Podcasts about filmfreeway

Guests:Ben Makinen, Jazz Musician and FilmmakerHosts:Amanda DolanJames CoxEpisode Highlights:Introduction to the Bali International AI Film Festival, the first of its kind in Indonesia.Discussion on the intersection of technology and organic creativity in filmmaking and music.Ben Makinen's journey with AI and its impact on his creative process.The potential of AI in mental health and its role as a conversational partner.The implications of AI in the music industry and its potential to create music.The importance of human connection and the unique experiences of live performances.Encouragement for creators to submit their work to the Bali International AI Film Festival.Special Offers:BetterHelp is offering listeners 10% off their first month of therapy. Visit betterhelp.com/musicspeaks to get started.Festival Submission Details:Submit your shorts, documentaries, features, commercials, and music videos to the Bali International AI Film Festival.Use the code BIAIFF50Z for 50% off your submission fee at Film Freeway.Links:Ben Makinen's Website: benmakinen.comBali International AI Film Festival: BIAIFF.comFilm Freeway Submission: filmfreeway.com/BaliAIFFBen's Patreon: patreon.com/benmakinnonContact:Follow the podcast on social media for updates and more episodes.Closing Remarks: Website: benmakinen.comBali International AI Film Festival: BIAIFF.comFilm Freeway Submission: filmfreeway.com/BaliAIFFBen's Patreon: patreon.com/benmackinnonContact:Follow the podcast on social media for updates and more episodes.Closing Remarks:

Episode 143 - Bonus: Purpose Film and Media Festival In this bonus episode of the Faith and Family Filmmakers podcast, Geoff welcomes Tyler Sansom to discuss the Purpose Film and Media Festival. Tyler shares the unique mission of his church, their efforts in digital ministry, and their transition to making feature films. He highlights the impressive lineup of speakers at the festival, which includes notable figures like Cameron Arnett and Dan Roebuck, Justin Overlander, Laura Mae, and many more. The festival offers diverse workshops and some really cool and unique offsite networking opportunities. Registration details and submission guidelines for the festival are also provided. Listen to get all the details!Highlights Include:Introduction and WelcomeTyler's Background and Church MissionFeature Films and Ministry ImpactPurpose Film and Media Festival OverviewSpeaker Lineup and WorkshopsUnique Networking OpportunitiesEvent Details and RegistrationSubmit on FilmFreeway: https://filmfreeway.com/PurposeFilmandMediaFestivalDISCOUNT CODE FOR 20% OFF SUBMISSION: FaithFam25Learn more and Register to attend: https://www.purposefest.net/FAFF Association Online Meetups: https://faffassociation.com/#faff-meetingsScreenwriters Retreat - Mexico: https://www.faffassociation.com/writers-retreatJaclyn's Book - In the Beginning, Middle and End: A Screenwriter's Observations of LIfe, Character, and God: https://www.amazon.com/dp/B0D9R7XS9VVIP Producers Mentorship Program https://www.faffassociation.com/vip-producers-mentorship The Faith & Family Filmmakers podcast helps filmmakers who share a Christian worldview stay in touch, informed, and inspired. Releasing new episodes every week, we interview experts from varying fields of filmmaking; from screenwriters, actors, directors, and producers, to film scorers, talent agents, and distributors. It is produced and hosted by Geoffrey Whitt and Jaclyn Whitt , and is brought to you by the Faith & Family Filmmakers Association Support Faith & Family Filmmakers Our mission is to help filmmakers who share a Christian Worldview stay in touch, informed, and inspired. If you would like to assist with the costs of producing this podcast, you can help by leaving a tip.Get Email Notifications Enter the Faith & Family Screenwriting Awards festival Faith and Family Screenwriting Academy: https://www.faffassociation.com/Script Notes and Coaching: https://www.faffassociation.com/script-servicesCopyright 2024 Ivan Ann Productions

Send us a textIn this week's episode, we're thrilled to have two powerhouse guests: Vanessa Bailey and Daren Smith! We're diving deep into their latest creative projects, their journeys in the film industry, and the exciting things they have in store.First up, Vanessa Bailey joins us to discuss her incredible work in film. She's been busy, and we're here to talk about it all! From her short film, The Break-Up, to her zero-budget music video for Panic Atom, and a slick prime-time ad that aired on TV. But the big news is that Vanessa has just launched the Richmond International Screenwriting & Film Festival! This exciting event takes place this Saturday, November 16, 2024, and offers a unique chance to celebrate fresh talent with tickets starting at just £10. Don't miss your chance—grab tickets on FilmFreeway and support this incredible new festival.Daren Smith is also in the studio to share his two latest films, Faith of Angels and The Carpenter. Not only is he adding to his filmography, but he's also launching a major funding initiative, aiming to raise £10 million to produce another 5 to 10 films. If you're passionate about indie cinema and want to get involved, you can support this exciting venture at producer.fund.Of course, we're bringing back some favorite segments, including “News of the Week” and “Thanks, but No Thanks,” where we cover the latest headlines and trends, plus a few things we'd rather leave behind.Don't miss this episode packed with stories of creativity, ambition, and indie film inspiration! Support the showXXMore missadventures from the film, television, theatre, music and comedy industries with your favourite talk-show host - Joe Abery!Available (for free!) wherever you get your podcasts. Uploads are every Tuesday at 8pm!Please leave a rating and review you legend! XXSUPPORT THE SHOW!BUY JOE A COFFEE!AMAZING, GREAT VALUE MAJESTIC WINE!GET THE ULTIMATE CINEMA EXPEREINCE WITH ODEON!If you want to get in touch with the show here's how: EMAIL: joe@thejoeaberyshow.com | INSTAGRAM | TWITTER | WEBSITE | YOUTUBE

Episode 90 - Character Development and Script Writing Strategies In this episode of the Faith and Family Filmmakers Podcast,Jaclyn and guest Shelly Paino discuss essential screenwriting techniques, delving into the value of thorough character development, realistic conflicts, and rigorous pre-planning to avoid extensive rewrites. Collaboration and feedback are highlighted as crucial elements in refining scripts and gaining new perspectives. The episode underscores the iterative process of scriptwriting, the necessity of constant revisions, and never settling for less than the best output.Highlights Include:Writing Strategies for Minor CharactersBrainstorming and Character DevelopmentAttracting Actors with Memorable RolesOne Location CharactersCharacter-Driven Storytelling TechniquesLearning from MistakesThe Importance of Organizing Your Story in AdvanceThe Value of Peer FeedbackGetting Professional FeedbackSetting your Script AsideBio:Shelly Paino is a produced and award-winning screenwriter who has been writing for 25 years, completing over 50 projects including feature scripts, shorts and pilots. Produced works include an adapted feature film, two award-winning shorts and two series pilots. She regularly writes on assignment for producers and directors with several projects in development starring talent such as Eric Roberts and Todd Terry.Most notable awards include Best Screenplay at Canadian International Faith and Family Film Festival in 2020 and Content Media Conference and Film Festival in both 2020 and 2021.Crowning Lori Website: https://crowninglorimovie.comShelly on IMDb: https://www.imdb.com/name/nm9627536/Shelly on FilmFreeway: https://filmfreeway.com/shellypainoShelly on LinkedIn: https://www.linkedin.com/in/shelly-paino-06a4a85b/Screenwriting Foundations Class: https://www.faffassociation.com/screenwriting-foundationsVIP Producers Mentorship Program https://www.faffassociation.com/vip-producers-mentorshipThe Faith & Family Filmmakers podcast helps filmmakers who share a Christian worldview stay in touch, informed, and inspired. Releasing new episodes every week, we interview experts from varying fields of filmmaking; from screenwriters, actors, directors, and producers, to film scorers, talent agents, and distributors. It is produced and hosted by Geoffrey Whitt and Jaclyn Whitt , and is brought to you by the Faith & Family Filmmakers Association Support Faith & Family Filmmakers Our mission is to help filmmakers who share a Christian Worldview stay in touch, informed, and inspired. If you would like to assist with the costs of producing this podcast, you can help by leaving a tip.Get Email Notifications Enter the Faith &

Episode 89 - The Foundations of a Screenwriting Career In this episode of the Faith and Family Filmmakers Podcast, Jaclyn Whitt interviews award-winning screenwriter Shelley Paino, who reflects on her 25-year journey in the industry and over 50 completed projects. The discussion covers the significance of film festivals, networking, and the influence of faith-based films on her career. They talk about the necessity of relatable and imperfect characters, the role of comedy, the complexities of character development, and the courage required in both personal growth and the craft of storytelling.Highlights Include:The Importance of Attending FestivalsShelley's Journey into ScreenwritingNetworking and CollaborationsCurrent Projects and Future PlansDivine Interventions in WritingBalancing Morality in ScreenwritingThe Art of Comedy in Faith-Based FilmsRange and Depth of EmotionsCrafting Realistic CharactersBio:Shelly Paino is a produced and award-winning screenwriter who has been writing for 25 years, completing over 50 projects including feature scripts, shorts and pilots. Produced works include an adapted feature film, two award-winning shorts and two series pilots. She regularly writes on assignment for producers and directors with several projects in development starring talent such as Eric Roberts and Todd Terry.Most notable awards include Best Screenplay at Canadian International Faith and Family Film Festival in 2020 and Content Media Conference and Film Festival in both 2020 and 2021.Crowning Lori Website: https://crowninglorimovie.com/Shelly on IMDb: https://www.imdb.com/name/nm9627536/Shelly on FilmFreeway: https://filmfreeway.com/shellypainoShelly on LinkedIn: https://www.linkedin.com/in/shelly-paino-06a4a85b/Screenwriting Foundations Class: https://www.faffassociation.com/screenwriting-foundationsVIP Producers Mentorship Program https://www.faffassociation.com/vip-producers-mentorshipThe Faith & Family Filmmakers podcast helps filmmakers who share a Christian worldview stay in touch, informed, and inspired. Releasing new episodes every week, we interview experts from varying fields of filmmaking; from screenwriters, actors, directors, and producers, to film scorers, talent agents, and distributors. It is produced and hosted by Geoffrey Whitt and Jaclyn Whitt , and is brought to you by the Faith & Family Filmmakers Association Support Faith & Family Filmmakers Our mission is to help filmmakers who share a Christian Worldview stay in touch, informed, and inspired. If you would like to assist with the costs of producing this podcast, you can help by leaving a tip.Get Email Notifications Enter the Faith & Family Screenwriting Awards festival Faith and Family Screenwriting Academy: https://www.faffassociation.com/Script...

Do you want to get into a FILM FEST? This conversation is important to ensure you do everything in your control to represent yourself AND your film well. Podcast includes behind the scenes of what you need to do with your film's [Film Freeway] profile to stand out. --- Support this podcast: https://podcasters.spotify.com/pod/show/bravemaker/support

Sisi'uno Helu is a Tongan academic, film producer, and performing artist that co-founded the Nuku'alofa Film Festival.The Nuku'alofa Film Festival (NFF) is on the 21st to 26th of October. Submissions will open June 1st on Film Freeway.Further information (including fundraising campaign) and updates will be on NFF Facebook , NFF Instagram and website.Join us on our weekly Patreon zoom chats! (Sundays @ 10PM SYD)Website | Rotten Tomatoes | Linktree | Youtube | Twitter | Instagram

Welcome to the Sanguine Record where I have Genre Creators talk about what they want to. In this case we talked about how a short film can make a 6'2" bald, bearded, heavy metal dad cry like a baby.I got to sit down with Writer/Actor Whitney Wegman-Wood and Director Patrick Rae about their short film that I saw at HorrorHound Weekend "The Last Butterflies"Follow the guests at:Whitney Wegman-Wood. Actor. Model. Voiceover. Film. TV. Theater. Commercial. (whitneywegmanwood.com)Whitney Wegman-Wood - IMDbActress Whitney Wegman-Wood (@whitneywegmanwood) • Instagram photos and videosPatrick Rea - IMDbFacebook (Patrick Rae Director page)Follow "The Last Butterflies" at:Independent Film | The Last Butterflies (whitneyw04.wixsite.com)The Last Butterflies | Amazing news! “The Last Butterflies” was just selected by Always Late TV Movie Awards via FilmFreeway.com! | InstagramThe Last Butterflies (Short 2023) - IMDbSupport the Show.

Exploring Washington State with Megan Leonard: Film, Karaoke, and Festival Insights Are you ready to dive deep into the world of film festivals, short films, and the art of movie selection? Meet Megan Leonard, a programmer for the Seattle International Film Festival (SIFF). Grab your popcorn, (Megan prefers Red Vines) settle in, and let's explore the captivating world of film with Megan Leonard. Discovering Megan's Film Journey Megan Leonard takes us on a journey through her film career, from growing up in Olympia, Washington, to her role as a programming coordinator at SIFF. After initially studying engineering, she followed her passion for film and landed a programming intern position at SIFF, paving the way for her current career. Megan shares insights into her upbringing, her switch to film at Seattle University, and her progression within SIFF, giving us a glimpse into her profound love for movies from a young age. Programming Films: A Puzzle and Game of Tetris Lets delve into the intricacies of programming films for a festival, much like a puzzle and a game of Tetris. Learn about the challenges of accommodating the preferences of multiple programmers, finding suitable venues for each film, and creating the best viewing experience for audiences and filmmakers. Megan's expertise shines as she explains the process of scheduling films to maximize the impact of each screening and enhance the overall festival experience. Festival Insights: Submissions and Selection Process Megan enlightens us about the Seattle International Film Festival's annual submission process, which entails receiving over 3,000 submissions, each of which is viewed at least once. She explains the meticulous process of sorting submissions on the Film Freeway platform and assigning them to programmers who have an interest in a particular cinema type. This provides every submission with the opportunity to shine, showcasing the inclusive and dedicated approach of the festival's programming team. From the strategic venue selection based on the visual demands of films to the comprehensive and inclusive approach of the selection process, Megan's insights offer a nuanced understanding of the meticulous curation that goes into creating a rich and varied cinematic experience for festival-goers. Red Vines and Rainier Beer We learn about Megan's go to movie watching snacks. As you can imagine she has had her fill of popcorn. Megan's interesting way of drinking beer in the theater is something you need to hear to believe. If you are into film and film festivals you will love listening to Megan. If you are a filmmaker you will learn some insights that may help you get your next project into a film festival. If you just like to hear someone who is passionate about what they are doing you will love learning more about Megan Leonard. Tune in. Connect With SIFF

Temeko Ricardson grew up in the Protestant American tradition; she was a “GPK” (grand-pastor-kid) from a family of church leaders. She has been thinking about Christianity and social issues—failure to include God's people into His Church, fractured families, homelessness—and how to weave out society together and spread the Gospel. She's an entrepreneur, consultant, philanthropist, and filmmaker. Today we talk about her work and the content she had been making to “ensure people understand the greatness of having Christ at the center of their lives through entertaining content.” Temeko Richardson's YouTube channel. Temeko Richardson's IMDB page. Temeko Richardson on Film Freeway. At the Cross film website. Interview with Ray Lewis, “Fatherless.” Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/christian-studies

In this episode, we welcomed New York-based Cinematographer Wolfgang Held, ASC. Wolfgang has shot over 100 documentaries and feature films including The Andy Warhol Diaries, Joan Baez I Am a Noise, This Stolen Country of Mine, All In: The Fight for Democracy, The Fourth Estate, Robin Williams: Come Inside My Mind, Particle Fever, Brüno, Teeth, and the Oscar-nominated documentary Children Underground. In our chat, Wolfgang shares about his early days, his journey into documentary filmmaking, his mentorship with Albert Maysles, thoughts on cinema verité, and much more.The Making Of is presented by AJA Video Systems:Exciting new solutions and updates from AJAAJA rolled out powerful new products and updates this fall – from KONA X, its next-gen I/O card for ultra-low latency video capture/playback and Desktop Software v17 to a feature-packed AJA HDR Image Analyzer 12G update, and new 12G-SDI openGear conversion solutions. Get acquainted with the latest from AJA via the What's New Page.  Film Festival This Week: Mallorca Film Festival — October 18-24thThe Evolution Mallorca International Film Festival enters its 12th edition this week. This year marks the 2nd Annual Cinematography Focus, which includes Educational Panels, Workshops, Networking and Awards. Erik Messerschmidt, ASC will accept the festival's Cinematography Icon Award this year — and ARRI joins as an official sponsor. The Mallorca Film Festival is recognized as "One of Europe's 10 Most Exciting Film Festivals" by The Guardian, as MovieMaker's “Top 50 Film Festivals Worth The Entry Fee” and appears on the 100 Best Reviewed Film Festival list on FilmFreeway! Learn more hereFilm Book of the Month:American Cinematographer's Shot Craft: Lessons, Tips & Techniques on the Art and Science of CinematographyA collection of Jay Holben's SHOT CRAFT column from American Cinematographer magazine. A treasured series of educational pieces on the art and science of cinematography. An extraordinary book for the film student and refresher for the seasoned pro, SHOT CRAFT is written in an easy-to-read tone that explains the technical and complicated in simple language. It is a must-have for everyone working in the art of visual storytelling in motion pictures.A curated selection from the first five years of SHOT CRAFT providing insights on: cinematography fundamentals, formats, exposure, lighting & electricity, optics, travel & locations, filmmaking techniques, relationships, communication & career.  Available from Adakin Press: hereZEISS Conversations with James KniestGather round, horror fans! Join us for ZEISS Conversations on Halloween as we explore the spine-chilling work of Cinematographer James Kniest! Be sure to register now to get the inside scoop on his projects such as the iconic "Annabelle," which is the second installment of "The Conjuring" universe, and his spooky work on “The Haunting of Bly Manor” and “American Horror Stories.” Plus, get an exclusive look at what went into crafting Mike Flanagan's 2022 “The Midnight Club”, including Kniest's strategic selection of ZEISS Supreme Prime Radiance lenses. Don't miss out on the chance to learn from a master filmmaker who will share how he employs various camera techniques, lensing, lighting, and composition for creating the most frightening scenes. Halloween has never looked scarier! Register now for an unforgettable and interactive virtual event on October 31st at 12pm PST. Sign up HereGreat Film & TV Music at No Cost to You!All you need to do is provide music cue sheets for your qualified projects. It's Really That Simple. In addition to most TV Shows and Feature Films, even some TV Pilots can qualify. We're not talking about music that sounds like it should be free. This is cutting-edge underscore used daily on a global basis by Hollywood's Major Film and TV Studios. Visit Zero Fee Music OWC Thunderbolt Go DockThe OWC Thunderbolt Go Dock is the first of its kind, full-featured Thunderbolt dock with a built-in power supply and 11 ports, for additional ease and connectivity while on the Go. It's a one-dock solution that works with all past, present and future Thunderbolt and USB devices and accessories. Check it out herePodcast Rewind:Sept. 2023 - Episode XVIII…The Making Of is produced by Michael Valinsky.To promote your products or services to over 6,700 top film, TV and video industry pros receiving this newsletter, email mvalinsky@me.com Get full access to The Making Of at themakingof.substack.com/subscribe

