Thursday, December 31, 2015

These Films Are National Treasures

Each year the Library Of Congress Film Preservation Board selects 25 films to be deemed National Treasures and included in the National Film Registry. Here are this year's entries...

BEING THERE (1979)

BLACK AND TAN (1929)

DRACULA (SPANISH LANGUAGE VERSION) (1931)

DREAM OF A RAREBIT FIEND (1906)

EADWEARD MUYBRIDGE, ZOOPRAXOGRAPHER (1974)

EDISON KINETOSCOPIC RECORD OF A SNEEZE (1894)

A FOOL THERE WAS (1915)

GHOSTBUSTERS (1984)

HAIL THE CONQUERING HERO (1944)

HUMORESQUE (1920)

IMITATION OF LIFE (1959)

THE INNER WORLD OF APHASIA (1968)

JOHN HENRY AND THE INKY-POO (1946)

L.A. CONFIDENTIAL (1997)

THE MARK OF ZORRO (1920)

THE OLD MILL (1937)

OUR DAILY BREAD (1934)

PORTRAIT OF JASON (1967)

SECONDS (1966)

THE SHAWSHANK REDEMPTION (1994)

SINK OR SWIM (1990)

THE STORY OF MENSTRUATION (1946)

SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968)



TOP GUN (1986)

WINCHESTER '73 (1950)

I could not find a BluRay for THE STORY OF MENSTRUATION, but maybe now Critereon will start to work on one. SECONDS is one of my favorite films, and if you haven't seen it you should check it out. I am also a huge fan of the Spanish version of DRACULA, made at the same time and on the same sets as the Lugosi version. They would shoot the English language version by day and the Spanish language version as soon as they finished the day on the English version. The Spanish version is more sexual, with Dracula as a romantic figure that no woman can say no to. Also, the women in this version show a lot more cleavage. I figure you have all seen TOP GUN and SHAWSHANK, so I focused on the others. Oh, and if you don't know who Eadweard Muybridge was - he invented movies with his experiment to see if race horses ever had all four feet off the ground at the same time (to win a bet with Leland Stanford). Muybridge began his experiment... then had to put it off for a few years when he went to prison for murder! When he was released, he finished - using a string of still cameras to photograph a series of stills of horses racing which lead to the idea of moving pictures (and persistence of vision). A fascinating character.

Hollywood Reporter Story.

- Bill

Wednesday, December 30, 2015

Scene Of The Week: GOODFELLAS

If you've read Secrets Of Action Screenwriting you know that one of my favorite writing tools is *Magnification*, which I learned in Dan Arnold’s acting class in High School. The basic idea is to make something normal sized and make it much bigger. Stakes and conflict and emotions are all raised. Something average becomes something larger than life... large enough to fill that big screen. This works with concepts, emotions, and understanding the emotions of your characters.

This scene also deals with *Tension* - which is unresolved conflict. To create tension you must have a conflict... and the conflict needs to be ongoing and active and not solved. Once you resolve the conflict, you remove the tension. If you allow the audience to forget the conflict, you remove the tension. On Fridays when I do the Hitchcock entries, there are a couple on tension and suspense and “poking the tiger” to keep the audience aware that there is an existing conflict. If you don’t poke the tiger the conflict dissipates and you lose all of the tension.

Buy the dvd

So here is a scene that uses both elements, and it’s one of my favorite scenes. From GOODFELLAS (1990) written by Nicholas Pileggi, based on his true crime book. Directed by Martin Scorsese, and it’s like his 15th feature film. He’s one of my favorite directors, never really had a hit like his fellow “Hollywood Brats” but is always doing great work. Ages ago, when I was fresh out of high school, I sent him a letter asking if he’d read one of my screenplays... and he said yes! I sent some crappy early screenplay and got a great letter back from the head of his production company telling me to stick with it, etc. The polite brush off - but the guy never had to be polite in the first place. That script was ANYONE CAN LOSE and a friend asked me about it a couple of days ago - it’s one of those scripts with some great scenes but the story doesn’t work well. People remember it and wonder if I ever figured out how to fix it. Nope. But, back to GOODFELLAS...

Henry Hill is a small time crook way out on the fringe of organized crime, who wants to move up. So he looks to make some new friends who are equally ambitious and see if they can team up to move up the mob ladder... and become the new generation of organized crime. Now here’s the thing - this is kind of like meeting someone *and* a job interview, and the people you are meeting may be armed and may have just killed someone five minutes ago.

So let’s use our magnification tool. Remember those times in your past you were hanging out with someone who you wanted to impress... and *didn’t* want to offend? Might have been a job interview or a first date or meeting your romantic partner’s best friend or some other situation where you were hanging out with someone important and didn’t want to screw it up. Now, because we are all human, we have probably all screwed up in this situation at least once. I am socially inept and have some for of social tourettes that kicks in when I'm with people I need to impress - so that I always say the completely wrong thing. I get nervous and probably try too hard and end up saying something stupid. Because of that, I work hard *not* to do that when I meet people I want to impress, which makes me even more nervous... But you’ve probably blown it a couple of times, right? Now we’re going to take that anxiety and that mistake and *Magnify* it. We’re going to raise the stakes and emotions and turn that first meeting into a life or death situation. You are hanging out with a guy who kills people. You don’t want to say the wrong thing in this situation, you don’t want to accidentally offend him...



Funny how?

Great scene, and see how they keep “poking the tiger” to keep that tension alive?

This is a great example of how to take a “throw away scene” and make it so entertaining that we’re talking about it 23 years later... but it also helps us identify with Henry (Ray Liotta) and is the perfect introduction to Tommy (Joe Pesci).

While we’re on Joe Pesci - he won an Oscar for this performance, and his speech was: "This is an honor and privilege, thank you," because he didn’t think he was going to win and had no planned acceptance speech. Pesci as been in a bunch of great films, and is always great in lesser films. Would you believe his first time on screen was in HEY LET’S TWIST (1961) because he was a Rock & Roll guitar player for the featured band The Starliters... and even recorded a Rock & Roll solo album as a singer: “Little Joe Sure Can Sing”! He was a childhood friend of Frankie Valli, and was instrumental in the formation of The Four Seasons (he’s even a character in JERSEY BOYS!). So the whole Rock & Roll career, then a new career as an actor that leads to an Oscar win and another nomination plus a bunch of memorable films.

( Joe Pesci plays guitar in a band on The Lucy Show (1966) - Carol Burnett co-stars.) Magnification and Tension work hand-in-hand in this scene, but they can work separately as well in scenes. Tension is a great scene tool, and when I get around to doing the Scenes Blue Book there will be a whole chapter on tension techniques.

The comments section is open for discussion of the scene.

- Bill

Monday, December 28, 2015

Lancelot Link: Fair Game?

Lancelot Link Monday! Is an episode of a TV series fair game to swipe the plot of and use it for your movie? While you're thinking about that, here are this week's links to some great screenwriting and film articles, plus some fun stuff that may be of interest to you. Brought to you by that suave and sophisticated secret agent...




Here are a dozen links plus this week's car chase...


1) Weekend Box Office Estimates:
1 Force Awakens.................. $153,522,000
2 Daddy's Home.................... $38,800,000
3 Joy (no almonds)................ $17,500,000
4 Sisters (no DePalma)............ $13,880,000
5 Road Chip (no Ernie)............ $12,700,000
6 Concussion...................... $11,000,000
7 Big Shorts...................... $10,520,000
8 Point Break..................... $10,220,000
9 Hunger 3,2........................ $5,300,000
10 Creed............................. $4,600,000


HATEFUL EIGHT opened out of the Top Ten, but it's still the movie everyone is talking about this weekend - because it's either that or DADDY'S HOME!

This year *has* broken Box Office records, as predicted.

2) HATEFUL Digital Or 70mm?

3) Ennio Morriconne On HATEFUL EIGHT.

4) Quentin Tarantino & Paul Thomas Anderson Discuss 70mm.

5) Walt Goggins On Working With Tarantino.

6) RIP: George Clayton Johnson - TWILIGHT ZONE, LOGAN'S RUN, more. Met him several times, kind of a weirdo... but aren't we all?

7) DEADPOOL Red Band Trailer. And Commentary From The Director.

8) RadioHead's Unusued SPECTRE Theme.

9) Disneyland To Change Name To STAR WARS LAND.

10) HATEFUL Pirate... Is Hollywood Exec!

11) BOURNE 5 News.

12) Screenwriters Roundtable Interviews.

And the Car Chase Of The Week:



Okay, not a car chase at all... the episode of Andrew Fenady's THE REBEL with Nick Adams as Johnny Yuma that QT, um, homaged. That's the word.

Bill

Buy The DVDs

IMPORTANT UPDATE:

-
Dinner:
Pages:
Bicycle:

Movie:

Wednesday, December 23, 2015

Last Minute Stocking Stuffers!

Have some writer friends who need a stocking stuffer? These e-books are the answer! Amazon even has a "gift button" which will send your friend a surprise wrapped gift, that they "open" online! From TERMINATOR fans to ACTION writers to HITCHCOCK fans to generic writers who have barcodes instead of names, there is something here for everyone on your list! And don't forget to put *yourself* on your list! Amazon gift cards for the holidays? Treat yourself!


bluebook

THE BOOK THAT STARTED IT ALL!

*** THE SECRETS OF ACTION SCREENWRITING *** - For Kindle!

*** THE SECRETS OF ACTION SCREENWRITING *** - For Nook!

Why pay $510 for a used version of the 240 page 2000 version that used to retail for $21.95? (check it out!) when you can get the NEW EXPANDED VERSION - over 500 pages - for just $9.99? New chapters, New examples, New techniques!

