Sunday, September 30, 2007

Clint Eastwood eyes Mandela film

A movie about how the 1995 Rugby World Cup helped heal post-apartheid race relations in South Africa is fast becoming a major film event.

Morgan Freeman had already signed on to play Nelson Mandela in "The Human Factor," an adaptation of the John Carlin book "The Human Factor: Nelson Mandela and the Game that Changed the World." Now, Warner Bros. is in talks to finance the picture, with Clint Eastwood eyeing it as a directing vehicle, and Matt Damon in preliminary talks to play the captain of the Springboks.

Freeman and Revelations partner Lori McCreary are producing with Mace Neufeld, and South African scribe Anthony Peckham ("Don't Say A Word") wrote the script.

Freeman, who stars with Jack Nicholson in the upcoming Rob Reiner-directed WB film "The Bucket List," went to South Africa with McCreary last spring to get Mandela's blessing on the project.

Story is set right after the fall of apartheid, and after Mandela was released from a long imprisonment and became South African president. Mandela recognized the significance when South Africa was selected host of the 1995 Rugby World Cup after the team had been barred from even competing since the 1980s because of apartheid.

Eastwood was brought onto the project by Freeman, who starred in the Eastwood-directed "Unforgiven" and "Million Dollar Baby."

Eastwood next directs Angelina Jolie in "The Changeling," a Universal co-production between his Malpaso and Imagine Entertainment.

Variety, September 25, 2007, By MICHAEL FLEMING.

Screenwriting Expo Is Almost Here

From October 24 - 28, the Marriott and Renaissance Hotels at the Los Angeles Airport will be packed with over 4,000 writers, writer-directors, screenwriting teachers, production company executives, agents, managers, script analysts . . and you.

What can you look forward to this year?

How about an amazing line-up of guests including the legendary William Goldman (Butch Cassidy and the Sundance Kid, The Princess Bride), Oscar-winner Steven Zaillian (Schindler's List), Roberto Orci & Alex Kurtzman (Transformers), Michael Goldenberg (Harry Potter and the Order of the Phoenix), Ted Elliott & Terry Rossio (the Pirates of the Caribbean films), Danny Cannon (CSI: Crime Scene Investigation), Bill Lawrence (Scrubs), Larry Karaszewski & Scott Alexander (1408, Man on the Moon), Scott Frank (The Lookout), novelist and TV scripter Robert Ward (Miami Vice), Tina Andrews (Why Do Fools Fall in Love?), and Stuart Beattie (30 Days of Night).

And that's just the guests of honor. Got a few brilliant ideas and polished pitches just itching to see the light of day? The Golden Pitch Tournament offers you the chance to pitch your ideas and stories to over 60 different producers, development executives, production companies, agents, and managers. This gives you the chance to pitch directly to a roomful of industry execs even if you don't have an agent yet. These are top industry names, each of whom has a studio deal and/or major motion pictures, television shows or Movies-of-the-Week to their credit, so make sure you bring your A-game.

Test your writing chops against up to 1,000 other writers in the CS Open writing tournament. Two days of writing challenges with big prizes on the line, including $5,000 cash, software from Movie Magic Screenwriter, and prodco consideration from the grand prize winner.

With all this at your fingertips, not to mention 300+ classes on screenwriting for all skill levels, networking parties, and more, you can't afford to miss Screenwriting Expo.

For more information, visit

Saturday, September 29, 2007

Where Do the Ideas Come From?

Click here to find out.

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Friday, September 28, 2007

Storyteller Challenge

Thursday, September 27, 2007


by Lynne Pembroke and Jim Kalergis


Brimming with confidence, you've just signed the check purchasing the rights to adapt John Doe's fabulous, but little known novel, Lawrence of Monrovia, to screenplay form. Suddenly, panic sets in. "What was I thinking? How the devil am I going to convert this 400-page novel to a 110-page screenplay?"

The answer is: "The same way you transport six elephants in a Hyundai… three in the front seat and three in the back!"