In August, I hosted a webinar called "How To Write A Great Story" where I talked about what a "story" really is, as well as well as how to use personal stories to help your writing. This episode addresses questions you asked in our Q&A session that we didn't have time to answer. There's lots of great info here, make sure you watch.Show NotesFree Writing Webinar - https://michaeljamin.com/op/webinar-registration/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAutogenerated TranscriptMichael Jamin:Art is about taking something inside of you and expressing it in a way that helps you understand yourself and helps you understand the world around you. And in that way, people can see it or watch it and enjoy it and help them understand themselves. I think there's that greater good. I don't think craft necessarily does that. I think craft can sometimes be, the studio will give me a note and I'll say, okay, I can do that. That's what you want. I can do that. I don't think it's necessarily playing for the greater good. It's what they want and they're paying me. You're listening to Screenwriters Need to Hear This with Michael Jamin.Hey everyone, welcome back to another episode. We're doing something unusual today. So Phil is back with me. And as you may know, every three or four weeks I host a free webinar where I take one subject and kind of educate you on it. And at the end, if there's time, I answer questions because about an hour long. And so usually we answer a lot of questions, but we can't get to all of them. So we save the questions that we can answer and we didn't have time. And we're going to answer it here for you today on this podcast. And by the way, for people who don't know, the webinar is always free, but afterwards, I also do a V I P room for people who if they want to pay a small fee, then they get to be in a smaller chat with me and we talk. I try to answer their questions as best I can specifically. So if anyone's interested in that, you go to michael jamin.com and I dunno where they would sign up for that on michael jamin.com/course. Probably.Phil Hudson:Oh, for the vip it's /vip.Michael Jamin:Oh, /vip. Okay.Phil Hudson:We're fancy here, Michael. We use high tech stuff like links, short links.Michael Jamin:So there you go. But now I'll answer the other questions. Phil hit me.Phil Hudson:I was just going to say there are a lot of really good feedback and I found that there are people who don't sign up for your course who also sign up for that v i p, and they ask some really interesting questions. And then after that I think it kind of pushes 'em over the edge to feel like, okay, this is something I can do, and then they're a little bit more inclined to invest in themselves. Some really good questions out of this V i p, and this is based off of the August webinar, and that topic was the pep talk Every screenwriter needs to hear, which is slightly different than Michael Jamin's known tone of just smashing your hopes and dreams on the rocks of reality,Michael Jamin:Which he's a problem. Yeah, I don't want to just do that. I want to make sure that people get, I want them to be grounded in reality. That's what I'm, I'm not trying to smash it's dreams, but I want to be realistic. Once you find out if you know what the reality is, then now, okay, now we can figure out how to get in once there's a way around every problem. That's what I,Phil Hudson:And that comes from early on when we were talking about the marketing for this. How do we help you grow your audience? How do we do this? And you were like, I will not sell the dream. I will not be one of those guys who just promises the dream to make a buck. I can't do that. And I was like, okay, well, it's going to hurt your ability to make money. He's like, it's not about that. I just will not do it. And so you've leaned into this sincere, radical honesty, I guess you could say, and I think overwhelmingly almost immediately people were like, wow, this sucks to hear, but I'm so glad you're saying it. It just resets the expectations a little bit. And even for me, having learned from you and been to film school and worked in the industry now for almost seven years, I still think about this, Hey, this is a script. Whenever I write a new script, this is not, I'm not going to sell this. That's okay.Michael Jamin:It's a writing samplePhil Hudson:And it frees me up to just be whatever I want it to be, not hoping that my entire life is dedicated to this one story I'm writing.Michael Jamin:I see good things coming your way, Phil, by the way.Phil Hudson:I see good things coming my way asMichael Jamin:Well. Yeah, because you're putting the work in and obviously you've already, it may be hard for you to see because you're in it, but the distance that you've traveled at only a few short years in Hollywood is pretty unremarkable.Phil Hudson:I'm keenly aware of that. Honestly, I'm humbled to be where I am. I'm humbled to host the podcast with you. I think I even pitched somebody else to co-host the podcast with you, and you're like, why wouldn't you do it? Why can't I just have you?I don't need to, or I don't want to assume to be the guy. I do think I bring a skillset to this podcast of asking the questions the listener wants to ask, and I think that's really what I do. But yeah, I'm incredibly humbled. I think I've got some really interesting things on the horizon, and I've already had some great things this year as direct result of you and the stuff you're putting out in your course and the great feedback I'm getting from people in your course, by the way, super talented people in there just giving me feedback and making me better.Michael Jamin:Yeah.Phil Hudson:Thank you Michael. Alright,Michael Jamin:Let's do it.Phil Hudson:Okay. Structurally, we broke this up into a couple and we've kind of found a pattern here. There's kind of craft questions, there are breakin questions, there are course questions, and then there are miscellaneous questions. So I take all the questions, kind of broke 'em down, and then I'm really focusing on things that you haven't said before because there are a lot of questions we get that are repetitive questions. Should I move to la? Should I move to la? What about this? How do I get my script in the right hands? And you've addressed those tons and tons of times. So if you like this, go listen to all the other q and A's where we get questions from social media, we get questions from your course members, we get questions from the webinar starting with craft, because I think that's really what we're here to learn is how to be professional writers. I'm going to mess up a bunch of names today. You ready for this?Michael Jamin:Yeah, that's okay.Phil Hudson:Shi suey, shagan. No clueMichael Jamin:That you said it perfectly, however,Phil Hudson:Nailed it. How do you win the battle against that blank screen when trying to create?Michael Jamin:Yeah. Well, the problem is you don't know what you're doing. Listen, the blank page is always intimidating even when you do know what you're doing. But if you are this locked up, it's because you just don't know what a story is and you don't know. That's what the course teaches you. How to take an idea, identify if there's enough meat on that bone to turn it into an episode of television or a movie or whatever. Not every idea is worth turning into. It doesn't have enough there. So the course helps with that. I think all that the writer's block that you're experiencing is because you don't know what you're doing. Of course you're going to be blocked. Of course you don't know what your characters are going to be doing, so at least come to the free webinar, at least I can help you with that much if you don't want to buy the course. The webinar will help a lot at michaeljamin,com/webinarPhil Hudson:And all the other free resources you have, like the free story lesson on your website, michaeljamin.com/free. It's another great place to start. Absolutely true. If you don't know where you're going to go, you get stuck. And for many of us, it's that middle of act two, what's going on? What do I do now? How do I get my characters to this really bad thing that's going to happen? Whatever it is. And understanding the structure as you put it out, it's just so easy to grasp and understand. It's a no brainer. I clearly know where I need to go and what needs to happen here from a strategic perspective, and then tactically I can lay in things to get me where I want in a surprising way.Michael Jamin:Yeah.Phil Hudson:Perfect. Oh, if I may, when you're rewriting, print that thing out and use a red pen, man.Michael Jamin:Red pen.Phil Hudson:Yeah. Michael Michael's pro tip hand amboy. What is the best way to keep improving in screenwriting or storytelling?Michael Jamin:Just keep writing. I would write your episode or your feature, put it aside, write another one, put it aside, write another one, and you'll find that as opposed to just keep on working on the same piece, finish it and write a second one, then the third one, and you'll find that script number five is much better than script number one will ever be. You have to just let it go and continue doing something else. So that's my advice.Phil Hudson:Awesome. Chelsea. Steve, how in depth do you prepare a beat sheet or treatment to pass to a co-writer? Is it important to be specific or broad out of respect for them?Michael Jamin:Oh, well, I mean, you should be doing the beat sheets together. I mean, I would think that's how you get on the same page. My partner and I do everything together. We break the story together. We come up with a beat sheet together. We come up with the outline together. That's how you do it. I mean, you don't want to, if they're your partner, I dunno why you wouldn't bounce ideas of each other that's, or else why have a partner.Phil Hudson:Another really early podcast episode we had was writing with a partner where you talk about this process and there are several schools of thought about how to work with a writing partner. There are tons of resources and different writing have different things. One person sits at a keyboard, the other does, and I think you guys do that that way. Yeah.Michael Jamin:Vers been, I used to be the one at the keyboard, but for the last couple of years he's been the one at the keyboard. Although now we both have, we use collaborate so we both can type at the same time, which is really annoying.Phil Hudson:That's awesome. Yeah, so there's a bunch of that and there are other people who do it, but I think the real juice of what we're saying here, what you're saying, Michael, is you shouldn't be breaking your story separate. That's not Yeah,Michael Jamin:Yeah, yeah. You got to be on the same page.Phil Hudson:Yep. AllMichael Jamin:I'll tell a quick anecdote. One time Steve and I were working on a script for, I think it was Taco fd, and we were writing the outline together and we got into a fight over what this one scene was supposed to be. And I wanted one thing, he wanted another thing. And then I said, what do you think this story is about? And he told me, and then he goes, what do you think the story is about? I said, I think it's about this. We weren't even clear on what the story was about, so we had to stop, agree on that and then move forward.Phil Hudson:Yeah, that cleared up everything, I'm guessing.Michael Jamin:Yeah.Phil Hudson:Yeah. Great. Nina in your course, isn't she? Yeah. Yeah. Nina, I'm so worried about alienating my audience for too long. Is there a theory about thisMichael Jamin:Alienating? I wish I knew. In what way? I feel like you want to hold your audience's hand. That's how I feel. There are other filmmakers who may feel differently when I get lost. Sometimes when I watch watching, I'm like, I'm lost here. I dunno what's going on. And so that's not something that I like to do in my writing. I like to make sure that, especially if you're writing on television, because you're writing on tv, you go into a movie is one thing. You have their attention. There are hostage if they're sitting in the movie theater, but on TV show often people will be on their phone, they're reading a magazine, they're doing everything at the same time as watching a TV show. So I want to make sure they're with me the whole way or else they're not going to be engaged.Phil Hudson:Yeah. Yeah. That's great. Yeah. I wondered about this one too. What does she mean by alienating, right? I don't think you ever want to really alienate your audience. I think there's suspense, there's audience superior versus audience inferior. Does your audience know more than the character? Does the audience know less than the character does? And there's different tactics and tools you can use as a writer to build suspense, and they each have their own purpose, but alienating would be, yeah,Michael Jamin:That's not on my list of things to do.Phil Hudson:Yeah. Sorry Nina, if we had the misunderstanding here, but let us know in the private Facebook group putting us in there with a clarification, and I'm sure Michael hopinMichael Jamin:Into that. Just to be clear, the private Facebook group is just for members of my course, so you have to be a paid member to get into that. But there's a lot of good stuff going on there. These people are very active, and I answer more questions there for them.Phil Hudson:We'll jump down because there's literally this question under the section Mark Brozinsky. Is there a Facebook group we can join to network?Michael Jamin:Yes, there is. And once you purchase, you get a link to that and you should definitely take advantage of it. There's a lot of really smart people trading scripts. They're doing table reads once a week. They're giving each other notes film festival. And it's unlike, they got a festival coming up, which I can't believe, and it's unlike, there are other Facebook screenwriting groups where people are pretty mean. It's almost like Reddit, screenwriting Reddit, which is the dirtiest place on the earth, but that's not what this is going on in this group. It's really very professional and supportive. I think we were smart to gate that group and say, you have to be purchased because it hasn't turned into a cesspool.Phil Hudson:I can tell you from the e-learning side of my digital marketing career, that when people ask, and we had this conversation with the client a year ago when they were relaunching their online membership course for a specific topic, but anyway, very well renowned company, lots of people. And I said, you need to have a community manager that's in there full-time, keeping out the R riffraff. There's spam, there's ugliness, there's all these things. And if you don't have someone doing that, it's just going to get bad. And most of these things are set up by one or two people who just wanted to start a group. And I've had nothing but bad experiences in those groups. Nothing but bad experiences unless there is some unifying factor, like an alumni group tends to perform a little bit better, be in easier place, you have a problem.Michael Jamin:But we don't have that problem with our group. Nope.Phil Hudson:In fact, you have people who self-police. I get messages from people who are like, Hey, I shared this thing. Did I break a policy of self-promotion? I was like, you shared something you produced that came out of the course. I don't think, I think that's celebrating your hard work. You're not offering to pay to read someone's script. You're donating your time every Tuesday night to run a tableMichael Jamin:Group. Yeah. Yeah. Right.Phil Hudson:You're good.Michael Jamin:Yeah, you're good.Phil Hudson:Awesome. Tomer K. I've noticed in the blacklist scripts that there's a trend of making meta commentary about the script itself. Referencing page numbers or the reader. What are your thoughts on this? And maybe define what the blacklist is for people?Michael Jamin:Well, yeah, I mean, the blacklist, there's really, the blacklist started as a site where unproduced professional scripts that were sold were just never produced. And it was an honor to get on the blacklist, but now there's something, now it's something else. There's two lists, right, Phil?Phil Hudson:Yeah, there's that list. But then there's also, you can sign up for the blacklist and pay a monthly fee to host your script so people can access it and read it and give you notes. And you can pay a hundred bucks a pop to get notes and reader feedback on your script and get rated. And that's a little bit, I think more of the commercial side of it.Michael Jamin:Isn't that what they're talking about?Phil Hudson:That's the blacklist. There's also fellowships and things. So by no means are either of us knocking the blacklist. It's just a difference in what this is. And I think what they're referencing is the original that you're talking about,Michael Jamin:The original list. They're thinking. There's a lot of meta jokes in it and meta references.Phil Hudson:I've not read them, but I believe that's what they're saying. That is the blacklist I placed on the blacklist top unproduced scripts.Michael Jamin:Oh, so I can't answer it then.Phil Hudson:But from a style perspective, do you think that's an appropriate style of writing?Michael Jamin:Well, if they got on the blacklist, on the legit blacklist by doing this, who am I to say? No, I just think it tends to be cheap. Breaking the fourth wall or meta. You got to really be careful. Ryan Reynolds says that well in the Deadpool, but it can become a crutch and it becomes, the problem was when you do it, you're telling the audience, this is a movie, and it takes them out of it. You've sucked them into it. This is how I feel. When I first started, I thought all this meta jokes were great. Isn't that funny? Where self-referential isn't that interesting? But now that I've matured as a writer, I feel like you're spending all this time and energy to suck people into world, to make them suspend disbelief. And now you're going to pop it with a joke, and now you got to put more energy, get 'em back into it. I don't like it. I think I don't like it. Others can feel differently though.Phil Hudson:And in the Deadpool comics, he would break the fourth wall. So that is not something that he's doing in film. He's living in the character. And I think it's something everyone expects from Deadpool, but he's going to have a commentary with you, and it's Ryan Reynolds. If there's anyone who can do that, it's Ryan Reynolds. Right? I could do that. I don't know many people who could fourth wall just for people. I just want to make sure everyone's clear on that. It comes from stage place specifically where there are three walls, and then there's a line, and that line is three walls or the set, and then the fourth wall is the audience. And so they're either facing the audience or they're communicating with each other, but they don't turn to speak to the audience unless it's a narrator or it's someone else having, there's a specific need for that.Michael Jamin:Yeah. Fourth and wall is when you literally acknowledge that there's an audience watching your play, which is kind of odd, but it can be fun.Phil Hudson:Some of the first screenwriting courses I ever paid for talked about that. I was supposed to know what it was, and I got so lost. I had to go look it up. And man, that was very confusing. So I want to make sure we define that for people. Yeah, yeah. Projecting much, Phil. Cool. Pf, oh, I wanted to ask, I have a follow-up question on this. So there are screenwriting books that are kind of renowned, specifically story books by Robert McKee, more so than screenwriting books, where he says It is cheap for a writer to reference. We see, we hear, and I actually write in that style, and I get a lot of really good feedback on that. We see this happen. That's just a personal choice. I don have a problem with it. I've never had no bump on it. You read my scripts, you've never bumped on it. To be clear in the book, he clarifies that overused in the transition from, I want to say it was like it might've been silent films to specific moving into something else. So it was as a crutch, people leaned on at a certain point in the 1990, in 19 hundreds. So maybe we've got past that watch is why it doesn't bump. But I said, you answered the question, you don't care.So that's not breaking the fourth wall in that.Michael Jamin:No, no, no, no, no. You're just, yeah, that's a stage direction.Phil Hudson:Yep. Awesome. Yeah. To me, I'm inferring camera movement more than anything. Yeah.Michael Jamin:Okay,Phil Hudson:Cool. P F H, should I vet my idea before I write it so I have an idea to pitch? But once you know it is doable, then I can perfect it. Basically, I had to rewrite this question. It was a bit confusing. Does that make sense?Michael Jamin:Yeah. I think what they're asking is, this is what I would do. You have an idea of a movie for a movie or a TV show or whatever, put it in a sentence or two sentences and then pitch it to a friend. And if you can't explain it succinctly, then you've got a problem. So just saying it out loud, even if you don't have a friend saying it out loud, describing it is a good waste to the, oh, okay. I know what the story is. Sometimes you don't even know what it is and you can't clarify. So for sure, say it out loud and see if your friend is interested. If that sounds grabby, it might not be.Phil Hudson:Yeah. In that two sentences, would you say that separate from a log line, or would you call it a log?Michael Jamin:Yeah, that's basically a log line. But if you want to expand, if you want to make it a paragraph, if you find that a log line is like two sentences, but if you want to make it a paragraph, that's fine too. But don't make it a page. Just make it short and brief.Phil Hudson:Yeah. One script, early script, I wrote, the log line was about a small town. It's about a small town pastor who kills people. And it was interesting. See your face. That's an interesting enough logline. Yeah, I'd be interested in that. And then the questions are, well, what's it about? Why does he kill people?Michael Jamin:Yeah. I would go a little more detailed than that because if you pitched me out, I would say, maybe tell me more.Phil Hudson:Correct. And it's really more of an elevator pitch than anything. It's just a way to just slide it in. But the log line would be a full two sentences. Yeah. Cool. Course related question. Only one other. Today, melody, we answer a lot of these questions throughout the webinars. There's not a ton of these. Melody Jones, I have to do major research for my project. Should I take the course first or get my research done, then do the course?Michael Jamin:Oh, I would say take the course first. That way you know what kind of questions to ask and look for. Unfortunately, we couldn't answer this for her, probably live. But yeah, you may start asking yourself questions that you don't even need the answers to. SoPhil Hudson:Yeah, I would absolutely agree. In fact, the script I'm writing right now, I am doing a lot of research on, because it has a technical skillset that I am very familiar with, but I don't know the intricacies of. And so by doing my research, I'm looking into that. But I broke the script first from a story perspective, not a plot perspective. I said, what's the story? What do I want to tell? What's going to happen? How are my relationships going to play out? And now it's looking at it thematically to say, how can I utilize this experience they're going through from a technical perspective to elevate that story or to add stressors? How can I use this to get to this part where they get in an argument or whatever? SoMichael Jamin:Absolutely. What's also interesting, side note, but I'm rewatching Wolf of Wall Street, and I may be a quarter of the way through, but every fricking scene that I'm watching right now, everyone is interesting. The acting is brilliant, but every scene is written. There's something really interesting going on each scene. There's nothing lazy about that script. It's like, if you watch, you could show me one scene. I'd be like, Ooh, that's good. So think about that when you're writing your script. Is this scene amazing or not? Because that one, it was movie. Every scene is amazing.Phil Hudson:That's awesome. Yeah. You guys are freebie for you guys. I love that. All right. Breaking in. You ready to talk about breaking into Hollywood? Sure. Cool. There's a curse word in here. So to keep our non explicit label on the podcast F the Void, is there a chance for writers that are not from the US to find success in Hollywood? Like say, south American writers that want to make you big?Michael Jamin:Yeah. Well, there was that guy. Sure. I mean, the guy, the writer who did, ah, man, what was he? Australian? No, he was South African. It's the, ah, man. What was that movie called? District nine.Phil Hudson:And he did a bunch of stuff. They're all great.Michael Jamin:Yeah. And so for sure, you can make your stuff wherever you are. And to some degree, if you make a TV show in a foreign country other than the us, often it's easier to sell those shows to the US because it's IP that already exists. And for some reason, sometimes studios want that. So Wilfred, for example, I wrote on Wilfred, that was an Australian show. It did really well in Australia, and we adapted it for America here. It's not uncommon at all. So yeah, don't let that hold you back from creating great stuff.Phil Hudson:Yeah. From a purely cinema history perspective, a lot of the best cinematography came out of Mexico when Eisenstein moved there. So there's great stuff. You've got Rito, you've got all these amazing filmmakers coming out of Central South America. And North America. You've got Tero Titi out in New Zealand. YouMichael Jamin:Got right. I'm going to mention him. There's a movie, I'm just, I'm going to search it right now. Yeah. There's a movie I watched a couple of days ago, the Worst Person in the World. It's a Norwegian movie. Loved it, loved it. Thought it was so well done. The title was terrible. What's the title? But everything about the movie was great, except for the title. The Worst Person in the World. Yeah, go watch that. Yes.Phil Hudson:But there's some great films even just come out of Europe, the UK and Europe, which I think we're going to get. That's the next question is uk, maybe that one we answered in the thing. But anyway, but it's like once that musical is just fantastic and it's out of the uk. So yeah, I think oftentimes people group like UK and America is Hollywood, but they are different. You have BAFTA and you have the B, B C and the way they do their things, and then you have Hollywood. And the other thing to keep in mind too is with streaming, I mean, I get a lot of recommendations for Spanish films and TV on my Netflix, and they don't know that I speak Spanish.Michael Jamin:I think they DoPhil Hudson:You think they figured it out? I think theyMichael Jamin:Do, man. They might. You'd be surprised. ButPhil Hudson:I get some Korean stuff too. I getMichael Jamin:Ads in Spanish because I speak Spanish too. I'm like, why? How do they knowPhil Hudson:It's not zip code related? Maybe it's zip code related. Maybe it's just la, right? But yeah, anyway, I get a lot of that stuff. And so just because maybe you get something and you sell it to Netflix, Ecuador, and then all of a sudden it's being streamed all over the world. You've got all of the Spanish channels, and then you make it here. I have to, ah, here's a great example. Squid Games, squid Games, South Korea blew up huge. Right? Huge. Parasite. Parasite. South Korea.Michael Jamin:But there's a catch. It has to be good.Phil Hudson:Better than good has to be great,Michael Jamin:Right? Yeah. It has to be great.Phil Hudson:But that's the role for everyone in Hollywood too. And there's a lot of people here who are not willing to put in the effort to get to that. Right? Yeah. And I guess follow up question from F the void, do you know any writers that are not from the US or any first world country that have made it in Hollywood?Michael Jamin:Well, I've had Canadian writers on my show before on the podcast. You can ask them how they did it. Other, if you come from a non-English speaking country, you're going to have a more difficult time in the sense that even if your English is really good, it may not be perfect unless you've been here a long, long time. And so that's the catch. It's hard for you to write dialogue in a language that it's not your first language. It mayPhil Hudson:IMS idioms and all that other stuff too.Michael Jamin:So you do need to have really, not just a firm grasp of the language, but you really have to know it. You have to speak as well as a native speaker, but with just maybe just a slight accent. That's the only catch.Phil Hudson:Yeah. But there are also things like Selena, there's a girl I went to film school with, and she's a writer on Selena, and she's from Mexico, and she's a second. She just got naturalized just a bit ago, but she's right around Selena before she was a US citizen.Michael Jamin:Yeah, often. Interesting. Yeah. So if you get on a, there's demand for people with diverse backgrounds if the show is about that background. SoPhil Hudson:Yeah, it absolutely was. I think that whole writing staff were Latin American.Michael Jamin:Right? Right. Hey, it's Michael Jamin. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You can unsubscribe whenever you want. I'm not going to spam you, and it's absolutely free. Just go to michaeljamin.com/watchlist.Phil Hudson:Cole, our film festival is a good route to take for a script you wrote to get looked at.Michael Jamin:Well, you're not looking at it. You're shooting it, right? I'm not sure what the question is.Phil Hudson:Film festivals often have screenwriting screenplay contests attached to them.Michael Jamin:Oh,Phil Hudson:Interesting. And I can tell you, having been on staff for many of those indie film festivals, that is what pays the screenwriting contest is what pays for the cocktail hours and for the other things.Michael Jamin:So you're saying it's not really a way to be discovered?Phil Hudson:It depends on the film festival.Michael Jamin:Right. Oh, okay.Phil Hudson:Alright. So there are film festivals that I think matter. I think they're also, I think what you really want to talk about. We actually do a webinar on a little bit deeper on this, which is available on your website to purchase for like 29 bucks worth watching. WhichMichael Jamin:One is that? Which episode was that?Phil Hudson:I think it's how to get past Industry Gatekeepers.Michael Jamin:Oh, okay.Phil Hudson:I want to say that's what it was. Yeah. Thanks for clarifying. But yeah, I think what you really want to look for are fellowships fellowship. So you have the Sundance Film Festival and their fellowships that they offer there. Blacklist has a fellowship. You have the academy, the Nichols Fellowship. Awesome Film Festival comes up in another question here. That's one. That's a film festival where they do give screenwriting contests awards, and there are industry people who attend that. So it's a different thing. Tribeca, some of those bigger ones, south by Southwest. If they have those options, maybe go for those. But if you're talking about the Westborough, whatever film festival, maybe skip it. Maybe Skip Save the 40 Bucks on Film Freeway.Michael Jamin:Okay. You heard of the film. He knows more about this than I do.Phil Hudson:Daniel Celiac, poor guy. If someone is still in high school or early in college, what can they do to get closer to the industry?Michael Jamin:Stay where you are and just write, write and make your own stuff. As a kid, I shot my own stuff on a super eight camera. Now you can shoot on your phone. I didn't have sound back then. Just keep working on your craft and read anything and get inspired by our art. Draw upon it. Don't look for a job right now. I mean, if you want to look for a job as an intern or PA or something, that's fine. But don't start thinking about starting your film, writing your screenwriting career. Just start working on Become a good writer. That's the first step.Phil Hudson:And I was going to suggest PA Intern Volunteer. I started volunteering at the Sunrise Film Festival because that's all I could do. And it was because I was in the recession of 2008, nine, and I just had to work and I had to work two jobs. And so I would volunteer at the Sunrise Film Festival, and I put in those hours for four years. And then that's how I got my first real break through Sundance to do some stuff aside from the work I was doing and how I met you. We've talked about previously, great bv. Michael mentions moving to Hollywood if you're serious. What about those in the uk, for example, who physically cannot get a Visa to move there?Michael Jamin:Right. Well, there is an industry in the uk. I mean, they do make great movies and great TV shows there. So I don't know what cities, if it's London, I don't know where the centers are, but stay where you are and become great in your country, and then we'll get you, we'll send a visa your wayPhil Hudson:When we want that. There's a specific visa that gets you over. It's like you're an expert in your field that America wants to profit off of you by taking taxes.Michael Jamin:Yeah. The minute America sees dollar signs on you instead of just pound signs,Phil Hudson:You get that special visa.Michael Jamin:Yeah.Phil Hudson:Great. Bv, I just got your pound sign joke, by the way. That was clever.Michael Jamin:Thank you,Phil Hudson:Bev. No, I did that one. Lauren Gold. Any specific tips for fiction novel writers who want to transition to screenwriting?Michael Jamin:Yeah, create, write a bestselling book, and it'll be so easy. They will, Hollywood will come after you with buying their rights, but if you have a book that's not selling, honestly, the book doesn't even have to be good. It just has to be a bestseller because then it comes with the built-in market, and so is 50 Shades of Gray High Literature. I'm not sure, but I know a lot of people read it and loved it, and so they turned out into a movie. So it's about marketing. So these bestsellers have a built-in marketplace and look at a lot of these movies that are being made. They're adapted from movies. They're just hit books or hit books.Phil Hudson:And it can also be other things like The Martian, right? It was originally a blog post, a series of blog posts that we, on hisMichael Jamin:Website. Right? I know it was a self-published book. I didn't know it started from blog posts.Phil Hudson:I believe it was a blog. He would post blog posts. He would publish basically a new chapter as a blog post was bought, and then he would spin on from there.Michael Jamin:So there's a guy who wasn't asking for permission, he wasn't waiting to be discovered. He did it anyway. He built the mountain himselfPhil Hudson:At Twilight. Those were stories that she would tell her sister. And she brought that book and blew up. Yeah. Cultural phenomenon.Michael Jamin:Twilight was self-published. Did not know that.Phil Hudson:My understanding is that, yeah, I believe it was. And someone else, correct me if we're wrong, they'll definitely scream at me because it's such a big hit. That being said, I believe 50 Shades of Gray is a fan fiction of Twilight. That's at least what I've heard.Michael Jamin:I didn't know that. Okay.Phil Hudson:Awesome. I'm going to just offend half your audience who love those two franchises.Michael Jamin:That's okay.Phil Hudson:You're welcome, everybody. Rob, as I produced my own plays, staged comedy shows and web series for a while, great. Now is a way to break in. Is this a valid way of doing it? Does the industry care about any of this?Michael Jamin:Yes, of course. But the problem is you're doing all these great things, but maybe you're putting the work in, which is great, but maybe it's not good enough yet. It's okay. Keep doing it until you get good. Or maybe it's great, but it hasn't found an audience yet. So it does need to have an audience. The minute you have your web series gets discovered by a couple million people, Hollywood will find you because you are bringing more to the table than just your desire to cash a check. You are bringing an audience. But if you don't have that yet, then one or two things are happening. One is maybe your writing isn't good enough yet, or your show is not good enough yet, yet means you can keep working on yourself. Or maybe they haven't found you yet in that's the case. You still have to keep putting it out there just until you're found, until your audience finds you. Either way, you have to keep doing it. That's it.Phil Hudson:Andrew Spitzer, would you agree that ultimately you're selling yourself and your skills rather than a product? You gotMichael Jamin:To bring more to the table, and like I said, than just a script. And so what am I doing on here? I'm selling myself. I suppose I have a following on social media. It helps me get more opportunities. And so I still have a body of work and people know that I'm a good writer. But yeah, I come with this other end, this other, I bring more to the table than just me,Phil Hudson:Just my work brother. Sorry. Yeah, and I took this too. No, no. It's your podcast, man. I'm sorry. I stuck on your toes, Mr. Jamin. I did it again right there.Michael Jamin:No,Phil Hudson:I was going to say I took this as an, I think it's a bit of both, and I think the order is a little bit different, but my perspective of this, you have a product. That product is so valuable to someone that they want to buy it because you were able to craft that product. And because of that, now your skill sets are valuable and you are now selling your ability to continue to craft products like that one. So you have to have a sample that you've already checked the box. You can make these people money. If you can't do that, there is no evidence of your ability and your skillset. So there's nothing to sell.Michael Jamin:Okay.Phil Hudson:But I think it goes for your script. I think it goes for getting an agent. I think it goes for getting a manager. I think it goes for opening doors to meet people. You have to have something that is valuable to them. And it might be audience like you were just talking about. That might be enough, right? It might be your IP from the story you wrote and self-published.Michael Jamin:Sometimes it'll be approached by an actor, a big actor who has a terrible idea for a show or whatever, because you're going to be in it. And so you're a good actor. So that's bringing a lot to the table, their presence.Phil Hudson:Yeah. Sidebar here. Is there truth in the statement that there are certain actors who are not able to open a movie, who are not able to, that they come and they might have a name you'd recognize, and they might have some idea of a following, but they're not necessarily someone a studio would bank on?Michael Jamin:For sure, but I can speak more to this from the TV side, but for sure, I know even John Travolta, Quentin Tarantino wanted to cast Travolta in Pulp Fiction. And I think there was some pushback from the studios. He was a, has been. He was a washout, even though super talented guy. And Tarantino saw him and thought, dude, this guy is still a huge star. He can't walk down the street without people yelling. Vinny Bobino, people love him. And so he pushed, he fought for him, even though the studio didn't believe he could open a movie, and he did open a movie.Phil Hudson:He did. Did he ever?Michael Jamin:And then think of all the other opportunities that came because of that. But sure, the studios, at the end of the day, they're not so concerned with, is this actor a good actor? They want to know, can this actor put asses in seats? Will they sell tickets? And that's why some actors were not particularly good actors or great actors, but they can put asses in seats. That's what counts.Phil Hudson:Yep. Awesome. That's what I thought. I just wanted to get some confirmation there. This is a Phil Hudson q and a. Are everybody I can ask my questions too. Awesome. Lappe two TV or Lippe tv, whatever. If a short film is being optioned to pitch as a series, is it better to keep the short hidden while it's being shopped around, or is it okay to post it online?Michael Jamin:Well, it'sPhil Hudson:A bit of a one percenter for you, right?Michael Jamin:This isPhil Hudson:A one off question.Michael Jamin:Yeah. If you put your short on YouTube or whatever, and it gets a million views, it's a lot easier to sell. It's a lot easier to sell.Phil Hudson:Yeah. What I got from this question is, I made a short, somebody has optioned that short. Is it a mistake to now put that on YouTube? Does that advice still apply there?Michael Jamin:You'd have to talk to the person who optioned it, because now it's theirs. They have the rights to go to talk to them.Phil Hudson:Cool. Len Lawson, should I ask a potential producer to sign an N D A before reading my script?Michael Jamin:I wouldn't. But it depends who, I've never done that. But also, don't show it to the producer who's got a handlebar mustache. Who are you showing it to? Make sure what have they done? Look 'em up on I mdb. Are they legit or are they just someone who's claiming to be a producer? In which case, you better build a rapport with them. You better know whether you can trust this person or not. But I wouldn't. I would never ask. And I've told my scripts to tons of people. I don't ask for an N D A.Phil Hudson:I wouldn't either. It's just friction. I think about this in terms of friction, and we talk about adopting habits or influencing people to take action. There's this whole nuance of digital marketing called conversion rate optimization, which is, how do I get more people to take the action I want them to on my website, whether it's the headline or it's the colors or it's pattern interrupts, or if it's offers or bullet points, all that stuff. And to me, you want to reduce friction. How do I remove obstacles? And in sales, the best way to overcome an objection is to kill the objection before it becomes one. And that's a massive objection.Michael Jamin:Were to, I'm not a producer. I'm not an agent. I don't want to read anybody's script. I'd say right up front, I'm not. But if someone were to ask me for the favor, say, Hey, will you read my script? And then for some reason I was feeling magnanimous that day as opposed to every other day of the year, then I would say, all right, I'll read your script. And then they asked to ask me to sign an nda, a I'd like, forget it. The deal's off.Phil Hudson:We're done.Michael Jamin:We're done.Phil Hudson:And that's what you're doing.Michael Jamin:ButPhil Hudson:I think it also speaks to the psychology of people who are breaking in, who are so concerned. Someone's going to steal their idea. And that's one of the most prominent questions we get. This is that question asked a different way.Michael Jamin:Everyone is so convinced that they have an idea that's worth stealing. That's the funny part. Everyone thinks their script is gold, and most of 'em are not.Phil Hudson:By most, we mean a lot of them. A 99.99. And that's a hard thing for me to admit too, guys. I thought I was going to win an Oscar with my first script. I thought I was that prodigy. I've talked about Prodigy syndrome before on the podcast. I thought that was me, and it's not. And letting go of that's been so freeing for my creativity and my enjoyment of the process. So just look at it this way, if you think this is all you got, that's a problem. And that's why you're freaking out. My opinion is steal my idea. Awesome. Go for it. Why? Because that validates the fact that I got something and I got a lot more of that. Right?Michael Jamin:Right.Phil Hudson:But also, please don't steal my stuff.Michael Jamin:Yeah, don't steal the stuff that's for me to do.Phil Hudson:Yeah. Everything Jamin writes, I actually write, I'm his ghost writer. I've been a ghost writer for 26 years.Michael Jamin:Yep.Phil Hudson:I submitted a pilot, Nolan. See, I submitted a pilot to the Awesome Film Festival. Is this a good move? Is it bad timing with the strike I submitted before I knew there was going to be a strike.Michael Jamin:There's no bad timing. I mean, you're not going to take, if you become a hit at, if you win some prize, great. When the strike is over, you can capitalize on it. I don't think there's bad timing.Phil Hudson:No. I think there's specific advice on this from the W G A that I've seen, and it basically says that if you win anything that was done before the strike, it's whatever. But it's what you do with that after. So let's say that you submitted to a strike that was funded by a studio in the A M T P, and then you win. And part of that prize is to have a meeting with a producer that is in breach, because that is happening after the fact selling. Even having a meeting with them is a breach. It's crossing a picket line.Michael Jamin:So just to first say, Hey, thank you. I'm so excited. I can't wait to have this meeting with you in a month or two. When this R is over,Phil Hudson:You don't want to take that meeting to ruin your potential for a career because you can't get in the W G A and when the strike's over, they can only hire people who are in the W G A and they will not hire you becauseMichael Jamin:They won't give a crap about you. I mean, if you think you're going to build a friendship with them, they're going to be gone.Phil Hudson:Nope. They're going to make their payday and move on. And then when the Writers Guild qualified writers can come back, they will get their high quality scripts back from the people who write 'em. And you'll be sitting there just wasted opportunity with the Austin Film Festival. However, I believe it is technically, and I could be wrong, but I believe it's in, and I did submit this year, by the way, to everybody. I'm in the same situation. I'm not concerned if I win, awesome. I'm not planning on winning. It's just a benchmark, a litmus task for me to say, did I qualify? Am I good enough? Where am I at in what I consider to be a respected film festival? And you take what you get out of it, you accept the accolades, and then you move on and just avoid anything that crosses the picket line. Don't take this as an opportunity to scab.Michael Jamin:Yeah.Phil Hudson:Yeah. Cool. Four questions. Michael, you think we can do it?Michael Jamin:Let's blow through. Let's do it.Phil Hudson:Shauna Ibarra, miscellaneous. How do you find mentors or people who can give you feedback?Michael Jamin:You got to earn it. You got to earn it. You got to get a job or an internship or something at a studio, at a production company and work your butt off. And then after six months say, Hey, can I show you my script? But it's not like mentors are just lining up to help you. Or maybe they are. Maybe they're retired people, I don't know. But that's the connections part. That's the work you have to do. This is your job is to make connections, and it's to give first. And that's what I would do.Phil Hudson:I was given advice from a production supervisor and a producer that at a certain point you get an ask and you should take your askMichael Jamin:That time. You have to earn that ask first. Right?Phil Hudson:Yeah. And there are many people I've personally worked with in Hollywood where I probably have that ask, and I'm not taking that ask because I don't want to waste their time.Michael Jamin:You're saving itPhil Hudson:For when it's time. Yeah. Erica little since screenwriting is not audience facing, like acting. Is it an ageist industry? Since it is generally Hollywood based.Michael Jamin:Ageism is the last accepted in Hollywood that said, there are plenty of examples of people who are older who are still breaking in. So it's not like it's impossible, but they're still favoring the youth. But it's not impossible, especially if you do it yourself. I am always yelling at you, do it yourself so no one can stop you as you're older, you have wisdom, you have more life experiences to draw upon, and you might have a couple of bucks in your pocket so you can invest in yourself.Phil Hudson:Yeah, good point. Aaron Kami, what is your advice on how to make writing and screenwriting a less lonely pursuit? Especially when writing is a hobby. How do I meet and learn from others or get feedback, et cetera?Michael Jamin:Well, that's kind of one of the pluses of our course that Phil and I have is that there's a private Facebook group just for students. And it's a community. They trade scripts, they have table reads, they have a contest coming up. That's the community. That's their graduating class. That's their cohort. That's one way to do it.Phil Hudson:Yeah. Any other thoughts? Are youMichael Jamin:No, it's like I said, I think, I don't remember if we mentioned this or the last podcast, but it's a really good group of people where it's not, yeah,Phil Hudson:I was on top of this one.Michael Jamin:Oh, okay. So I've already mentioned it. So yeah, it's really high quality people in this group,Phil Hudson:Solid feedback. And even playing field, they're telling you things based off of what matters, not things that they've heard or read in a book. It's like, this is how a writer's room is going to give you notes. Here's a document, here's a workbook. Michael prepared with the types of notes that matter. That's the feedback he get.Michael Jamin:Yeah.Phil Hudson:Okay. Last question, Scott. Koski wants to know, Michael, would you consider your book art or Craft?Michael Jamin:Oh, good question. When I'm writing for tv, I consider that craft. I consider it. I know it is. I'm getting notes. I'm getting feedback. It's very collaborative. I don't think art at its core, and this is open for debate, but I think art, its core is not about compromising. And when you work with a bunch of people or when you're collaborating, you are going to compromise it. Compromises have to be made. And so it's everyone's work. And that's why I feel like it's craft. But I was thinking about this last night, and then I was like, well, what about Michelangelo? Sistine Chapel? He took notes on the Sistine Chapel. He was working for the Pope. He had to put some angels in there that he didn't want to put in. He had to compromise his vision. But you certainly wouldn't say the Sistine Chapel is not art.It certainly is. So I'm a little confused as to what my definition is. Even I'm other words, I, I'm contradicting myself. I do think art is about taking something inside of you and expressing it in a way that helps you understand yourself and helps you understand the world around you. And in that way, people can see it or watch it and enjoy it, and help them understand themselves. I think there's that greater good. I don't think craft necessarily does that. I think craft can sometimes be, the studio will give me a note and I'll say, okay, I can do that. That's what you want. I can do that. I don't think it's necessarily playing for the greater good. It's what they want and they're paying me. I also don't think design is necessarily art design. Sometimes a can be about selling something. So the design of the Apple boxes that they sell their phones and really beautiful, well done. But the design has an intention, and that is to sell this image of apple, of this blank slate, this pure white open for possibility, creative, blank slate. So is that art? No, I don't think so. I think it's design. I also, so there's art, craft, and design, but you can have your own opinion, feelings. And this debate has been raging for centuries.Phil Hudson:Yeah. I apologize. You might've answered this for you. Your book, is it art or is it craft? Oh,Michael Jamin:For me, the intention was only art. I was drawing upon my craft to make art. Whereas I don't usually draw upon my craft to make art. I usually do it to make a TV show. And so the book is called a Paper Orchestra. And when I wrote it, I was very, very, I was struggling with this. I've read similar books that were written by television writers. And to me, they felt like they had, I could tell they were written by sitcom writers. That's not to say that it was goofy. It just felt like it wasn't deep enough and it felt like they had taken the network note. Often we get notes from the network with the networks, can you round the edges off? And when you're writing on a network TV show, we'll often anticipate these notes and we'll do the notes in advance. But for this book, I was very insecure about it. I was kept on arguing with my wife, does this feel like it was written by Sid Car Rider? And sometimes she'd say, yeah, and sometimes she'd say, no, no, no. And so I was always pushing myself. I wanted to be seen as an author, not as a sitcom writer who wrote a book that feels like a sitcom. And so whether or not I achieved that, that's up for the individual to decide. But that was my intention. And I think intention's important. Think it counts for something.Phil Hudson:Absolutely. And it sounds to me like you took the craft that you've been working on for years and years and utilize it as a litmus test for your art.Michael Jamin:And if anyone wants to sign up when it drops or when I start touring, it's michael jamin.com/upcoming. But it's interesting because when people have enjoyed it and performed it as I performed, or when they've read,Phil Hudson:It's fantastic.Michael Jamin:Thank you. It's very visual. So I think when I write these scenes, I think, oh, what are we watching in our mind's eye as this scene goes? So there's that. I do write as if I'm a screenwriter. I don't know if I'll ever be able to get rid of that. And I do write, it's not high literature. I understand that. I don't know if I ever could write high literature, and I don't think, it was never my intention.Phil Hudson:I think it just speaks to the value of art. And you said it's to the greater good. And I think sometimes the greater good is what do I want to write? What is best for my soul?Michael Jamin:Yes.Phil Hudson:That's the intention. And that is the greater good. And that's the difference between canon fodder is the term that comes to mind. I don't know if that's appropriate, but it's just the BSS that can be mass produced, the AI generated content that can be mass produced versus the singular thing that only Michael Jamin could do because it spoke to his soul and came out of him based off of what he needed to express at this moment and what was going on in his life, reflecting on all of the experiences he's had.Michael Jamin:And that's interesting because how I protect myself from ai, because people say, what are you doing about ai? AI cannot write my stories because it hasn't lived my life. And these are very personal stories, so it just can't, AI might be able to do other things, but it can't do what I'm doing. Yeah.Phil Hudson:Yep. Beautiful stuff, man. I love when we end on these great little notes like that because I think it's incredibly valuable to people who are struggling with this. I know a lot of writers think they're artists and they want to be artists, and you are. You're doing something pure. And with the right intention, regardless of the quality that you can do now compared to everybody else, it's the best you can do with what you have right now. That isMichael Jamin:Art. And that's the advantage that an amateur or non-professional screenwriter or writer has over what we do. I'm a professional writer. It means I get paid. People are paying me to put out stuff that maybe I don't necessarily want to do, but I'm taking the money so I have to do it. But when you're writing for yourself as an amateur or you get to write whatever you want and you don't have to compromise and you don't have to worry about the money, you already have a job on the side, what you're doing, not you, but what those people are doing is more pure in that sense. You are writing because you just want to write, it's closer. It probably has a closer chance of being art than what I do when I take the paycheck.Phil Hudson:But it's probably also the thing that is going to get you into the machine to become the professional paid writer who does the craft?Michael Jamin:If you don't, right? If you stop thinking about, can I sell this and start thinking about how beautiful is this thing I'm making? And we were just talking to him a minute ago about Wolf of Wall Street, how I'm only a quarter way through, but every scene is so interesting. The writing is so great in every scene. Not lazy, nothing lazy about it, man. Yeah,Phil Hudson:Yeah. Well, it kind of leads to the end of the podcast. And so before we jump the gun, what do we say? Keep writing. That's Keep writing DoMichael Jamin:Phil. Great. Another great talk. Alright, everyone, keep watching. We have great stuff for you on the website. We like to always like to plug that. If you go to michaeljamin.com, what you can get is a free lesson on how to write. You can get on my newsletter, which I'll send you the three tips that I think you need to watch every week. Three lessons for you to pick up free. Also on my website, you can sign up for my book for when it drops a P Orchestra. You can sign up for my webinar, which we do every three weeks, and you could sign up for my screenwriting course. That's going to cost you. You can get a free writing sample that I've written all this stuff. Go get it. Yeah, it's all there@michaeljamon.comPhil Hudson:And there's other valuable things you have on there too. You can get the webinar rebroadcast. This was the pep talking screener writer and he's here. You can go get that. There's also the VIP Q and a, so these are the questions we couldn't answer in the main one. There's a VIP q and a. You can go sign up @michaeljamin.com/VIP for the next event and just have a chance on Zoom in a small group to ask questions directly to you. AndMichael Jamin:Let me clarify so the webinars, because I'm glad you brought that up. So the webinars are free if you attend live, they're free. If you miss it, we send you a free replay for 24 hours. But if you want to catch the old ones because you're like, Hey, those are really good, those are available on my website for a small fee,Phil Hudson:But they're lifetime access, so you buy it once. It doesn't have a take clock. It's like jurors, you have access. It's in there with the course. If you buy the course, you get access to all of them and the webinar, when you attend, you give away a free access to the course. So somebody will win that. And a pretty nice discount as well.Michael Jamin:Yes. Alright, Philly, we did it. Thank you everyone. Until next week, as Phil likes to say, keep writing.Phil Hudson:This has been an episode of Screenwriters Need to Hear this with Michael Jamin and Phil Hudson. If you're interested in learning more about writing, make sure you register for Michael's monthly webinar @michaeljamin.com/webinar. If you found this podcast helpful, consider sharing it with a friend and leaving us a five star review on iTunes. For free screenwriting tips, follow Michael Jamin on social media @MichaelJamin,writer. You can follow Phil Hudson on social media @PhilaHudson. This podcast was produced by Phil Hudson. It was edited by Dallas Green Music, by Ken Joseph. Until next time, keep writing.