"SECRETS OF ACTION SCREENWRITING is the best book on the practical nuts-and-bolts mechanics of writing a screenplay I've ever read." - Ted Elliott, co-writer of MASK OF ZORRO, SHREK, PIRATES OF THE CARIBBEAN and the sequels (with Terry Rossio). (ie; 4 of the top 20 Box Office Hits Of ALL TIME.)

Only $9.99 - and no postage!


HITCHCOCK: EXPERIMENTS IN TERROR


HITCHCOCK DID IT FIRST!

We all know that Alfred Hitchcock was the Master Of Suspense, but did you know he was the most *experimental* filmmaker in history?

** HITCHCOCK: EXPERIMENTS IN TERROR **

Contained Thrillers like “Buried”? Serial Protagonists like “Place Beyond The Pines”? Multiple Connecting Stories like “Pulp Fiction”? Same Story Multiple Times like “Run, Lola, Run”? This book focuses on 18 of Hitchcock’s 53 films with wild cinema and story experiments which paved the way for modern films. Almost one hundred different experiments that you may think are recent cinema or story inventions... but some date back to Hitchcock’s *silent* films! We’ll examine these experiments and how they work. Great for film makers, screenwriters, film fans, producers and directors.

Films Examined: “Rear Window”, “Psycho”, “Family Plot”, “Topaz”, “Rope”, “The Wrong Man”, “Easy Virtue”, “Lifeboat”, “Bon Voyage”, “Aventure Malgache”, “Elstree Calling”, “Dial M for Murder”, “Stage Fright”, “Champagne”, “Spellbound”, “I Confess”, and “The Trouble with Harry”, with glances at “Vertigo” and several others. Over 77,000 words, under $5!



BRAND NEW!

bluebook

Over 240 pages!

*** THE TERMINATOR SERIES *** - For Kindle!


He's back! The release of "Terminator: Genisys" (now on BluRay) is set to begin a new trilogy in the Terminator story... 31 years after the first film was released. What draws us to these films about a cybernetic organism from the future sent back in time? Why is there a new proposed trilogy every few years? This book looks at all five Terminator movies from a story standpoint - what makes them work (or not)? What are the techniques used to keep the characters and scenes exciting and involving? How about those secret story details you may not have noticed? Containing a detailed analysis of each of the five films so far, this book delves into the way these stories work... as well as a complete list of box office and critical statistics for each film. This book is great for writers, directors, and just fans of the series.

Price goes up on January 1st!

Only $2.99 - and no postage!


bluebook

Only 418 Pages!

*** BREAKING IN BLUE BOOK *** - For Kindle!


Should really be called the BUSINESS BLUE BOOK because it covers almost everything you will need to know for your screenwriting career: from thinking like a producer and learning to speak their language, to query letters and finding a manager or agent, to making connections (at home and in Hollywood) and networking, to the different kinds of meetings you are will have at Studios, to the difference between a producer and a studio, to landing an assignment at that meeting and what is required of you when you are working under contract, to contracts and options and lawyers and... when to run from a deal! Information you can use *now* to move your career forward! It's all here in the Biggest Blue Book yet!

Print version was 48 pages, Kindle version is over 400 pages!

Only $3.99 - and no postage!



BLUE BOOK SERIES

bluebook

NEW!

*** HOOK 'EM IN TEN *** - For Kindle!


Your story doesn't get a second chance to make a great first impression, and this book shows you a bunch of techniques on how to do that. From the 12 Basic Ways To Begin Your Story, to the 3 Stars Of Your First Scene (at least one must be present) to World Building, Title Crawls, Backstory, Starting Late, Teasers and Pre Title Sequences, Establishing Theme & Motifs (using GODFATHER PART 2), Five Critical Elements, Setting Up The Rest Of The Story (with GODFATHER), and much more! With hundreds of examples ranging from Oscar winners to classic films like CASABLANCA to some of my produced films (because I know exactly why I wrote the scripts that way). Biggest Blue Book yet! Print version was 48 pages, Kindle version is over 100,000 words - 312 pages!

Only $3.99 - and no postage!


bluebook

SECRETS OF SCENES!

*** SCENE SECRETS BLUE BOOK *** - For Kindle! (Exclusive)


What is a scene and how many you will need? The difference between scenes and sluglines. Put your scenes on trial for their lives! Using "Jaws" we'll look at beats within a scene. Scene DNA. Creating set pieces and high concept scenes. A famous director talks about creating memorable scenes. 12 ways to create new scenes. Creating unexpected scenes. Use dramatic tension to supercharge your scenes. Plants and payoffs in scenes. Plus transitions and buttons and the all important "flow"... and more! Over 65,000 words!
Print version was 48 pages, Kindle version is around 210 pages!

Only $3.99 - and no postage!



bluebook

BEST SUPPORTING ACTORS?

*** SUPPORTING CHARACTER SECRETS *** - For Kindle! (Exclusive)


Expanded version with more techniques to flesh out your Supporting Characters and make them individuals. Using the hit movie BRIDESMAIDS as well as other comedies like THE HANGOVER and TED and HIGH FIDELITY and 40 YEAR OLD VIRGIN and many other examples we look at ways to make your Supporting Characters come alive on the page. Includes Story Purpose of characters and Subplots. Print version was 48 pages, Kindle version is around 150 pages!

Only $3.99 - and no postage!



bluebook

STORY PROBLEMS?

*** STORY: WELL TOLD *** - For Kindle!


This book takes you step-by-step through the construction of a story... and how to tell a story well, why Story always starts with character... but ISN'T character, Breaking Your Story, Irony, Planting Information, Evolving Story, Leaving No Dramatic Stone Unturned, The Three Greek Unities, The Importance Of Stakes, The Thematic Method, and how to create personal stories with blockbuster potential. Ready to tell a story? Print version was 48 pages, Kindle version is over 85,000 words - 251 pages!

Only $3.99 - and no postage!


bluebook

STUCK IN THE MIDDLE?

*** ACT TWO SECRETS *** - For Kindle!


Expanded version with more techniques to help you through the desert of Act Two! Subjects Include: What Is Act Two? Inside Moves, The 2 Ps: Purpose & Pacing, The 4Ds: Dilemma, Denial, Drama and Decision, Momentum, the Two Act Twos, Subplot Prisms, Deadlines, Drive, Levels Of Conflict, Escalation, When Act Two Begins and When Act Two Ends, Scene Order, Bite Sized Pieces, Common Act Two Issues, Plot Devices For Act Two, and dozens of others. Over 67,000 words (that’s well over 200 pages) of tools and techniques to get you through the desert of Act Two alive! Print version was 48 pages, Kindle version is over 208 pages!

Only $3.99 - and no postage!


bluebook

I WRITE PICTURES!

*** VISUAL STORYTELLING *** - For Kindle! (exclusive)


Show Don't Tell - but *how* do you do that? Here are techniques to tell stories visually! Using Oscar Winning Films and Oscar Nominated Films as our primary examples: from the first Best Picture Winner "Sunrise" (1927) to the Oscar Nominated "The Artist" (which takes place in 1927) with stops along the way Pixar's "Up" and Best Original Screenplay Winner "Breaking Away" (a small indie style drama - told visually) as well as "Witness" and other Oscar Winners as examples... plus RISE OF THE PLANET OF THE APES. Print version is 48 pages, Kindle version is over 200 pages!

Only $3.99 - and no postage!


bluebook

GOT IDEAS?

*** YOUR IDEA MACHINE *** - For Kindle!

*** YOUR IDEA MACHINE *** - For Nook!

Expanded version with more ways to find great ideas! Your screenplay is going to begin with an idea. There are good ideas and bad ideas and commercial ideas and personal ideas. But where do you find ideas in the first place? This handbook explores different methods for finding or generating ideas, and combining those ideas into concepts that sell. The Idea Bank, Fifteen Places To Find Ideas, Good Ideas And Bad Ideas, Ideas From Locations And Elements, Keeping Track Of Your Ideas, Idea Theft - What Can You Do? Weird Ways To Connect Ideas, Combing Ideas To Create Concepts, High Concepts - What Are They? Creating The Killer Concept, Substitution - Lion Tamers & Hitmen, Creating Blockbuster Concepts, Magnification And The Matrix, Conflict Within Concept, Concepts With Visual Conflict, Avoiding Episodic Concepts, much more! Print version is 48 pages, Kindle version is over 175 pages!

Only $3.99 - and no postage!


bluebook

MOVIES ARE CHARACTERS!

*** CREATING STRONG PROTAGONISTS *** - For Kindle!

*** CREATING STRONG PROTAGONISTS *** - For Nook!

Expanded version with more ways to create interesting protagonists! A step-by-step guide to creating "take charge" protagonists. Screenplays are about characters in conflict... characters in emotional turmoil... Strong three dimensional protagonists who can find solutions to their problems in 110 pages. But how do you create characters like this? How do you turn words into flesh and blood? Character issues, Knowing Who Is The Boss, Tapping into YOUR fears, The Naked Character, Pulp Friction, Man With A Plan, Character Arcs, Avoiding Cliche People, Deep Characterization, Problem Protagonists, 12 Ways To Create Likable Protagonists (even if they are criminals), Active vs. Reactive, The Third Dimension In Character, Relationships, Ensemble Scripts, and much, much morePrint version is 48 pages, Kindle version is once again around 205 pages!

Only $3.99 - and no postage!


bluebook

DIALOGUE TO DIE FOR!