Old and very bad jokes aside, how does one pour ten gallons of story into a one-gallon jug?

In this article, we'll take a look at this challenge and a few others that a writer may encounter when adapting a novel to screenplay form.


Screenplays rarely run longer than 120 pages. Figuring one page of a screenplay equals one minute of film, a 120-page screenplay translates into a two-hour motion picture. Much longer than that and exhibitors lose a showing, which translates to fewer six-cent boxes of popcorn sold for $5.99 at the refreshment stand. It took the author of your source material 400 pages to tell the story. How can you possibly tell the same story in 110 pages, the ideal length for a screenplay by today's industry standards?

And the answer to this question is no joke. "You can't! Don't even try!"

Instead, look to capture the essence and spirit of the story. Determine the through-line and major sub-plot of the story and viciously cut everything else.

By "through-line" I mean, WHO (protagonist) wants WHAT (goal), and WHO (antagonist) or WHAT (some other force) opposes him or her? It helps to pose the through-line as a question.

"Will Dorothy find her way back to Kansas despite the evil Wicked Witch of the West's efforts to stop her?"

The same needs to be done for the major sub-plot.

"Will Dorothy's allies achieve their goals despite the danger they face as a result of their alliance?"

One workable technique is to read the book, set it aside for a few weeks, and then see what you still remember of the story's through-line. After all, your goal is to excerpt the most memorable parts of the novel, and what you remember best certainly meets that criterion.

In most cases, everything off the through-line or not essential to the major sub-plot has to go. Develop your outline, treatment or "beat sheet" accordingly.


Many novels are written in the first person. The temptation to adapt such, using tons of voiceovers, should be resisted. While limited voiceovers can be effective when properly done, remember that audiences pay the price of admission to watch a MOTION (things moving about) PICTURE (stuff you can SEE). If they wanted to HEAR a story they'd visit their Uncle Elmer who drones on for hour upon hour about the adventures of slogging through the snow, uphill, both ways, to get to and from school when he was a kid, or perhaps they'd buy a book on tape.

The old screenwriting adage, "Show, don't tell!" applies more than ever when writing an adaptation.


Some tribes of American Indians had a word to describe those of their brethren who sat around thinking deep thoughts. Literally the word translated to, "THE DISEASE OF LONG-THINKING". Quite often, lead characters in novels suffer from this disease.

"Mike knew in his heart that Judith was no good. Yet she caused such a stirring in his loins, he could think of nothing else. He feared someday he would give in to this temptation named Judith, and his surrender would surely bring about the end of his marriage!"

If adapted directly, how on Earth would a director film the above? All we would SEE is Mike sitting there, "long-thinking". That is not very exciting to say the least. And as mentioned previously, voiceovers are rarely the best solution.

When essential plot information is presented only in a character's thought or in the character's internal world, one solution is to give this character a sounding board, another character, to which his thoughts can be voiced aloud. Either adapt an existing character from the novel or create a new one. Of course as always, you should avoid overly obvious exposition by cloaking such dialogue in conflict, or through some other technique. Even better, figure out a way to express the character's dilemma or internal world through action in the external world.


Mark Twain is quoted as saying about Oakland, California, "There's no there, there". Similarly, some novels, even successful ones, are very shy on story and rely for the most part on style and character to create an effect. Some prose writers are so good at what they do, that their artful command of the language alone is enough to maintain reader interest. Such is never the case in screenwriting.

Successfully adapting a "no-story-there" novel to screenplay form is a daunting task. One approach is to move away from direct adaptation toward, "story based upon". Use the brilliant background and characters created by the original author as a platform from which to launch a screen story. In fact, if for any reason a screenplay doesn't lend itself to screenplay form, consider moving toward a "based upon" approach, rather than attempting a direct adaptation.

