pages. In both cases, enthusiastic feedback gave me a nice bounce of energy to help me finish.

Yes, you’re taking a risk that you’ll get a bad reaction. But if it’s not working at this stage, it’s unlikely the problems would magically resolve themselves by page 120. Very few good movies have bad first acts. It’s worth stopping forward progress to get the beginning right."

Kanye West Power Ad

2011-01-27T09:16:00.001-08:00

I want to hate him, but he's just too good.

DELINLEE DELOVELY: iconic shot: constance towers from samuel fuller's...

2011-01-23T18:00:00.000-08:00

It's from the 1964 film "The Naked Kiss" but I found the pic on the blog Delinlee Delovely

DELINLEE DELOVELY: iconic shot: constance towers from samuel fuller's...

Quote of the Day

2011-01-19T08:51:00.001-08:00

I had forgotten about this quote, and then for some reason woke up this morning and it was in my head. I think it's my favorite one ever.

"There is a vitality, a life force, an energy, a quickening that is translated through you into action. And because there is only one of you in all time, this expression is unique. And if you block it, it will never exist through any other medium and be lost. The world will not have it.

It is not your business to determine how good it is nor how valuable nor how it compares with other expressions. It is your business to keep it yours clearly and directly, to keep the channel open. You have to keep open and aware directly to the urges that motivate you. Keep the channel open.

No artist is pleased. There is no satisfaction whatever at any time. There is only a queer divine dissatisfaction, a blessed unrest that keeps us marching and makes us more alive than the others."

Martha Graham to Agnes DeMille

Genius!

2011-01-16T11:30:00.000-08:00

So, I had a freak out last year, a moment of paranoia, "they're watching me!" that led to me not posting for a little while. But that's dumb. I like having a place on the internet to store things that interest me, but that's interactive enough to let people give me feedback and share things that they like, so... I'm back.

I read this quote today and thought, it's as good as any to start up again with. It's from a book called Uncommon Genius about people who win the MacArthur Prize ("the genius award"):

In the end the common thing linking these creative people separated and floated to the surface like cream... They were all driven, remarkably resilient, adept at creating an environment that suited their needs, skilled at honoring their own peculiar talents... capable of knowing when to follow their instincts and above all, magnificent risk-takers, unafraid to run ahead of the popular tide.

Here's to magnificent risk-takers. Happy New Year.

United States of Movies

2010-10-28T09:09:00.001-07:00

Saw this and had to post. The map assigns every state a movie that best represents it. How many of you have seen all of the movies on it? Do you agree with your state's? My state's was Taxi Driver. Hmmm... Yeah, NY back in the day that was 100% true. Now I think you'd start there then add a little Sex & The City polish on it mixed with some Wall Street, I Like It Like That and Do The Right Thing to get to the finish line...

Runaway

2010-10-25T17:52:00.001-07:00

I love it.

I Love My Hair

2010-10-15T14:16:00.000-07:00

So this has nothing to do with filmmaking, but... so fantastic I had to post.

24 Hour Shoot

2010-10-13T22:38:00.001-07:00

Not the kind where you shoot for 24 hours (violating all kinds of union laws and going into overtime by the thousands). The kind where you hear about a job, you like the idea, and in 24 hours, you pack, travel, and show up on set and are shooting.

with no prep time!

I'm not in "story-time" mode here, where I try to get all cute - this really is my worst nightmare. As in, sometimes I go to sleep and I dream that I'm suddenly on set and I don't know what I'm supposed to be shooting. There's no shotlist, I've seen no wardrobe, no props, haven't met the dp, haven't seen the space, and from there I start my shotlist, and I'll be executing said shotlist within the next 10 hours.

PLEASE say a prayer.

It's for a great organization called Black Girls Rock. I'm just shooting the promo's, but definitely support it when it airs on November 7th. Because really, black girls rock.

Will give periodical updates tomorrow from the warzone.

Gabrielle...

2010-10-07T10:48:00.000-07:00

My illustrious producing partner. So proud. This is what I call "class."

Gabrielle Union's Sexy Lingerie Photoshoot from Gabrielle Union

How do you not love a girl like this?

Quote of the Day

2010-10-05T18:42:00.001-07:00

"Don't let it bring you down/ It's only castles burning/ Just find someone who's turning/ And you will come around." -Neil Young

Failure

2010-09-26T12:40:00.001-07:00

It's a tough business. Good to know that failure is a built in part of the equation. Not forever-failure. Just sometimes-failure. When bad things happen it always feels like I've been singled out by the universe for this particular insult, and I have, I guess, but everyone gets singled out in that way at some point. The important thing is to "fail harder" as a famous ad man once said. And I guess to fail upwards until it starts to look like success.