*** DIALOGUE SECRETS *** - For Kindle!

*** DIALOGUE SECRETS *** - For Nook!

Expanded version with more ways to create interesting protagonists! How to remove bad dialogue (and what *is* bad dialogue), First Hand Dialogue, Awful Exposition, Realism, 41 Professional Dialogue Techniques you can use *today*, Subtext, Subtitles, Humor, Sizzling Banter, *Anti-Dialogue*, Speeches, and more. Tools you can use to make your dialogue sizzle! Special sections that use dialogue examples from movies as diverse as "Bringing Up Baby", "Psycho", "Double Indemnity", "Notorious", the Oscar nominated "You Can Count On Me", "His Girl Friday", and many more! Print version is 48 pages, Kindle version is over 160 pages!

Only $3.99 - and no postage!



FREE DECEMBER 26 - 30th!

bluebook

ADVICE FROM #2 SCREENWRITER!

*** VINTAGE #1: HOW TO WRITE PHOTOPLAYS *** - For Kindle!

***

Screenwriting books have been around as long as films have. This series reprints vintage screenwriting books with a new introduction and history, plus new articles which look at how these lessons from almost 100 years ago apply to today’s screenplays. Anita Loos book is filled with information which still applies. In addition to the full text of the original book, you get the full screenplay to Miss Loos' hit THE LOVE EXPERT, plus several new articles on the time period and women in Hollywood.

Only $2.99 - and no postage!



These links all lead to the USA store, if you are in some other country and want to write a review for your country, go to your Amazon website.

Thank you all again.

Bill

Monday, December 21, 2015

Lancelot Link: Alvin & The Chipmunks Edition

Lancelot Link Monday! All of my friends were excited about the new movie opening over the weekend, and those who saw it said they laughed and cried and it was so great they forgave the previous three crappy movies... so I went to see ALVIN & THE CHIPMUNKS: THE ROAD CHIP! Kind of disappointed. You stand in line for hours, you'd think it would be worth the wait, right? While you're thinking about that, here are this week's links to some great screenwriting and film articles, plus some fun stuff that may be of interest to you. Brought to you by that suave and sophisticated secret agent...




Here are a baker's dozen links plus this week's car chase...


1) Weekend Box Office Estimates:
1 Star Wars:TFA.................. $238,000,000
2 Chipmunks:TRC................... $14,400,000
3 Sisters (not DePalma)........... $13,420,000
4 Hunger Games:MJ2................. $5,650,000
5 Creed:RB6........................ $5,085,000
6 Good Dino:WTF?................... $4,232,000
7 Krampus:HHH...................... $3,780,000
8 ITHOTS........................... $3,465,000
9 Dilwale.......................... $1,875,000
10 Bajiaro.......................... $1,660,000


STAR WARS record breaking $238m opening weekend... and when you include foreign it's hit $517m so far. First weekend. People online are saying they are going to see it a couple more times... which means it will continue to make a ton of money. Also - because so many showings have been sold out, and there are lines and crowds, many people are waiting until later to see the film. This was already a great box office year *before* STAR WARS. I suspect this will end up the new record ticket sales year in the USA.

2) STAR WARS: FORCE AWAKENS Cast Photo.

3) Old STAR WARS Characters Who Didn't Get Rehired Bitch About It.

4) Carrie Fisher On The STAR WARS Red Carpet.

5) STAR WARS Secret Cameos.

6) Other STAR WARS Cameos You May Have Missed - Obi Wan?

7) The Secret Backstory Of Finn's Character & Princess Leia's Cell Number.

8) JJ, Kathleen, Cast Members, Discuss The Power Of Storytelling.

9) STAR WARS Music Sung By The Cast On Jimmy Fallon.

10) Lawrence Kasdan (writer of the next two STAR WARS movies) Talks About His career.

11) Oscar Isaacs Covers Bill Murray's STAR WARS Theme.

12) Original STAR WARS Audition Tapes.

13) They'll Be Back!

And the Car Chase Of The Week:



In keeping with this week's theme.

Bill

Buy The DVDs

IMPORTANT UPDATE:

-
Dinner:
Pages:
Bicycle:

Movie:

Thursday, December 17, 2015

Special Guest: Harry Connolly on Studying Screenwritng

My friend Harry Connolly has been writing guest blogs to promote his new (awesome) GREAT WAY Trilogy, and knocking it out of the park with each one. All kinds of amazing insight and information on writing that applies to novels, short stories, and screenplays. He should write a book! So my blog is privileged to host this guest blog...



INT. BOOKSTORE - DAY: How Studying Screenwriting Made Me a Better Novelist (Mostly)

Way back in the misty dawn of the 1990s, I was a noob author on the internet, looking for advice.

Boy, did I find it.

One of the earliest places I went searching was from pro novelists. Nice people, but none of the advice they gave me seemed all that helpful. I wanted to know how to put together a really great book, and the responses were, essentially: "Try not to be boring."

Now, this is the ultimate advice. Really, there is no better advice than this. "Be interesting" is the only rule of writing. Everything a writer learns about their craft brings them toward this goal.

But I wasn't looking for that. I wanted to talk dialog. I wanted tips on creating characters and conflict. I wanted concrete rules. That's when I found screenwriting.

Now, this was back in the days of Syd Field, who specified actual page numbers where people should put act breaks. It was very, very rigid. Too much so, honestly.

Not that I knew about Field at first. I was just this guy writing terrible fiction. Some actor friends told me to write a script so they could be in it, and gave it a try. Had I ever seen an actual film script before? Nope. Lots of plays (I studied Modernist Drama in college, mainly because plays are so short) but no screenplays. You can imagine how good they weren't.

Then, while bumping around from one message board to another, I discovered Wordplay.

I think just about every person who goes online is searching for a peer group, even if they don't realize it. They seek out a circle of friendly voices who share their interests, enthusiasms, and ambitions. Someone to cheer them on or buck them up. Someone willing to tell them they're full of shit.

Just as important are contrasts. The horror writer has a lot to learn from the kitchen sink drama writer, and vice versa. The woman who wants her name on big budget summer tentpole movies has a lot to learn from the woman writing arch indies. They define themselves and their work by their differences. And they can argue.

God, how we argued. Antagonists, flashbacks, outlining: it was an endless competition of ideas, and while I argued passionately, I was wrong as often as I was right.

But what did I learn in all that back and forthing that I'm still using today?

1) The elegant flourish. There's an early scene in Budd Schulberg's What Makes Sammy Run where a movie producer complains about an Ivy League playwright he's hired. The script he turned in had a 20 page scene where a husband and wife argued, bickered, and fought, and the playwright insisted every line of dialog was necessary to establish the man's contempt and the dismal state of their marriage. The producer brought on another writer, a guy with barely a high school education. New guy throws out the argument entirely and writes a new scene: The husband and wife are on an elevator. A pretty young woman gets on, and the man takes off his hat.

That was it, a single moment that encapsulated the situation perfectly. Short, simple, telling. I've been searching for ways to do that in my own writing ever since.

2) Hurry up! One of the first things screenwriters at the time were told was that any dialog over three lines was too long. (And script formatting is really narrow for dialog.) Get to the point without being on the nose, then get out.

The same was true for scenes. Start late and end early. Get to the conflict, then the next, then the next. Anything that didn't move the story forward had to be cut.

Novels can be a digressive form, with characters telling little stories about their lives, or doing the dishes, or stopping for coffee with an old friend. That's not a bad thing, and I certainly don't mind reading digressive books. I don't like writing them, though. I try to keep the story moving, and I inevitably get editorial notes asking me to slow things up and take a little more down time.

3) Be the expert. This was a hard one, because it doesn't mean what a novelist would assume it means. It's not an injunction to study sword-fighting before writing a duel, or to interview a bunch of cops before writing a procedural. That advice ought to be so obvious that nobody should need it. This means to be an expert in your own storyΓÇöto know it inside and out.

In fact, this came from the Wordplay column called You're The Expert; the reason screenwriters are supposed to be experts is to effectively respond to studio notes. That's not an issue for my type of writing, but when I'm stuck on a scene, or unsure what direction the plot should go, I ask myself what a really great would do. How would [extraordinary author] write this scene?

It's a surprisingly effective way to break through a block, and research has confirmed that people are more creative when they imagine themselves to be someone else. Research requires actual expertise, but creatively it helps to have the pretend kind.

What about that "Mostly?" There's one aspect of novel writing that studying scripts didn't prepare me for, and it wasn't what I expected. If you watch the opening of The Godfather, you see an amazing outdoor wedding partyΓÇöthe people, the decorations, the food, all of it. In a script, that's covered by the words EXT. WEDDING PARTY - DAY or whatever. A novelist has to do the work of the art department, the wardrobe department, casting, and all the rest.

But I expected that. What I didn't expect was the profound difference in the way prose text operated. In a script, the text doesn't have a lot of flow because so much of it is instruction. Scene headers, dialog names and parentheticals, "legends", all of them break the flow of the narrative and dialog.

Prose has none of that. Not only is the text very linear, it comes in a flow that's largely unbroken (with the exception of chapter headers or asterisks scene breaks). That task of stringing words together into sentences, then tying sentences together into paragraphs, then arranging paragraphs properly, it a lot like beadwork, and it was the biggest hurdle I faced. While revising first drafts, I found sentences in the wrong order, paragraphs that repeated exposition, unnecessary prepositional phrases, and worse.

Learning to control the flow of text and the transitions between sentences over page after page of prose, instead of in small bursts of narration, was the skill that elevated my game to earn a publishing contract and a career.