Join us as we discuss making short films. Making your own work. Something our co-host Lauren has done with previous guest Ashley Maria. Harsh Wilderness! We discuss filmmaking on a budget and finding the right location.  The time it takes to self produce something. Unfairly exiled from her home and marriage, Verna must find common ground with Beatrice, the woman she hates, to survive the Harsh Wilderness of the Old West.Starring:Lauren OlipraLiesel HlistaDirected By:Ashley MariaWritten By:Andy GreeneDirector Of Photography:Rodolphe PortierEdited By:Jonny TurcoHarsh Wildernesshttps://www.instagram.com/lauren_olipra/https://www.instagram.com/lieselhlista/https://www.instagram.com/itsashleymaria/https://www.instagram.com/wanderinggreenehttps://www.instagram.com/rod.portier/https://www.instagram.com/mrphoo

In this episode, we were fortunate to welcome Mr. James Mathers. James is both a longtime Cinematographer and is the founder of the Digital Cinema Society. In our conversation, James shares his story — from child actor, to meeting Walt Disney, his experiences working on the original “Frost/Nixon” interviews in the late-1970s, to shooting dozens of independent films and documentaries over the years. Some of the projects James has shot include The U.S. vs. John Lennon, Beautiful Dreamer: Brian Wilson and the Story of ‘Smile', How Bruce Lee Changed the World, Who is Harry Nilsson (And Why Is Everybody Talkin' About Him?), and The Chicago 8. In addition to his films and the formation of the Digital Cinema Society, James talks about evolving technologies, recommendations for today's filmmakers — and much more. The Making Of is presented by AJA Video Systems:Validating IMF Packages with the Oxagile Plug-in for AJA Diskover Media EditionAJA Diskover Media Edition provides a powerful, intuitive sustainable data management solution that integrates with a range of plug-ins, including Oxagile's IMF Validator plug-in. With it, users can scan and validate IMF packages before final delivery from anywhere, cuing content creators and providers into when content is ready to share. For more information, visit hereUpcoming EventMallorca Film Festival — October 18-24thThe Evolution Mallorca Int'l Film Festival enters its 12th edition this October. This year will also mark the 2nd Annual Cinematography Focus — including Educational Panels, Workshops, Networking and Awards. In addition, ARRI has joined as a lead festival sponsor. The Mallorca Film Festival is recognized as "One of Europe's 10 Most Exciting Film Festivals" by The Guardian, as MovieMaker's “Top 50 Film Festivals Worth The Entry Fee” and appears on the 100 Best Reviewed Film Festival list on FilmFreeway! More at evolutionfilmfestival.comZEISS introduces their new camera tracking systemWith CinCraft Scenario, ZEISS presents a new, powerful and flexible camera tracking system as part of their CinCraft ecosystem.Built upon NCAM's unique tracking technology and ZEISS' expertise in lens data, the camera tracking system introduces a user experience designed to match the film crew's workflow and ease of use. Learn more hereCSS Music Boosts Its Library Service with Revolutionary A.I. Technology CSS Music has announced a brand-new feature for the community looking to score their projects. This new state-of-the-art A.I. technology powers search like never before — with incredible speed, accuracy and creativity. CSS Music President Michael Fuller shared, “I've been in this industry for over forty years and I've never quite seen anything like this. This will not only revolutionize the way we run our business, but it will change the way producers and editors search for music and handle their post workflows. Simply put, it'll save everyone a lot of time and energy... and we are proud to offer this solution to the creative community.”  To browse this new search tool, visit here In addition, CSS Music has announced their 1st Annual "Summer Post Special" for end-users working in post now. For only $199, creatives can acquire a 200-track “You Pick ‘em Plan” to score an unlimited number of projects with no restrictions. And as a bonus, they'll receive a copy of Tom Hanks' new book, “The Making of Another Major Motion Picture Masterpiece” absolutely free with their purchase! This is with fulfillment by Amazon. To inquire, call Mike Fuller at 1-800-468-6874. OWC Thunderbolt Go DockThe OWC Thunderbolt Go Dock is the first of its kind, full-featured Thunderbolt dock with a built-in power supply and 11 ports, for additional ease and connectivity while on the Go. It's a one-dock solution that works with all past, present and future Thunderbolt and USB devices and accessories. Take a look hereCSS Music is the go-to production Music Library for Hollywood and the entire Film, TV and AV/Video markets. CSS offers thousands of tracks in every genre and style — helping producers and editors score their latest productions with licensing to fit any budget, from Royalty-Free or needle drop to Gratis (free) for qualified projects. With its easy-to-use search capability, great service and high-quality music, CSS has continued to serve the community since 1982. Visit cssmusic.com Any questions? Contact us at info@cssmusic.comPodcast Rewind:August 2023 - Episode XV…The Making Of is produced by Michael Valinsky.To promote your product or service to over 7,000 leading film, TV and video industry pros, reach out to mvalinsky@me.comThe Making Of is a reader-supported publication. To receive new posts and support our work, please consider becoming a free or paid subscriber. Get full access to The Making Of at themakingof.substack.com/subscribe

I was honored to be invited as a keynote speaker for The Los Angeles Screenwriting Competition Awards Ceremony 2023 (https://lascreenwriting.com/). It's a wonderful film competition for writers and so I wanted to do justice by them and share the tips that have benefited me in my writing. You can catch all the nominees, speeches and winners here: https://www.youtube.com/live/XaAZXbmJOCE?si=AXareAYFzzj-0hOl. And submissions are open for next year too! So, if you're a screenwriter with a short film or feature script, don't hesitate to go their website or FilmFreeway.com to get your screenplay in the running. Please share your thoughts down in the comment section or hit me up on social media @PhilSvitek. Lastly, for more free resources from your 360 creative coach, check out my website at http://philsvitek.com. RESOURCES/LINKS:  -Coach or Consultant Services: https://philsvitek.com/lets-work-together/   -Podcast Services: http://philsvitek.com/podcastservices  -Love Market Film: https://www.amazon.com/Love-Market-Amy-Cassandra-Martinez/dp/B09DFS3FTZ/ref=sr_1_14  -Patreon: https://www.patreon.com/philsvitek   -Merchandise: https://shop.spreadshirt.com/phil-svitek---360-creative-coach/   -Instagram: http://instagram.com/philsvitek   -Facebook: http://facebook.com/philippsvitek  -Twitter: http://twitter.com/philsvitek  -Financially Fit Foundation: http://financiallyfitfoundation.org  -Master Mental Fortitude Book: http://mastermentalfortitude.com  -Elan, Elan Book: http://philsvitek.com/elan-elan   -In Search of Sunrise Book: http://philsvitek.com/in-search-of-sunrise  -A Bogotá Trip Film: https://philsvitek.com/a-bogota-trip/ 

A Long Island native, actor, writer, and (reluctant) producer Eddie Alfano (Barry, Shameless, Good Trouble, Birds of Prey) has a huge body of acting work and has written and produced multiple award-winning short films and web series. We covered a lot of ground in this interview, from the challenges of film acting to how to utilize your perfectionist traits to nail your self tape every. single. time. Eddie looks back on his career when he started acting back in 2008 during the last Writer's Strike and what he would have done differently, and how he has chosen to embrace his typecast as the cop and bad guy. He also shared what it was like for him to cast his own short films, and what he looks for when casting actors. If you're like me and have always wondered about using your typecast to your advantage, casting actors in your own work, and what we can do to make ourselves shine, this episode is for you. Watch the Full Video Podcast Here! 00:00 — Intro 03:35 — 2008 Writer's Strike 11:04 — Sidegigs & Working Actors 19:44 — Eddie's Typecast 25:20 — Make Your Art 28:20 — Actor Journey vs. Hollywood Journey 30:00 — Becoming a Better Actor without Booking 35:46 — Translating Work in Acting Class to Set 45:36 — Self Tapes 51:37 — The Qualities of a Killer Tape Resources Mentioned in This Episode: ★Eddie's IMDb https://www.imdb.com/name/nm1778103/ ★ Follow Eddie on IG @eddiealfano https://www.instagram.com/eddiealfano/?hl=en ★ Eddie's FIlm Freeway https://filmfreeway.com/eddiealfano ★ The Lee Strasberg Theatre & Film Institute https://strasberg.edu/los-angeles-theatre-film-school/programs/ ⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯ Want more? Join The Membership & Check out Patreon for bonus episodes! And don't miss all the content on IG and as always at, OneBrokeActress.com And if you're needing some personalized help from Sam, you can schedule a chat with her right here. Don't forget to join the mailing list here!