Congratulations! You're now an expert on adapting novels to screenplay form! Well maybe not an expert, but hopefully you have a better understanding of how to approach the subject than you did ten minutes ago. And if the subject still seems too daunting, you can always get professional help as outlined on our web page

Copyright © Lynne Pembroke and Jim Kalergis

Lynne Pembroke is a writer, poet, screenwriter and owner of, with over 18 years of experience in screenwriting and screenplay analysis helping individual writers, screenwriting competitions, agents, studios, producers and script consulting companies. Services include screenplay, TV script and treatment analysis, ghostwriting, rewriting and adaptation of novel to screenplay. Jim Kalergis is a working screenwriter experienced in the art of adaptation. Visit for details.


by Brian Konradt

Screenwriting is a competitive trade. To distinguish yourself as a prize-winning writer you need to master organizational skills, take creative risks, and learn how best to present your final product. For the aspiring screenwriter, Tom Lazarus' book, "Secrets of Film Writing" is one of the best. An exceptional screenwriter with five produced screenplays, Lazarus developed this book for beginning writers enrolled in his classes at UCLA.

This article examines a few of the many techniques outlined in "Secrets of Film Writing" and provides examples of screenwriters who succeeded with Tom Lazarus' guidelines.

Master organization and you're closer to producing a stellar screenplay, not a mediocre one. Ask yourself these questions:

1. Does the screenplay have a clear beginning, middle and end?

2. Does the story drift aimlessly or does it make its point successfully?

These may seem like basic questions, yet many screenwriters grapple with organizational problems.

Lazarus addresses this issue in his book; he recommends writers use one of four organizational methods to ensure their screenplays flow smoothly: outlines, treatments, index cards, and scene lists. All four of these tools are equally effective. Writers need to be discreet to decide which organizational crutch best suits their needs.

In writing the screenplay for the Hollywood feature film "Stigmata," Lazarus chose to use a scene list for organizational support since he already had specific ideas about the chronology and action details of his story. To writers who have difficult organizing and prefer a different method, Lazarus says, "Go for it, because no one is going to see it. It's a process. There is no wrong way."

Writing is a process. Great screenwriters take creative risks. Without an interesting story, even the most organized screenplay will be unmarketable. The goal should never be to copy another writer's style; instead exercise your own imagination and experiment with different ways to spark your story.

When Warner Brothers hired Tim McCanlies to adapt Ted Hughes' famous English novel "The Iron Man" for the screen, he struggled with whether he should remain true to Hughes' vision or develop a new story based loosely on the original book's events. McCanlies chose to do something risky and wildly creative; he Americanized "The Iron Man" by setting the story in the 1950s during the Cold War terror and renamed it "The Iron Giant." His calculated risk proved worthwhile. American audiences related to the film and appreciated its examination of an unusual time in their nation's history. Also, English audiences embraced "The Iron Giant" despite its variation from the original English text and awarded it the 2000 BAFTA Award for best feature film.

McCanlies' success lends a valuable lesson: when you risk nothing, you gain nothing. McCanlies, Lazarus, and other successful screenwriters embroil themselves in chances, write creatively, experiment with different ideas, and raise their characters' stakes.

Once you have written an interesting, well-organized screenplay you need to submit your script neatly and according to studio standards. Lazarus warns his UCLA students about several technical errors in script presentation that annoy studio readers. Follow these guidelines:

1.A feature length screenplay should be longer than 95 pages and shorter than 125 pages when you submit it for studio consideration.

2. Don't include a synopsis or character biographies with your script as it gives studio readers an excuse not to review the whole screenplay.

3. Don't put scene numbers on your script until it is sold. This is a rule of the game; readers find scene numbers distracting and use them as an excuse to dub a screenplay "amateur" and unworthy of further consideration.

4. Studio readers prefer to receive scripts bound with circular metal brads. Using folders and binders hog office space and interns may discard scripts unintentionally during spring cleaning.

5. Finally, use one of the many screenwriting programs to help format your script, such as Movie Magic Screenwriter Version 6, Final Draft 7 Professional Scriptwriting Win/Mac or Script Wizard. You can find discounted deals at,, and

Make sure you proofread your script several times before submitting a script for Hollywood review. Busy studio readers will not peruse screenplays riddled with basic errors like confusing "it's" with "its" and using "are" when you mean "our." Use a program like Style Writer to remedy such embarrassing grammar mistakes. When you're ready to submit your script, grab a Hollywood Creative Directory, 59th Edition (Hollywood Creative Directory) to find markets for your script.

