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Script to greenlight panel

February 25, 2009 Film Industry, WGA

The WGA is hosting a panel discussion on studio feature development that should be worth checking out:

Panelists include:

  • screenwriter Jonathan Hensleigh (Armageddon, The Punisher, The Rock)
  • JC Spink from BenderSpink management
  • development executive Navid McIlhargey (Sr. VP of Production at New Regency; previously of Silver Pictures)
  • producer Derek Dauchy (President of Davis Entertainment)
  • studio executive David Beaubaire (VP of Production at Paramount; previously studio executive of DreamWorks and Warner Brothers – he knows how each works)
  • and a Surprise Guest.

(No, I’m not the surprise guest.)

It’s hosted by the WGA Writers Education Committee, and open to WGA members in good standing (plus a guest).

Thursday, February 26, 7:30 p.m.
WGA Theater
135 S. Doheny Dr., Beverly Hills

You need to RSVP: (323) 782-4602.

The new Kindle is pretty solid

February 24, 2009 Geek Alert, Rave


After playing around with it for an hour, I’m pretty happy with the Kindle 2. I was a satisfied user of the original model, and most of the changes are for the better. So if you’re thinking about getting one — and live in the U.S. — I vote yes.

The good:

* It’s light and tight. It feels like an Apple product. (The original iPod nano, to be specific.)

* The screen is faster. It’s not exactly snappy, but it’s fast enough that you can actually map the UI to it. That let the designers get rid of the roller bar.

* Text-to-speech is decent for non-fiction. It has no sense of dialogue, so it’s hard to hear two characters talking. But it would be great for reading a magazine article aloud while driving to work.

* Quite smartly, Amazon automatically links it to your account, so you don’t have to do anything to access books from your previous Kindle.

The bad:

* It’s so thin and smooth that I feel like I’m going to drop it. It doesn’t ship with a case/cover, but adding one will help a lot. (I just ordered the standard one.)

* Although it was prone to accidental bumping, I was a fan of the giant “Next Page” button. In the Kindle 2, your thumb has to hit it dead-on.

* The little joystick is only okay. Nudging it around, you’re never quite sure how much pressure to apply.

There’s definitely room for improvement, but I can certainly recommend it to all the folks who were fence-sitting. Having access to so many books simultaneously — and adding new ones at a whim — is a game-changer.

For example, I was at the San Antonio airport waiting for a flight home, when I finally decided I needed to read Twilight. It was $19.99 at the airport bookstore, or $6.04 on Kindle. In less than sixty seconds, I was reading it. ((My non-review: I can see why Twilight is so successful. Caitlin Flanagan’s analysis is spot-on.)) I’ve done a lot more of this spur-of-the-moment buying since having a Kindle, and read things I probably wouldn’t have otherwise. ((And on the flip side, getting the first chapter free has helped me not buy a few books I otherwise might have.))

The Kindle 2 runs $359, and is in stock. If you order through this link
, they’ll kick a few dollars my way.

On being here or there

February 23, 2009 Strike, Travel

I flew to Paris for a meeting this weekend.

That’s absurd, of course, spending 22 hours in the air just so I could sit around a small table with two other jet-lagged people. But it was an important meeting, a kind of reality-check on a project everyone wants to see done right. As a screenwriter, you quite literally need to make sure everyone is on the same page, so sitting down in person makes sense.

And sitting down in Paris is lovely. With my spare time, I took a Vélib bike across the city to check out a future apartment and encountered my very first grifter, whose gimmick (a found ring) was so smoothly delivered I almost wanted to tip him for the performance.

I woke up at 2:30 this morning, hoping to see the Oscars, but the hotel’s TV didn’t carry them. So I found myself following the action via Twitter (#oscars), letting a thousand strangers tell me not just what was happening, but how they felt about it. ((Twitter’s atomic bundling of opinion and reportage is new. If the telegraph had made it to individual homes before the telephone, we might have had a precedent.)) It’s like swimming in a giant stream of consciousness.

It’s exhausting. I only lasted an hour. But for those sixty minutes, I had effectively outsourced television watching. It was the next best thing to being there. “There” being a television in America.

In a less jet-lagged state, I could probably write more eloquently on the implications of this dislocation. But my hunch — my possible thesis — is that quick flights to Paris and text-watching the Oscars are markers of the same general condition: a frustration that we can only physically be in one place at a time. It’s an unsolvable problem, but the ways we try to compensate for it are telling.

For starters, we move faster. Broadband is ubiquitous enough that when we don’t have it, it feels like going back to outdoor plumbing. My husband was in Asia for ten of the last fourteen days, but our daughter saw him every morning at breakfast thanks to iChat. She is growing up in an age in which no one actually goes anywhere: Daddy isn’t gone; he’s on the computer.

But faster isn’t everything. An article in today’s International Herald-Tribune celebrates the Concorde, a plane I never had the opportunity to fly. I didn’t realize it was often twice as fast as today’s airliners: London to New York in three hours. That’s great, but it’s not really transformative in an age when so many things come Right Now. Given its price and relative lack of luxury, the Concorde was ultimately competing against email. Digital won.