Obviously, it isn't absolutely necessary for novelists to study screenwriting; plenty of pros have done well without it. One of the strengths of the novel format is the extraordinary variety of styles and subject matters. Nothing really matters except that one rule I mentioned at the top.

But I'll always be wedded to the stripped-down, full-speed-ahead aesthetic of the script, and I'll always be grateful to the screenwriters (including my host here) who taught me what I needed to know to become a pro novelist.

Now watch me gently segue into a note about my latest, blurbed "Epic Fantasy that reads like a Thriller" by Greywalker author Kat Richardson.

The Way Into Chaos Cover

Have I mentioned that it received a starred review in Publishers Weekly? Bill wrote a review of the entire trilogy. You can also find out more about that first book on my website.

If you want to see the fast-paced style I've been talking about, you can read the sample chapters I've posted on my blog.

Thanks for reading.

BIO: Harry Connolly's debut novel, Child Of Fire, was named to Publishers Weekly's Best 100 Novels of 2009. For his epic fantasy series The Great Way, he turned to Kickstarter; at the time this was written, it's the ninth-most-funded Fiction campaign ever. Book one of The Great Way, The Way Into Chaos was published in December, 2014. Book two, The Way Into Magic, was published in January, 2015. The third and final book, The Way Into Darkness, was released on February 3rd, 2015. Harry lives in Seattle with his beloved wife, beloved son, and beloved library system.

In case you missed any of Harry's other guest blogs...

My Favorite Bit.

Why Talent Is Evil.

My Superpower As A Writer.

It's Dangerous To Go Alone.

Failing On Your Own Terms.

The Most Difficult Part To Write.

Experts Vs. Bumpkins.

Always Blame Yourself!

And the books:

Click covers for more info!

Chaos Magic Darkness











PS: Lancelot Links will be on *Tuesday* this week!

Bill

Wednesday, December 16, 2015

Caution: Subconscious At Work

From 5 years ago...

For me, part of writing is figuring out what my damned subconscious is up to. I am a planner by nature. Part of my outline process is trying to find the parts that go together and why they go together so that I can make sure to highlight that in the screenplay. Our minds are mysterious places. They connect things that may not seem to be connected on the surface. When I'm thinking about my story before writing it, all kinds of strange elements may pop into my noggin that don't seem to be part of the story... but my subconscious is way ahead of me. Often in outline stage, I discover the connections... sometimes I can't see the connections and either leave the weird stuff out or leave it in for the first draft hoping that I will figure out where the heck that idea came from as I am writing, and make it work in the next draft.

That's kind of what happened on the spec I'm working on now. There were 3 subplots, and though all were connected to the story on the surface, I had no idea how they were connected to the story on a deeper level. One subplot had to do with the character's problems in school. One subplot had to do with the character's father's problems at work. One of the subplots had to do with a specific type of sidekick and that sidekick's background – also specific. Now, there was some reason why my subconscious selected that sidekick with that background... but I didn't know why when I began writing the screenplay. I've read many screenplays where it seemed like characters and incidents were picked blindly from a hat and just jammed into the script arbitrarily. That's what I try to avoid at the thinking-about-it stage and the outline stage – I try to find the connections. But on this script? Not a clue.

But why did my brain pick these specific elements? There is always some reason, and the trick to a good screenplay is to know the reason so that it can be communicated to the audience in the film and not just some weird thing that only makes sense to you. Screenwriting is communication – and if for some reason you just know that the character is left handed, part of the job is to figure out why they are left handed and why that is critical to the story and make sure the audience understands these things so it's not just some whim that the character is left handed.

So, a few days ago I was writing a scene... and had this flash. Suddenly, I could see what my subconscious was getting at! I knew the why for these subplots. I knew why there was only one choice for type of sidekick and background of sidekick – no other version would have worked as well. No other version would have illustrated the theme. No other version would have shown the protagonist's emotional issues as well. And that sidekick was connected to the two other subplots in ways I'd never seen before. Connections that were always there, that my subconscious could see, but I had not been able to see before. This allowed me to write a scene that was about one of the subplots but also addressed the two other subplots on the sly... so that all three subplots could make sense as part of the story to the audience. Now, those subplots made sense to me so I could write a scene so that they'd make sense to the audience. My subconscious knew these were the best subplots for this script before I did.

The trick is to listen to your subconscious, but also to find the way through that wall between right brain and left brain so that you understand what the heck your subconscious is up to and get that stuff on the page in a way that the reader and viewer can understand as well.

- Bill
IMPORTANT UPDATE:

TODAY'S SCRIPT TIP: Protagonist's Job - How your protag's job is part of the story and important to the story... using the new movie WIN WIN as an example.
Dinner: Subway sandwich.
Pages: Dang - fell off the horse! But I did get a couple of pages written.
Bicycle: Mostly short rides.
Movies: WIN WIN - great little movie by the writer-director of THE VISITOR and THE STATION AGENT.

Monday, December 14, 2015

Lancelot Link: Nobody Wants To See That Film!

Lancelot Link Monday! I can't figure out why people are surprised that Ron Howard's new film is bombing. If you had pitched me that script, I would have passed on it... How many people want to see a remake of MOBY DICK, based on a famous novel? Okay, now divide that by 100 because this isn't based on the famous novel, it's based on the true story that inspired the novel. Snooze! What *dream* of the audience does this film fulfill? And it's not even "cultural" like some movie based on MOBY DICK (which allows you to sound as if you maybe read the book, when you just skimmed the Cliff Notes in High School). How did *anyone* think this would make money? Oh, and the title SUCKS! While you're thinking about that, here are this week's links to some great screenwriting and film articles, plus some fun stuff that may be of interest to you. Brought to you by that suave and sophisticated secret agent...




Here are a dozen links plus this week's car chase...


1) Weekend Box Office Estimates:
1 Hunger Games 3 Part 2............ $11,300,000
2 Fart Of Sea...................... $11,005,000
3 Good Dino........................ $10,497,000
4 Creed............................ $10,120,000
5 Krampus........................... $8,010,000
6 Spectre........................... $4,000,000
7 Night B4.......................... $3,900,000
8 Peanuts........................... $2,650,000
9 Spotlight......................... $2,508,853
10 Brooklyn.......................... $1,975,000




2) Remember when the sequel to INDEPENDENCE DAY was going to be a remake of FANTASTIC VOYAGE?

3) Francs Ford Coppola on APOCALYPSE NOW and his recent films.

4) Golden Globe Nominations! Who Are The "Hollywood Foreign Press" Again?

5) Tarantino Talks With Nolan about HATEFUL EIGHT.

6) Adam Sandler's RIDICULOUS SIX Nominated In All Categories!

7) Brad Pitt's Company Also Making Movies For Netflix.

8) MYSTERY SCIENCE THEATER 3000 breaks Kickstarter records.

9) Variety's Actors On Actors: McKellan & Blanchett.

10) Bradley Cooper directs Beyonce in STAR IS BORN remake.

11) Bill Murray On The New GHOSTBUSTERS and Wes Anderson.

12) Morricone on HATEFUL EIGHT score.

And the Car Chase Of The Week:



This is *not* a Ron Howard movie...

Bill

Buy The DVDs

IMPORTANT UPDATE:

-
Dinner:
Pages:
Bicycle:

Movie:

Wednesday, December 09, 2015

Scene Of The Week: THE THIRD MAN

Mondays we're going to look at a great scene from cinema. Though this entry is a re-run from the first time I tried this, I hope to keep it going every week this time.

The scene of the week is a nice bit of threatening dialogue from THE THIRD MAN, and a reunion between two old friends Holly (Joeseph Cotton) and Harry (Orson Welles)... after one of their funerals. The great thing about this conversation is how charming and fun Harry makes his threats and his justifications for criminal activities. He's a bad guy you just want to hang out with.



The British Film Institute selected THE THIRD MAN as the Best British Film Ever Made - and it's hard to argue with that. It does a million things right, it has one iconic scene after another, some amazing lines (this scene doesn't have the film's best lines!) and is a great thriller with a huge action-chase set piece at the end which has been lifted in dozens of other films. If you haven't seen it - check it out. Actually filmed in the rubble of Post WW2 Vienna!

This is one of my favorite films - and I can watch it again and again. The characters, scenes, and story are all great. The story has a really messy and messed up romance - can you fall in love with your dead best friend's girlfriend and not have it be just a little awkward? I also love the humor in the film - like all great thrillers it straddles absurdity. The yappy little dog. Saved by a speech on cowboy literature. The misplaced slide in the slide show. It's a great example of how to balance a film.

Comments section is open for discussion of the scene.

- Bill

IMPORTANT UPDATE:

TODAY'S SCRIPT TIP: Emotion Pictures - Tip #1 - it's all about making the audience feel something!
Dinner: I've been brown bagging lately - to keep from eating so much fast food.
Bicycle: Short ride, even though Sundays are supposed to be my long ride day. I stuck around the dollar cinema area in NoHo so that I could see THE CALL.
Movies: PAIN & GAIN - Could this be Michael Bay’s best movie? A small time crime flick, based on a true story, that seems to focus more on characters than explosions. Marky Mark, The Rock, and Anthony Mackie are body builders in Miami who fall under the spell of a TV self help guru who preaches that material things are all that matter and you should DO whatever it takes to get them. Well, there’s this obnoxious rich guy (Tony Shalhoub) who works out at their gym; why not kidnap him, force him to sign over his house and car and boat and money to Marky Mark, and then they dump him on the side of the road, broke and powerless? Sounds like a plan!

