Hollywoodscript.com Newsletter
Craig Kellem
which is published by script consultants Craig Kellem, Judy Kellem
(http://www.hollywoodscript.com)
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_______________________
THRILL OF THRILLS
(what could be more satisfying than selling a script?)
If selling my script THE CANYON was a thrill, spending a few days on
the set trumped it in spades. What a revelation to hear actors say
your lines, bring your characters to life, take them in directions you
never conceived of.
And I have such huge respect for the crew - not to mention the
director and producers - after watching them in action. The level of
talent and dedication is amazing I can't wait to go back. Fortunately,
I don't have to wait long. I'm heading back next week!
A big and heartfelt thanks to Craig for playing such an instrumental
part in this journey. For hammering home the essentials:
That the script needs to be as good as it can possibly be before you
send it out into the world.
That you need to dig deep, push yourself beyond what you think you
can do in order to find the real nuggets, those kernels of truth that
will resonate with the reader/viewer.
That talent will take you far, but perseverance and dedication to the
craft will take you farther still.
But what impresses me most about Craig is not his knowledge of the
business, which is formidable, or his grasp of storytelling, which is
equally impressive.
It's that he cares about you as a writer, and as a human being. His
desire to share his knowledge, and his willingness to open up his life
and heart to writers is nothing short of extraordinary.
If you want to take your script and your career to the next level,
Craig's your guy.
Again, many thanks.
Steve
stevea...@yahoo.com
NOTE-The movie is called The Canyon. It's a thriller, is being
directed by Richard Harrah, and stars Will Patton, Eion Bailey and
Yvonne Strzechowski. It's being filmed in Arizona and Moab, Utah, and
will be released in 2008.
THANKS SO MUCH STEVE FOR YOUR KIND AND GENEROUS WORDS.
____________________
The Muse Within
By Judy Kellem
On a recent, rainy Saturday afternoon, I was bustling about our
apartment, folding laundry, cleaning out the fridge, shuffling through
bills and penning a long overdue thank you note – all at the same
time. My husband was doing his own multitask dance about the space
and we had the television on in the background, since our CD player
just broke and we somehow felt the need to have a din of noise keeping
us company in our respective chores. A film called, "Elizabethtown"
written and directed by Cameron Crowe played softly along for the two
of us, at best, half-listening to a moment here, a line or two of
dialogue there. From the little I gathered, the film was
about a man who was intent on killing himself, but was forced to
postpone his death when his father dies and he must first deal with
the details of that passing. This sudden duty takes the hero from his
home in Oregon to his father's roots in Elizabethtown, Kentucky. Each
time I glanced over at
the tube, I'd enter a scene at the end, or in transition from one
sequence to the next – not much to go on story wise. Yet these
driblets were compelling enough in and of themselves that I found
myself making a mental note that I should try to watch this film
uninterrupted one of these days.
And then, sometime late in the second act, start of the third, it
happened. I had just rounded the corner of the kitchen to match socks
on the bed when I found myself stopped dead, lips parted, before the
television as the hero now embarked on a road trip home to Oregon, his
father's urn strapped in the
backseat passenger side, the voice of his new girlfriend narrating his
journey (she had created for him a map with stops specified along the
way, a travel album with pictures and notes about each place and a CD
of herself talking followed by amazing music, charting an adventure
for him to take as
he made his way back home across the country). Within seconds I was
flush, tears streaming down my face.
Then I heard light sniffles to my left. My husband had been paused
mid hunt of the right film stock for his camera, and was parked just
behind me, red faced and wet eyed – having caught the very same
sequence.
We exchanged a sympathetic grin of camaraderie but said nothing. When
we'd recovered and returned to our respective tasks, I could not shake
the dewy, vulnerable feeling the movie sequence had inspired. And as I
coupled black socks with black, white with white, I thought, "What an
achievement! That's
IT!" To be able to write (and in Crowe's case also direct) a piece SO
CONNECTED that the uncommitted viewer can enter an hour and a half
into your story and be brought to instant tears catching just eight
minutes – WOW!
After a breath, I then of course asked myself, "So, how'd he do it???"
