Writing for the Hollywood

The one mistake a writer who's just starting out can make is to write something he thinks the market wants. Something that will be easy ... Chapter 5 All About Agents— Hollywood's Cheerleaders Unless your uncle Writing for the Hollywood 35.

Author: Tony Blake

Publisher: Xlibris Corporation

ISBN: 9781425784195

Category: Performing Arts

Page: 188

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Whenever I speak with aspiring Hollywood writers, the first question they ask is ¡§How do I break in? How do I get an agent and how do I get that first job.¡¨ But getting an agent and that first job isn¡¦t going to get you very far. What aspiring writers should be asking is ¡§How do I build a successful career in Hollywood?¡¨ The agent and the first job is just the beginning. Hollywood is full of writers who sold one or two scripts and were never heard from again. What it takes to succeed on your first job and then build on it to get the next job and the next is what separates the ¡§one script wonder¡¨ from the writer with a Hollywood career. Among the questions aspiring writers really need to ask are: « How Do I Know When My Spec Script Is Ready For Submission? « What Does An Agent Look For In A Writer Beyond Their Scripts? « Once I Have An Agent What Else Should I Be Doing? « When I Go To A ¡§Meet & Greet,¡¨ What Do I Say? « How Do I Prepare For The Different Types Of Pitch Meetings? « How Do I Handle Notes I Disagree With? « Do I Need A Lawyer And A Manager? Most writers discover the answers to these questions through trial and error. But in Hollywood, errors can be costly to a writer¡¦s career. More than one writer has seen his career thwarted due to a simple lack of awareness. The goal of ¡§Writing For The Hollywood $¡¨ is to arm aspiring writers with as much information as possible so not only will the road to their first agent and sale be easier, but they¡¦ll also be able to avoid costly mistakes and have a much better chance of turning that first job into a another and another. ¡§Writing For The Hollywood $¡¨ begins by asking the writer to do some serious self-examination as it lists the basic ¡§ingredients¡¨ beyond a good script that a writer will need if they expect to build a career as a Hollywood writer. From here it goes on to cover topics such as dealing with executives, the different types of pitch meetings, the script notes process, the realities of working on a television writing staff and avoiding potential land mines that can damage a writer¡¦s forward progress. ¡§Writing for The Hollywood $¡¨ provides invaluable information for anyone who¡¦s ever aspired to write for the screen, by someone who¡¦s actually been there and done it.

Writing Hollywood

The Work and Professional Culture of Television Writers Patricia F. Phalen. WRITING. HOLLYWOOD. Writing Hollywood highlights the writing process in the production of television drama and comedy series in the U.S. The way writers do ...

Author: Patricia F. Phalen

Publisher: Routledge

ISBN: 9781351788724

Category: Language Arts & Disciplines

Page: 110

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Writing Hollywood highlights the writing process in the production of television drama and comedy series in the U.S. The way writers do their jobs is heavily dependent not only on the demands of commercial business, but also on the uncertainties inherent in a writing career in Hollywood. Drawing on literature in the fields of Media Industry Studies and Occupational Culture, Writing Hollywood explains writers’ efforts to control risk and survive in a constantly changing environment. Using data from personal interviews and a six-week participant observation at a prime time drama, Dr. Phalen analyzes the relationships among writers in series television, describes the interactions between writers and studio/network executives, and explains how endogenous and exogenous pressures affect the occupational culture of the television writing profession.

The Hollywood Renaissance

But such writing has rarely, if ever, addressed one of the most surprising cinematic developments, to do with innovations by young, new talent, of the late 1960s. Hollywood was willing to invest a large sum of money into the big screen ...

Author: Yannis Tzioumakis

Publisher: Bloomsbury Publishing USA

ISBN: 9781501337895

Category: Performing Arts

Page: 288

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In December 1967, Time magazine put Bonnie and Clyde on its cover and proudly declared that Hollywood cinema was undergoing a 'renaissance'. For the next few years, a wide range of formally and thematically challenging films were produced at the very centre of the American film industry, often (but by no means always) combining success at the box office with huge critical acclaim, both then and later. This collection brings together acknowledged experts on American cinema to examine thirteen key films from the years 1966 to 1974, starting with Who's Afraid of Virginia Woolf?, a major studio release which was in effect exempted from Hollywood's Production Code and thus helped to liberate American filmmaking from (self-)censorship. Long-standing taboos to do with sex, violence, race relations, drugs, politics, religion and much else could now be broken, often in conjunction with extensive stylistic experimentation. Whereas most previous scholarship has examined these developments through the prism of auteurism, with its tight focus on film directors and their oeuvres, the contributors to this collection also carefully examine production histories and processes. In doing so they pay particular attention to the economic underpinnings and collaborative nature of filmmaking, the influence of European art cinema as well as of exploitation, experimental and underground films, and the connections between cinema and other media (notably publishing, music and theatre). Several chapters show how the innovations of the Hollywood Renaissance relate to further changes in American cinema from the mid-1970s onwards.