Except Shalhoub continues to be a prick and won’t sign over anything... instead he insults Marky Mark for being too stupid and lazy to *earn* the money like he did. So they beat him with sex toys until he gives in and signs, then try to collect... except the contracts need to be *notarized* and that requires that a Notary witness Shalhoub’s signing of the documents - can’t exactly bring a Notary down to the adult novelty goods warehouse where they have him tied up, can they?

It’s one damned thing after another, because these guys *haven’t * thought their plan through and aren’t very bright. They’re the kind of body builders who use steroids because it’s a short cut. They want the riches without the work. But they are DOERS and find a Notary at the gym they can coerce into signing and stamping their documents... and now all are rich! Marky Mark moves into Shalhoub’s mansion... and the neighbors like him better than the old owner.

But soon their money is spent and they need to kidnap someone else - this time a sleazy phone sex company owner. And here’s where things go very wrong, and the phone sex guy and his bimbo girlfriend end up dead on Mackie’s brand new carpet in his brand new house with his brand new wife coming home in a couple of hours. Which requires a trip to the hardware store for chainsaws and rubber gloves and all of the things one would need to chop up bodies into little pieces and dump them in the swamp. Somewhere in here Shalhoub - living in a crappy motel he can’t even pay for - hires a retired private detective (Ed Harris) to get his stuff back. And things begin unraveling even more...

The problem is, Bay is Bay. The story takes place in Miami, so there’s no shortage of shots of fast cars and girls in bikinis and all of those things from BAD BOYS. He uses all of his style-without-substance camera tricks, and the characters are all surface. Yeah, they aren’t very deep characters to begin with, but for a story that focuses on the characters we need to dig a little deeper into their lives. The Rock carries a skateboard everywhere, just got out of prison where he found God... but that’s the extent of his character. It’s just a bunch of surface things. You know, even people who aren’t very bright are still *people* - they have fears and dreams and regrets and secrets and souls. Even though this was based on a true story, I think Bay should have pulled out his checkbook and hired Elmore Leonard to write the book first, then adapted that book. These guys are the type of small timers that Leonard understands and could create vivid living characters - which this film really needs. It’s kind of ironic that a film about guys who are all about surface materia goods ends up all slick surface with nothing much underneath. Bay *is* these guys! He’d rather do his signature shots than find the shots that best tell the story. Style over substance. But the story is so loopy and fun that it even works with Bay’s direction - making this his best film so far.

DVDs: KILLING THEM SOFTLY - On the other side of the spectrum from Michael Bay is Andrew Dominic who adapted and directed this film. An ultra-low-key director who seems to like slow paced character studies... he should have directed PAIN & GAIN! This film is based on a book by the great George V. Higgins, who I discovered after seeing THE FRIENDS OF EDDIE COYLE with Robert Mitchum. I read a handful of his novels, and Higgins’ thing is dialogue. His stories are about small time crooks who sit in bars and cars in the middle of the day and discuss the problems in their mundane lives with witty street language. What Quentin Tarantino didn’t steal from Elmore Leonard he stole from Higgins - his books are like all of the Jules and Vincent conversations strung together with a really mundane shooting or two. Higgins’ stories * use* the mundane and ordinary to make his small time hoods into real people - those guys at the end of the bar who seem like regulars. His characters talk about all of the small problems associated with crime - in EDDIE COYLE one of the big issues is what happens to the family while you are behind bars... how do they pay the mortgage and buy groceries? By focusing on the details of criminal life, and using his gift for witty street dialogue, Higgins took us into the world of criminals. His books were like the anti-GODFATHER - no glamor at all!

In this film, based on COOGAN’S TRADE, Ray Liotta plays a charismatic host to an illegal back room poker club... one of those small time mobsters on the front lines. His club was robbed once by a couple of young punks - and the mob sent an enforcer to make sure Liotta didn’t hire the two punks himself. The enforcer (a nice Sam Shepard cameo) *likes* Liotta, so when he says he didn’t do it after a mild beating, he lets him go. But the robbery has caused *all* of the mob’s poker games in the area to shut down for safety reasons, and that costs them. Years later, Liotta get drunk and admits that he hired the two punks - but by then everything is okay and the mob does nothing. Hell, everybody loves Liotta - he’s a great guy.

But a low level criminal nicknamed The Squirrel, who runs a dry cleaners, realizes that if Liotta’s illegal poker game is robbed *again* everyone will naturally suspect him... and no one will suspect The Squirrel. So, he hires a couple of punks - both fresh out of prison - to knock over the illegal poker club. These two losers are the center of the story - one is a heroin addict who steals pure breed dogs and sells them in Florida (but driving them there - they shit and fart and bark the whole way - is a hassle) and the other doesn’t have a car or a job or anything - and their bar and street conversations about their dreams and regrets make the story come alive. The poker game robbery is tense - because they are idiots and keep screwing things up. They use thick dish washing gloves which make it hard to handle the crappy guns they bought. They get the smallest size nylon stockings - which smash their faces when used as masks. They are completely incompetent... But manage to pull off the robbery.

So the mob calls for hitman Brad Pitt to clean up the mess. He’s met by Driver - the guy who handles all of the mob’s business transactions. Driver and Pitt have a series of car conversations about the job which focus on the small stuff - Driver complains that nobody in the mob will make a decision, they never agree with each other, and *he* ends up having to do everything. Pitt (Coogan) knows The Squirrel and doesn’t want to be the guy who pulls the trigger on him, because it means listing to the guy beg for his life and get all emotional and make all sorts of excuses. Pitt wants to hire a subcontractor hitman played by James Gandolfini...

But that ends up a nightmare. Gandolfini is a drunk womanizer who is henpecked by his wife and does nothing but bitch and complain. Pitt ends up just putting out this guy’s fires - he insults the hotel staff and runs up his bar tab and room service and has a parade of hookers he refuses to tip - and still hasn’t hit The Squirrel. Pitt spends all of his time trying to find some way to get Gandolfini off his ass... and eventually gives up.

Then Pitt shoots some people in bloody but mundane scenes and restores peace and balance to the mob world so that the illegal poker games can begin again.

So, this is my type of movie, and (unlike PAIN & GAIN) the style of direction perfectly matches the subject matter and story. But for some weird reason Dominic takes a book written in the early 70s and plops it into the 2008 financial melt down and *fills* it with radios and TV with George W. Bush speeches about bailing out banks and GM... and then campaign stuff from the Presidential election. This stuff is sledge hammered in so hard it threatens to capsize the whole film. Michael Bay subtlety. Actually, worse than that. You want the *story* to demonstrate the theme or point or whatever - not some obtrusive radio broadcast whenever two characters are in a car or TV broadcast when they are in a bar. Aren’t there any radio stations that play music? Don’t TVs in bars usually have the game on? If the idea was to parallel the financial melt down with the mob’s financial melt down after the poker games were closed - why not just stick with the mob story and let *us* draw the parallel? Come on! This is a movie that appeals to a smart audience, so why dumb it down? Why not *use the story* to make your point?

- Bill

Monday, December 07, 2015

Lancelot Link: End Of The Year?

Lancelot Link Monday! Some of this week's links are to Best Films Of 2015 Lists... and this year isn't even over! This is worse than Christmas decorations and music before Thanksgiving! Hey, most of the big Oscar movies will be released just before Christmas, so how can you know what the best movie of the year is when a whole bunch of really good ones haven't even been released yet? Did they use a crystal ball? Did they call one of those TV psychics? What if some movie that hasn't been released yet is better? While you're thinking about that, here are this week's links to some great screenwriting and film articles, plus some fun stuff that may be of interest to you. Brought to you by that suave and sophisticated secret agent...




Here are a dozen links plus this week's car chase...


1) Weekend Box Office Estimates:
1 Hunger 3 Part 2................. $18,600,000
2 Krampus......................... $16,020,000
3 Creed........................... $15,540,000
4 Good Dino....................... $15,512,000
5 Spectre.......................... $5,425,000
6 Night Before..................... $4,920,000
7 Peanuts.......................... $3,525,000
8 Spotlight........................ $2,926,844
9 Brooklyn......................... $2,430,000
10 Secret Eyes....................... $1,950,000


Box Office has dipped below 2013 & 2014 at this point in time, but International Box Office is breaking records.

2) Lawrence Kasdan on writing STAR WARS movies.

3) Over 100 Free Legal Download Screenplays!

4) And The Best Film Of 2015 Is...

5) The BIFA Winners!

6) The Hit List - This Year's Hot Scripts!

7) Interview With Director Of HITCHCOCK/TRUFFAUT.

8) Relativity... Not Quite Dead.

9) Tarantino & Cast Talk HATEFUL 8 in 90 Min Interview.

10) HANNIBAL (TV show) Script To Screen Comparison.

11) L.A. Film Critics Awards... The Year Isn't Over Yet!

12) Last Year's Oscar Nominated Directors Talk About Their Favorite Scenes.

And the Car Chase Of The Week:



The *Next* Series In The STORIES IN ACTION Books will talk about this chase.

Bill

Buy The DVDs

IMPORTANT UPDATE:

-
Dinner:
Pages:
Bicycle:

Movie:

Monday, November 23, 2015

Lancelot Link: Women!

Lancelot Link Monday! This week's links not only have the first photo from the WONDER WOMAN movie, also a swell article on the Women In Hollywood... oh, amnd the #1 film this weekend stars one of those women we speak of. Yes, there should be more of them working in the business, so let's do something about that! While you're thinking about that, here are this week's links to some great screenwriting and film articles, plus some fun stuff that may be of interest to you. Brought to you by that suave and sophisticated secret agent...