Remember to take risks with plot and character development, and follow studio standards for script submissions. Studying resources like "Secrets of Film Writing" by Tom Lazarus, "How Not to Write a Screenplay" by Denny Martin Flinn, "Crafty Screenwriting" by Alex Epstein, and "Alternative Scriptwriting" by Ken Dancyger and Jeff Rush can be helpful for aspiring writers. Developing strong writing skills takes time, a willingness to learn, and perseverance. Writers who constantly improve their skills and experiment with new ideas will succeed.

Brian Konradt is a freelance writer and founder of, a free web site to help writers master the business and creative sides of freelance writing; he also is founder of, a free website to help authors promote their books.

Movie Premieres in Newspaper

"The Riddle", a smart twisty thriller written and directed by Brendan Foley, made newspaper and film history on September 16, 2007 when it becomes the first movie ever to receive its premiere in a national newspaper.

The UK's Mail on Sunday bought the rights to the film and gave away close to 2.5 million dvds free with the Sunday paper, supported by TV ads and a poster campaign.

"As the maker of a UK and Irish indie movie with a great cast, this is as good as it gets," says Brendan. His film stars Vinnie Jones, Derek Jacobi, Vanessa Redgrave and Julie Cox.

"The Riddle has had great reviews so far, so I hope people will help spread the word and if you're in UK or Ireland that you enjoy the movie . ."

The Riddle's plot centres on an ambitious journalist, determined to unravel a series of modern murders that follow the discovery of an unpublished Charles Dickens novel in a London pub.

from MovieBytes

Eerie Film Festival Announces 2007 Screenplay Winners

"Shed", by Dennis Widmyer & Kevin Kolsch, has been named the winner of the 2007 Eerie Horror Film Festival screenwriting competition.

Feature Length Screenplays:

"Shed" by Dennis Widmyer & Kevin Kolsch
"Cadaver" by Steven Arvanites
"The Orchard" by Diane Stredicke

Short Length Screenplays:

"Fruit Farm" by Chad Kinkle
"Bequethal" by Brierley Thorpe
"The Ridge of Misery" by Tom Sawchuk

Additional Contest Info: Eerie Horror Screenplay Competition

Zoetrope Fall Writing Workshops

Register for online fiction or screenwriting courses taught by Zoetrope affiliates. Classes are conducted online with a maximum enrollment of 18 students per class.

Short story workshops begin the weeks of September 17 and October 8. Screenwriting workshops begin the week of October 8.

Zoetrope has partnered with New York's leading writing school, Gotham Writers' Workshop, to bring comprehensive fiction writing and screenwriting workshops to the Internet. Every Zoetrope 10-week course includes all the features that garnered Gotham "Best of the Web" status from Forbes, including:

--Expert instruction
--Small class size
--Weekly lectures
--Engaging writing exercises

The 10-week Zoetrope screenwriting workshops are for anyone interested in learning the fundamental techniques of screenwriting. A professional screenwriter from Gotham's acclaimed faculty will guide you in creating characters, building plots, shaping scenes, sharpening dialogue, and, of course, peddling your work.

This workshop includes:

--Weekly craft discussions that incorporate films produced by American Zoetrope.
--Student opportunity to submit the first ten pages of a screenplay for review by a development person at American Zoetrope studio.
--Special guest chat session with a member of the American Zoetrope staff.

Whether you are an aspiring novice beginning your first work or an experienced writer seeking a comprehensive refresher, a Zoetrope writing workshop promises to help you take your writing to the next level.