Another way we compensate for not being places is through constant communication with folks who are. That’s what Twitter and Facebook status updates do. At an all-WGA meeting at the Shrine Auditorium near the end of the strike, leaders scolded someone in the audience for live-blogging what was being said. Just a year later, that already seems quaint. Of course people are going to be Twittering. Some people can’t be here; why shouldn’t they be included?

The TV show Lost is all about location and isolation. For the first few seasons, the survivors didn’t really care where they were, they just needed to tell someone off-island that they were alive so they could be rescued. That’s shifted in the past two seasons, with all the focus now on reconnecting with those left behind. ((As one might guess from The Nines, I’m partial to the Desmond episodes. The idea of a “constant,” while narratively murky, feels right: you need someone who knows you independently of the present madness or you’re screwed.)) The question of where the island is only matters once you’re off it.

The third and I think most dangerous strategy for coping with the place problem is simple denial. We psychologically stay home, even when we’re gone. I’m doing it at this moment, typing on my laptop while Paris awakens outside. My friend Dan moved to New York to produce a TV show, and says never really saw the city: he had thirteen nights free in four months. He was either on set or on the phone with Los Angeles the rest of the time, and came to see the JFK-LAX flight as a commute.

I see it happening with this generation of college students. When I left Boulder to go to Drake, and when I left Drake to move to Los Angeles, I left people behind. Through phone calls, letters and visits home, I maintained relationships with a few close friends. But ninety percent of the people I knew vanished in the rearview mirror. That doesn’t happen as much anymore. Through Facebook and email, it’s trivial to keep up with dozens of classmates more or less daily.

But is it really a good idea?

Your twenties are a crucial time, and I’d argue that it’s harder to discover yourself — or reinvent yourself — when surrounded by a vast network of people who already have a fixed opinion of who you are. I went to college and grad school not knowing a single person, and while it was a little terrifying, it was also liberating. Decoupled from my previous opinions and embarrassments, I was able to become the 2.0 and 3.0 versions of myself. I could only do that by going somewhere new. By changing place.

I’m packing up to fly home. Before I do, I’ll post this on the blog. But it occurs to me: I have absolutely no idea where the servers hosting this site are located. If I wanted to see the hardware, where would I go? That this question never occurred to me is also telling.

Be like MacGyver

January 31, 2009 Education

On Friday, I was asked to speak at a film school graduation. This is what I said.

. . .

The traditional function of a graduation speaker is to congratulate you on your accomplishment and challenge you to do your best work in the years ahead. So let me do that. Congratulations, you’re done! Now, go out and do your best work in the years ahead!

Now that that’s done, I want to talk for a few minutes about what the hell you’ve gotten yourself into. I mean, a film degree. Now? In this economy? A lot of you have friends and family in the audience, and I know they’re really happy for you. But secretly, they’re thinking, Jesus.

So what I’m going to say is as much for them as it is for you.

We call this “film school,” but really, that’s only for lack of a better term. You don’t really shoot much film. You don’t dip it in chemicals. You rarely touch it. Rather, what you do in a school like this is learn how to tell stories with words, pictures and sound.

And quite luckily, that’s what the world needs. Two examples.

A friend of mine writes for a major newspaper. And when she was done covering the presidential election, her bosses handed her a videocamera and told her that every piece she delivered now had to include a video component for the website. She needed to be able to shoot it, edit it and deliver it.

Another friend writes for a major magazine. In addition to her story assignments, she’s now required to come up with web features, like little Flash slideshows that can be easily monetized. She also finds herself suddenly on-camera, hosting arrivals at movie premieres, and dealing with all the requisite technical stuff.

There’s not a word for the kind of school that teaches you how to do all this. But the word that’s missing is probably a lot like film school. They send you out of here not to be a specialist, a cardiothoracic surgeon, but rather to be a generalist, a media MacGuyver.

You may think you’re going to be a screenwriter, a director or an editor, but the odds are you’ll be all of those things on different projects at different times.

The one thing you won’t be is an amateur. I want you to banish that word, because you need to treat everything you do from the moment you walk out the door as a professional. This is now your job.

That means doing your best work at all times, even when it doesn’t seem to matter. You may feel like you’re not getting graded. You are. It’s just that no one is telling you what score you got.

And let’s talk about your classmates. You probably have some good friends and some people you kind of hope to never see again. While you were in the program here, you had to rely on them. Your professors put you in teams. You got along, you fought, whatever. That doesn’t stop. No one makes a movie by himself. So if by next weekend, you’re not reading one of their scripts, or helping on something they’re shooting, something’s wrong. Trust me that five years from now, the most successful person in this class will be the one who worked the hardest for other people.

My last piece of advice is probably the one most likely to induce insomnia. Every night when you go to bed, ask yourself: What did you do today to get closer to your goals? That’s a hard question to ask. Feel free to beat yourself up, because no one else will anymore. That’s the best and worst thing about graduating — it’s the end of the systematic evaluation of your progress.

You need to stop wondering what you’re going to do, and focus on what you’re going to do next. Starting now. Congratulations, and good luck.

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