Here are a dozen links plus this week's car chase...


1) Weekend Box Office Estimates:
1 Hunger Games #3 P2............. $101,025,000
2 Spectre......................... $14,600,000
3 Peanuts......................... $12,800,000
4 Night Before.................... $10,100,000
5 Secret Eyes...................... $6,633,000
6 Coopers (not mini)............... $3,925,000
7 Martian.......................... $3,700,000
8 Spotlight........................ $3,603,466
9 The 33........................... $2,240,000
10 Bridge Spies..................... $1,945,000


Though part 2 of MOCKINGJAY opened $20m below part 1's opening, but foreign brings it up to $247 million... and it's days before Thanksgiving and 2 weeks after SPECTRE... with STAR WARS around the corner. Some of the estimates were $100m, and it made $101m, so it's not a failure. Heck, it made a pile of money in the first 3 days! Total box office for the year is still 4% over last year... with STAR WARS on the horizon.

2) John Gregory Dunne On Screenwriting.

3) Stacy Keach On Working With John Huston On FAT CITY.

4) The Women Of Hollywood Speak Out! (unfortunately, this is probably all of them.)

5) Carter Burwell's (BLOOD SIMPLE) Score For CAROL, Based On The Patricia Highsmith (STRANGERS ON A TRAIN) Novel.

6) STAR WARS Auditions From SNL.

7) Christopher McQuarrie Returns For MISSION IMPOSSIBLE 6.

8) WONDER WOMAN Starts Filming.

9) MURDER ON THE ORIENT EXPRESS Remake. Will This Open The Door To Mystery Films?

10) LEGEND Actress Emily Browning On Working With Tom Hardy Times Two.

11) A Dozen Things You Need To Know Before Writing TV.

12) DP John Seale On Shooting MAD MAX: FURY ROAD.

And the Car Chase Of The Week:



From KILL ME THREE TIMES.

Bill

Buy The DVDs

IMPORTANT UPDATE:

-
Dinner:
Pages:
Bicycle:

Movie:

Friday, November 20, 2015

Monday, November 16, 2015

Lancelot Link: Bill's Day Off

Lancelot Link Tuesday! A day late and a dollar short... so if all of you could send me a dollar, I'd appreciate it. Sorry this is a day late - but weather in Los Angeles on Sunday (and Monday) was cold and windy, so I decided to skip work and stay home near the heating vent and drink cocoa and watch TV and relax. I actually wrote a couple of pages on my short story, but not enough to matter. Some times you just need to take a day off. By the way - what does a cat do on it's day off? The opposite of what it does every other day? While you're thinking about that, here are this week's links to some great screenwriting and film articles, plus some fun stuff that may be of interest to you. Brought to you by that suave and sophisticated secret agent...




Here are a dozen links plus this week's car chase...


1) Weekend Box Office Actuals:
1 Spectre......................... $33,681,104
2 Peanuts......................... $24,013,538
3 Love The Coopers................. $8,317,545
4 Martian.......................... $6,712,171
5 The 33........................... $5,787,266
6 Goosebumps....................... $4,633,112
7 Bridge Of Spies.................. $4,268,772
8 Prem Ratan Dhan Payo............. $2,425,585
9 Hotel Transylvania............... $2,314,063
10 Last Vin Diesel Movie............ $1,482,463


Box Office is 4.4% ahead of this time last year... and STAR WARS hasn't opened, yet. Oh, and the last HUNGER GAMES movie comes out this weekend. Looking to be a good year.

2) Screenwriter Emma Donoghue On Adapting THE ROOM.

3) Screenwriter Steve Kloves (FABULOUS BAKER BOYS) On Writing, Outlining, Moments.

4) Spec Sale News.

5) Where Nightmare Are Created.

6) Why There Are Few Women Directors In TV.

7) The Next 100 Sequels In The FAST & FURIOUS Franchise Announced.

8) 25 Best Action Flick Opening Sequences.

9) MEMENTO Reboot (or is it a prequel?)

10) Screenwriter John Sayles On Writing And Directing Indie Films.

11) WGA Picks 101 Funniest Comedies.

12) Answers To Common Questions About Los Angeles (Movie Capital Of The World). A bunch of great articles about the birth and growth of the city.

And the Car Chase Of The Week:



Okay, it's a foot chase. But with all of the screenwriter interviews this week, it kind of made sense.

Bill

Buy The DVDs

Friday, November 13, 2015

AFM - Day Last

Originally published *5* years ago - but rerunning it while I am at AFM this year.

This is the sixth day of American Film Market, and I am on autopilot. I realize another issue with my AFM experience is not enough coffee. When I do an event like the Raindance Film Festival, I am sucking down coffee like crazy by the final days. But at AFM I’ve had a coffee before I leave the house and usually one for the drive in, and then I go to the venue and have no more caffeine. I should have bought a jar of Folger’s Crystals and ate it dry by Monday... but instead I was just tired again.



And the big problem is that I’ve decided today will be my last day at market, because I have writing assignments that need some attention. I just turned in a new draft of one assignment - a horror film, and am supposed to be working on the next assignment - a rewrite of an action film - this month. But so far, I have done nothing on it due to AFM, and this month has a holiday in it. So today is it for me at AFM...

And that was going to be a problem because I had put off talking to some of the larger companies until today, when it should be slower. The companies that I most need to have energy for... and I’m running on fumes. I walk upstairs like an old man, legs having a week of constant climbing already - like spending 6 full days on a Stairmaster at the gym.

LUCKY STARS




While walking down one of the halls I notice a pair of posters on the wall that sums up great luck with movie stars at AFM. To sell a movie, even a low budget movie, you need stars. If you tell someone that your script was made into a movie, the first thing they will ask you is “Who’s in it?” You can have the greatest story in the world, and people want to know who the actors are. Once low budget horror movies became saturated, having some name in the cast became the key to selling them. When you look at a movie poster, any movie poster, the stars names are right there on top above the title in big letters so that everyone can see them. Your name as writer? In teeny little letters near the bottom. Hey, maybe not fair, but that’s reality. There are three kinds of stars that get cast in movies that sell at AFM - stars on their way up, stars on their way down, and genre stars (B movie actors).

GENRE STARS: The funny thing about genre stars is that mainstream audience members may not know who they are. They are specialty stars, who have loyal fans within their genre. Distribs know who these genre stars are, and know which ones are hot and which ones are not and which ones have made so many movies over the past year that *they* are over saturated and no longer mean anything as a star. Some of these genre stars are supporting actors in A movies like Gary Busey, but others are stars who hit big in some genre movies and now are the big fish in the small pond, like Jeffrey Combs (RE-ANIMATOR) who is still a star in low budget horror movies decades after his big break and Tiffany Shepis who has worked her way up from really low budget horror films by shining in every single one of them. That’s usually how a genre star comes to be - they are cast in a film that becomes a genre hit, and suddenly the audience knows their name and wants to see more movies starring them... so producers hire them. Or they are the person who shines in some film where they may be the best thing about it. Those who start at the top, even after their stardom has waned, are still names and faces the genre audience knows so they can continue to work... probably for less money in less expensive films. Those who start at the bottom have an upswing to larger budget genre films, and often go from supporting role to star. Both Jeffrey and Tiffany are known to the genre audience, even if you have never heard of them.

Most of my films have starred genre people. Though I have zero input on casting, I always suggest the producers hire some actors who are on their way up or actors from indie films either instead of or in addition to the genre stars. That way the films might appeal to a larger audience, who may not know the genre star. But so far, no producer has listened to me. Casting genre stars is kind of a sure thing. The target audience knows who the star is and may even seek out their films. If the producer cast an Oscar winner in a genre film, it may actually have a negative effect on sales. The target audience cares about Tiffany Shepis, but may not care at all about Judy Dench... and may even be turned off by a horror movie starring Dench. Casting mainstream names in a genre film may be a waste of money. So producers usually do what is safe and cast a genre star. I get that, but still suggest some star on their way up or indie name in the supporting roles. Often I write a couple of great supporting roles just so they can be cast with actors who are known outside the genre to bring in folks who are not those rabid genre fans... so far, none of those roles has ever been cast with anyone I’ve suggested. Pisser.

STARS ON THEIR WAY UP:

One of the actors I always suggested for my films was Sam Rockwell, who is from the Bay Area (like me) and I met before he was ever in a movie. Back when they were casting CRASH DIVE there was a key supporting role that was written for someone who could act. The stars would still be whoever the producer thought could sell the film, but I figured the supporting roles might be where an interesting actor on their way up might elevate the whole film. But the producer said he’s never heard of Sam Rockwell (this was mid-90s). I said, “Yes, but are you planning on casting someone you have heard of in that role? Or just an actor from a casting call?” The answer was casting call, but the *director* wanted to pick the actor. So the guy cast wasn’t great, and nobody knows who they are today. We *did* score on two other actors from the casting call: Catherine Bell as the female lead (she had done an episode of HERCULES) and Chris Titus as the comic relief character (was doing stand up in clubs) - both went on to headline their own TV shows after we discovered them.

One of the ways an AFM company can get lucky is by casting a talented actor who seems to be on their way up... and that star ends up in a huge hit studio movie. So the #1 live action movie over the weekend was DUE DATE starring Robert Downey jr and Zach Galifianikis and Zach did some low budget movies for AFM companies before being discovered by mainstream Hollywood... and the posters came out at AFM on Monday. Suddenly that old title the company had in their back catalogue became the hot title they were pushing to any territory that hadn’t bought it. I think this is why AFM companies *need* to look at the up and coming actors and have a good idea of who they are and how talented they are. One problem with many of the AFM companies (including guys I have sold to) is that they only care about the star that sells the film and the rest of the roles are meaningless to them... when those secondary roles may give the film a second life if any of the actors cast hit big later on.