I like to think that the answer is what I already know and what we are
constantly advocating here at Hollywoodscript.com: Cameron Crowe was
creating from the absolute HEART. There wasn't an ounce of recycled,
contrived, manufactured material here. It was if he had taken a
handful of treasured moments, resonant memories, well-loved bits and
pieces from his
life experience and then used these emotionally-powered artifacts to
explore a large dramatic theme we all must bear: LOSS.
In this case, it was a son's loss of a father. The story of a man who
must postpone his own death wish in order to play the dutiful son,
gave Crowe a place to dramatize his own brand of what it means to be
part of a complex family network, to be under the pressures of "being
a man", of "being the
stable one" – as well as all the ways in which the roles we feel
obliged to play prevent us from giving and receiving love. I like to
imagine that the road trip introduced late in the tale - the image of
a man traveling cross country with his father's ashes, guided by the
scrapbook instructions and mix CD of a lover - allowed Crowe the
perfect vehicle to share with viewers
not only his own most beloved spots in North America, his own most
sacred travel music but his deepest meditations on life, mined while
staring down the vast landscapes along an open road from his own past.
That is what writers – and all artists – do. They cull from their own
lives and their own spirits, fragments of story, of character, of idea
from which they can then originally create. And when the fragments are
born from the
heart, tethered to the soul, the potency of that connection is not
only maintained, but enhanced within the context of an overall
creative endeavor.
That is why Crowe's eight minutes were so powerful. All those bits
and pieces he had assembled into his script, transmitted the
collective weight and impact of all those feelings.
So inspired by his model, I have found myself returning to my own
reservoirs of memory… of small and large, prized or simply resonant
moments, knowing that this is the beginning of my own trip home,
journey to that place inside, where my own muse lives, waiting for me
to engage it…to tell my own
original story, in hopes that it may carry to another human being the
unique heart from which it's come.
_________________
"DUCK'S" GETS OPTIONED!!!!
Craig,
CONGRATULATIONS! Our mutual effort has resulted in an option for my
screenplay, "Ducks". Your "nonviolent" style of encouragement,
pointed criticism, immeasurable good advice and (can I say
encouragement again?) genuine pleasure
when the script is actually ready for the marketplace, has resulted in
my first option.
Your upbeat enthusiasm is infectious and uplifting. I sincerely
believe that I could not have done this without you in your role/s of
mentor, father confessor, 3rd grade English teacher and friend.
I was disappointed when "Ducks" didn't win your contest, although I
knew that you have a lot of talented writers submitting material.
This has taught me, that whether you win the contest or not, to trust
that when you say "the
script is ready", the writer can take it to the bank - and, that's
exactly what I am going to do - thanks to you.
Thanks again Craig, you and Judy (with her coverage) are invaluable
resources for all us struggling screenwriters. And, I'm sure that I
am not the first
to tell you how much you are appreciated.
Best Regards,
Jack Vandagriff
Hpp...@cs.com
_________________
WHEN YOU THINK YOU'VE HIT BOTTOM, LOOK DOWN
By Mark Miller
(Mark Miller has experienced humiliation on sitcom staffs, doing
stand-up comedy and writing humor columns for the Los Angeles Times
Syndicate.
April 22, 2007 )
I once explored all seven circles of show business hell, and
consequently learned one of Hollywood's primary lessons: Each time you
feel you've reached the absolute lowest point of show-business
humiliation, you can pretty much count on there being more to come.
Come journey with me, won't you? Wear something light, though. It's
going to get hotter as we descend to each subterranean show-biz level.
Level One: The increasing popularity of TV reality shows takes up the
on-air time slots formerly occupied by sitcoms. This, combined with
producers' increasing desire to hire writers directly out of the womb,
makes it substantially more challenging for someone like me—who had
been earning his living for years as a writer/producer on sitcom
staffs—to find a job.
Level Two: One of the painful realities of being an adult is that just
because there are no available jobs in your field, doesn't mean there
are no more monthly expenses. Hence—pressure, tension and stress. Got
house payments, a wife and kids? Triple the stress.
Level Three: Flash-forward a few years. After exhausting all efforts
to find script-writing work and exhausting all saved income, I
register for copywriting work at several employment agencies. At least
I'd be using my writing skills, it's fairly steady work, and it would
give me something more productive to do than calling every working
producer I know to hear them say there's nothing for me now, but feel
free to call back in four months. Oh, the salary for copywriting work
compared to what I'd been making on sitcom staffs? Don't ask.