For complete information and to register, visit

* * *

Screenwriting Evaluation Service for Screenwriters

(BERKELEY, CA) --- In the footsteps of the Manuscript Evaluation Service, UC Berkeley Extension Online has developed a new online service designed to aid screenwriters with their first full draft before presenting it to agents, studios or production companies. This is a special enrollment service led by UC Berkeley Extension instructor and screenwriting story analyst, Lisa Rosenberg. Guidance and critique are provided via online chats, making this globally accessible to serious screenwriters with a finished first draft.

"Screenwriting Evaluation: First Review" is a consultation service for preparing screenplays for delivery to agents, studios and other industry professionals. Each writer receives a comprehensive written analysis of the submitted work, which includes comments focusing on the strength of the story elements and the commercial viability, as well as recommendations for revising and marketing.

Lisa Rosenberg is the service's screenplay reviewer. She is an award-winning screenwriter and veteran story analyst, specializing in serious drama. As a story analyst for Hollywood, she has read thousands of scripts in every genre. Ms. Rosenberg has also taught screenwriting, story analysis and screenplay adaptation, and continues to read and develop scripts on a private basis. Currently, she is writing a novel that she plans to adapt for the screen. Ms. Rosenberg has more than 40 produced credits for film, public television, video, the Internet and CD-ROM.

This is a special enrollment service; potential participants should read the service’s FAQ which is linked to the course description online. Any additional questions or requests for additional information regarding this program need to be directed to The e-mail should include the writer's name and any specific questions the writer may have.

UC Berkeley Extension Online offers over 200 online and distance learning courses for lifelong, college and high school students. For a complete description of any course offered by UC Berkeley Extension Online, please go to to visit the online course catalog.

Samuel Goldwyn Finalists Announced

Five finalists have been named for the 2007 Samuel Goldwyn Writing Awards, open to students from the eight University of California campuses.

Kevin P. Cramer, from UC Riverside, and Mark Crawford Humphrey, Jennifer O'Kieffe, Andrea McCloud and Michael Vukadinovich all from UCLA made the final cut.

Winners will be announced on Oct. 29 by Peter Bart, editor-in-chief of Variety, producer Cathy Schulman, and director Joel Schumacher.

Warner Independent Picks Up Comedy Spec from First-time Writer

Warner Independent Pictures has purchased newcomer Scott Rothman's Fratboy,, a comedy spec about a man brought up in a frat house, raised by generations of house brothers. When he is reunited with his birth mother, he wreaks havoc on her chic home furnishings company with his rowdy, ill-behaved ways. Karz Entertainment will produce the project for Warner Independent.

Source: MovieBytes.


World Premiere of PRESQUE ISLE at the Mill Valley Film Festival
Friday, October 5 at 7:15 pm
Cine Arts Sequoia Theatre (415) 388-4862
25 Throckmorton Ave., Mill Valley, CA 94941

The San Francisco School of Digital Filmmaking (SFSDF) announces the World Premiere of PRESQUE ISLE, its first feature film produced with production partner Fog City Pictures, which will take place on Oct. 5, 7:15 at the Cine Arts Sequoia Theatre in Mill Valley.

PRESQUE ISLE¹s writer/director, Rob Nilsson, enjoys a long association with the Mill Valley Film Festival. It began in 1979 when NORTHERN LIGHTS, which had just won the Camera d'Or at the Cannes Film Festival, had its North American Premiere at Mill Valley.

Under the leadership of producers Jeremiah Birnbaum and James Savoca, principal photography took place over 4 weeks in the Santa Cruz Mountains. A dynamic team of Bay Area film professionals and SFSDF students slept on log cabin floors, cooked on campfires, fought off mosquitoes, dodged poison oak and made a unique collaborative film.

Mickey Freeman's haunting black and white cinematography is featured in the story of Danny Holmen, a man estranged from family and shattered by the breakup of a love affair, who returns to an abandoned cabin on an island in a remote Northern Wisconsin lake.

Assailed by dreams, flashbacks, hallucinations and visitations from the past, he tries to hold his life together as his memories threaten to pull it apart. As part of the schools' hands-on teaching approach, SFSDF offers its students the opportunity to crew on feature films and be mentored by film professionals.