STARS ON THEIR WAY DOWN: The other place AFM find actors to headline their films is stars on their way down... or stars whose future is uncertain. Either because the star gets too old for whatever gen re they are best known for, or completely screws up their career; they often end up starring in films at AFM. Tom Sizemore went from HEAT to headlining a Michael Mann produced TV show to crashing and burning (and doing some jail time) and ending up starring in AFM movies made for half a million bucks... which is probably what Sizemore was getting per episode for that TV show. The great thing about AFM movies is that they are kind of a safety net for actors that studios no longer want to hire. Last year’s hot babe in some studio film may be this year’s dramatic actress in an AFM film... or the chief of police in a genre film. Burt Reynolds may play a retired cop who gets involved in a murder investigation in an AFM film.

The big score was the company who had a star on his way up with Zach Galifianikis *and* a star is limbo with this Dakota Fanning movie. No longer a kid, and not a sexy babe, Fanning is at an awkward age for mainstream studio films which makes her perfect for AFM movies. Everyone knows who she is, so she can sell a movie, but she’s probably affordable because there aren’t many people who want to hire her. She’s in like an adult Culkin. So here she is in an AFM movie that will probably come to a Blockbuster near you... if they are still in business.

CLOSED MONDAYS


Hey, a couple of days ago I met Will Vinton, and now I’m using the title of one of his films! As I wander the hallways at AFM I notice that many of the doors are closed with notes on them. Some of the notes say they have closed early today and have a phone number where you can call if you want to meet with the company, and others are just plain closed for the rest of the market - the people have flown back to whatever country they came from (which might even be Beverly Hills). This tells me more about the market than the press releases I’m getting in my e-mail box every morning that tell me how business as AFM is booming and attendance is up 6% over last year. Um, business seems to be so slow people are leaving after the weekend.

Many of the other companies offices are run by skeleton staffs, making deals on whatever territories still need movies. If Bulgaria needs a couple of horror movies to fill out their slate, there’s someone in the office who can sell them... but not the boss. The boss may have already left.

This becomes another issue with interviewing people for my article - I wanted a huge number of interviews so that I could find a consensus, and so far I have a few interviews... and it doesn’t seem like I’m going to get many more today. Between my lack of sleep and energy and the closed companies, my “sample” is going to be smaller than I wanted. I’m worried about my article (though, if you are reading this blog you may not be as worried, since my AFM coverage is going to run about 65 pages). I go downstairs... and bump into Mike, who wrote a family film that has done well in Family Film Festivals. He asks me if I’m going to the seminar. “What seminar?” The one on making movies that starts in half an hour. “Who’s giving it?” Some group, but one of the panelists is Mark Damon. “I’m going.”

THE PANEL


Some of you may be wondering who Mark Damon is, others know that he is the pretty boy actor who played opposite Vincent Price in THE FALL OF THE HOUSE OF USHER (1960). Oh, yeah, and he’s the King of AFM. While living in Italy and being the American star in a bunch of Spaghetti Westerns (like JOHNNY YUMA), he began putting together deals for US indie films for Italy and Italian films for America, and started one of the first foreign sales companies. Since then he has been the driving force in international film sales, and has made many films you have probably seen and continues to make upscale indie films like MONSTER and THE UPSIDE OF ANGER. The other panelists were equally impressive. And it was free. I went in, grabbed a seat, clicked on my pocket recorder in the event anyone said anything quotable, and the panel began... and it was *all* quotable!

Besides Mark Damon, the panel included entertainment attorney Todd Stern, casting director Ronnie Yeskel, publicist Erik Bright and was moderated by Sydney Levine and presented by Dreamago - an organization that connects talent with business.

Mark Damon said so many great things about screenwriting and the importance of the screenplay in an indie film deal, and how one goes about getting a good script, that I had my article for Script Magazine. A better article than if I had talked to every distrib at market (they never like talking about screenplays, probably because many have no idea what makes a good script and are afraid of having this pointed out in print). It was a great panel, lots of information, and plenty of stuff that writers need to know about this part of the business.

After the seminar there was a little party on the balcony, with wine and cheese and I grabbed some of each. During the panel I noticed a student from a decade ago when I lectured at Art Center College in Pasadena named Maja, and asked her what she was up to - she’s producing her second film! That’s great! She’s someone I see every once in a while at screenings and working in producer’s offices. There are people who work their butts off finding a way into the business, and they’re the ones who make it.


Not my bike!

After talking with Maja, I mingled... but am such a wall flower that I talked with no one else, not even Mark Damon who was only a few feet away or Sydney Levine who was talking to the person next to me. I have to get over this - I’ll talk to someone I know, but I am not good at meeting and chatting up strangers. Hey, I even had a meeting with Mark Damon over 15 years ago - that would have broken the ice. But instead I finished my wine and cheese and did a final lap of the lobby before leaving AFM for good. If they are closing up offices on *Monday* I can’t imagine what Tuesday will be like. For me, AFM was over... and now I had to get back to work on my script assignment.

- Bill

PS: Next Friday - the return of Fridays With Hitchcock, REBECCA... and then the Friday after that FOREIGN CORRESPONDENT.

Thursday, November 12, 2015

American Film Market - Weekend
Part Two

Originally published *5* years ago - but rerunning it while I am at AFM this year.

As I climb the stairs, I pass the girl in the Backless Sundress and try to read her badge to see who she is working for, but can’t really do more than glance without looking as if I am staring at her cleavage. Dang - can’t read it. I keep climbing stairs. AFM is an endless stair climb - once the guard in front of the stairway door checks your badge, you are either climbing those endless metal steps or walking down a hallway. Once you get to the 8th floor - the top floor - the stairs continue up to the roof if you don’t stop. Sometimes you take a few steps up and realize you’ve passed your floor. The same thing happens going down - the stairs go all the way down into the hotel’s basement, and people frequently don’t stop at the lowest floor and keep on going. I’ve seen several people keep climbing down... but I never see anyone climbing up. What happens to them down there?



One of the problems with the weekend is that companies *are* doing business, and I don’t want to barge in to ask them silly press questions. The problem is, all of the other people with press badges don’t feel this way, and when I walk past a company some other reporter rushes in and interrupts a deal. So I am doing a lot of walking and not much talking. I decide to check in on the guys who produced (and ruined) my SOFT TARGET script a couple of years ago. When I get my foreign levy checks from WGA, SOFT TARGET is never listed - has it not sold any foreign territories? I want my residuals! So I climb the stairs to the 8th floor to see what territories they have sold...

SOFT TARGET NEWS




A few years ago I had a script that was almost a nice big studio action flick, but one of the millions of things that can go wrong with a deal did go wrong, and the option expired and the script was mine again. I was in the process of getting it back out there when an action guy I have worked with in the past called to tell me he had just opened his own company with another guy and was looking for scripts, did I have anything? The big problem with being a professional screenwriter is that you have no idea where your next sale is coming from, so you have to try just about everything. I had just had this deal fall apart and needed a new deal, so even though this guy was nowhere near the top of my wish list for producers, I have an inventory of spec scripts and maybe I can sell one and have the next year paid for. I gave him my list of availables, and pointed out one cool action script that I would be happy to part with (and might even be a good fit). So, of course, he wants the script that the studio producer had optioned, SOFT TARGET. The one script on the list I don’t want him to have. I try to sell him on the other script, but he wants SOFT TARGET. I call around to try and make some other deal, but get nada... so I reluctantly sell them SOFT TARGET after they tell me how much the love it and how they don’t want to change a word. By the way - when someone says they don’t want to change a word, that usually means they want to change every single word of your screenplay but one, and that was the case here. The movie they made from the script doesn’t even have the same *concept*!

So, these guys are like the in-laws you hate... but they are still part of your family. And, though I dislike the movie they have made from my script, I still would like to get some residuals from the deal, so I want it to be successful (even though the film sucks). So, after they made the domestic deal with LionsGate, did they sell the film to any foreign countries?

And find out that they sold SOFT TARGET to another distributor! The whole film (and a couple of others from their library) sold outright to another AFM company. My guess is that it was done to raise money, but I don’t ask. I do ask who the other distributor is...

Uwe Boll.


Uwe Boll's leg!

My film is in his company’s big catalogue! Right there with POSTAL and BLOOD RAYNE 3. I’m not sure if that’s a good thing or a bad thing... but having seen my film, it belongs with Boll’s films. I have to go downstairs to Boll Films and grab a catalogue, but first I ask how’s business... and get the usual AFM answer that it’s a little slow today but has been great so far.

The amusing thing about this company is that one of the partners is an action film guy and the other makes animated family films. On the wall next to the poster from some violent action film is a cute poster for an animated puppy movie. While I am there, the action guy mentions that some dude stopped by to see if they wanted to distribute his animated films, and left his card. The animation guy asks his name. “Will something...” (reads the card) “Will Vinton.” Both the animation guy and I say at the same time: “The Will Vinton?” And that’s who it was - the Oscar winning animator of those California Raisins and just about any Claymation animated film you have ever seen that wasn’t made by Nick Park. The animation guy grabs the card, pulls out his cell phone, and calls... gets Will Vinton, who is still in the building, and asks him to come back up! When Will Vinton arrives, I leave...