Level Four: Day one of my first job in the business world. At a video
production company. Well, that's sort of show business, I tell myself.
I'm asked to sit at the front desk and answer phones. I get a call
from the boss who is working from home, saying a videotape is going to
be delivered. When it arrives, I'm to pop it into the VCR on the desk,
turn on the TV and call him. Then, I'm to describe what's on the
video, as he needs the information for an important meeting later that
morning.
Level Five: The video arrives. I pop it in, call the boss and start
describing what's on it. In the video, an attractive young woman is
reading a book. The doorbell rings and she goes to answer it. It's an
attractive man delivering a package. Flirting ensues. Kissing ensues.
Nudity ensues. Lovemaking ensues. Extensive lovemaking with
appropriate sound effects. I'm beet-red, as other employees are now
observing me describing all this on the phone to the boss, who's
asking detailed follow-up questions.
Level Six: Finally, just as the scene reaches its, er, climax, I say I
can't do this anymore. And just as I'm about to walk out on my first
day on the job, a hidden camera crew appears. Turns out I've been had.
By a reality show. Yes, one of the same reality shows occupying a time
slot formerly occupied by the very sitcoms that once employed me. And
the employment agency that sent me to work here? Why, naturally,
they'd been hired by the reality show to find the most gullible man in
California to be humiliated on national television.
Level Seven: One of this reality show's producers, who comes out to
greet me, looks familiar. As well he should, because, coincidentally,
we had been fellow story editors and friends for two seasons on one of
my sitcoms. I think he sensed my discomfort, because he was as nice
and apologetic as possible. In fact, as I was slinking out the door, I
distinctly heard him shout out after me, "Give me a call in four
months. We may have something for you."
COPYRIGHT MARK MILLER 2007, ALL RIGHTS RESERVED
________________
JUDY ANSWERS "NOVEL" QUESTIONS
Q. What is the main aspect of a novel that draws your attention? Is it
the storyline, character development, etc?
A. The main aspect as regards translating the book into a screenplay
will depend on what angle of the book is most cinematic, lends the
best content for dialogue and will best fit into the limited space of
a screenplay. The first thing to consider is how the material can best
fit into the medium.
Because a screenplay has a very specific format and like a metered
poem, demands the writer be confined to rules and boundaries of the
form, one must make sure that the creative approach respects those
rules and can be workable within the parameters of a three act
structure.
Q. In adapting a film from an existing piece of literary fiction, what
is the process you take and how does the film differ from the novel?
A. The process varies depending on the individual project. In
general, after the novel has been read, I zero in on what about the
book will - as said above - be best suited for screenplay form. Is the
main character far more compelling than the novelist's storyline? Is
the underlying theme or
message of the book really what is worth dramatizing in a script? What
about the book has the most potential to be realized into a visual
story? What about the book will offer the most fertile ground for
writing great dialogue and moving images? Once I have identified
that angle, I begin the
process of combing through the book and chartering out the scenes and
dialogue from the book that will work in the script. I evaluate what
I have to work with and then begin the process
of arcing out the central story line as well as the subplots, the main
plot, the character arcs and so on, using the book material that works
and building fresh material to fill in the blanks, to embellish it, to
render it more visual and appropriate for film. In the end, I hope to
capture the
essence of the book, to bring it's characters to life, to preserve the
depth and texture of the book, knowing that a script can never fully
convey the breadth and richness of a great novel. One can only hope to
estimate it
Q. It has been said that a novel explores a character's thoughts and
feelings more. How do you go about portraying that on screen?
A. You do your best to approximate these aspects via: strong dialogue;
incisive stage directions/ descriptions in between dialogue; through
cinematic "indirection" - that is, finding visual cues that evoke
moodiness, that reflect the character's interior, that take the viewer
into the character's head and heart; through flashback,
dream-sequence, fantasy,
and moments where a viewer is visually escorted into the mind of the
character.
If you look for example, at a film like "The Hours", based on a
breathtaking novel by Michael Cunningham, you will see all the above
techniques and more, at play. The result is a film that does an
excellent job of trying to near the complexity of Cunningham's book.
However, as
said, it is impossible to do in a film what a great book can do with
so much more space and so much more freedom.