Screen Writing and Production Techniques

Office Workers, 7628^ Sunset Blvd., Hollywood Painters, 7904 Santa Monica Blvd., Hollywood Plasterers, ... Hollywood Writers— Radio, 1655 N. Cherokee, Hollywood Screen, 8782 Sunset Blvd., Hollywood New York IATSE Main Office, ...

Author: Charles Curran

Publisher:

ISBN: STANFORD:36105012277930

Category: Motion pictures

Page: 242

View: 821

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Writing for the Hollywood

Whenever I speak with aspiring Hollywood writers, the first question they ask is ¡§How do I break in?

Author: Tony Blake

Publisher: Xlibris Corporation

ISBN: 9781469109244

Category: Performing Arts

Page: 188

View: 720

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Whenever I speak with aspiring Hollywood writers, the first question they ask is ¡§How do I break in? How do I get an agent and how do I get that first job.¡ ̈ But getting an agent and that first job isn¡¦t going to get you very far. What aspiring writers should be asking is ¡§How do I build a successful career in Hollywood?¡ ̈ The agent and the first job is just the beginning. Hollywood is full of writers who sold one or two scripts and were never heard from again. What it takes to succeed on your first job and then build on it to get the next job and the next is what separates the ¡§one script wonder¡ ̈ from the writer with a Hollywood career. Among the questions aspiring writers really need to ask are: „« How Do I Know When My Spec Script Is Ready For Submission? „« What Does An Agent Look For In A Writer Beyond Their Scripts? „« Once I Have An Agent What Else Should I Be Doing? „« When I Go To A ¡§Meet & Greet,¡ ̈ What Do I Say? „« How Do I Prepare For The Different Types Of Pitch Meetings? „« How Do I Handle Notes I Disagree With? „« Do I Need A Lawyer And A Manager? Most writers discover the answers to these questions through trial and error. But in Hollywood, errors can be costly to a writer¡¦s career. More than one writer has seen his career thwarted due to a simple lack of awareness. The goal of ¡§Writing For The Hollywood $¡ ̈ is to arm aspiring writers with as much information as possible so not only will the road to their first agent and sale be easier, but they¡¦ll also be able to avoid costly mistakes and have a much better chance of turning that first job into a another and another. ¡§Writing For The Hollywood $¡ ̈ begins by asking the writer to do some serious self-examination as it lists the basic ¡§ingredients¡ ̈ beyond a good script that a writer will need if they expect to build a career as a Hollywood writer. From here it goes on to cover topics such as dealing with executives, the different types of pitch meetings, the script notes process, the realities of working on a television writing staff and avoiding potential land mines that can damage a writer¡¦s forward progress. ¡§Writing for The Hollywood $¡ ̈ provides invaluable information for anyone who¡¦s ever aspired to write for the screen, by someone who¡¦s actually been there and done it.

Marlon Greg My Life and Filmmaking Adventures with Hollywood s Polar Opposites

Mulholland circle, mostly by working as Marlon's “writing partner,” I'd be talking to Marlon about Tony far more than I would ever mention Greg. This was for obvious reasons. I was often trying to discuss how I worked with my “real” ...

Author: Joseph Brutsman

Publisher: BearManor Media

ISBN:

Category: Performing Arts

Page:

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Nobody dealt with fame, career and family like these two. “They were great friends of mine for years, and I worked with both of them on many projects, writing the screenplays that were to be their final starring roles. Marlon’s film got made - because he was Marlon. Gerg’s film was another story entirely, just as Greg was.” MARLON & GREG is the true story of two legends in their final years, told by someone who was there, in the families and the film industry. He was in the middle of a pair of grand lions who lived and made their exits on their own terms.

Story and Simulations for Serious Games

And to his tastes, far too many of them live in the Hollywood Hills. “Listen,” he tells his class on the first evening. “Can you hear them . . . the writers in the Hollywood Hills? Night and day they are writing.

Author: Nick Iuppa

Publisher: Taylor & Francis

ISBN: 9781136142772

Category: Computers

Page: 272

View: 796

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How to create a simulation where participants have a sense of freedom and personal control while still maintaining the structure necessary for an effective story is a difficult task indeed. This book examines how to create an engaging, effective story (necessary to teach participants), while relating practical considerations of building a simulation. It also looks at stories as classic ways of teaching and gathering knowledge and considers other theories of interactive narrative design such as synthetic story creation and management and participant-generated story experiences. It also discusses enabling technologies in artificial intelligence, synthetic characters design and development, speech recognition technology, 3D modelling, and the future of story-driven games. Story Driven Simulations reviews the existing efforts in this field as well as focusing on the recent efforts of Paramount Pictures and The Institute for Creative Technologies at the University of Southern California, where this expert author team created successful simulations for the U.S. Army, Department of Defense, as well as other educational simulations.