Since PRESQUE ISLE wrapped, SFSDF and Fog City Pictures has produced
writer/director James Savoca's feature, AROUND JUNE, and is set to begin production on the upcoming film, MOONLIGHT SONATA, to be directed by Celik Kayalar.

A second showing of PRESQUE ISLE will take place at the Christopher B. Smith Rafael Film Ctr., on Thursday, Oct. 11 at 9:15.


Shelby Stricklin
Tel 415.522.1200 ext.111

Wednesday, September 26, 2007

Toufee Releases New WYSIWYG Online Flash Movie Maker

Toufee is a new WYSIWYG online Flash movie maker that aims to make it easy for non-technical users to quickly create flash movies for embedding in web pages.

Toufee flash movies allows adding sounds, videos, photos, special effects. Toufee flash movies can be directly posted to blogs like Blogger, TypePad, FreeWeb and social networking sites like MySpace, Hi5, Facebook, Xanga, Friendster, LiveJournal, etc.

Toufee is an online flash movie maker application that can get you to create flash movies and multimedia presentations in a matter of minutes. With Toufee, you no longer need to know Adobe Flash or have programming skills to produce Flash animations.

Toufee has an easy-to-use interface that requires little learning and powerful features that enable you to create professional looking flash presentations, flash banners, e-cards, Website intros and flash-based advertisements in no time. Images, audio and video can be added to Toufee flash presentations.

Toufee comes with loads of pre-built special effects that can be applied to text, images and video. Toufee has a feature-rich interface with easy drag-and-click options, fast navigation and highly responsive options.

Toufee gives you the best of both worlds - you can upload photos, audio or video from your PC or quickly grab your favorite images from Flickr and videos from sites like YouTube and Google Videos. The program also supports a built-in text-to-speech engine with six human voices with which one can add a personal touch to the flash animations.

Toufee has excellent sharing and collaborative features - Toufee users can rate movies created by fellow members or add their comments to a movie. Movies created with Toufee can be easily posted onto your personal websites. A powerful feature of Toufee is that it allows users to directly upload their movies to social networking sites like MySpace, Hi5, Friendster, Blogger, Xanga, LiveJournal and to sites like eBay.

Toufee has been gaining popularity amongst the internet community - a number of Toufee users have been using Toufee as a marketing tool to design ad campaigns for their products and to develop engaging product presentations. Toufee is also used to create personalized greeting cards, business presentations and website animations.

FINAL DRAFT™ Announces 8th Annual Big Break International Screenwriting Contest

Winners Receive over $30,000 in Cash and Prizes Plus Meetings With Industry Professionals

March 5, 2007-(Calabasas, CA)- Final Draft, Inc.,, publisher of Final Draft®, the #1-selling scriptwriting software, today announced the Grand Prizes for its 8th Annual Big Break International Screenplay Contest. Big Break is an annual, global screenwriting competition designed to promote emerging creative talent. The Top Ten Finalists in the competition receive generous prize packages that include a gift certificate from The Writers Store, a subscription to Script Magazine, a current version of Final Draft software, having the winning script read by top industry writers and agencies, free admission to Gotham Writers’ Workshop ten-week class, free admission to any 2008 Take a Meeting a Final Draft event, additional prizes and $500 in cash.

The First Place Winner will be receiving all of those prizes in addition to cash totaling $15,000 and the possibilities to which this kind of recognition can lead. In fact, the winner from the 2004 Big Break Contest, Rylend Grant, was quickly signed by CAA and secured a six-figure deal to write for an A-list actress and an Oscar®-winning director. Two of the 2006 finalists' scripts have already been optioned.

For more information about the Big Break Contest, visit

Other relevant sites:


Saturday, September 15, 2007

WINNERS: WriteSafe Present-A-Thon contest

WriteSafe, THE place to protect and present your original creative material on the InterWeb, is proud to announce the Winners in the WriteSafe Present-A-Thon contest for the 2nd Quarter of 2007.