In this episode, we welcomed one of the most talented Gaffers in the business, Mr. Jeff Murrell. Jeff joined us to share about his life and work on films including True Lies, Get Shorty, Men in Black, Gone in 60 Seconds, Lords of Dogtown, Live Free or Die Hard, Ted, Captain America: The Winter Soldier, Captain America: Civil War, Avengers: Infinity War, Avengers: Endgame, Fast & Furious Presents: Hobbs & Shaw, Seberg, Godzilla vs. Kong, The Tomorrow War, and Megalopolis! We learned about how Jeff got started in the business, how he learned his craft, his thoughts on the latest lighting technologies, and advice for new filmmakers.The Making Of is presented by AJA Video Systems:As color pipelines evolve, the AJA FS-HDR and ColorBox keep pace. At NAB 2023, AJA announced support for the latest ARRI LogC4 color science along with updated Colorfront Live and TV Modes for real time SDR / HDR color space conversions. More information at www.aja.com/family/colorRemembering Bryce It was just one month ago, on May 19th, 2023, that we lost a longtime friend and colleague, Bryce Button. Bryce was an incredibly smart, warm and generous person — and helped provide priceless advice over the years and as we launched this podcast. A heartfelt Thank You to Bryce for all your support and friendship. We will miss you.Film Festival of the Month:Mallorca Film Festival — October 18-24, 2023The Evolution Mallorca Int'l Film Festival enters its 12th edition with a clear mission — Bridging Cultures, Bridging People. The festival is recognized as "One of Europe's 10 Most Exciting Film Festivals" by The Guardian, as MovieMaker's “Top 50 Film Festivals Worth The Entry Fee” six years in a row, and appears on the 100 Best Reviewed Film Festival list on FilmFreeway.com! EMIFF is helping shape a creative community, encouraging independent filmmakers to network and thrive in this idyllic Mediterranean island paradise. More at evolutionfilmfestival.comZEISS Conversations with Jonathan Ingalls The next installment of ZEISS Conversations is coming up on Thursday, June 29 at 12pm PDT/ 3pm EDT! Their latest exciting episode is with Jonathan Ingalls, the renowned expert in the field of Documentary Cinematography. They'll start the conversation with his latest project: "100 Years of Warner Bros.," shot on ZEISS CP.3 and CZ.2 Cinema Zooms. At the end, they'll have time to cover other favorites such as “Blackfish,” “The Imagineering Story,” and they'll take questions from the audience. Register hereFilm Book of the MonthTo kick off our summer book series, we begin with Easy Riders, Raging Bulls.“When the low-budget biker movie Easy Rider shocked Hollywood with its success in 1969, a new Hollywood era was born. This was an age when talented young filmmakers such as Scorsese, Coppola, and Spielberg, along with a new breed of actors, including De Niro, Pacino, and Nicholson, became the powerful figures who would make such modern classics as The Godfather, Chinatown, Taxi Driver, & Jaws. Easy Riders, Raging Bulls follows the wild ride that was Hollywood in the '70s — an unabashed celebration of sex, drugs and rock 'n' roll (both onscreen and off) and a climate where innovation and experimentation reigned supreme. Based on hundreds of interviews with the directors themselves, producers, stars, agents, writers, studio executives, spouses, and ex-spouses, this is the full, candid story of Hollywood's last golden age.” Pick up a copy hereOWC Thunderbolt Go DockThe OWC Thunderbolt Go Dock is the first of its kind, full-featured Thunderbolt dock with a built-in power supply and 11 ports, for additional ease and connectivity while on the Go. It's a one-dock solution that works with all past, present and future Thunderbolt and USB devices and accessories. Browse herePodcast Rewind:May 2023 - Episode IX…Note: photo in thumbnail taken by Phil Caruso. On set of Megalopolis.The Making Of is created and hosted by Michael Valinsky.Reach out anytime at mvalinsky@me.com Get full access to The Making Of at themakingof.substack.com/subscribe

On this episode, we had the great opportunity to speak with veteran Film and TV Cinematographer Jendra Jarnagin. Jendra has worked on an extensive list of top shows and films including “The Sopranos,” “Sex and the City,” “Law & Order,” “Gotham,” “Mozart in the Jungle,” “My Next Guest Needs No Introduction with David Letterman,” David Mamet's Spartan, Spike Lee's She Hate Me, Noah Baumbach's The Squid and the Whale, Asking For It, and “East New York”! An amazing conversation covering her roots, education at NYU, experiences on a variety of independent film sets and large-scale television shows, on through her lensing the series “East New York”. An inspiring and educational chat; thank you Jendra for joining us.The Making Of is presented by AJA Video Systems:AJA Introduces FS HDR v4.2 and ColorBox v2.0 UpdatesAnnounced at NAB 2023, ColorBox 2.0 and FS-HDR 4.2 both feature updated camera support including Arri LogC4 and Sony S-Log3. Other updates include an expanded Colorfront TV mode, and a new gamma compensation control in the Orion-Convert color pipeline. BBC HLG Luts have been updated to v1.6 and ColorBox 2.0 adds the ability to overlay framelines for shot framing or .png files for branding or watermarking needs. www.aja.comFeatured Event of the Month:Cine Gear LA — June 1-4, 2023Cine Gear is the premier event for professionals engaged in the film & entertainment technology industry. Taking place June 1st – 4th with exhibits June 2nd – 3rd at The Studios at Paramount, Cine Gear features exhibits, new product and service introductions, complimentary seminars led by industry leaders, and ample opportunity to network with peers. Learn more hereOWC Thunderbolt Go DockThe OWC Thunderbolt Go Dock is the first of its kind, full-featured Thunderbolt dock with a built-in power supply and 11 ports, for additional ease and connectivity while on the Go. It's a one-dock solution that works with all past, present and future Thunderbolt and USB devices and accessories. Browse hereWorkshop of the Month: Small to No Crew: Cinematic Video Lighting Workshop with Jem Schofield of TheC47This one-day hands-on workshop with Jem Schofield of theC47 will take attendees through how to light for documentary, in-house & corporate based projects. This will include going through the process of planning & lighting using largely low-key, cinematic techniques and will feature lighting, lighting control, composition and camera set-ups to teach you how to light for a wide range of projects. Jem will also discuss and demonstrate certain "rules" that can be followed to help you consistently shoot great and natural looking one & two-camera interviews in different shooting environments. The workshop will be delivered in a conversational style that will allow Jem to work effectively with his crew (attendees of the workshop), while still teaching process & craft. Exactly like being on an actual, working set!June 1, 2023 — 9:30am - 5:00pm PDT | AbelCine Los AngelesClick here for more info and to register. Film Festival of the Month:Mallorca Film Festival — October 18-24, 2023The Evolution Mallorca International Film Festival enters its 12th edition with a clear mission: Bridging Cultures, Bridging People. Recognized as "One of Europe's 10 Most Exciting Film Festivals" by The Guardian, MovieMaker Magazine's “Top 50 Film Festivals Worth The Entry Fee” six years in a row, and appearing on the 100 Best Reviewed Film Festival list on FilmFreeway.com, EMIFF shapes a creative community, encouraging independent filmmakers to network and thrive in this idyllic Mediterranean island paradise.  Visit evolutionfilmfestival.comSubmission Discount Code: “ThemakingofMallorca” on Filmfreeway. Link herePodcast Rewind:May 2023 - Episode VIII…The Making Of is created & hosted by Michael Valinsky.Reach out anytime at mvalinsky@me.com Get full access to The Making Of at themakingof.substack.com/subscribe

On this episode, we were lucky to welcome Mr. Phil Caruso, one of the industry's most talented Still Photographers. Phil has shot on-set images on projects including Bill & Ted's Excellent Adventure, Parenthood, Backdraft, Cape Fear, The Age of Innocence, A Bronx Tale, Forrest Gump, Clockers, Casino, 12 Monkeys, The Rainmaker, Wag the Dog, Analyze This, Meet the Parents, Game Change, Sinister, Megalopolis, “Bull,” “Poker Face” and “White House Plumbers.” In our conversation, Phil shares all about growing up, learning photography, his trajectory in the movie business, the unique role of an on-set photographer, and much more. The Making Of is presented by AJA Video Systems:AJA Introduces FS HDR v4.2 and ColorBox v2.0 UpdatesAnnounced at NAB 2023, ColorBox 2.0 and FS-HDR 4.2 both feature updated camera support including Arri LogC4 and Sony S-Log3. Other updates include an expanded Colorfront TV mode, and a new gamma compensation control in the Orion-Convert color pipeline. BBC HLG Luts have been updated to v1.6 and ColorBox 2.0 adds the ability to overlay framelines for shot framing or .png files for branding or watermarking needs. www.aja.comFilm Book of the Month:Martin Scorsese: A RetrospectiveSince his emergence in the early 1970s, Scorsese has become one of the most respected names in cinema. Taxi Driver, Raging Bull, and Goodfellas are regularly cited as being among the finest films ever made. This lavish retrospective is a fitting tribute to a remarkable director, now into his seventh decade in cinema and showing no signs of slowing up. Leading film writer Tom Shone draws on his in-depth knowledge and distinctive viewpoint to present refreshing commentaries on all twenty-six main features, from the rarely shown Who's That Knocking at My Door (1967) to the latest release, The Irishman (2019), as well as covering Scorsese's notable parallel career as a documentarian. Impeccably designed and copiously illustrated with more than two hundred stills and behind-the-scenes images, this is the definitive celebration of one of cinema's most enduring talents. View on EbayZEISS Conversations with Ernesto Lomeli Duclos has announced the first in-person event in the Duclos Demo Space featuring ZEISS Conversations with Ernesto Lomeli, moderated by Matthew Duclos! The talk and hands-on demos are taking place at their new space and registration is required. Test out the entire ZEISS lens lineup and mingle with fellow cinematographers. There will be complimentary food and beverages available.  Register hereFeatured Event of the Month:Cine Gear LA — June 1-4, 2023Cine Gear is the premier event for professionals engaged in the film & entertainment technology industry. Taking place June 1st – 4th with exhibits June 2nd – 3rd at The Studios at Paramount, Cine Gear features exhibits, new product and service introductions, complimentary seminars led by industry leaders, and ample opportunity to network with peers. More info here OWC Thunderbolt Go DockThe OWC Thunderbolt Go Dock is the first of its kind, full-featured Thunderbolt dock with a built-in power supply and 11 ports, for additional ease and connectivity while on the Go. It's a one-dock solution that works with all past, present and future Thunderbolt and USB devices and accessories. Browse hereFilm Festival of the Month: Mallorca Film Festival — October 18-24, 2023The Evolution Mallorca International Film Festival enters its 12th edition with a clear mission: Bridging Cultures, Bridging People. Recognized as "One of Europe's 10 Most Exciting Film Festivals" by The Guardian, MovieMaker Magazine's “Top 50 Film Festivals Worth The Entry Fee” six years in a row, and appearing on the 100 Best Reviewed Film Festival list on FilmFreeway.com, EMIFF shapes a creative community, encouraging independent filmmakers to network and thrive in this idyllic Mediterranean island paradise.  Visit evolutionfilmfestival.comSubmission Discount Code: “ThemakingofMallorca” on Filmfreeway. Link herePodcast Rewind:March 2023 - Episode VII…The Making Of is created and hosted by Michael Valinsky.Reach out anytime at mvalinsky@me.com Get full access to The Making Of at themakingof.substack.com/subscribe

This is the one with Samantha K Henderson! Samantha K Henderson is an award-winning film and TV producer working in Sacramento and Los Angeles. She is the Co-Director of SacFilmChallenge, a music and film festival, and she founded the Sacramento Film Project, which is a film group that focuses on networking and developing filmmakers. Samantha serves on the Board of Directors at Access Sacramento (public access TV and radio) and is certified as a TV and Radio Producer.  Her newest film,“Smashed”, premiered at Raleigh Studios Hollywood in November 2021 as part of Women in Media's CAMERAderie Initiative and is now on a festival run. In 2019 she wrapped “ChefNSacramento” which she also wrote and directed. She's a member of  Women In Media, African American Women in Cinema, Capital Film Arts Alliance,  and the Northern California Film Coalition. "Breaking Big" with Erin Neumeyer is a podcast about working in the entertainment industry. Meet people who work in all areas of show business to find out how they broke into the industry and found success. Working in this creative field can be a roller coaster - there will be laughter, thrills and tears - but these talented people are enjoying the ride! A HUGE Thanks to WhoHAHA.com for featuring our show in the "Podcasts We Love" Section of their App!  And special thanks to FILMCRAFT LA for sponsoring our show! While you can listen to our show everywhere podcasts are streamed we would be honored if you would open (or download the ⁠⁠WhoHaHa App HERE⁠⁠ if you don't already have it) and listen there this month!  While you're there check out the other lady driven shows - there are lots of great ones!  SHOW LINKS: ⁠⁠⁠Listen to her Podcast:⁠⁠⁠⁠ ⁠The Creative Seat⁠ SHOUT OUTS: DM Samantha on IG to get a discount code for the Sac Film Challenge on Film Freeway. SacFilmChallenge is a music and film festival organized by filmmakers who live and work in the Sacramento region and who are passionate about the community, the process, and the films made by creatives who employ the highest level of innovation, creativity, and craftsmanship and we want to celebrate them. Erin's SHOUT OUT: Barbie by Mattel - Inclusive Barbie's just launched a new doll with Down Syndrome LINKS: Keep in touch with Samantha INSTAGRAM:@SamKendrea TIKTOK:@SamKendrea TWITTER: @SamKendrea FACEBOOK: https://www.facebook.com/SamKendrea IMDB:https://pro.imdb.com/name/nm6602414 WEBSITE: www.samanthaKhenderson.com CONTACT INFO: Breaking Big with Erin Neumeyer Produced by Bex Francis & Erin Neumeyer, Edited by Dylan Neumeyer Show Music composed and performed by Dylan Neumeyer Email us at ThunderTally@gmail.com or Follow us on Instagram @ThunderTally --- Support this podcast: https://podcasters.spotify.com/pod/show/breakingbig/support

This is the one with Samantha K Henderson! Samantha K Henderson is an award-winning film and TV producer working in Sacramento and Los Angeles. She is the Co-Director of SacFilmChallenge, a music and film festival, and she founded the Sacramento Film Project, which is a film group that focuses on networking and developing filmmakers. Samantha serves on the Board of Directors at Access Sacramento (public access TV and radio) and is certified as a TV and Radio Producer.  Her newest film,“Smashed”, premiered at Raleigh Studios Hollywood in November 2021 as part of Women in Media's CAMERAderie Initiative and is now on a festival run. In 2019 she wrapped “ChefNSacramento” which she also wrote and directed. She's a member of  Women In Media, African American Women in Cinema, Capital Film Arts Alliance,  and the Northern California Film Coalition. "Breaking Big" with Erin Neumeyer is a podcast about working in the entertainment industry. Meet people who work in all areas of show business to find out how they broke into the industry and found success. Working in this creative field can be a roller coaster - there will be laughter, thrills and tears - but these talented people are enjoying the ride! A HUGE Thanks to WhoHAHA.com for featuring our show in the "Podcasts We Love" Section of their App!  And special thanks to FILMCRAFT LA for sponsoring our show! While you can listen to our show everywhere podcasts are streamed we would be honored if you would open (or download the ⁠⁠⁠WhoHaHa App HERE⁠⁠⁠ if you don't already have it) and listen there this month!  While you're there check out the other lady driven shows - there are lots of great ones!  SHOW LINKS: Listen to her Podcast:⁠⁠⁠⁠ The Creative Seat SHOUT OUTS: DM Samantha on IG to get a discount code for the ⁠Sac Film Challenge⁠ on Film Freeway. SacFilmChallenge is a music and film festival organized by filmmakers who live and work in the Sacramento region and who are passionate about the community, the process, and the films made by creatives who employ the highest level of innovation, creativity, and craftsmanship and we want to celebrate them. Erin's SHOUT OUT: Barbie by Mattel - Inclusive Barbie's just launched a new doll with Down Syndrome LINKS: Keep in touch with Samantha INSTAGRAM:@SamKendrea TIKTOK:@SamKendrea TWITTER: @SamKendrea FACEBOOK: ⁠https://www.facebook.com/SamKendrea⁠ IMDB:⁠https://pro.imdb.com/name/nm6602414⁠ WEBSITE: ⁠www.samanthaKhenderson.com⁠ CONTACT INFO: Breaking Big with Erin Neumeyer Produced by Bex Francis & Erin Neumeyer, Edited by Dylan Neumeyer Show Music composed and performed by Dylan Neumeyer Email us at ThunderTally@gmail.com or Follow us on Instagram @ThunderTally --- Support this podcast: https://podcasters.spotify.com/pod/show/breakingbig/support

We're back for another season of the EQUUS Film and Arts Fest podcast! After an extended hiatus with time off for The Mustang Discovery Ride, we'll be bringing in all of the available EQUUS authors, artists and filmmakers to hear more about the work featured in the 2022 EQUUS Film and Arts Fest in Sacramento. From these short WebChats to stories about our partners and sponsors, the podcast will allow us to  bring the festival straight to our listeners. In this episode, you'll hear from long-time supporter of the festival, Mike Dunne of Equine Empowered Therapy (EET.) In this previously recorded interview, Mike discusses the programs that EET provides partnering Veterans and Mustangs. Equine Empowered Therapy (EET) is a fully certified 501(c)(3) charitable corporation designed for veterans who are experiencing difficulty reintegrating into civilian life.  The program utilizes natural horsemanship and rescued horses to provide programs that achieve therapeutic success, education, vocational training and relief from PTS in Southern California. E.E.T. is free to all veterans. To learn more, visit https://www.equineempoweredtherapy.com.To learn more about podcast host Julianne and her partner Bruce Anderson, tune in to "Whinny Tales: Horse Stories, Pony Legends and Unicorn Yarns," the official podcast of Nature's View and The Marley Project, their equine and arts-based 501 (c)(3). Visit www.jamediaconnections.com for more of the JA Media Connections Podcast Catalogue. To see the video version of this podcast, visit the JA Media Productions YouTube Channel.For more information about the festival or for links to the films and literature mentioned in the podcast, visit equusfilmfestival.net. To learn more about the upcoming 2023 EQUUS Film and Arts Fest, or to submit your film, artwork or literature, you'll find the festival on the Film Freeway website. 

This week on the Meteor Station.........we talk to Mike from Augmentality.    A VR in person arcade which also happens to be the site of our in person VR film festival in January 2024!     We talk about the most popular VR games as well as our favorite VR games and movies.   We also talk about the current VR news.    Intro - 1:00   FilmFreeway  4:20   VR News   5:00   Meta price cuts5:58   Quest 3 2023 and AR Glasses 2027 ?7:35   Adobe Aero (AR)8:00   Apple Reality in June 2023  (Worldwide Developers Conference)8:20   Pico layoffs10:55 Flipside new release 14:20   VR Arcade Interview with Mike @ Augmentality https://www.augmentalitylabs.com/44:00   Wrapup and chat about VR Arcades and the festivalFilmFreeway festival link:    https://filmfreeway.com/MeteorStation...Support the Meteor Station with Sarcasm!    http://www.sarcasticorp.com/Stay tuned for fun and unique VR content!  Look forward to our Weekend Virtual Reality posts - at least one brand new creation a week.http://MeteorStation.comSupport the show

Tom gives a chat about entering your horror film or your screenplay into competitions and film festivals on Filmfreeway!

Aaron is joined by filmmaker, photographer, experimental ethnographer, world traveler and the winner of the ATLFILMPARTY Cycle 4, Artemus Jenkins. Artemus talks about some of his earliest film memories, gives insight into his creative journey into filmmaking and explains why he believes documentary is the most exciting genre for the future of film.ATLFILMPARTY is an Atlanta based community event serving local filmmakers. My good friend B. Sonenreich established the event in 2021, because so many local filmmakers put their blood, sweat, and tears into Georgia's $4.4 billion film industry and can barely pay for their own incredible projects, let alone get them seen at sold out events. If you're ATL-raised or based, you are eligible to submit to ATLFILMPARTY's open call for shorts. The next call is for short documentaries. The winner receives a $500 grant and mentorship from ATLFILMPARTY sponsor: Southern Documentary Fund. The deadline for short docs is May 1st 2023 at 11:59 PM you can submit at FilmFreeway.com/atlfilmpartyATLFILMPARTY IG: @atlfilmpartyArtemus Jenkins: www.artemusjenkins.comEmail us: behindtheslatepod@gmail.comInstagram: @behindtheslatepodTikTok: @behindtheslatepodYouTube: @behindtheslatepodcastJoin our weekly film club: https://www.instagram.com/arroyofilmclubProducer: Greg Kleinschmidt Hosted on Acast. See acast.com/privacy for more information.