I know, I'm being cloyingly positive today. It was a good week. I'm kind of posting this for myself since things shift so quickly that next week I may need to read my own words and watch this video for the motivation to get out of bed.

But then again, if things continue going well, I may just watch it because it is a really beautiful commercial...

Quote of the Day

2010-09-18T20:14:00.000-07:00

"Don't ask a writer what he's working on. It's like asking someone with cancer on the progress of their disease."
- Luke Angel

Pitching For Film

2010-09-07T09:36:00.000-07:00

Here's some tips from the WGA. These are the official ones. My un-official tip is always ask for tea that way if you get nervous you can blow on it to catch your breath. If it's too hot, make sure when they offer you water, you take it, that's also a good distraction when you're working out your nerves...

But now for the real...

Pitching for Film: Tips on What Works in the Room

“Non pros” know it as the interview. Actors call it an audition. Few, however, know the challenges writers face in preparing “The Pitch”—those ten to fifteen anxious, adrenalin-filled minutes when they lay their creative hearts and storylines out in the room for producers and executives to embrace enthusiastically, or, in most cases, reject.

THE PLAYING FIELD

* Your storytelling must invoke enough excitement for companies to give you money; anything less than that will not sell. Big comedies and family movies ("four quadrant" films) are the easiest pitches to sell. In today’s industry climate, pitches for dramas, independent films, or execution-driven stories are difficult to sell. In those cases, it’s better to write the spec.
* Currently, there are fewer opportunities to pitch original material vs. doing a “take”/concept for the producer on existing material with a branded franchise and/or built-in audience awareness.
* "The hire is always political," said Bendinger. Hiring an A-list writer is an insurance policy against the investment and a safer bet for the studio exec/producer.

THE WIND-UP

* Pitching is hard, regardless of genre, gender, and access. Prepare and hone your technique, but know that sometimes even the “wrong” way works.
* Be conscious of the company’s ever-changing financial position at the time of your pitch. Your agent or manager should have a “finger on the pulse” to gauge receptivity. Novick noted that studios are more transparent now about sharing whether they have monies to spend.
* Producers have an unspoken “code of conduct” where they don’t act interested. They may interrupt or ask seemingly illogical questions about your material. Consider it a test about how well you know your material rather than a challenge to your creativity. Sometimes they just want to see how you respond to notes.
*Do research when pitching existing material:
o Utilize online resources, agents, representatives, etc. to discern the players and credits of the attached creatives, past producers, money already spent on a project, personal connections, etc. There is a make-or-break point at which monies invested in a project necessitate further action towards development or production.
o “Don’t throw spaghetti on a wall of spaghetti.” For open writing assignments, ask “What paths have already been taken?” to avoid repetition or wasting anyone’s time. Ask to see pre-existing scripts if available.
o The important “social matrix” of the business: getting hired or selling a pitch involves more than your writing. The sale doesn’t necessarily go to the best writer, but those who are “good on their feet,” and easy to work with. Use psychology, body language, even improv, to establish a human connection with someone who may eventually become your ally.
* A pitch is successful if the execs in the room can “see the poster.” Additionally, he uses an actor’s name instead of the character’s for a more memorable prototype and marketing hook.
* Executives on the panel generally agreed that there is no need to attach talent. The company may not see value in your particular attachments and decline moving forward.
* Attaching more producers to the project is not necessarily a plus. Again, it all depends on what individuals can bring to the table.
* Build self-confidence in whatever unique way you wear it. A bad pitch makes executives nervous and uncertain the writer will deliver.
* No one wants surprises in the room. Especially for existing material, gain clarity about the direction and focus desired. Keep your pitch tight, without going longer than necessary. Producers want you to succeed and fix the script’s problems, so your presentation has to be in the “range” of what they’re looking for. As Novick shared, “If you’re not in the ballpark, you don’t belong in that room.”
* Don’t over-rehearse. Keep it fresh, perhaps changing a few supplementary aspects with every pitch. Montroy and Novick agreed that you should rehearse enough so that you know your material cold, freeing yourself up to be spontaneous in the room. Anticipate questions that might be asked, i.e., if producers were to poke holes in your story. And if being “charming, lively, and entertaining” weren't enough, also try to "be relaxed.”
* Know how to answer questions regarding tone. Always reference hits.