But not before action guy asks if I want to write a film for him and Manny Pacquiao to shoot in the Philippines?

After what they did to SOFT TARGET?

“I’ll think about it.” And I’m off down the hallways to some other suite... passing the girl in the Backless Sundress! Again I try to look at her badge without seeming to be looking at her cleavage... and again I can’t read the company name on her badge. Dang it! This is becoming an obsession! I must know who she is working for!

LOBBY RATS I KNOW




Out by the pool I bump into a guy I know with an interesting background. Max is from Russia, works as a machinist, and loves movies. So he bought a prosumer video camera to make his own films, and ended up making someone else’s films. This German guy who had a hit slasher movie in the early 80s and spent all of his money on booze and drugs and broads, ran out of money and decided to make some direct to DVD movies, but had nothing. So he put an advert of Craigs List looking for a camera man with his own camera to film his next horror movie. Max responded to the advert... and ended up filming a bunch of “no budget” movies for this crazy German guy. The crazy German guy found a furniture store that would let him shoot there at night, so he had sets! Actors and crew are from Craigs List, and most get paid zip - they are interns or working for a credit and meals. The crazy German guy’s films are famous for being awful - he doesn’t have a script, just makes up the story as he goes along - but because he makes horror movies about real life serial killers, his films sell to distribs. LionsGate has taken most of them. Max makes a few bucks for providing the camera and shooting the movies... but the crazy German guy makes $100k in profit on every film, and is now a millionaire while Max has made pizza and beer money.

So my Russian friend Max decides to make his own horror movie... doing things exactly like the crazy German guy did it. Craigs List for cast and crew and script, found locations, and lots of improvisation. But now he can’t sell the film. Horror isn’t selling like it used to, and his story has no hook at all, and I have not seen the movie, but it may be bad. Really bad. So he is at AFM as a Lobby Rat, trying to get someone to take his film. He has screeners on DVD in his coat pocket and “flaps” in a briefcase. I ask him how it’s going and he says “Good” but doesn’t mean it. I feel sorry for the guy - he watched the crazy German guy make over a million bucks, and when he tries to do the same thing he can’t even make a dollar. He told me he’s been offered a job shooting porno movies, and is giving it serious consideration.

In the lobby I bump into a director I know who is seriously in need of work. He lucked into making a couple of films and the people who hired him to direct his two features are not interested in hiring to direct anything else. So he’s in the lobby looking for work, and asks me if I have any script projects in the works that need a director. I answer “maybe” and say that I’ll keep him in mind, but I’m really not sure I can recommend him to a producer. Both of the movies of his that I’ve seen have had basic direction problems (violated the 180' rule, missing key shots, bad acting, and many other issues). Best I can do is forward his reel, and let the producer make the decision. Why is it that people who luck into a job think their luck will hold?

The girl in the Backless Sundress passes by and I decide to just *stare* at her chest long enough to read the company name on her badge... but she turns away just as I turn towards her and I can only see her perfectly tanned back. No tan lines. Hmm.



Moments later I bump into my friend Rob, who might actually be “my student Rob” - he took classes from me at Santa Fe and Expo many years ago and went on to write and produce some movies that are available from distribs upstairs. Unlike Max, Rob’s films have distributors who can sell the film to all of the foreign territories... problem is, they aren’t doing a very good job of it. And this is common - many of these AFM guys push whatever their new film is at this market, and then dump it in the catalogue and never think about it at the next market... a couple of months from now. So you may be excited by how much your film made first time out... but that may end up being pretty much all it makes. In an article in Script on AFM a couple of years ago, I advised you do your own international promotions on your film, to make sure the buyers want that film after your distrib buries it in their catalogue. You may not think this is your responsibility, and technically it’s not, but *someone* has to get the film sold after your distrib decides it’s yesterday’s news.

NO NBC INTERVIEW


I bump into the hot reporter from NBC and her camera guy, but don’t ask about that interview they wanted to do with me... and she doesn’t bring it up. So, I guess I’m not important enough for a TV network. Actually, I already knew that...

Hey, there goes the girl in the Backless Sundress with some buyer. Can’t see her badge from this angle...

PARTY BUS?


Maybe a year ago, this company in Hong Kong is looking for projects they can shoot in the Philippines and I send them my availables list which has a cool spec that takes place in the Philippines - a pair of college grads who buy a treasure map and have an Indiana Jones type adventure the summer before having to get a job and settle into the 9-5 world for the rest of their lives. The company says they have a project about the same treasure in pre-production already, and I wish I had some other things that would fit what they were looking for, but I don’t. Well, they just bought a building in Venice, CA and are having a huge AFM party to introduce themselves. And I’m invited.

Actually, just about everyone is invited. My friend Rob is invited. The director looking for work is invited. The NBC people are invited. For all I know Dennis Woodruff is invited (though, he’s a no show).

The party is supposed to have food and drink, and a shuttle bus will takes us there from the Loew’s Hotel. Cool - no driving involved! About a half hour before the party is supposed to start, Rob suggests we see if the shuttle is parked out by the curb... the first ones to the party are the first ones to be served food, right? We go outside, and there is not a shuttle, yet. Rob goes to his car for business cards and I overhear someone say that the big bus across the street is the shuttle to the party. I cross the street and ask the driver, and he says no. He’s here for something else. A bigger party? I go back to the hotel and the director is there, says he’s going to the party - do I know where the shuttle is? Rob returns, and says he was told the bus across the street really is going to the party. We cross the street, and the big bus leaves, empty... and pulls up in front of the hotel. As soon as we cross the street, the bus goes back to where we were standing. We cross the street, and the bus pulls away again, and... There are now a group of us on the wrong side of the street, but the person in charge shows up, tells us *not* to cross the street again. The bus will pick us up on *this* side of the street, and will be back in a moment.

Bus comes back to our side, we climb aboard... and the driver pulls out, but has no idea where he’s going. The street is the same one that the FX studio that did the submarine battles for my CRASH DIVE movie was located at, so I have a basic idea of how to get there. Others on the bus had some other details, and we found our way to the party.

BIG FOOT PARTY


Party Photos!

The plan to be the first served food backfires! The food is not ready yet! So we all get our free drinks and mingle and tour the new facilities. The new facilities are impressive, and a company like Big Foot is the future of film companies... except it’s really the *present* of film companies. The company is headquartered in Hong Kong, has studios in the Philippines, now offices and facilities in Los Angeles, and they make movies for an international audience. Film is a global business.

And it seems like everyone in the world was invited to this party! The really irritating guy who claims to be a producer from the party a couple of nights ago is here, as is John The Dancing Usher - this guy who worked at the AMC Burbank cinemas and used to sing and dance before every movie. Though you may be imagining that as entertaining, it was really more strange. John has a rambling conversation with me about 3D conversion and screenwriting, and I nod my head in the appropriate places... and wonder where the food is. I also look around for the girl in the Backless Sundress - if John The Dancer Usher got an invite, she had to get one, too. But I don’t see her anywhere. Maybe she was the only person in the greater Los Angeles are who wasn’t invited?

Several beers later, I am *really* wondering where the food is. The music is so loud you can’t have a conversation - why do they do that at parties? I would think the purpose of these things is to mingle with people, and to talk to the representatives from the company, but you can’t hear anyone unless they are *screaming* over the music. Same thing at the Raindance Film Festival last year - the music was so loud at the closing night party that people were leaving to have conversations in the street. Hey, turn it down a notch!

Finally, food arrives. A server comes out from a side door with a tray of chicken skewers... and everyone descends on her and cleans the tray before she can take more than a couple of steps. Rob gestures me over to the *door* and we wait for thr next server... and grab some food before it is gone. The poor servers are only getting to take a couple of steps before their trays are empty! While we are eating, a server actually makes it past us to the center of the party. John The Dancing Usher walks past with a *plate* of food and I ask him where he got it - inside there’s a room with some food. I wander inside and find Rob already there... with an empty plate. It’s kind of the same as outside - everyone in the room is waiting for the arrival of a serving tray of food. Several arrive at once - different kinds of Chinese dumplings. We attack the food... and the next trays have pork buns. It’s dim sum with long pauses between courses. I look into the next room and see the legendary Uwe Boll talking to some people. I think about joining the conversation and mentioning that he has an awful movie that began with my script in his catalogue... but what if he thinks it’s a great movie? I decide not to talk to him, because I am just drunk enough to say something that might result in him punching me. You know, he’s beat up critics before.

After I’ve had enough dim sum to add up to a meal, I go back outside to the ultra loud music and attempt to talk to some people. The CEO of the company stops the loud music to make a little speech, but either they turn down the volume for her speech or she speaks quietly, because I can barely hear what she has to say. Maybe it’s ear drum damage from the loud music? Whatever, I assumed it was the typical “Welcome to our new building and we make movies and we hope you will buy our movies and watch them.” Then the blasted blasting music began again.

After another half hour, the music was about to cause my ears to bleed, so I take one final look for the girl in the Backless Sundress - not here - and when the shuttle bus pulled to the curb outside the Big Foot compound, I jumped on and headed back to the hotel... and then back home from there.

Sunday is when the cheap badges go on sale, so some of the lobby rats actually get to go upstairs. Mostly, though, it’s film students and low budget producers. But the stair climbing is exactly the same, just a little more crowded. I never found out who the girl in the Backless Sundress was working for... that mystery will haunt me for the rest of my days. Monday would be my last day at AFM, and that entry will be coming next.

NEXT PART - AFM Day Last

- Bill
eXTReMe Tracker