Brenna @brennapower just premiered her first short film Cold & Sara at Slamdance Film Fest and we show it @reunion on Wednesday February 8th with a full program of shorts at Gospel NYC. We talk about what it's like to be a filmmaker today, pushing shorts, developing features. I forgot to ask her about Babylon I just realized, which she was in. Wow. How tf did I forget to ask about Babylon. Wow. Anyway, we talk about how Film Freeway is a scam a lot. See y'all Wednesday. https://reunion2823.splashthat.com --- Send in a voice message: https://anchor.fm/teawithsg/message Support this podcast: https://anchor.fm/teawithsg/support

WELCOME TO SEASON 5  please SUPPORT my SHOW, SUBSCRIBE to the NEWSLETTER, ENTER in the GIVEAWAYS https://www.chonacas.com/contact/   Film Freeway, Film Festivals: https://podcasts.apple.com/us/podcast/shes-all-over-the-place-nft-podcast/id1485475729?i=1000533933043 VeeCon: https://podcasts.apple.com/us/podcast/shes-all-over-the-place-nft-podcast/id1485475729?i=1000564662447 Undertow Blood Forest: https://podcasts.apple.com/us/podcast/undertow-dark-tome/id1605246301   Gold Tree Studios: https://goldtreestudios.com   Social media links: https://twitter.com/katiechonacas https://twitter.com/culturekidsxyz https://www.instagram.com/culturekidsxyz/  https://www.instagram.com/chonacas   https://www.linkedin.com/in/katiechonacas    

The 2022 annual winners for IndieEye Film Awards! Including new Awards of Excellence and Emerging Artists PLUS a somber message about the future of IndieEye due to the actions of FilmFreeway.https://indieeyefilmawards.com/final-episodeCheck out the Take 22 podcast here on YouTube:https://www.youtube.com/channel/UCRKC...Madison Baker Was Here @https://www.madisonbakerwasheremovie.comIG @indieeyefilmawardsPodcast tags recorded by David B. Colehttps://davidbcole.com​​​​Music: Business or Pleasure? by Avocado JunkieSoundStripe generated use code: ZLIIRJDDNLUMRDIKMusic: Occasion (Orchestral Version) by Stephen KeechSoundStripe generated use code: R3OAHBZOOBIETUEU#filmmaking #filmfreeway #officialselection

Matt & Dre explain what happened with FilmFreeway and why this is the last episode of IndieEye. See the "festival support" email exchange with FilmFreeway here:https://indieeyefilmawards.com/final-episodeStay connected by subscribing to Take 22! Check out the Take 22 podcast here on YouTube:https://www.youtube.com/channel/UCRKC...Madison Baker Was Here @https://www.madisonbakerwasheremovie.comWe'll keep an eye on Instagram and announce there if anything changesIG @indieeyefilmawardsPodcast tags recorded by David B. Colehttps://davidbcole.com​​​​Music: Business or Pleasure? by Avocado JunkieSoundStripe generated use code: ZLIIRJDDNLUMRDIK#filmmaking #filmfreeway #filmfestival

Looking for feedback or reviews about your indie film? This podcast discusses the monthly submissions for IndieEye Film Awards. Submit your film to IndieEye Film Awards at our website or find us on FilmFreeway.https://indieeyefilmawards.com​​​​https://www.youtube.com/@UCErSSa3CaP_GJxmFpdjG9Jw https://podcasts.apple.com/us/podcast/beyond-the-screenplay/id1451724425IG @indieeyefilmawardsPodcast tags recorded by David B. Colehttps://davidbcole.com​​​​Music: Business or Pleasure? by Avocado JunkieSoundStripe generated use code: ZLIIRJDDNLUMRDIK#filmmaking #filmfestival #officialselection

"Behind the Card" is simply a must-see film for anyone connected with sports cards!  Recently, Gary (our show host) sat down with Chris Fitzjarrald, the Director and Writer of this award-winning documentary about the sports card industry, personalities, and unforgettable moments of the past three years.  Chris and Gary talk about the feeling like this well-done, hollywood-feature film was made just for us - collectors and investors in today's card market!  It's also the kind of film that you could share with your friends and family to help them understand, enjoy, and even jump into sports cards!   As noted on Filmfreeway.com, "Behind The Card covers the recent rise in the sports card industry as it becomes a place for investors and collectors to become millionaires overnight. The documentary showcases how a piece of cardboard can be turned into a $1M+ investment simply by adding an athlete's face and signature. As we filmed the industry's path from card creation to the end buyer, we've captured manipulation of the card market, theft of cards, online scams, new technological innovations and the unity of family and friends through its 100+ year history. Featured celebrity interviews include producer/DJ Steve Aoki and controversial investor Vegas Dave. Featured athletes include Las Vegas Raiders Running Back, Josh Jacobs and 2020 7th round pick by the Pittsburgh Pirates, Nick Gonzales. The top industry experts include the CEO of Panini America, Mark Warsop and the President of Beckett Media, Jeromy Murray. Also featured are industry influencers Geoff Wilson and Rob Gough, who broke the record for the most expensive sports card purchase when he spent $5.2M on a single baseball card." --- Send in a voice message: https://anchor.fm/hoopsandcards/message

Caleb Pike joins IndieEye to discuss budget filmmaking and being a YouTube creator.https://www.youtube.com/c/dslrvideoshooterhttps://dslrvideoshooter.com/Find Caleb on Instagram and Twitter @CalebPikeSubmit your film to IndieEye Film Awards at our website or find us on FilmFreeway.https://indieeyefilmawards.com​​​​IG @indieeyefilmawardsPodcast tags recorded by David B. Colehttps://davidbcole.com​​​​Music: Business or Pleasure? by Avocado JunkieSoundStripe generated use code: ZLIIRJDDNLUMRDIK#calebpike#DSLRVideoShooter#YouTube

This podcast discusses the monthly submissions for IndieEye Film Awards. Submit your film to IndieEye Film Awards at our website or find us on FilmFreeway.https://indieeyefilmawards.com​​​​IG @indieeyefilmawardsPodcast tags recorded by David B. Colehttps://davidbcole.com​​​​Music: Business or Pleasure? by Avocado JunkieSoundStripe generated use code: ZLIIRJDDNLUMRDIK#filmmaking#officialselection #filmfestival

In this episode, Jennifer talks to Stephanie Hogan about submitting to film festivals. Stephanie shares the importance of clarifying one's intentions and goals around film festival submissions, networking with an open mind, and budgeting finances in advance for submitting & attending events. They get into the nitty-gritty of using Film Freeway and how the process of creation can be incredibly empowering.   CW: street harassment  About Stephanie: Originally from NH, Stephanie Hogan is now a local NYC actor! She graduated from Carnegie Mellon's Musical Theater program and has performed in regional theaters, commercials, and off-Broadway. Most recently, she has written, produced, and acted in her own and her friends' film projects. Stephanie absolutely loves her fellow artists and nurturing aspiring performers in the US and Portugal (where she has family). She is thrilled to be talking with Jennifer on the Empowered Artists podcast!! Stephanie's IG: @stephoganlogan East End Productions: www.eastendproductions.net Want to coach with Jennifer? Schedule a session here! https://appt.link/jenniferapple Monologue Sourcing Promo Link! https://empoweredartistcollective.com/podcastpromo Learn more: https://www.empoweredartistcollective.com/podcast EAC IG: @EmpoweredArtistCollective  EAC TikTok: @EmpowerArtistCollective EAC Facebook: https://www.facebook.com/empoweredartistcollective/ Check Out Our Merch! https://www.empoweredartistcollective.threadless.com/ Any thoughts you'd like to share? Email us at EmpoweredArtistCollective@gmail.com

How many film festivals should you enter on Film Freeway? Tom talks about film festival statistics and updates on Exorcism of Fleete Marish and VHS Massacre Too! Music by Tim Kulig Free Music!

Safe House 1618 writer and director Calvin T. Shepherd shares about his experience creating an independent feature film.More info about Kevin Smith's SModCastle Film Festival:https://www.smodcastle.com/filmfestivalFind Calvin on Instagram @calvintshepherdfilms and @popularmonstersfilmAs mentioned in this episode, check out Dan & Jared's Indie Film Review Podcast and their episode on Safe House 1618:https://podcasts.apple.com/us/podcast/indie-film-review/id1449409210?i=1000557380338Submit your film to IndieEye Film Awards at our website or find us on FilmFreeway.https://indieeyefilmawards.com​​​​IG @indieeyefilmawardsPodcast tags recorded by David B. Colehttps://davidbcole.com​​​​Music: Business or Pleasure? by Avocado JunkieSoundStripe generated use code: ZLIIRJDDNLUMRDIK#safehouse1618#filmmaking #director

Whit Ingram (@wittyfilmgirl) chats with IndieEye about writing, directing, being a freelance creator, and using social media to share her experience. Follow her on TikTok and Instagram  @wittyfilmgirland learn more at her website:https://www.wittyfilmgirl.comSubmit your film to IndieEye Film Awards at our website or find us on FilmFreeway.https://indieeyefilmawards.com​​​​IG @indieeyefilmawardsPodcast tags recorded by David B. Colehttps://davidbcole.com​​​​Music: Business or Pleasure? by Avocado JunkieSoundStripe generated use code: ZLIIRJDDNLUMRDIK#wittyfilmgirl#filmmaking #director

Looking for feedback or reviews about your indie film? This podcast discusses the monthly submissions for IndieEye Film Awards. Submit your film to IndieEye Film Awards at our website or find us on FilmFreeway.https://indieeyefilmawards.com​​​​As mentioned, here is the bonus episode with Whit Ingram:https://youtu.be/amX5C5fP8_gCheck out the Take 22 podcast here on YouTube:https://youtu.be/nuHIhHOVmLsIG @indieeyefilmawardsPodcast tags recorded by David B. Colehttps://davidbcole.com​​​​Music: Business or Pleasure? by Avocado JunkieSoundStripe generated use code: ZLIIRJDDNLUMRDIK#filmmaking#officialselection #filmfestival

Sometime before the pandemic, I auditioned for a small off-Broadway production of the Lerner and Loewe musical The Day Before Spring. It was at the York Theater, which is known for reviving or refreshing older musicals that may not be done very much. I wasn't cast in that particular production, and like most failed auditions I put it out of my mind as soon as it was done. But I do remember the director behind the table, and so I finally reached out to bring him onto the podcast. Marc Acito is a playwright, novelist, and director. He talks about the work that he does in adapting older shows or contemporary works, bringing fresh set of eyes and perspective to creative process. Marc is also a writer of his own work from plays like Bastard Jones and novels including How I Paid for College: A Novel of Sex, Theft, Friendship and Musical Theater to short films like Mad/Woman. And through each of these mediums, he's had his stumbles and failures, but he'd be the first to tell you how grateful he is for those lessons learned.  Learn more about WINMI Podcast at whyillnevermakeit.com  Subscribe to WINMI and get Bonus Episodes on Supercast  Donate to the making this podcast and its production efforts Follow Why I'll Never Make It on Instagram or Twitter  Watch full episodes and special excerpts on YouTube  Get a free copy of WINMI's collection of Creative Wisdom  ---------- Why I'll Never Make It is hosted by Off-Broadway actor and singer Patrick Oliver Jones and is a production of WINMI Media, LLC. It is a Top 25 Theater Podcast on Feedspot and is also a part of Helium Radio Network and a member of the Broadway Makers Alliance.  Background music in the episode by John Bartmann and Blue Dot Sessions is used under a Creative Commons Attribution-NonCommercial 4.0 International License.     MAD / WOMAN Storm Large mostly writes about two subjects: female empowerment and mental illness. Applying her songs to Charlotte Perkins Gilman's feminist classic "The Yellow Wallpaper" felt as if they were written for the material. Storm and I bonded in 2007 over the shared experiences of being just commercial enough for everyone to wonder why we weren't more successful and just alternative enough to sabotage ourselves. Perhaps not coincidentally, we both survived mentally ill mothers. At least twice mine woke up in a pool of her own blood after being beaten senseless by a raging boyfriend. Because I wanted to create a subjective experience as liberated from the male gaze as possible, hiring an all-female crew proved essential. Their and Storm's input influenced innumerable decisions I never would have had the insight nor courage to make. I'll be forever grateful to them as well as the diverse group of post-production artists who essentially served as my film school for my filmmaking debut. Watch it on Film Freeway    Final Five with Marc Acito After this main conversation, Marc stuck around to answer the five final questions. He shares his definition of "making it" as well as what keeps most Broadway shows from doing the same. He also discusses minimum wage, happy marriages, and one of the best theater people around, Andre DeShields. Read it all on the WINMI Blog. Follow Marc: Website | LinkedIn   

 Albuquerque Film & Music Experience Executive Director Ivan Wiener In this episode, we're speaking with Albuquerque Film & Music Experience (AFMX) Executive Director Ivan Wiener about this year's event, which will be in person as well as online September 13-18. The event, ranked by FilmFreeway as one of the top 50 festivals (out of 80,000) in the world worth the entry fee for filmmakers, is celebrating its 10-year anniversary with a significantly ramped up focus on its educational Center Stage Conversations. This year's Center Stage Conversations will welcome guest speakers and panelists working at the top of their craft in Hollywood and New Mexico.   This year also marks the return of in-person films, music and networking opportunities.   You can view AFMX's full schedule and purchase passes at afmxnm.com.

Looking for feedback or reviews about your indie film? This podcast discusses the monthly submissions for IndieEye Film Awards. Submit your film to IndieEye Film Awards at our website or find us on FilmFreeway.https://indieeyefilmawards.com​​​​Check out the Take 22 podcast here on YouTube:https://youtu.be/nuHIhHOVmLsMadison Baker Was Here @https://www.madisonbakerwasheremovie.comIG @indieeyefilmawardsPodcast tags recorded by David B. Colehttps://davidbcole.com​​​​Music: Business or Pleasure? by Avocado JunkieSoundStripe generated use code: ZLIIRJDDNLUMRDIK#filmmaking#movies​​​​#filmfestival

Matt and guest host director Dante Aubain dish some behind-the-scenes drama, make a big IndieEye reveal, and discuss how filmmakers should respond to negative reviews of their projects. Links to several things we mention below:Submit your film to IndieEye Film Awards at our website or find us on FilmFreeway.https://indieeyefilmawards.com​​​​Check out the Take 22 podcast here on YouTube:https://youtu.be/nuHIhHOVmLsMadison Baker Was Here @https://www.madisonbakerwasheremovie.comThe Alpineshttps://www.imdb.com/title/tt8689290/Letterboxdhttps://letterboxd.comNoam Krollhttps://noamkroll.comFilm Threathttps://filmthreat.comUK Film Reviewhttps://www.ukfilmreview.co.ukTake 2 Indie Reviewhttps://take2indiereview.netShort of the Weekhttps://www.shortoftheweek.comBeyond the Screenplay podcasthttps://anchor.fm/beyondthescreenplayIndie Film Review podcasthttps://indiefilmreview.podbean.comTerri Zinner / A Film Writer - Screenplay coveragehttps://www.afilmwriter.comScreenplay Readershttps://screenplayreaders.comHelpful YouTube Channels:Film Couragehttps://www.youtube.com/user/filmcourageFilm Riothttps://www.youtube.com/user/filmriotStudioBinderhttps://www.youtube.com/c/StudioBinderDSLR Video Shooter / Caleb Pikehttps://www.youtube.com/c/dslrvideoshooterFellow Filmmakerhttps://www.youtube.com/c/FellowFilmmakerCurtis Juddhttps://www.youtube.com/c/curtisjuddD4 Darioushttps://www.youtube.com/c/D4DariousHarv Video / Audio Stuffhttps://www.youtube.com/c/HarvVideoAudioStuffIG @indieeyefilmawardsIG @dante_aubainPodcast tags recorded by David B. Colehttps://davidbcole.com​​​​Music: Business or Pleasure? by Avocado JunkieSoundStripe generated use code: ZLIIRJDDNLUMRDIK#reviews #movies​​​​#podcast

Looking for feedback or reviews about your indie film? This podcast discusses the monthly submissions for IndieEye Film Awards. Submit your film to IndieEye Film Awards at our website or find us on FilmFreeway.https://indieeyefilmawards.com​​​​Check out the Take 22 podcast here on YouTube:https://youtu.be/nuHIhHOVmLsMadison Baker Was Here @https://www.madisonbakerwasheremovie.comIG @indieeyefilmawardsPodcast tags recorded by David B. Colehttps://davidbcole.com​​​​Music: Business or Pleasure? by Avocado JunkieSoundStripe generated use code: ZLIIRJDDNLUMRDIK#filmmaking#movies​​​​#filmfestival

In this episode, we're excited to have filmmaker, actor, producer, director & the South London Film Festival founder, Kyriakos (Kyri) Georgiou as a guest!Filmmakers: Scroll down for an exclusive discount code when submitting your film to the festival.We're talking:Elvis starring Austin Butler and Tom Hanks (and how it gave us both the best and worst performances of 2022 so far)Method acting: Is it worth it?Kyri's incredible life story: how he became a filmmaker, shot his short film during the pandemic, founded the South London Film Festival and what's next in store for the festivalThe astonishing final scene of Oscar-winning short film “The Long Goodbye” starring Riz Ahmed and directed by Aneil KariaPost-Brexit England, underrepresentation, and the urgent need for more diverse storiesGet connected with Kyri and the festival:South London Film Festival Website - https://www.southlondonfilmfest.co.uk/Social - https://www.instagram.com/SouthLondonFilmFestival/ Submit Films Here - https://filmfreeway.com/TheSouthLondonFilmFestival Email - info@southlondonfilmfest.co.ukUse Code - TFSCENE22 for a 20% discount to submit your film! Applied at checkout on FilmFreeway: https://filmfreeway.com/TheSouthLondonFilmFestivalKyriakos GeorgiouWebsite - https://www.georgioufilms.com/Social - https://www.instagram.com/thekyriakosgeorgiou/ “When Life Gives You Lemons, Take Them Because There is None Left in Tescos” short film - https://vimeo.com/411340432 Films overheard in this episode: The Rocky Horror Picture Show, Star Wars: Rogue One, Elvis, Moulin Rouge, The Great Gatsby, Titanic, SurgeShoot your thoughts or suggestions over a voice note:Head to https://thatfinalscene.com/voicemessage & record your voice noteOr text us your voice note to (+44)7514969453 on WhatsAppFollow THAT FINAL SCENE on social:Instagram: https://www.instagram.com/thatfinalsceneTikTok: https://tiktok.com/@thatfinalsceneYouTube: https://www.youtube.com/channel/UCxZeo-b950d9sxXF_0x5-Wg/featured See acast.com/privacy for privacy and opt-out information.

We are pleased to share Episode II of The Making Of, where we talked shop with Oscar-nominated Cinematographer Larry Sher, ASC.  Larry is an amazing DP with a long list of successful films including The Hangover series, Garden State, Kissing Jessica Stein, I Love You Man, Dan in Real Life, Due Date, Paul, The Dictator, War Dogs, Godzilla: King of the Monsters, and Joker.In our conversation, Larry shares much about his backstory, filmmaking beginnings, and his real-world education about cinematography.  We also hear about his longtime collaboration with director Todd Phillips and we do get confirmation that he's working away on Joker 2. Check out our conversation at the link above.The Making Of is presented by AJA Video Systems:The HELO Plus Production AdvantageHELO Plus is a cost-efficient H.264 streaming/recording device for traditional and virtual production monitoring applications. It delivers efficient bandwidth, provides high quality imagery to inform practical production decisions, and supports a wide range of streaming platforms, as well as streaming over a private CDN for added security. https://www.aja.com/products/helo-plus.Film Book of the Month: The Godfather NotebookThe most important unpublished work on one of the greatest films of all time, The Godfather, written before filming, by the man who wrote and directed it—Francis Ford Coppola, then only thirty-two years old—reveals the intense creative process that went into making this seminal film. With his meticulous notes and impressions of Mario Puzo's novel, the notebook was referred to by Coppola daily on set while he directed the movie. The Godfather Notebook pulls back the curtain on the legendary filmmaker and the film that launched his illustrious career. Complete with an introduction by Francis Ford Coppola and exclusive photographs from on and off the set, this is a unique, beautiful, and faithful reproduction of Coppola's original notebook. Get the book.Partner Event of the Month:The Evolution Mallorca International Film Festival has created a creative community to network, be inspired, & thrive in this Mediterranean island paradise. Included in the “Top 50 Film Festivals Worth The Entry Fee” by MovieMaker magazine, 100 Best-Reviewed Film Festivals on FilmFreeway, and as a 10 Best European Film Festivals by The Guardian. https://www.evolutionfilmfestival.com/Resource of the Month:Founded by Lawrence Sher, ASC (Joker, The Hangover), ShotDeck is the world's largest library of fully searchable film and tv stills. A celebration of the moving image, each of their 300K shots are meticulously tagged in dozens of categories - from color to composition, lens and camera information, shooting location, and much more. This essential research tool is perfect for creatives and ad folks working on pitch decks, as well as filmmakers, students, and educators looking to discover images for inspiration on their next projects. From Pitch to Post - ShotDeck. We celebrate film, one beautiful shot at a time. www.shotdeck.comPodcast Rewind:May 2022: Episode I…Sneak PreviewThis Summer expect fresh episodes with friends including Mihai Malaimare, Scott Ressler, plus some directors, producers, veteran actors, and more.  Stay tuned!The Making Of is created by Michael Valinsky.To inquire about sponsorship opportunities, please contact mvalinsky@me.com. Get full access to The Making Of at themakingof.substack.com/subscribe

Looking for feedback or reviews about your indie film? This podcast discusses the monthly submissions for IndieEye Film Awards. Submit your film to IndieEye Film Awards at our website or find us on FilmFreeway.https://indieeyefilmawards.com​​​​Check out the Take 22 podcast here on YouTube:https://youtu.be/nuHIhHOVmLsMadison Baker Was Here @https://www.madisonbakerwasheremovie.comIG @indieeyefilmawardsPodcast tags recorded by David B. Colehttps://davidbcole.com​​​​Music: Business or Pleasure? by Avocado JunkieSoundStripe generated use code: ZLIIRJDDNLUMRDIK#filmmaking#movies​​​​#filmfestival

Hello, Hello!    In this episode, Chris joins the Creative Director of the Nashville Film Festival, Lauren Ponto, and Filmmaker Ava Leigh Stewart on a panel to discuss the best practices and pitfalls of deploying your film across festivals nationwide. We talk about the role of Film Freeway, what an “Oscar qualifying” festival actually means, how Creative Directors program festivals, the role of alternate film festivals, the value of in-person festival attendance compared to virtual, and why you should use pitch contests as practice for your big studio pitch, and much more. Enjoy!   Listen+Subscribe+Rate = Love   Questions or Comments? Reach out to us at contact@bonsai.film or on social and the web at https://linktr.ee/BonsaiCreative   Love the MAKE IT Podcast? Become a True Fan!    www.makeit.libsyn.com/podcast   #MAKEIT

Sam Malone and Ma_Jay sit down with Director, Producer, Screenwriter, Jermaine Quick to discuss his latest project Sugar as well as his other endeavors. Barstool talk from the biggest sipper in Philly with some of the most innovate people in the world, Sammie is the one to sit and sip wit if you wanna enjoy conversation. 00:00 I LOVE GETTING MERCH 02:08 TRAILERS 02:24 INTROS 05:32 ILLADELSTYLES MAGAZINE 10:16 SHOUT OUT THE INTERNS! 11:48 WE GOING FOR AN OSCAR 13:00 ENTANGLEMENT 13:33 PREMERE JUNE 16TH AT THE RITZ 22:45 SLIDING INTO THE NIGHT CLUB SCENE 27:00 SUGAR 36:10 OUT HERE GRINDIN TOUCH MONEY 38:00 SHOUT OUT SUNWUN & SON OF THE 215 42:30 I PUT A LOT OF ENERGY INTO THIS WHILE WORKING A 9-5 JOB 44:45 THIS MONTH WE ARE UP FOR 16 AWARDS 50:55 SHOUT OUT ROB SCHWARTZ FROM WHO MAG 52:53 MOVIE DISTRIBUTION DEALS 56:00 REMEMBER WHEN WE WERE TALKING ABOUT 360 DEALS? 57:00 FILMFREEWAY.COM 1:14:00 I BELIEVE IN THIS FILM 1:20:00 GIVE EM THEIR FLOWERS 1:35:00 OUTROS #sippinwitsammie #ifuaintsippinwitsammieyouaintsippin #ifuaintsippin #geturfuckinglifetogether #craftbeerandcognac #victorybeer #glocawearradiostation #promotion #politics2potatochips #exposure #outlet #platform #pullupistrill #letstalkaboutit #iswear #toreup #hennessy #heineken #flytalk #thankgodimfly #backwoods #producer #neosoul #singer #entrepreneur #hiphop #phillyhiphop #phillyentertainment #phillymusic --- Support this podcast: https://anchor.fm/sippinwitsammie/support

Join Stasi in this delightful conversation with Elizabeth Tabish. Elizabeth is best known for her portrayal of Mary Magdalene in the series The Chosen. She graciously shares her story, some of which helped her to connect with Mary Magdalene, to bring hope to others. Mary Magdalene's story is our story, as Jesus' intimate and fierce love helps flush out our humanity, and he kindly comes to change the trajectory of each of our lives with mercy. Show Notes:The Chosen: thechosen.tv/appElizabeth Tabish Links and Bio:ElizabethTabish.com@elizabethtabishElizabeth Tabish is an actress and filmmaker based in Los Angeles known for her portrayal as Mary Magdalene in The Chosen. She received her M.A. in Theater and B.A. in Film Studies from Oklahoma State University where she studied experimental and classic film and theater ​through a psychoanalytic lens. Elizabeth has produced and directed a number of award-winning short films that focus on female archetypes and explore a variety of vintage aesthetics. She is the Co-Creator and Art Director of Austin Arthouse Film Festival, ​one of the Top 100 Best Reviewed Festivals on Film Freeway, now in its 5th year.

Michael & Phil tackle the subject of agents and managers and what new screenwriters need to do to attract representation. They also discuss pitch fests and screenplay contests.Show NotesMichael's Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/free@DavidHSteinberg will read your script - https://twitter.com/davidhsteinberg/status/1430195753373167623Sarah Cooper is a comedian who grew famous for valuable content she put out on her own. - https://sarahcpr.com/A behind the scenes look at pitch fests - https://twitter.com/ChrisAmick/status/1420501613572022275?s=20Results of screenplay contests - https://twitter.com/EricHaywood/status/1422615678436003842?s=20Screenwriting contest from a Pro's perspective - https://twitter.com/matthewfederman/status/1422615672215900164?s=20Film Festival and Screenplay Contest submission software - https://filmfreeway.com/The Nicholl's Fellowship - https://www.oscars.org/nichollThe Sundance Labs - https://www.sundance.org/applyThe Black List main website - https://blcklst.com/The Black List evaluations and script hosting - https://blcklst.com/register/writer/Writer's Guild of America Dispute with Agencies Explained - https://www.vulture.com/article/wga-hollywood-agents-packaging-explained.htmlTranscriptMichael: (00:00)Whenever I hear a writer, saying they're typing, they're working at Starbucks. I always laugh, come on, man. It's so cliche. I don't do that. It's very rare. Most people who work in Starbucks who are tapping on their computers, please in LA, right? They want you to think that they're a writer. "Look at me. I'm a writer." But if you are real writer, in my experience, it's like, you're not working in a coffee shop. You're working on a show. Michael: (00:28)Hey, welcome back everybody. Today. We're going to be talking about agents and managers. Oh, that's a good one. Phil. Don't you think? Phil: (00:35)I think it's probably the most vital thing for anybody to know about how to become a screenwriter. Michael: (00:39)All right. Um, what are we going to do? Well, I guess everyone wants to know how to find an agent or a manager. What would the reason why you kind of need one is so first of all, you can't submit. I people often say to me, what can I give you? My screenplay? It's just, just so I get some notes or just so you can, you know, whatever, keep me in mind for something in the future. And the answer is absolutely not because I have to me and every other working writer in the industry, we have to protect ourselves. Like, let's say you, you have a talking dog cartoon and you say, Hey, I want you to read my talking dog cartoon. And I, and I get it or whatever. I open it up. I opened up the file like, oh, because now I haven't talking dog cartoon. Michael: (01:17)We all have talking dog cartoons. It's not an original idea, but because I looked at yours now, now if I get mine on the ear, you're going to sue me because we both have terrible clammy ideas. And so naturally I stole yours and that's not the case. It's just like, these are ideas out there. And the same thing with like a joke or an area. So most TV writers will protect themselves. We will not read unsolicited scripts. We just will not do it. Even if you sign a waiver or not gonna do it. Like I, you know, it's just too risky. Phil: (01:45)It's really interesting. So I just saw two cases of this. There's a showrunner who just on Twitter for his birthday announced, "Hey, I will read your script." You have to, he's a lawyer, by the way, you have to understand his, his career was "lawyer". And now he is a writer. Also he has a waiver, you have to sign and you have to agree to, and he gave very specific parameters to get your script to him. And then I, I just retweeted another showrunner today. And she's like, as a reminder, I will not read any unsolicited scripts because I have to legally can't cause I have to protect myself. Yeah. Right. So I'm funny. So, so the case where you're seeing it, you have to keep in mind, like, I mean, they are attorneys or in the case of other people who do you know, the return page counts of your scripts, they have attorneys who have drafted documents to protect them. Michael: (02:31)Yeah, yeah. Right. I don't, I'm not an attorney. I'm not going to do it. Um, but so that's why it has to come through an agent for some reason, when it comes through an agent, you have a layer of protection, but a little bit of the, uh, you know, and that's what the Ford you. So, and I will only read a script by the way, through an agent when it's, when there's something in it for me. And by that, it means like if I'm staffing for a TV show, I need to hire people and then I'll read the script, but I'm not going to read it as a, as a personal, you know, my pastime, you know/. Phil: (03:00)Well, right. And so obviously my, my response to you was a little facetious here. I was, I don't actually think that getting an agent or a manager is the most vital thing to your career. I think that anyone who's listened to any of the podcasts episodes so far understand the Michael Jamin answer to this is be a better be a good writer. Yeah. Right. Whatever. Yeah. Not even a good writer to be a great writer, be so good. I can't ignore you. Michael: (03:22)Yeah. Right. Yeah. That's, that's another episode. We will talk about the future. I want to go into that in great depth, but, but right. And so often when you get made, if you have an agent that means you've, you've surpassed, you've gotten over the first hump, which is like an agent feels like you're good enough. Um, and then, then I'll read a ton of scripts. All the scripts that I read from new writers are they've already cleared that first hurdle. They're good enough to get an agent, but that doesn't mean they're good enough to get a job. Right. And so, you know, you have to be a, you have to have a great script. And if it's like, well, I don't have a great script. Well, I'll find somebody else who does, there's somebody out there who has a great script. Phil: (04:00)Right. Right. So this is an interesting thing, because I think I put an overwhelming amount of emphasis on this question when I was first learning how to be a writer because you on forums and in screenwriting books and on websites, people say, well, you got to get an agent to sell something. And I think, well, I have an idea and I want to sell it. Thus, I need an agent. And the truth is, um, you have to be so good that the agent thinks he can sell you. Right? Yeah. It goes back to our conversation on our last episode about sales it's they are selling something and they were getting a commission for that. And they are not going to waste their time or energy on something, unless they think they can sell what you have, because you are a commodity. Michael: (04:43)Yeah. And if you had, I guess, say an agent, it's someone, there's a couple of things I want to explore. One is if you're up for it, you want to get a staff writing job. You're not competing against other people on the outside who've never written before. You're also competing since staff writers who have already worked, who are willing to do another, do another year as a staff writer. So now you're competing against people who've never done it and people who have done it well, or, and then maybe you're competing as story editors, which is the next level up from staff writer who are willing to take a bump down in salary because they want to work. So now you're competing against people who have one year of experience and two years of experience. So you must be great. You have to be great. And then the agent who's going to sign you. Michael: (05:22)They have a handful of clients and they're have, they have to service all those clients. They're already trying to get those clients work. So if they're going to bring on somebody new that person, you want to make it as easy as possible for them to sell you because they're don't, they already, you know, they got plenty on their plate. And so one way to make it easy is to have a fantastic script, not just a good enough script. And in other way is, uh, if you have a built-in, uh, Beltman, uh, marketing market arm, like you're already very sellable. For example, there was a woman named Sarah Cooper and she blew up during the pandemic because she used to make a viral videos of, of Trump, where she put Trump's speeches. And then she would kinda, uh, lip sync to them. But she wasn't just lip sinking. Michael: (06:04)She would also add little comic touches to them and she'd edit it really clever. I, she put a lot of work into one and they were really quite, they were next level. It was next level stuff. And it blew up on Twitter or one of the social media platforms. And, um, it became so big that she became known... she was an unknown before this. She was, uh, an aspiring actor, comedic actors. She couldn't get, she couldn't get arrested. And because she did all this work on her own and she blew up on her own suddenly it was like, well, it was a no brainer for every agent to sign her. She's already got a built-in platform. She already has a built-in marketing engine. And so she had made it very attractive.Phil: (06:45)This is, So this is an interesting thing where I think, you know, again, my perspective on this stuff kind of comes from a capitalistic perspective because my business and marketing background, but we're talking about audience here and we're talking about, you know, attention. It's really what we are, what we're offering people is something to gather their attention and they have to be willing to trade their time and energy and focus for that type of thing. So when you're writing a script, you're basically have to write something so good that someone is willing to sit through commercials or pay a monthly subscription to be entertained. Right. And that's what they're looking for. And so what this girl has done is she has brought some value to the table because she already has interest. She's provided free entertainment to people. And so those people want to see more of what she does. She has that audience. So I think it kind of speaks to what we're seeing now, which you've experienced recently with your book that you want to do. These people care a lot about, do you have an audience because you're bringing interested people with you. Yeah. Michael: (07:50)Right. And she also did... Sarah Cooper along with others who did the same thing. She did all this for free. She wasn't putting up her content and saying, Hey, someone paying you for my Trump impersonations. Right. You know, this was, she put a lot of work in it for free and expected, nothing in return and got something in return for it. You know? So she was smart. And by the way, she was just as talented before she started doing these videos as she was afterwards. So it's the same person. So talent isn't quite enough. You know, Phil: (08:18)That's an interesting note, right? Like, yeah. Like, and I'm trying to think of the exact saying on this, but talent. There are lots of talented people who go nowhere because they don't have the work ethic behind it. Michael: (08:30)Yeah. Yeah. And they don't have right. They don't, they're not, they're not then actually not seeing the problem from the end of the, the, the perspective of the buyer. What is the buyer one? And let's say the agent is your buyer. The agent is the person who want you, you know, you want them to buy you. Well, what's in it for them. They don't want to work that hard. They want to find a new client who is, requires the least amount of work on their part because they have, you know, they got plenty to do. And if they find with a, with a built-in marketing engine and is super talented and you don't have to convince someone to buy, you don't have to beg and plead and cold calling favors. You know, they don't have to hustle. No one wants to know Adrian wants to hustle for you. They want someone who's like a slam dunk. They want that person to hustle for them. Phil: (09:10)Yeah. Yeah. That's an interesting take. So, well, let's just assume then that I have the talent and I've got the goods. Like I've got the energy and maybe I haven't, for whatever reason hit it. I haven't gone viral. I don't have the following yet. And I want to get an agent. So I'm just going to run a couple of situations by, and you tell me if you think these are good places to get an agent and you may not, you may not be able to answer these, but I think you were so, yeah. So, uh, number one, pitch fests. Michael: (09:38)Yeah. So I didn't, that wasn't even a thing when I was coming up. And then when I found out the pitch fast, I was like, what is that about? That doesn't make any sense to me. I I'm gonna have to say no. I actually, I ran on Twitter, someone Tweeted out, well, I let my agent or whatever. I sold the project to a Pitch Fest. But for, I, for every one person who says that like 10 others say what a waste of time. They don't even send people. It's just like our, I think it's just a racket, honestly. You know? Cause why would, if you were a producer and you wanted to get in touch with, um, a talented writer for a project you're working on, like, why in the hell would you go to a pitch that you go to an agency you've called talent agencies say, Hey, I got an idea for a project. Uh, I need writers. And they, within 10 minutes, there'd be a dozen writers outside the door saying, yes, let's do this. Like, you wouldn't go to some unknown. You wouldn't say, give me someone who's never done it before at a pitch fast. And maybe you'll say, okay, well maybe they don't have much money. Well, if they don't have much money, how are they going to raise money for this movie? Or this TV show? Like, what's that about? You know, it seems, it just seems shady, shady, AAF. Phil: (10:44)Didn't I send you a tweet by someone who basically was like, yeah, my first day or my first week on the job, I was sent to represent the company in a pitch Fest. And I wore a suit and tie to try to make myself look older. Cause I was like 21 and fresh out of college. Michael: (10:58)Yeah. And so all these people were paying money to pitch this guy. It was his first week on the job. And he was like right out of college. How do you think that's going to go? Phil: (11:07)Okay. All right. So that's a really so similar screenplay contests.Michael: (11:12)There. And I didn't even know that was a thing until you told me about it. And I was like, oh, that's a thing. Um, Phil: (11:17)Well, we see a lot of members of your course submitting to screenplay contests and pitch fests and interesting. It's interesting. Michael: (11:24)And some like, from what you've told me, there are two big ones, right? There's the Nichols, which I was like, but now I am aware of.Phil: (11:29)That's through the academy. The academy does that. And they pick like 10 or 12 different screenplays specifically features that they think have what it takes and they give them a grant to just be writers to finish that script. Right. So it's a big deal.Michael: (11:42)And then, and then it's on it's Phil: (11:45)Right. So Sundance has a script and that's a little bit different because you're submitting information to join the, the, to become a fellow, a Sundance fellow. So you're joining either the director's lab, the writer's lab, the editorial lab, the documentary labs. And that's changed recently. And I've had, you know, fortuitously I've been able to attend to those. I've been a Spanish English translator for three years at the, at the screenwriting labs and one year at the director's labs. So yeah, definitely worth it. And that's an interesting thing too, for anyone sitting there, you know, they told me they're not just looking for a good script. They're looking for someone with a body of work. They're looking for a creative, with a specific vision or a specific story to tell and famous people like Tika Waititi who's blowing up right now. Uh, Ryan Coogler, they're all Sundance Fellow. So it's a legitimate, um, no, that's not even a competition now. It's, you're applying to be a fellow. Right. Michael: (12:43)The other Phil: (12:43)Ones that there are a couple of like, there's big, Big Break and like Final Draft and stuff like that. They, they have their own competitions. And I think there's some value in those because they do have actual industry professionals showing up to judge those and be involved. Does that make sense? Okay. Okay. But, but I definitely, you know, from my background in the independent world, I have seen the other side of this, where you go on different, um, screenwriting contest or film festivals, and you submit to win awards at these competitions. And it's basically like one or two guys, maybe a group of five to 10 people. And they're doing it as a way of bringing culture to their town or their small town. And a lot of time, what I've seen is that it's a money grab. It's a way to. You're making money and I'm making a living because every single person who submits on Film Freeway, and there's a couple others they're paying like 40 bucks a submission for these. Michael: (13:40)Maybe we shouldn't mention any names.Phil: (13:41)Yeah. Well, film the Film Freeway is the software where you say, okay, it's not an actual film festival. Okay, good. Right. So I, I, you know, I've been to some great film festivals and I think it's a lot of the networking that I have has come from attending film festivals because there are a hungry filmmakers who attend those things.Michael: (13:59)But, but not as like a contest, not yet.Phil: (14:03)Exactly. But they do have a screenwriting contest portion where you can submit your screenplay and you just pay a nominal 20 to 40 bucks for us to review your screenplay and enter the competition. Right. Michael: (14:15)But it's not like, you know, I think the best case scenario you can hope for any of these is like maybe an agent will find you. Right. I mean, it's not like you're going to the network is, would say let's put it on the air. Phil: (14:26)Hopefully someone there. And what I've seen is typically the experts who are sitting on the panels and attending and watching films or judging those things, they tend to be some of the better contacts you get out of those events. Okay. But from your perspective, like, it doesn't really seem like you find much value in a screenplay contest. Michael: (14:43)I didn't even know they were a thing and I've been doing this for 26 years. So, but maybe that's just my ignorance. Um, you know, so it's not like the winner's live land on my lap when I'm hiring, they don't land on my lap. Maybe they land, maybe if the big contest lands on an agent's lap and the agent will submit... submit it to me, that might, that might work, you know, but it's not, it's not a direct pipeline to success and I'm the guy doing the hiring. Phil: (15:05)Right. Right. So that's interesting. Okay. Lastly, um, and I, you know, we've never really had a conversation about this, but um, how familiar are you with The Blacklist? Michael: (15:16)Um, I remember helping my partner. I sold a screenplay a couple screenplays years ago. It was, we were hoping, cause it never got, we didn't get me, but most screenplays for theatricals don't they do not get made. And so we were praying that it would get on The Black List just because it would be an honor. And it would be that kind of, it helps to market yourself, Hey, look, I'm on the black list and it's hard to get off of The Black List to get produced, but occasionally it does happen. Um, but I, you know, it didn't happen. We didn't, we didn't make The Black List for, I don't know. Yeah. I don't, I think it's like a bunch of industry. People have to read it and they have to unanimously think that, Hey, this is really good. I don't think it made it. It was ours was even that widely circulated. So I don't think it was even an option. Phil: (15:56)There's two sides to it. So yeah, you can be put on The Black List and this is, again, this could be wrong. So if you have more information for watching this on YouTube comment below or let us know, and we'll address this in a future podcast, but my understanding is it is, um, industry professionals basically submit you and vote and say, these are the best screenplays that were unproduced this year and films like Arrival who come off The Black List and been made. Right. Um, yeah, but then there's the other side of it where you can submit your screenplay and get feedback from industry insiders. Michael: (16:28)Right. And now, you know, I'm not even, I'm not on the feature end, I'm in the TV. So I don't The Black List. They don't really take pilots. Do they... It's more Theatrical? Phil: (16:37)Uh, I don't know. I think they take pilots. I think you can submit to television as well, but it definitely definitely theatrical focused. So yeah. That's another thing. We'll look at it too, but if anyone knows just comment and let us know. Michael: (16:48)Yes. It's an honor to get on it and I know it's hard to get off of it, you know, to get produced, but uh, yeah. I don't know much about it. Okay. How much in the honor game, I just want to get money. Right. Phil: (16:58)Okay. All right. So, so what do you think it is then? How aside from the Michael Jamin answer of be a great writer... how do you get an agent? Michael: (17:07)Well, it's really, it's really what, what do you bring to the table? And it's not your willingness to work as a, as a writer, as a screenwriter. That's not anything, you know, like I said, if you bring to the table, your connections, if you are already on a show as, as, as a PA or the staff or a writer's assistant, and you're this close to popping and breaking in, and the showrunners was like, you, they want to hire you that you're bringing a lot to the table. You're already getting that first job basically. Or if you have a, like Sarah Cooper, if you already have a built-in marketing platform with a billion followers on Facebook, whatever the hell is on, you know, you, that you have that audience. So it's much easier. And it's, it's, it's sad, but that's just how it goes these days. It's not so much about talent. It's also about what do you bring to the table? Michael: (17:53)Hi guys, it's Michael Jamin. I wanted to take a break from talking and talk just a little bit more. I think a lot of you, people are getting bad advice on the internet. Many of you want to break into the industry as writers or directors or actors, and some of you are paying for this advice on the internet. It's just bad. And as a working TV writer and showrunner, this burns my butt. So my goal is to flush a lot of this bad stuff out of your head and replace it with stuff that's actually going to help you. So I post daily tips on social media, go follow me @MichaelJaminWriter. You can find me on Instagram and Facebook and TikTok. And let's be honest, if you don't have time, like just two minutes a day towards improving your craft, it's not going to happen. So go make it happen for me at @MichaelJaminWriter. Okay. Now back to my previous rant. Phil: (18:39)I guess here's the next question. What's the difference between an agent and a manager? Michael: (18:43)Let me know. And I have both, um...Phil: (18:46)I, I have an external perspective of what I've learned from trying to get these over years, but...Michael: (18:52)What are they telling you? Phil: (18:53)Yeah, so, so the agent's job is legally to sell the script. Like they, they're the only one qualified to sell a script. They cannot, managers cannot make deals, but managers bring people on and basically work through and support the project, give notes, provide feedback, and build relationships for that writer. Michael: (19:13)Yeah, they do that in the beginning. You know, I was kind of being a little glib, but our agent, you know, our agent was the one who got us, our first job. And so yes, agents submit and they get you that job. And then as we rose up through the ranks eventually become high. So high that it's actually kind of hard to get a job on a staff. The next step is basically have your own show. And so you're either going to be a showrunner or maybe the second in command. And so to be a showrunner, or to get your, to sell your show, you often need to sell your project with talent. And so a manager can usually hook you up with talent. There are other clients, and that's how it's worked in the past. We've done, um, we've sold shows with, uh, like comedians, like mostly big name comedians that they pair us up with their other clients. And so that's what a manager can do is cause more of a long-term thing, but they don't. Yeah, you're right. They can't make deals. They can't really submit you stuff like that. And, and they also, a manager can own, not that this is a plus, but they could own a percentage of your project. They can, they can help you produce it. Whereas a manager or agents can't do that. Right. Phil: (20:16)But, but, and so this is an interesting thing. So, um, do you know what the current, what the rate is for a manager versus an agent? Michael: (20:24)Uh, well, our agent takes 10% and so does our manager. Phil: (20:27)Yeah. And I have heard of instances where managers isn't taken up to 15%. Michael: (20:31)Yeah. Yeah. And then there's nothing left for the writer. Phil: (20:35)And then you have your attorney fees. Right. Which is like 5 cents.Michael: (20:37)That's 5%. Yeah.Phil: (20:38)So right out of the gate, you're between 25 to 30% of your income. Yeah. Plus taxes after that. Right. Yeah. But, but this is an interesting point. I've again, I come from a sales and capitalistic background of I have goods and I'm trying to sell goods. And so are there a lot of people who don't have that background who say, well, why would I want to give away 10% of my project and my responses will, 10% of zero is still zero that's. Right. Right. So if your manager can make the introduction and provide the asset to get the job done, right. Making connection with that actor who will go in and you can pitch that project with them and the agent does the job of closing that deal and getting you the best deal they can then that's money well paid because you're now getting 70% of whatever you sold instead of 100% of nothing.Michael: (21:28)Yeah. And there was only recently, like about a year ago, it'd be writers, Guild, uh, severed ties with all, all agents. So you had to drop your agent because, uh, the deal was, you know, there was, there was some shenanigans going on. So, uh, the writers had to kind of sever tires. And so we had to rely on our manager for work during then. And then of course it's been, it's been settled, but yeah, now we have an agent and a manager and a lawyer.Phil: (21:54)Awesome. Okay. All right. So what do, what, so we've talked about like we understand what to expect from them. Um, what else do you think, what else do you think is important to know about an agent and a manager? Michael: (22:04)Well, an agent, this is kind of important, but agents, you know, I think that most people think, well, my agent would go and get me a job. They'll they'll hustle like the agent. That's not really the accurate, the agent's job is more like to field offers. So when the phone rings, "Hey, we need a writer," or, "Hey, we want to hire Michael Jamin and Sivert Glarum, his partner." And they, then the agent was stepping. They feel the offers. They're not going to hustle and fight too much because they have other clients, they have to maintain relationships. And if a deal goes south, like if, like, let's say, uh, you know, I, we have a pilot and it goes south, how hard is my agent gonna fight for me? I don't know. I, I suspect not too hard because he wants to make, he still wants to keep his relationship with the network or the studio, a good one because he has other clients to serve. Michael: (22:50)So if you become too much of a squeaky wheel, if you become with your, when you have your agent and you start crying all the time, like in the movies, you'll see, oh, this happens all the time. Like, uh, you'll see a STR, a writer calling his agent what's going on. And I, and the agency I agents handholding. And then don't worry about me. I'm promising, I'm working hard for you like that. Does that call doesn't exist? I don't bother my agent with that kind of nonsense because you know, he's not a babysitter. And if I make myself too much of a nuisance, uh, he's not going to work for me. He's going to find somebody else to work for. Phil: (23:22)Right. Makes sense. Makes sense. Okay. Yeah. Michael: (23:27)All right. I wish I was a big, if I was a real big shot, then I could do that. But, um, you know, Phil: (23:32)Okay, well, which, so which one do you think is easier? Like if I, if I'm a new writer, which one do you think is the easiest to get and where should I put my time and energy? Michael: (23:39)I think it's probably easier to get a manager. I think there are, uh, yeah, I think in the beginning, and by the way, there, there are four big, as you mentioned, there are four big talent agencies in Hollywood. There's ICM, CAA, William Morris Endeavor, and UTA, United talent agency, and then are much smaller there are next tier, you know, Paradigm and APA there... and then there's some small boutique agencies coming out of the gate. You are not going to, no new writer is going to land it at UTA. Michael: (24:07)Yeah. Unless you're in a situation right. Where you're an overnight success like this girl right who. Right. It's like, is that it's like CAA is like, okay, you, we have a rare opportunity here to capitalize on an audience, so we should take her on.Michael: (24:21)And, and so you, you most likely to start at a small agency and that's so fine, your agent will give you attention. That's good. But there's an advantage to being a big one, which is, for example, when more staffing on a show, the first call I make is to my agent. And I say, Hey, um, I need, we need writers. Submit me your writers. I need young baby writers. And so that's how it works. They like the first call is my agency to send me his, his writers. And those are the first ones I'll read. And if there's a good one, I'll hire that one. Why? Because I'm trying to make good with my agent. I'm trying to keep him happy. So, you know, but if there's no one that's right for the show, then I go to the next agency, you know? Um, that's how that works.Phil: (25:04)Got it. Got it. But a manager would be the easiest way to approach this. Michael: (25:08)The manager will help... a good manager will help you land an agent too. Phil: (25:12)Because they may have connections, right? Yeah. Right. They are a matchmaker. All right. That makes a lot of sense. So, but this all being said, you know, I shouldn't even bother writing until I have one or the other. Right. Because ultimately I need these things to sell myself. Michael: (25:26)Yeah. No, you got to start. You have to always write. You have to always, right. I, um, you know, uh, the, there are, I can't remember what the numbers are. I ran the numbers, but there are slightly more active players in the NFL, including the practice squad. Yeah. There's slightly more working TV writers than there are at players in the NFL. Just a little bit more. I think it's like 2200 versus 2,800. It's not a lot of people. So if you were going to be in the NFL, do you know if your goal is to be in the NFL? Do you work out once a week or do you work out every single day? You know, Phil: (26:02)Uh, I was, uh, I was just listening to a Joe Rogan podcast this morning. And he's talking about this UFC fighter, Conor McGregor, which I don't know if you know who he is. He's kind of Conor McGregor recently was in a fight with a guy named Dustin Porier and it was round three was their third fight. And Connor broke his shin in the middle of the fight. Yeah. Shattered it. And people were like, oh, he's old. And, and he should give up. And ultimately Joe Rogan made this point. He's like, that dude is a Savage because it was a known injury. It had it scanned. He already had a broken leg when he went in and he still went in, he still fought. And he was still kicking with that, leg, right. And he went in balls to the walls at the beginning, swinging as hard as he could try and to knock Dustin Poirer you out because that's who he is. Phil: (26:45)And you have to keep in mind, this man has half a million, half a billion dollars in the bank. Oh wow. Because of other fights he's won sort of fight with that intensity to be that dedicated to your career, proves the level of integrity of energy and effort you need to be in. And they made this point. They said, you know, if I'm a professional athlete, you can be a good boxer and learn, takedown defense. You can stop someone with jujitsu or wrestling and you can get pretty far, but to be an elite level champion, you have to know jujitsu and you have to be really good at it. You have to know boxing, you have to know wrestling. You have to go to the cardio gym and you have to be working on all these facets of your craft to be a world champion. And, and it's, it's something most people are not willing to, to do. Michael: (27:31)No, they just say, I have a script. Can't you get me work. Yeah. You know? Phil: (27:35)Yeah. What can you do for me is I think the attitude I see a lot. Michael: (27:39)Yeah. Yeah. Um, it's the other way around. It's what, you know. Yeah. Phil: (27:45)The point, like, if you're playing, like if you consider that NFL analogy, it's it's you are playing at the elite level. Like how many high school athletes don't make it to division one football. Yeah. How many division one football players don't make it to the NFL combine, let alone get drafted, let alone play. Michael: (28:06)And you're coming after my job. You think I'm going to let you have my job. Yeah. Right. Yeah. So, and I've been doing this for, for 26 years. I'm the NFL player who you, you haven't heard of, but man, that guy's still kicking around? Yeah. He's still on the team. Wow. Good for him. Yeah. That's why. Yeah. Phil: (28:22)Yeah, because you put in the work, right. It's you know, and not, they're not people who work at coffee shops. Right. Or right at coffee shops, but something you told me when I first moved to LA is, you know, real writers are too busy to spend time at coffee shops. Michael: (28:34)It's every time I, whenever I hear a writer friend saying they're typing, they're working at Starbucks. I always laugh. Like, come on, man. Right. It's so cliche. Don't do that. It's very rare. Most of the people who are working in Starbucks who are tapping on their computers, at least in LA, right? Yeah. They want you to think that they're a right. Look at me, I'm a writer. But if you are a real writer in my experience, it's like, you're not working in a coffee shop. You're working. Phil: (28:54)And I'm sure that that's what we call "seamers" where I come from. They seem like they're doing the job, right? Yeah. Michael: (29:01)Yeah. They want you to think that they're doing work. Like I caught me, I got a terrible, my opinion is a terrible place to work. It's not comfortable. The seats are hard. Phil: (29:10)There's no whiteboard. Michael: (29:12)Yeah. In a whiteboard. Like why would you work at a coffee shop of all places? Phil: (29:15)Yeah. All right. So ultimately it comes back to the same thing we've been saying the whole time is ultimately you have to be good at your craft and not just good. You have to be great. I think that was one of the most helpful notes that you gave me. Uh, we talked about the spec script that I wrote or was, uh, a spec Mr. Robot for my TV writing class and... And you read it and he gave me a great note. You said is obvious. You're a competent writer and this is really good. The bad news is it's not great. Yeah. And that has stuck with me for two years. It's like, it has to be great to stand out. Michael: (29:48)Where you're constantly working on it. So, you know, you have an advantage over people. You already have a huge advantage over everybody else. And that you are now an industry insider because you are working on the TV show. And because of that, you are around scripts and you're reading scripts and you're, you're around other writers and you're learning, you know, that's a huge advantage that you will, but that was because you made a sacrifice. You moved here. Phil: (30:09)Yeah. Well, and it's, it is expensive and it is hard. And I could be living a very, completely, a completely different lifestyle if I lived anywhere else but California or in LA. Um, I think I read recently that the, the ave... The average income in America, is like is $36,000, but LA county considers the average cost of living your $53k.Michael: (30:29)A year. And that sounds low. Phil: (30:31)Yeah. Like, like it's, it's a crazy expensive town, but you know, I will say that one of the benefits of busting my butt as a writer's PA and doing my best to provide as much value as I could in that position is they brought me back on to be a, an office PA, which was a position I'd already had. And then I also got brought in to be the post PA. And I've been working on the same show for two full seasons now nonstop because they like you. Yeah. But the cool thing is I get to see how you guys break the story. I get to read every draft. You can see how it changes. I get to go into production. I get to see how they shoot the show. I get to see what changes happen, the day of shooting. And then I get to go and post and I get to watch the showrunners, make that final cut of their show and make those decisions. And I've learned far more being a PA than I think I've ever learned in film school. Michael: (31:25)Right. Are you sitting in on the mix Phil: (31:27)Too? I probably could if I asked that this point, um, but I make it very clear that I don't, I'm not trying to get anything from anyone. So, I I've been invited and I probably could at any point, but you know, I'm here to run tapes around LA, right. That's my job. And I'll do it and I'll do it as fast as I can. Michael: (31:46)All right. So good attitude. It's got a good attitude. Phil: (31:50)Cool. Michael: (31:52)All right. That's a good, that's a good episode of the podcast. Phil: (31:55)I think. Very helpful. Yeah, absolutely. Michael: (31:57)All right, everyone, thank you for listening. And we got more coming up, so, uh, you know, I don't know. What do you gotta do? So you gotta subscribe to podcasts. Is that what you do? Phil: (32:04)Yeah. Make sure you subscribe, make sure you leave a review at this point. Give us that five stars. It helps with our rankings. Uh, make sure you share it on your social media. If there's something you find valuable. And then I would also encourage everyone to follow you on social media. Michael: (32:17)Yes, please do. Uh, yeah. I'm at, especially Instagram @MichaelJaminWriter. I post daily tips on Instagram. So Coco. Phil: (32:24)Yeah, absolutely. The right thing to go fall in there. I think that, um, the members of your course specifically who said that the content you're putting out on social media or their gems of information, and they've already been through your course, Michael: (32:38)It's funny that they say people, I, people will say that it could, this is gold. And I'm like, I, I might, when I post on my social media posts, well, this is gold. I'm like, no, Michael: (32:46)Dude, the gold is in the course. I wouldn't give you the gold. This is really, this is just really good. They're really, really good stuff. Isn't it? Is in the course.Phil: (32:53)Yeah. So it's good stuff. So check out the course again. And um, you know, I think one of the students in your course, you said, you know, if you can save up the money, it will be the most transformative course you'll ever take and he's taken multiple courses just like I have. And you know, I could talk all day about how much I love the course, and I'm glad it's there and you know, grateful that it's improved my writing. So thank you. Thank you. Okay. And we'll see everyone next week. Michael: (33:18)Very good. Bye-bye now Phil: (33:32)This has been an episode of Screenwriters Need to Hear This with Michael Jamin and Phil Hudson. If you'd like to support this podcast, please consider subscribing leaving a review and sharing this podcast with someone who needs to hear today's subject. If you're looking to support yourself, I encourage you to consider investing in Michael's screenwriting course at MichaelJamin.com/course. I've known Michael for over a decade. And in the past seven years, I've begged him to put something together. During the global COVID-19 pandemic. Michael had time. And I have to say, I wish I'd had this course 10 years ago. As someone who has personally invested in most online courses, earned a bachelor's degree, and actively studied screenwriting for over a decade, this course has been more valuable to me than most of the effort I've put in because it focuses on something noone else teaches: story. In his course, Michael pulls back the curtain and shows you exactly what the pros do in a writer's room and that knowledge has made all the difference for me. And I know it will for you too. You can find more information at MichaelJamin.com/course for free daily screenwriting tips. Follow Michael on Instagram, Facebook, and TikTok @MichaelJaminWriter. You can follow me on Instagram, Facebook, and TikTok @PhilAHudson. This episode was produced by Phil Hudson and edited by Dallas Crane. Until next time, keep writing.