_______________________
BOOK'S NOW PUBLISHED!
Hi Judy,
I hope you are well!
I miss talking with you about my writing projects but have been
devoting my time to publicizing my novel, THE LOST EPISTLE OF JESUS.
I finally have my web site up at www.evandrakehoward.com. Of course,
you are one of the people I thank in the "acknowledgments." Your help
with
this project was a big factor in finally getting it done. Now I'm
working on the outline for a sequel but wish I had more time to devote
to it.
Anyway, I hope you are enjoying spring and enjoying much success in your work.
All my best,
Evan Howard
____________________
SOMETHING TO KNOW-
A SCRIPT THAT'S TOO LONG DOESN'T NECESSARILY MEAN A SCRIPT WITH TOO MANY PAGES.
___________________
(IN CASE YOU MISSED THE RECENT MEMO)
HOLLYWOODSCRIPT.COM MONTHLY CONTEST IS HAPPY TO ANNOUNCE THAT OUR LAST
2 WINNERS HAVE BOTH HAD THEIR SCREENPLAYS OPTIONED AND ALSO HAVE FOUND
REPS.
BIG CONGRATS TO RZWAN CABANI AND TO CRAIG BOTTRELL
Dear Craig,
If you would've told me a year and a half ago, when we first started
working together, that I would be writing this letter, I wouldn't have
believed you.
I sincerely want to thank you for everything you've done. You're a
consummate professional and give of yourself selflessly, which is
rare.
You have been instrumental in making me a better writer.
To know that you're an ex agent, producer and executive can be a
little intimidating, but you're one of the nicest guys I know. You've
been the catalyst for the success of many writers and my scripts will
always receive your magical touch. Frankly, the amount you charge for
a consultation…we're ripping you off.
You're relentless in perfecting a script and have brought out the best in me.
I remember reading the coverage of contest winners on your site and
aspired to be one of them, but with little hope. The beautiful thing
about this contest is that you don't just choose winners because you
have to. Sometimes it can take an extra month for another winner to be
announced. You won't put your name on just anything, which makes
winning even sweeter.
When you told me my first script "CRIMINALE" won I couldn't believe
it. It was like a dream come true. I received about TWENTY requests
for the script from different producers, agents and production
companies. I couldn't believe it was happening. You made me realize
that I had what it takes. It fueled my passion and I dove into my
second effort, "BLACK BUTTERFLY." When you finally told me that it won
as well, I almost jumped out of the window. I have since received
about THIRTY INDUSTRY REQUESTS for the script.
Soon after winning, I received a call from two producing partners (one
of them is also an agent) who want to option, "Black Butterfly" and
get it produced. Next I had a conference call with them (from L.A.)
and I felt really good about the conversation. They sent me an option
agreement and agency contract. So I now officially have my script
optioned and have an agent! They also wanted to see what else I had. I
sent them Criminale and they want to work with that as well
I can now say "Yeah, I spoke with my agent and...". I always wanted to be
able to say that.
I remember you telling me once that, "success is trading in one set of
problems for a better set of problems. " What sweet "problems" I'm
having now.
It's an amazing feeling to know your dreams are possible. So many
people base their happiness on the days of the week. Mondays they're
depressed and Fridays they're happy. I have to tell you, I haven't had
a Monday since I first won.
I look forward to many years of working with you Craig. You've become
a mentor and helped realize a childhood dream and I'm forever in your
debt.
Sincerely,
Rzwan Cabani
r.ca...@hotmail.com
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Hi Craig,
A quick update on my script STUTTER PUNCH. Since winning your contest
I have received numerous requests from various production houses, some
major players. Better yet, I just received an option offer from a
veteran producer in L.A. who loves the script. I'm still in a state
of shock as the prospect of having my work on the big screen is more
than a little surreal. Your script consultation far exceeded my
expectations and is most certainly is better than any I have
encountered. My sincere appreciation for your top shelf service!
Cheers,
Craig (Bottrell)
cpb...@iprimus.com.au
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SCRIPTBLASTER has an incredibly vast data base of producers, agents,
managers and the like. They can zap your coverage or query directly
into the hands of many viable Hollywood producers, agents, managers
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own personal email so industry professionals will respond directly to
you. (http://www.scriptblaster.com)
______________
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