Hollywood s Man Who Worried for the Stars

As expected, our biggest set of problems stemmed from our clients themselves. Most of the motion picture people were unprepared for the large sums of money they were earning all of a sudden. One writer said that Hollywood was a gold ...

Author: Carolyn Roos Olsen

Publisher: AuthorHouse

ISBN: 9781434351135

Category: Biography & Autobiography

Page: 278

View: 868

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For years people said someone should write a book about Bö Roos, but nobody will believe it. Now his daughter Carolyn has written the book, and it is believeable as it captures Hollywood's Golden Age and Bö Roos's unique part in it as one of Hollywood's most powerful and successful business managers. It's an amazing piece of Hollywood history that hasn't been covered before. Ben Newman, Attorney (Bö Roos) virtually founded the profession of business manager and personal manager (to Hollywood's stars). Daily Variety Because of his flamboyant, high powered and hectic way of life, Bö (pronounced Boo) Roos could have been the model for the movie sterotype of the Hollywood business manager. The New York Times Bö Roos' life story is a saga that would top the Horatio Alger novels of yesteryear. The Foreign Friends of Acapulco newsletter Bö Roos was a man of outsize personality and zest. Ballerina Margot Fonteyn Bö Roos not only keeps (his clients) on an allowance - he eats, drinks, and even weeps with them. Saturday Evening Post Bö invested and took risks right alongside his clients claiming more conservative managers were 'guys going through life with nothing on their chests.' Working with him was always full of excitement and the unexpected. Carolyn's captured his story well. Al Marsella, CPA

Hollywood s Melodramatic Imagination

... it is a lighter entertainment than the original and a much easier product for Hollywood to market.302 Nevertheless, Double Indemnity was a landmark film as producers hailed it as an “emancipation of Hollywood writing.

Author: Geoff Mayer

Publisher: McFarland

ISBN: 9781476643076

Category: Performing Arts

Page: 365

View: 167

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Melodrama is the foundation of American cinema. It is, however, a poorly understood term. While it is a pervasive and persuasive dramatic mode, it is not tied to any specific moral or ideological system. It is not a singular genre; rather, it operates as a "genre generating machine" capable of determining the aesthetics and structure of the drama within many genres. Melodrama centers the conflict around the clash between good and evil and provides a sense of poetic justice--but the specific values embedded in notions of good and evil are determined by the culture, and they shift from nation to nation, region to region, and period to period. This book explores the "populist" westerns of the 1930s, the propaganda films that followed the Japanese attack on Pearl Harbor, and the popularity of Sax Rohmer's master villain Fu Manchu. "Melodramas of passion" and film noir also offer a challenge to melodrama with its seemingly alienated protagonists and downbeat endings. Yet, with few exceptions, Hollywood was able to assimilate these genres within its melodramatic imagination.

Reclaiming the Archive

of the collaborative relation of writer/producer into a power struggle. The construction ofWriters' Buildings in the ... Richard Corliss, The Hollywood Screenwriters (New York: Avon, 1970), 39. 2. Ally Acker, Reel Women: Pioneers ofthe ...

Author: Vicki Callahan

Publisher: Wayne State University Press

ISBN: 9780814336878

Category: Performing Arts

Page: 472

View: 334

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Reclaiming the Archive: Feminism and Film History brings together a diverse group of international feminist scholars to examine the intersections of feminism, history, and feminist theory in film. Editor Vicki Callahan has assembled essays that reflect a range of methodological approaches—including archival work, visual culture, reception studies, biography, ethno-historical studies, historiography, and textual analysis—by a diverse group of film and media studies scholars to prove that feminist theory, film history, and social practice are inevitably and productively intertwined. Essays in Reclaiming the Archive investigate the different models available in feminist film history and how those feminist strategies might serve as paradigmatic for other sites of feminist intervention. Chapters have an international focus and range chronologically from early cinema to post-feminist texts, organized around the key areas of reception, stars, and authorship. A final section examines the very definitions of feminism (post-feminism), cinema (transmedia), and archives (virtual and online) in place today. The essays in Reclaiming the Archive prove that a significant heritage of film studies lies in the study of feminism in film and feminist film theory. Scholars of film history and feminist studies will appreciate the breadth of work in this volume.