GOIN’ IN FOR THE PITCH & BRINGING IT HOME

* Be authentic.
* Be able to explain your logline in one sentence. Have detailed knowledge of your script, characters, character arcs, three acts, act breaks, plot points, etc.
* Milberg shared that ultimately you’re talking about character(s) and story, despite “set pieces.”
* There is a distinction between "general" meetings in which you "meet and greet" the exec, perhaps sharing two or three original ideas (in brief) versus a targeted pitch meeting regarding the company's acquired material. With original pitches, you are expected to have “worked out the kinks” so that the company can fine tune aspects according to their needs. For existing material, be "laser-focused" on the things that the producer says need work.
* Unless you are pitching to the person who can write the check, the exec will need to re-pitch up the ladder, so highlight important points or act breaks in your presentation (put in the "road map," as Novick called it) which they can remember to convey to others.
* DON'T: Be needy or desperate; Sacrifice characters for plot; Read directly from the page; Get defensive when asked questions; Take five minutes to set up something that only appears onscreen for one minute.
* DO: View the meeting as an opportunity to refine your pitch whether it sells or not; Recognize the human element of nurturing a professional relationship; Be brief and open to feedback.
* If given the chance to pitch on an open writing assignment, the expected turnaround is one or two weeks.
* Pitching aids can be helpful but should never overshadow the presentation. On one hand, if a producer re-pitches your material, visual materials may help decision makers envision your concept. For Bring It On, Bendinger showed ESPN cheerleading competitions which captured the energy of the film she had in mind. She also included data on the economics of high school cheerleading, providing facts for "uniquely positioned material." On the other hand, no one wants a distraction or an oddity that causes concern regarding your sense of judgment. Don't use props to cover up a weak story. As Novick concluded: if you're pitching a comedy and it's not funny in the room, nothing you leave behind will change that opinion. Also, trailers are usually a bad idea.
* The pitch is not a creative contract. Your draft retains the "spirit" of your pitch, so you can discover more during your writing process. If things change drastically, it is your responsibility to contact the executive to discuss concept changes. While producers prefer that you not work in a vacuum, they can also appreciate writing surprises that show off your creativity.
* Truth be told, not all great writers are terrific performers, so if you're just not good in the room, write a spec. If it’s good, it'll get passed around.

BACK AT THE BENCH

* Every job situation is unique. Many companies first approach higher profile, established writers who are generally not available. Then they go to other options. Understandably, a writer’s rate can affect the hire/sale as well as having the writing skill.
* Unproduced writers can sell a pitch, even though it is extremely difficult. Still, Novick said he’s conscious of not sending clients "out to slaughter" if buyers are not receptive. As a reality check: one panelist’s company had not yet bought a pitch this year (2010); another company last bought a pitch in June 2009. Know that producers hear many pitches, and can indeed get frustrated at not being able to move forward with your good ideas due to the economic climate.
* Have faith that the "cream will rise to the top." Milberg acknowledged that there are unknown writers that "blow him away" with their voice. "Good material at its core will stand out."
* Focusing on the industry’s current buzzword “transmedia,” Lieb described this rising trend as the ability to tell “cohesive narrative across a variety of platforms (film, video games, TV shows, comic books).” Each piece can stand alone, as well as work as part of larger whole. While panelists discussed a strategy to acquire comic book properties simply because they were comic books, Lieb cautioned that often properties don’t carry a strong following or public awareness. As a result, he and others did not recommend writers shell out the expense to option materials.
* Bendinger recounted a recent deal where the producers who bought the rights to her book also invested in a "concept positioning study" with a marketing firm, to assess in advance what audiences liked in the material. Let the company absorb the development costs.

Ultimately, panelists likened the pitching experience somewhat to the playing field of serial dating. Odds are you won't click with a prospective partner each time, but put your best foot forward to see where the connections go.

Stranger Than Fiction

2010-09-03T15:39:00.000-07:00

I saw this on www.soulpancake.com one of my favorite websites. Such a beautifully, well-made short. I'm not ashamed to say I cried at the end.

Danny & Annie from StoryCorps on Vimeo.

Kenny Powers Gets Signed By K-Swiss

2010-09-02T12:25:00.000-07:00

Every dog has its day. Finally my favorite baseball star gets some love.

Kenny Powers Gets Signed By K-Swiss - watch more funny videos