The following works and writers have earned our top prizes and appreciation for the privilege of being entertained and moved by them. Thank you for your wonderful work and congratulations to you all!
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First Prize:
TRUE DETECTIVE by Andrew Fisk - Screenplay

Second Prize:
WHITE LIGHT CAB CO. PILOT by Gabiann Marin - Teleplay

Third Prize:
CRIMINAL MINDS: MOTHER, DEAREST by Lori Queirolo - Teleplay

Fourth Prize:
GEEKS: A LOVE STORY by Andrew Fisk - Screenplay

Fifth Prize:
CULINARY TRAVELS by Marisa K. Mickel & Bobby Duncan - TV Series Premise

Honorable Mention:
WHITE LIGHT CAB CO. by Gabiann Marin - TV Series Premise

Honorable Mention:
NCIS: .892 MILES by Josh Roessler - Teleplay
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Protect Your Work/Present Your Work
A Presentation of Cloud Creek Institute For The Arts

Friday, September 14, 2007



Open House & Films Screening + 48-Hour Film CALL ME KATE Critique by
SFSDF Instructors & Discussion ­ SUN. SEP. 23 at 10:00 AM
Open House & Films Screening ­ TUE. OCT. 9 at 6:30 PM
Open House & Films Screening ­ THU. OCT. 25 at 6:30 PM
Or call anytime for a private tour
RSVP: (415) 522-1200

Bay Area Women in Film & Television (BAWIFT) - Women Only WED. SEP. 19 at 6:30 pm FREE
World Premiere of SFSDF's 1st Feature Film, PRESQUE ISLE at Mill
Valley Film Festival ­ FRI. OCT. 5 at 7:15 PM at Cine Arts Sequoia Theatre,
25 Throckmorton Ave., Mill Valley, CA 94941
SFSDF at Tower of Youth in Sacramento, CA - FRI. OCT. 19 9:00 AM ­ 5 PM
(Not at SFSDF)
SFSDF Hosts: Christopher Phrommayon Teaches Final Cut Pro for SF Cutters (limited seating) - SAT. OCT. 20 ALL DAY REGISTER with code: SFSDF2 at
Class 4 Graduation Screening ­ WED. OCT. 24 at 6:30 PM at BRAVA THEATRE - FREE

ALL CLASSES & EVENTS AT (unless otherwise specified):
DIRECTIONS: http://www.sfdigifi

San Francisco School of Digital Filmmaking, the most innovative film school in the Bay Area bridges the gap between traditional education & professional movie-making. Use state-of-the- art, hi-def equipment and professional sound stages to make movies, work on HD feature films, and launch your career.


* Pitch TV Producer (Cosby Show, Third Rock From Sun)
(you'll receive e-mail of class transcript with all the pitch info instructions, codes, etc)
* Top Manager Takes Pitch ( Molds new careers, producing "The Infiltrator" at Warner Bros.
with Leonardo DiCaprio, and "The Family Fortune" with Meg Ryan.
(you'll receive e-mail of class transcript with all the pitch info instructions, codes, etc)

Take 30 days to get your pitches in.

To join:

Tuesday, September 11, 2007

First Annual Words Rising New Dawn Reading Series

Under the Spell Productions, a premiere dramatic production company in New York City, announces the first annual Words Rising New Dawn Reading Series. Words Rising is a script competition which provides talented writers the opportunity to showcase their work.

Writers are encouraged to submit their best dramatic work (screenplay or stageplay) to Words Rising for review by our well-connected panel of professionals in the performing arts, film, and related fields. Three winning scripts will be selected for a staged reading in New York City's theater district, and produced by the team at Under the Spell Productions in the spring of 2008. The Words Rising New Dawn Reading Series is a wonderful way for emerging writing talent to take their career to the next level.

Founded in 2005, Under the Spell Productions is a dramatic production company committed to providing trained professionals in the performing arts opportunities to perform and showcase their talent. In the span of two short years, Under the Spell Productions has presented four major productions, among them the premiere of an original performance piece, It Goes Unsaid at the UCLA Raw Performing Arts Series in 2006.

The Words Rising New Dawn Reading Series opens Under the Spell Productions' third season with a focus on new creative voices. Highlighting the power of theater, our aim is to discover new writing talent and help bring their vision to the stage.

Writers from all backgrounds are encouraged to submit their best work to Words Rising by September 30th October 31st. A $15 entry fee must accompany all submissions. Entries after October 30th will be accepted until November 15th for an additional fee of $5.

Writers retain full legal copyright of all submitted material. All genres are welcome, however submissions must be in a dramatic form. Submissions of non-dramatic material (i.e. novels, short stories, non-fiction articles, etc.) are highly discouraged. All script submissions are guaranteed a one page critique.

For more details please visit or send an e-mail inquiry to:

Saturday, September 8, 2007

2008 BlueCat Screenwriting Lab

Now accepting pitches, short scripts and feature length screenplays.

Final Deadline: October 1st

Entry Fee: $40

Grand Prize
Three writers will be chosen from all submissions (pitches, shorts and features) and invited to one week of screenplay development at the BlueCat Screenwriting Lab, held in Los Angeles on March 16-23, ALL EXPENSES PAID, including a $1000 cash award.

Working with local film professionals in LA, the BlueCat Screenwriting Lab will focus on the primary goal of producing your screenplay through:

*Rewrite mentoring with veteran screenwriters
*Feedback from credited feature film directors
*Roundtable sessions with producers
*Workshop with professional actors
*Brainstorming with Below-the-line Crew
*Pitching work with development executives
*Packaging and budgeting input tailored to your screenplay
*Staged readings with a live LA audience

The following awards will be given to writers not selected for the Los Angeles Lab:

Feature Development Awards
Three writers will receive $1000 each to underwrite further development of their feature length screenplay.

Pitch Development Awards
We are offering these awards to four writers to spur development of their idea into a screenplay.

Best Video Pitch: $2500
Runner-up: $500

Best Written Pitch: $2500
Runner-up: $500

Short Screenplay Production Awards
We are offering these awards to four writers to spur production of their screenplays.

Best Comedic Short Screenplay: $2500
Runner-up: $500

Best Dramatic Short Screenplay: $2500
Runner-up: $500

Final Deadline October 1st. Entry Fee $40.

Submit Now:
BlueCat Screenplay Competition
Hollywood, CA 90028 lab/call_ for_entries.php

Tuesday, September 4, 2007

The Pacific Northwest Screenwriters Contest 2007

The Pacific Northwest Screenwriters Contest 2007 sponsored by 928
Talent Management is now taking entries.

First Place Winners in 5 categories will receive: One Year of Full
Representation, Final Draft Software, and the Writers Award.

All entries must be postmarked no later than 9/15/07.

*All entries must be WGA Registered or Copyrighted
*Entries must be the original work of the author/s
*All Film/TV Movie Scripts must be over 75 pages

Drama Feature
Comedy Feature
Sci-fi - Action Feature
Thriller-Horror- Mystery-Suspense
TV Movie - Mini Series

Fees for entering:
1 Category Fee $20.00 (entering your script in 1 category)
2 Category Fee $25.00 (entering your script in 2 categories, no project can be entered in more than 2)

The panel of 10 judges includes:

Daniel Yost, Screenwriter Drugstore Cowboy
Billy Cougar, Director of Development Here Networks
JR O'Neil, CEO 928 Talent Management
Grammnet Productions

For complete contest details and entry visit:

Monday, September 3, 2007

UCLA Writers Faire

Sunday, September 9, 11 am-3 pm
UCLA Campus: Young Hall Courtyard

The event is free and open to the public (parking on campus is $8).

The Writers Faire features:

More than 70 creative writers and screenwriters who share their
expertise and tips in 24 unique mini-classes.

Opportunity to enroll in most fall courses at a 10-percent discount (excluding advanced courses).

One-on-one advice on courses and certificate programs.

A special session on graduate programs in creative writing.

For more information visit the Writer's Program website: