Podcast appearances and mentions of ryan mccurdy

Send us a textIn this episode of TDG, we sit down with Ryan McCurdy, the writer and director of Pears, to explore not just the making of the film but also the journey that led him there. Ryan opens up about his early inspirations, the experiences that shaped his storytelling, and the challenges he faced along the way. From his first steps in filmmaking to bringing Pears to life, we get a behind-the-scenes look at his creative process and personal growth. Whether you're a film enthusiast, an aspiring filmmaker, or just love hearing the human stories behind great movies, this episode is packed with inspiration and insight.Ama omnes, crede paucis, nulli peccate,The Days Grimm Podcast[Ryan's Links]Ranked Podcast - https://www.youtube.com/@RANKEDpodcastPears - https://www.amazon.com/gp/video/detail/amzn1.dv.gti.28e587f2-665c-443a-bf24-c324d017661b?ref_=imdbref_tt_wbr_shv__pvt_aiv&tag=imdbtag_tt_wbr_shv__pvt_aiv-20Pears IMDB - https://m.imdb.com/title/tt33079260/[The Days Grimm Podcast Links]- YouTube: https://www.youtube.com/c/TheDaysGrimm- Our link tree: linktr.ee/Thedaysgrimm- GoFundMe account for The Days Grimm: https://gofund.me/02527e7c [The Days Grimm is brought to you by]Sadness & ADHD (non-medicated)

Send us a textPears Movie review available on amazon prime : Watch Pears | Prime Video, Interview with Pears Writer, Director and Producer Ryan Mccurdy Instagram and as always your hosts Jorge and Kevin Instagram Instagram

On this episode of After Earnings, Ann Berry chats with Ryan McCurdy, President of North America at Lenovo. Ryan, who joined Lenovo in September 2023 after over 20 years at Intel, discusses how the company's new marketing partnerships with FIFA, F1, and celebrity endorsements, including Paris Hilton, have boosted brand awareness. He also shares his insights on the PC replacement cycle, Lenovo's strategies for growth, and more. $LNVGY 00:00 START 04:46 Brand Awareness and Technology Showcases 08:28 Smartphone Market Growth and AI Features 13:13 AI Integration in Sales and Marketing 16:48 Infrastructure Solutions and AI Partnerships 21:02 IT Services After Earnings is brought to you by Stakeholder Labs and Morning Brew. For more, go to https://www.afterearnings.com. Follow Us X: https://twitter.com/AfterEarnings TikTok: https://www.tiktok.com/@AfterEarnings Instagram: https://www.instagram.com/afterearnings_/ Reach Out Email: afterearnings@morningbrew.com Learn more about your ad choices. Visit megaphone.fm/adchoices

More thoughts on “The Ninth Gate.” Ryan McCurdy and I had way too much information on the 2000 classic thriller. As we come got the conclusion, McCurdy talks about movies involving the devil in a term he calls “Satan Cinema.” We do a deep discussion on the very confusing ending in the movie vs the cut-and-dry ending in the book.If you're not doing so already, please like and follow Classic American Movies on Instagram and Facebook. I do free movie giveaways, mini movie reviews and more! Also, I decided to dabble in making my own slasher film entitled “Bishop's Day”. Check out the Instagram page for updates.

What do you do about the title of your movie when the person who owns the internet domain won't sell? Well, you add “Dotcom” to your title!Ryan McCurdy (of the Ranked) podcast is back to talk about a flick I still have the ticket for after seeing it in theaters 22 years ago! At the time, the internet was pretty unknown to the general public and the first thing filmmakers did was make a horror movie about it!  I saw "feardotcom" when I was 18 and didn't think about it since then. However, much like “Gothika,” I kept seeing the DVD at the Goodwill and thought it was time to talk about this nostalgic internet killer thriller. As usual, Ryan and I can't stop talking and this episode became a two-parter. I loved this movie after rewatching it and after finding out Videodrome didn't have it to rent, I gave them my copy!If you're not doing so already, please like and follow Classic American Movies on Instagram and Facebook. I do free movie giveaways, movie reviews and more!

Ryan McCurdy (of the Ranked Podcast) is back to wrap up Rob Zombie's unplanned trilogy with “3 From Hell.” This was arguably the movie with the most positive reviews of Zombie's career.  Join us as we discuss the unusual profits of this flick, the day by day production, shooting in bad weather and so much more! Burger and I both know someone who worked on this, so we got to add a personal touch to it! Make sure to check out the Ranked podcast, found wherever you find finer podcasts. If you're not doing so already, please like and follow Classic American Movies on Facebook and Instagram. I do free giveaways, appreciation posts and more!

More hot Rob Zombie talk! Ryan McCurdy (of the Ranked Podcast) joins me to discuss the sequel that was never planned or meant to happen! During the mid 2000's there was tons of remakes and homages to 1970's flicks and this was one that is most remembered! Join us as we chat about horror flicks, risky filmmaking, 70's horror and so much more!If you're not doing so already, please like and follow Classic American Movies on Facebook and Instagram. I do a lot of appreciation posts, free giveaways and more!

One of my all-time favorite genres is murder mystery. However, this movie does it with a twist: The audience already knows who did it, but we don't know why. Join Ryan (of the Ranked podcast) and me as we do a super deep dive into this early 2000's thriller starring an up-and-coming star Ryan Gosling! There was so much info on this movie, it had to be made into two parts. Please check out Ryan's podcast, Ranked wherever you get your pods. While you're checking out the pod, please like and follow Classic American Movies, as well as Ranked, on Instagram and Facebook.

In June, I hosted a webinar called "The Truth About Screenwriting Contests and Pitch Fests" where I shared my thoughts on some of these writing contests and the potential scams out there, as well as some bad advice I always hear. 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 TRANSCRIPTSMichael Jamin:When I'm in a writer's room all the time, we don't use these words that everyone seems to have learned on the internet. That's why when you said 15 minutes, 15 minute structure, what? It is unfamiliar to me because I've, in my 27 years, we don't talk like that. So when I teach you how we talk, it's like it's not as complicated as people wanted. When you learn from somebody, screenwriting, just find out, are they qualified to teach you? Forget. I don't care if they wrote a book. No, no. What shows have they written on? Hey everyone, it's Michael Jamin. Welcome back to another episode of Screenwriters Need to Hear this. I'm here with Phil Hudson. Welcome Phil.Phil Hudson:What up?Michael Jamin:What up? We're doing another q and a. So once a month I do a live webinar. You're all invited to go to be invited. Go to michael jamon.com/webinar. The one in June. The topic was, we always do a different topic, but the one in June was the Truth about contests, screenwriting Contests, and Pitch Fests. And afterwards I do a q and a and we try to get to as many questions as we can when we run out of time, and I can't answer all of them while Phil has kept a file. And now we're going to answer all those questions for you. So hopefully this will be very illuminating. Yeah, may seem a little random, but whatever. It's, it's knowledge. Alright, Phil. Yeah, so hit me with a question.Phil Hudson:Yeah, absolutely. Just again, for decorum purposes I guess, or flow, we took all the questions. If we don't answer your question here, it's probably addressed somewhere else. So we have previous q and a question, podcast episodes. You take questions all the time on your social media there. There's stuff everywhere. So if your question hasn't been answered, most likely it's been answered somewhere else. We've already answered. Your YouTube is actually a great place to go for our content. Yeah, subscribeMichael Jamin:To Michael Jamon,Phil Hudson:Writer.Michael Jamin:Yeah, Michael Jamen, writer on YouTube as well as Instagram and TikTokPhil Hudson:And Facebook. And you can go to Michael's site as well. And I believe in the footer there's a list of all your social media and they can click on that stuff. So yeah, I've broken your questions out into multiple sections by topic and I've had to fold some questions together because there were just a ton of questions in this podcast, in this webinar. So, okay. This first section is called Breaking In related to the Truth about Screenwriting contests and Pitch Fest. And Michael, you are not one to mince words regarding all of these hacks and sheets to get into the industry. And I think it's something a lot of people need to hear and hopefully have, are going to hear from you today.Michael Jamin:By the way, I want to say, I'm sorry, Phil, but the webinars are always free and if you miss it, we send you a free replay, which is good for 24 hours. And then if you miss that, you can purchase it on my website for a small fee@michaeljamin.com slash shop. So sorry if you missed it, but you had to wax at it for free. Okay.Phil Hudson:Yeah. And that's on demand and permanent. It's not, you watch it once and it goes away or it, it's like you get it and it's chock full of good information.Michael Jamin:Yeah.Phil Hudson:Awesome. So Natalie Faler, how do you even find a person to pitch your screenplay to? So since these contests don't help your career get started, how do you get your career started? How do you come become qualified to get hired or work in any of these production companies?Michael Jamin:So what you need to have, you look at your script as a writing sample. You can write a movie, tell whatever you want, a TV show, whatever it is. Everyone's get so focused on, well, how do I need a Bible? Do I need episode three and four and season 10? No, no. You just need one damn good script that will impress people. That's all. Just one and one is hard enough. So write your script. And then when you give it to somebody, if it's good, someone in the industry, they'll pass it along. If it's really good, if it's mediocre, they're not, if it's okay or bad, they're not going to pass it along. You don't get a chance to sell your TV show if it's bad. No, you have to write a great script. What's in your hands? So everyone just assumes that and they assume, well, I already have a good script. Okay, but does anyone else agree with you? Have you given to anyone who agrees with you that it's a great script because it's not up to you. They have to agree with you. They have to say, yeah, it's a great script and then doors will open. But first things first, learn how to writePhil Hudson:And that actually jumps us down, you address is can we, Drake ask typically how many episodes do you pitchMichael Jamin:One you first go for, you don't do any, you pi, you give one script. How are you going to pitch an episode? How are you going to pitch a show if you can't even get the meeting to pitch a show? And you can't get the meeting until someone reads a script of yours and says, this is a really good script sample. It's a work, it's a writing sample. That's it. It's not about selling anything. It's about impressing people with your ability to write. It's okay if you're not going to sell it, tell you how many scripts I've written the intention even to sell it. It was just to impress people.Phil Hudson:Yeah. The last part of this question is how do you become qualified to get hired or work in any of these production companies as an avenue of working your way up? And the answer is you start at the bottom.Michael Jamin:Yeah, you start at the bottom way at the bottom where you're not even thinking about that. You're thinking, well, how can I become qualified to get coffee for the person who works here? And then you, that's how you start making contacts. That's how you start working your way up. So everyone wants to start at the top. My recommendation is start at the bottom.Phil Hudson:Beautiful. Liz Romantic besides attempting to get representation from an agent, what's another way to get my screenplay seen by a producer?Michael Jamin:Oh, well again, working Do a fill does works at a production company versus a pa, then I got promoted to associate producer. That's how you do it. That's, that's another way to do it ano, is to start at the bottom. Start making your connections in Hollywood. Another way to do it is to, you can start your own channel on social media where you're putting out amazing, you're shooting and making your own amazing content and I'm, I'm talking about scripted, whatever it is you want to do as a scripted, start doing that. Start impressing people with your ability to write and amazing things will happen. But I was going to do a whole webinar on that as well. I know I'm not, I'm giving short shrift to that answer, but I'll explain in detail in future webinars.Phil Hudson:Yeah. Awesome. Rob Stagin Borg, they say Hollywood Ism All is always looking for new talent, but are they really?Michael Jamin:Yeah, they're looking to exploit you. And like I said, you want to be exploited. Why not? They're looking for someone to make them rich. Everyone is looking for someone to make them rich. And if you have the ability to make them rich, if they look at you and they see dollar signs in your face, you're in, you're in. Yeah. But the problem is no one wants to do that. They want to beg, come on, can. No one wants to, no one's interested in helping your career. They want to help their own career. And the way they help their own career is by finding someone who's this, who's got a ton of talent that they can exploit in a good way, but exploit.Phil Hudson:Yeah. Yeah. All right. Our buddy, the Jovan shares back, and this question is in reference to one of the topics of the webinar, which is available now for people to buy. If you want to go watch it, it's michael jam.com/shop. But this is in relation to the topic of what's the reality and value of competitions and screenwriting contests and all this stuff. And you're basically saying not a lot and most of 'em are not beneficial.Michael Jamin:Yeah. You can go listen to the webinar we talk about which ones I think are the best ones and the biggest ones. But the small ones, the little ones, it's only making them rich, not you rich. Yeah.Phil Hudson:So with that context, does this advice also go for short story competitions?Michael Jamin:I don't really know. I really don't know. I'm not in that world. I'm a TV writer.Phil Hudson:Yeah. And that might be short film contests and things, but there's the occasional short film that gets moved. Like the Poon Dynamite, right? Was it paca? I don't know. It was a short that was put into Sundance and then it got bought and then it got flipped into a feature. That'sMichael Jamin:Very, but they said short story though. This person said short story. Correct.Phil Hudson:In the context of screenwriting. Okay. I think it's really about short films because you talk you storyMichael Jamin:If, yeah, I mean if you can make something and a respective, especially a film festival, that's a little different. If you make something at a film festival that gets people's attention. But that's what I'm yelling it all along you. You've already made it. You've already made it and it's already great. SoPhil Hudson:Yeah, you've done the work. You're not hoping someone else will give you the in. Yeah. Alright. Sadie Wise heart, what are avenues with getting into the industry with just an associate degree? I keep hearing being a PA is great, but are there also other avenues? Michael, I've never once in my life been asked if I have an associate's degree. That's something people talk about, but I,Michael Jamin:No one cares. Phil, I want to know, can you get the coffee? Can you pick up lunch? Yeah. Do you know how to use the coffee machine? That's what I want to know. I don't need to see your diploma.Phil Hudson:This will be fun. So this is my diploma cover. I was handed when I walked across my stage at my college graduation. It's empty, right? There's no diploma in here. Why? My school went defunct, my school closed.Michael Jamin:They went out of business.Phil Hudson:There's no, there's no diploma. Did I earn it? Yep. Do I have the honors? Yep. Do I have photos of me? Did my family come? Yep. There's no diploma in there. If someone wanted to see my diploma, I couldn't even show it to them. That's how little it matters in the industry. Yeah. Can you do the job?Michael Jamin:But this person wants to know, are there other avenues other than pa? I mean, if you want to break into the business, you're going to have to start at the bottom. I'm you, I'm sorry. You don't get to become an executive producer unless you've, you know, got to start at the bottom.Phil Hudson:Yeah, yeah,Michael Jamin:Absolutely. But again, I have a i'll, I'll probably do a webinar coming up where I'll talk about things, other avenues to break into the business if you absolutely cannot move to LA and you insist on not starting at the bottom, what else can you do? It's going to be a harder, but there are things you can do, but it'll be harder.Phil Hudson:Yeah. Ah, we met a bunch of people are going to sign up for that one. That sounds like, that sounds like a lot of the questions we get. Okay, great. Rob Stagin Borg, again with so many services out there designed to help in Arian quotes, new riders. How can a new rider tell what is legit and what is this scam? A scam?Michael Jamin:I would assume everything's a scam. I thinkPhil Hudson:That's the answer.Michael Jamin:I mean, I don't know. I don't know what kind of service that they're talking about. If it's a coverage service, you're going to be read. The person reading your coverage is probably not qualified. They're no more qualified than you are unless you were able to find a writer, a working writer, a successful working writer with credits that you've seen on I M D B on shows. And those people are out there that have the time to help charge people to read, to give notes or whatever. That's your due diligence. You got to find them. But wouldn't, a service is different like a service is what are you going to get? You're going to get a minimum wage paying person reading your job. But if you can find a working writer to do that, and because of the internet, you probably can then expect to pay. You expect to pay for someone's expertise. They've earned it and you're going to have to pay more for it. Sorry. That's just how it goes. So if you want to pay $50, you're going to get $50 worth. If you want to pay $400, you'll probably get $400 worth.Phil Hudson:And you got your start taking lessons from a former writer who was retired and doing that, right?Michael Jamin:Yeah. Yeah. But that's a little different. But yeah, I, I wanted to learn from people who had the job that I had, who I wanted rather the job that I wanted getting charged.Phil Hudson:Dominique Davenport. Hey Michael and Phil, what's up Dominique? Hey, I'm a PA from Atlanta. I'm just now getting my footing in the industry. What steps should I be taking starting out?Michael Jamin:Good for you. You're already got your foot in the door. Maintain those relationships that you have with everyone who works there, from the producer to the associate producer to the coordinator. Just maintain those relationships and prove that you're a hard worker. That you'll go above and beyond because when they get their next job, they will bring you along with them. They don't want to want to train someone from scratch. So my advice to you is to be nice to whoever you've worked for as a pa, the coordinator, all the way up to the producer, the executive producer, show them that you're a hard worker. Show them that you hustle, that you go above and beyond because when they go to their next job, they're going to want to take you with them. Why is that? Because they don't want to hire someone brand new and have to break them in. And maybe that person doesn't have your work ethic, so it's just easier for them to work with the same people and promote those people. So you're, you've got your foot in the door. All you got to do now is continue doing more of the same, which is continue impressing people with how hard you work. Don't say no to anything. Get there early, leave late. Good for you. You're in, you're in. So just work your butt off and you'll do great.Phil Hudson:Yeah. Hannah Chartier, who's the writer's assistant on Tacoma fd, and this is very specific to Atlanta. I was talking to her and her story is she volunteered and did a bunch of work for the broken lizard guys for Super Troopers too. And then the she PA on that. And the producer was so impressed, he brought her along as his assistant for Miss Marvel in Atlanta. And I was talking to her on set and she was telling me that, and I was like, oh, that's cool. I know Miss Marvel's stunt Double Cassidy. I went to film school. They're like, oh, I know Cassidy Cassidy's. Awesome. That's how small the industry is. So someone I went to film school with in New Mexico who's working as a stunt person and an actor in Atlanta knows someone that I'm sitting on a set in Santa Clarita, California, dressed in 13th century French garb.Like we're having a conversation about that person. So that word does travel and your reputation does precede you. So Chelsea Steep, should Hollywood go back to proper employment? So for those who aren't aware, Hollywood used to literally have a contract on you as a writer, and you only work for Warner. Oh, and you only worked for M G M and that was your job. And you wrote things for them and you were on their payroll. And then that changed with a rider's strike and the formation of the Rider's Guild to stop that because credits were being assigned to producer's, girlfriends, and whoever it was. And you had no say because you were just an employee. And so they started a union to protect writer's interests. And that's how the W G A began. And they think this question is saying, should writers, should we go back to that as a form of employment?Michael Jamin:I think you answered it really well. I mean, some writers are lucky enough to have an overall deal at a studio and they get paid well, but most writers don't. That most writers are just jumping from gig to gig. And that's why we're on strike right now because the studios have turned it into a gig economy. So there's a happy medium somewhere, I hope.Phil Hudson:Yeah, Sadie Wise Heart again. Where would be some good organizations or companies to find jobs as rider's assistants, also with the rider's strike? How would that affect that process?Michael Jamin:Well, there are no jobs during the rider's strike. So that affects that process. Writer's assistant is not an entry level job. It is a job you have to be trained and qualified to do. I'm not qualified to be a writer assistant.Phil Hudson:It's a union job too.Michael Jamin:Now it's a union job covered on I O C, right? Yeah. Yep. But you have to, someone has to train you how to do that. And I'm not, I'm a showrunner and I don't know how to do it. And so usually you start as a pa and then you ask the writer's assistant who's above you, how do I do your job in case I poison you? And that way I can take your job if you fall sick and they'll train you to know how to do that job because you have to know how to use the software really well. But you also have to know the distribution protocols, who gets scripts when and how they're distributed. And so it's a little bit complicated. There's some notes you have to know how to take notes really well, but it's not an entry level job, but it's a a job you definitely want to get if you are an aspiring screenwriter for sure.Phil Hudson:Yep, yep. Everything's different right now and going to continue to be different. Even if the actors strike at this time, they have voted for the authorization to strike. So yeah, Tom Miller, if I get rejected from contest and get nos from query letters, what do I do?Michael Jamin:There's your problem right there. If you get rejected from a contest, reputative one, the big ones that we talk about in that webinar we just did, and don't, you're not going to get rejected, but you're not going to, let's say you don't win, it's because you need to work on your game. You need to become a better writer. How about work on that? It's not some, they're telling you maybe you're not good enough, but in the meantime, you should always be working on your craft, get better and better as a writer. And that, you know, don't need a contest to do that. You, or you can also shoot your own stuff. You can make it. I've done plenty of webinars on what I would do, and I'm going to do another one on what I would do if I had a break into the industry today.But at the end of the day, if you are not a good writer, there's just no demand for you. And I know you're going to say, well, but aren't there bad writers working? Sure there's a whole range of writers working, but the bad ones aren't going to keep writing forever. They may have gotten lucky. And that can't be your strategy. Your strategy can't be Well, they're bad. I can be bad too. No, there's no demand for demand for mediocre writers. You need to work on your craft and get better. But there's a lot you can do and we'll talk more about that in future webinars. Yeah,Phil Hudson:Yeah. I'd also say that a lot of that rejection, keep in mind that that also might be topical. It might be related to your subject matter, and it may be that some of those are very specifically looking for stories. Like Sundance for example, is a good one. They're looking for underrepresented voices, and so they're looking at indigenous stories and they're looking at people with something interesting. So the work I've done there, they're very fascinating people and typically from a different ethical, racial, more of a, what we call a protected class background who have not had opportunities to tell their stories that are unique. So you got to understand your audience too. And that's still a lesson you got to learn. So, alright, Jarret Frierson, ultimately what's most important, establishing connections and networking or making your writing the best it can possibly be?Michael Jamin:Well, if you could have the best network in Hollywood, and if you're writing is no good, no one's going to go out in a limb and hire you. I mean, because that they're jeopardizing their own career. If they have a show and they can hire one writer and they got some bad writer that's not contributing and is going to drag them down, they're not going to risk their career for you. I don't care if you are their babysitter, you know, have to be good. So why can't you do both at the same time? Why can't you work on your craft while continuing to make the context and expanding your circle? But again, I talk about, I've talked, I've spoken about at length about what that means, what your network means, and your network isn't people you randomly send emails to once a year to keep. That's not your network. Your network or your, is your cohort people, your friends, people, you're close to, people you work with, people, your class, your graduating class, this is your network. It's not people who you've reached out to on LinkedIn and they decide to friend you. That's not your network.Phil Hudson:No, it's Kevin who texted me today and said, Hey man, how are you doing? We haven't talked story in a while. You want to hop on a call and we have a call tomorrow to go over stuff. Oh, great. He's the guy, the who sends me things to read and I send him things to read and we hop on the calls and we spend an hour talking about them. Great. Perfect. It's so awesome. Cool. Moving on. This section is craft. It's just how we do the job. Olivia asks, some teachers say you need establishing shots. Others say no. Who's right?Michael Jamin:Well, I guess if you're going to shoot it, you always want to, if you're shooting something, get an establishing shot. It helps establish a location. We always have establishing shots. I've never been on a show. You need establishing shot, especially if you're going to cut from one location to another. If you're doing a scene in someone's house and the next scene is in a restaurant and you don't put an establishing shot, people are going to think, wait, is there back room of the house? A restaurant? They're not going to be confusing. So get the grab an establishing shot. Do you need to put it in your script? No, you don't need to put, say exterior restaurant day. I mean, you could say Interior restaurant day. So you don't need that. You don't to slug an establishing shot in your script, but if you're going to shoot it, get one.Phil Hudson:Yeah, yeah, yeah. It's a good question in an answer I wish I would've had in 2009 and 10 when I was writing a lot of establishing shots for no purposeMichael Jamin:In my script. Make it more, does it make the read more enjoyable? No.Phil Hudson:And more and clear and Right. The slug line makes it clear. I am inside a restaurant.Michael Jamin:Yeah, I get it. I know what a rest, thePhil Hudson:First ad, the first A d will schedule. Yeah, exterior shop. Yep. Yeah, right. Tamara Hanssen. What would you say are the most important things to pay attention to when writing a thriller? And what would you say is the biggest difference between a horror versus a thriller? I thought it'd be an interesting one because you're a comedy writer.Michael Jamin:Yeah. I'm not really the best person to ask. I mean a horror because I don't write either one of them. But a horror can be just a slash fest, a slash film, which is guts and gore and a slasher movie where there's a mass murderer at a campground that's a horror movie. Could be. Whereas a thriller, it doesn't have to be all that guts and glory. It could just be the fugitive, right? A guy running from the law. There was no guts and Glo guts in that. It was just a guy keeping one step ahead of almost like an action movie. So those are the kind of differences. But in terms of writing, they still both need to have a story. Both need to have, you both have to follow a story, and that's something that can be learned.Phil Hudson:And that's the answer, is the focus on telling a good story. And then you'll learn the tropes, right? Yeah. BecauseMichael Jamin:No one wants to read a story. If your screenplay screenplays, they go camping and the dad gets murdered, and now the sun's running from the ax killer, who cares? What's the story? Yeah, it's it. It's great Down. ButPhil Hudson:Silence of the Lambs, silence of the Lambs, on the other hand, wins the Oscar Oscars because at that end scene, we are worried Clarice Darling is going to be consumed by this darkness she's been avoiding.Michael Jamin:So it's not just plot, it's plot and story. Make something great.Phil Hudson:Yeah, that's solid answer. Christine, I'm an artist getting into production for animation. What would you say is the most important thing I would know from your perspective as a writer on an animated show?Michael Jamin:Well, if you're an artist, I mean, these animation houses often give you tests. And I, I've never worked at an animation house, even though I've worked with many. And the tests, can you draw? I know Disney famously has a, I think they call it like a sack test or a potato sack test or something where they ask animators, this is, you Google it, you'll find it to write the emotions. Imagine a sack of flour, and now make, it has no eyes, no no limbs, no arms or legs. No eyes or face. Make the sack sad. Now make it excited. Now make it angry. And this is a famous test that they do to show all the emotions of a sack of flour without relying on the facial expressions. And that really apparently is what made Disney so amazing in animation way back when they first started. So study all that. But again, I'm not an artist for animation, so I'm not the best person to talk to.Phil Hudson:Yeah. See, it rings true though. The magic carpet in Aladdin. Very emotive, very expressive, no face, no arms. So Conrad Michael, what's your rules around character descriptions when introducing them? How many samples would you recommend? Oh, it's two questions. I apologize. First question.Michael Jamin:Yeah, character description, shorter is better. And you want to describe them a little bit, and it helps to give 'em a little bit of their personality. And it shouldn't be cliche. A girl next door is pretty cliche, doesn't know how hot she is, is cliche, give some juice to this character. And in that description, age, what do we need? What do they look like? That helps. But also to help describe their personality just a little bit. And in a way that's not a cliche. That's often why people say, think Jack Black or whatever. That does help. We know Jack Black is a little outrageous. We know he's thinks he's cool. Maybe he isn't, but he's got that attitude that helps. That's one way people do it. Yeah.Phil Hudson:Wardrobe important as well, because it tells us who the character is. Something else you can consider, a lot of people don't think about.Michael Jamin:Yeah, I mean, if you need a woman, that was a note. If she's wearing overalls that says something about maybe she's out, maybe she's outdoorsy, maybe she works in the garden a lot as opposed to wearing a dinner gown.Phil Hudson:Yeah. And it gives eventually, if it's going to get made, gives you costuming department something to work with. So yeah. Anyway, Viki. Wow. Viki, can you tell us about the eight episode structure of the Hollywood movie in three acts, storytelling? Is there anything else? Jan from Finland?Michael Jamin:I don't understand the question. What is it?Phil Hudson:Yeah, so 8.9 0.88, that structure of a Hollywood film, right? They're specific beats and metrics you need to hit within a structure. It's more of a formulaic approach. They said eight episode, I'm pretty sure they're talking about eight beat or eight point, and I think that's famous,Michael Jamin:The topic. I thought they're talking about eight episodes. Okay. So they went, if the question is, can you tell me more about the points ofPhil Hudson:Yeah, the eight, they're saying the eight episode structure of the Hollywood movie. And so I think what they're saying is theMichael Jamin:Eight point structure. Yeah, that's why I did hear it, right? I did hear it right. You did hear it. Right. Eight episode structure, that doesn't make sense.Phil Hudson:No, it's eight point structure of a Hollywood movie compared to three act storytelling or in three act storytelling.Michael Jamin:Okay. Okay. So I was confused. So I teach in my course, I teach three act structure, and that can be applied to everything. Whether you're making a movie, a TV show, half hour, 90 minutes, 60 minutes, doesn't matter. Three act structure, it doesn't matter. It's all the same. It's just that in a movie, it's going to be a little, everything act is going to be a little longer lengthwise than in a half hour TV show. In terms of these points that you're talking about, not episodes but points. Yeah. Also, when I teach my class, there are points that you think that have to be met. The bottom of act one is a point, the middle of act two, the bottom of act two, I teach all this. I have a certain number of things that you have to do per episode in order to tell a compelling story. It's not formulaic, it's just something that you need to have in a story so that it feels like you're not just treading water. So that stuff happens. So if you'd like to learn more about that, we have a screenwriting course. It's only open once a month for a couple of days, but you can sign up to find out when it will be open. And that's at michaeljamin.com/course.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:Awesome. Keenan, what is your opinion about whether writers should adopt and master three act structure versus the mini movie method? Roughly eight, 15 minute movies that make up a feature. Is there any reason they should be blended together?Michael Jamin:I don't even know what that is. I only know three act structure. I don't know what this 15 minute, I don't know where you're learning this stuff from. I don't. What difference does it make if I'm telling a story? I don't. Okay. Just so you know, when I tell a story on a sitcom, it's not 15 minutes, but it's 22 minutes because sitcoms tend to be short. So is there any difference between a 15 minute sitcom and a 22 minute sitcom? No, it's cutting out a couple of minutes. That's all. There's just no difference. Everything is three act structure. Boy, they make things. Boy, the internet makes things hard for people, I think.Phil Hudson:Yeah, these are a bunch of branded terms that I've read about in books and in other places that you've not, because you don't look at those things. Yeah, I don't.Michael Jamin:AndPhil Hudson:Ultimately, from my perspective, it's just a lot of it is very, very confusing. It does get very formulaic into, you know, need to introduce everybody, every major character of your script. By page three, you need to have your inciting incident on page 10. You need to, and your script act one on page 25, and then it becomes so burdensome. And then you fall into the dark zone and wasteland of act two, where no one tells you what you have to do in that.Michael Jamin:But then talk about making your course. There's so many people Yeah, go ahead, Phil. Go ahead.Phil Hudson:I was going to say, but then in your course, it's like, oh, they're very clearly defined what I need to do in the top of act two, middle of act two, bottom of act two, very clear. And it's like, oh yeah, this all makes way more sense. And now I understand exactly what I need to do. ButMichael Jamin:It's also simpler. It's like they make it so complicated.Phil Hudson:Well, they feel like making it complicated and naming it something fancy is a way of just making it sophisticated and seem more advanced. And that's the thing. I mean, I do Brazilian jiujitsu, I wrestled in high school. I like grappling Brazilian Jiu-Jitsu's, just a, it's when you talk about climbing a mountain, that's my version of climbing a mountain right now is just getting tapped out and practice murdered by a bunch of people half my size. And there's this thing called white belt mindset, which is looking for the cool hack and the cool trick that the other guy doesn't have. But then I watched this black belt. He did a, literally watched it last night. There's a black belt who's talking about a study that was done out of 500 fights in Juujitsu. You're not punching people in the face, it's just submissions and grappling. He said, out of 500 fights, what is the percentage of specific moves that won a fight? And it's like the first three, the top three make up 50% of all wins. And they're the basics. The next four, the other basics. And they make up 95% of the taps. So people are so caught up in the tips and tricks and hacks and it's, it's fundamentals. It's all about fundamentals. ButMichael Jamin:Also when I'm in a writer's room all the time, we don't use these words that everyone seems to have learned on the internet. That's why when you said 15 minutes, 15 minutes structure, what I, it is unfamiliar to me. Yeah. In my 27 years, we don't talk like that. So what I teach you is how we talk. It's like it's not as complicated as people want to, when you learn from somebody, screenwriting, just find out, are they qualified to teach you? Forget. I don't care if they wrote a book. No, no. What shows have they written on?Phil Hudson:And this is advice that you give to everyone. You literally say, if it's not me, you don't need to learn from me. Find someone who has done the job. Look them up. And you, me didn't make me, you asked me maybe a year ago to put up all these samples that used to be in the course publicly on the site so people could vet your writing and see your writing just as a like, Hey, you to help people, here's some samples of real shows. You can go watch on Hulu or Netflix or tv, wherever right now that exists, that were produced. And get an idea of whether or not they want to learn from you. And ifMichael Jamin:You don't think,Phil Hudson:Find somebody else. Right?Michael Jamin:Right. Find someone. Just study their work. Do you like it if learn from them if you don't find somebody else.Phil Hudson:Yeah. Lynn Marie, in my last script, I had too many characters. When you are hired as a writer, are you given a number of characters? Does it depend on the story you've created?Michael Jamin:No, the, it's not. It's not like you're given a number, but you can't service all of them if you had too many characters. So you can't service all them. And so you have a bunch of actors you're going to hire, whatever your number of actors that's on your TV show or movie, whatever. Let's say it's five main actors on, let's say you're doing a TV show, you have five actors. And if you can't service them, if you don't, can't give 'em anything to do, they're not going to be happy. I actually was watching an interview with Alan Ruck from Succession, and I think he was talking about season two or season one, I don't remember. But he said the first three episodes of that season, he wasn't doing anything. And he went to the showrunner and director. He goes, guys, maybe you want to kill me off because, because I'm not doing anything.And they said, please don't go into the, I know it's slow now, but we have great stuff for you later in the season. And he's like, oh, okay. And he said, I'm glad I stuck around because they did. He almost made a mistake of leaving. But you can't have an actor stand around and not service them. Why are you paying them? So I go through this in the course as well. How many characters should you basically have for a TV show? For a movie? It's a little different, but you got to give 'em something to do. Why are you paying them?Phil Hudson:And without naming names, and this is something I just read yesterday. Some other advice on the internet. Combine characters so that you're not randomly dropping in new people throughout the movie or abandoning those. You've established a lot of bad advice about characters as well on the internet. And if the answer is, what do they serve? The story,Michael Jamin:They have to have something to do and they have something to, they can't just stand around and nod when somebody else says something. You got to give 'em a good at a strong attitude or else why are they in the scene?Phil Hudson:Yeah. Awesome. Moving out of craft, another section. Being a pro anonymous. I was an actor on Lopez, one of Michael Jam's shows. Loved it, critically loved, but I felt the network it was on really limiting it, limited it. How do you compromise with a network on the final product?Michael Jamin:They're paying for it. You give 'em what they want. What's the compromise they're paying you? Do you want to work again or not? They have the right, this is what they want and you have to give them what they want. That's the compromise. Obviously, you're going to try to do it to your best of the ability so that you feel it's good, but at the end of the day, you give them what they want because it's paying for it. What's it? What's the stuff? My art, my words? What's that? How is that going to put foot on your plate when they fire you?Phil Hudson:Yeah, when we first started, you referred yourself as a tailor. Do you want to talk about that?Michael Jamin:Yeah, basically, I think of myself as a tailor. When someone comes in, they say, I got slacks. And I say, okay, you want cuffs. And they say, yeah, I want cuffs. Okay, I can give you cuffs. I don't say, I don't, no, you're going to ruin my slacks. It's theirs, whatever you want. I can give you pleats, I can give you cuffs, whatever you want. And I'll try to make the best. And I can give you a recommendation. I could say, you know what? You wouldn't look good in a three double breasted suit. You'll look better if it's a single breasted. And they'll say, but I want double breasted. Okay, I will give you the best double breasted suit I can.Phil Hudson:Yep. That's being a pro. Great. Yeah. Jim, someone offered me an option with no payment. Is it worth it to tie up my script?Michael Jamin:An option with no payment? It sounds like a bad, sounds like a bad,Phil Hudson:That doesn't sound like an option. It may not actually be legally binding, by the way. In most states, there has to be an exchange of money to be able to option. Sometimes it's a buck, sometimes it's a significant amount of money. But to me, Michael, my unsolicited opinion here is run. That is just a waste of time. And if you listen to the last podcast that we did, I recently just had an experience similar to this, not exactly this, but run.Michael Jamin:I was, that's myPhil Hudson:Opinion, Michael.Michael Jamin:Years ago I was a writer. I was accessible writer, working on a TV show, and my partner and I wrote a script and we didn't sell it. No, actually it's not true. We s That's not true. We sold it to H B O and then we got the rights back and then some other network because the H B O decided not to make it. And then some other network wanted to buy it. And I'm like, oh, okay. And their offer was $1. And I said, well, you're going to have to do more than that dollar. I told 'em to go fuck off. So sorry you don't get my script for a dollar, but suss out these people. I don't know what kind of option, why, I don't know. That's not really an option. It doesn't sound like a good deal. Who are these people? WhatPhil Hudson:That sounds, sounds like to me is some guy who thinks he's a producer is sees something in you and wants to take advantage of you at your expense to go hawk your script, to go make a dime. And the answer is, if your script is that good, other people are going to read it and they're going to want to pass it around and they're going to want to make it. And that's an option. That's something to pursue. Someone offering you an option for nothing. It's just move on.Michael Jamin:Yeah, it sounds like, it sounds suspicious if you're, you're professional, if your gut's telling you to run, then run. Listen to your gut. Yeah,Phil Hudson:My gut is speaking for you, Jim. Yeah, run. Cool. Moving on, miscellaneous, just a bunch of questions. Probably four or five here, Michael. Okay. Mark, how does one copyright a screenplay and how much does it cost?Michael Jamin:You can register your screenplay with the writer's GU of America. I don't know, it might be 35, 40 bucks or something, a copyright. I think the minute you write it, it's copywritten, you know, can mail yourself a copy but in the mail and keep it sealed. But again, I don't give legal advice on this channel, so I'm telling you what I know. If you're really worried about it, you can get an entertainment lawyer or you can Google it and you can find out for yourself. So I don't give you any, again, there's nothing in it for me to give anybody legal advice. I'm not a lawyer. So these are a couple of options, but please explorePhil Hudson:More. Electronic filing is $45, so standard application is $65 and you canMichael Jamin:Do it for free. And that gives you certain protections, not all, but do your own due diligence. SoPhil Hudson:It also publishes it in a registry that is searchable and anybody can go find your script. And there you go. But again, idea versus execution.Michael Jamin:Yeah,Phil Hudson:Right. It's all about the execution. Alright, Tina, should we get it registered with the W G A before we have someone read it? What is the best way to get your script in front of someone for just notes? And Perry does registering a script with the W G A protect the IP from being stolen from me.Michael Jamin:I've only registered, I should do a webinar on that, on getting stolen. Yeah,Phil Hudson:That's a big topic and it's a scary look. The questions from my perspective, they're scarcity mindset questions. You need to be smart. But if you're worried about someone stealing your idea, it's saying, well, this is all I have. Instead of saying, okay, I'll just move on. And it's very hard to prove theft of intellectual property unless it's just very hard. It's a case that very rarely wins. And I know of one very famous case that we did talk about early on in the podcast where there was a film that came out and they lost in France. France said that they stole an idea from someone and they had to pay a ton of money, but it was produced and made out into the world by a professional filmmaker before they even got there. So anyway, that's just my thoughts.Michael Jamin:Yeah, I mean, you know, can register. Ultimately, you're going to have to put your work out there if you want to get hired and if you can keep, you want to keep it yourself and if you're so worried about it, and you'll never, no one's going to find it in your closet. So I, I'll probably do a webinar at some point talking more about this at length, but ultimately you, you're going to have to put your work out there and be careful who you give it to. Don't give it to the guy in Starbucks with the hbar mushroom mustache, but you can give it to reputable studios and you shouldn't have to worry too much.Phil Hudson:Yeah. One thing that just came up again, we talked about before was registering your script with the W G A and then putting your registration number on your cover feels, it feels pretty amateur.Michael Jamin:It feels a little Bush League. I've only registered for whatever what it's worth, only one script in my entire career. That was the first one I ever wrote. And then I was like, I can't, and then I was like, I can't afford to do anymore, like 40, whatever it was, 40 bucks. I can't afford to do this.Phil Hudson:You can submit it directly through final draft by the, you can register your script through Final Draft Now. It's been out for a couple years, but IMichael Jamin:Didn't know that.Phil Hudson:I think registering your script and as a paper trail, that can be served as in court as evidence is one thing, but putting it registration number on your script is another mark of, yeah, maybe don't do that. Yeah, maybe. Yeah. Ryan McCurdy, how does someone who is in multiple guilds, the W G A D, G A and P G A navigate their jobs? Do they just not write but will direct or do they not work at all? How do people who are in multiple guilds? Oh, so it's a repeat of the question. I apologize, but I don't know if this is reference to the strike specifically, but I thought it was a good question for you because you W G A and D G A, right?Michael Jamin:Yeah, but it's not, and I'm not even an active member in the D D G A, whatever job you're working at, if you were working as a director, now you, there's nothing to navigate. You pay dues. If you're getting directing gigs, then you will pay dues on those directing gigs and you have writing gigs, then you pay dues for that. So there's nothing to navigate. It's just like you only pay dues if you earn money for the work you've done. Although I should be clarified, you do have a low monthly fee of, it's probably 25 bucks every quarter or something like that in addition. But there's nothing to navigate really.Phil Hudson:And during this strike it, I think specifically, not to speak for the Writer's Guild, but the research I've done as someone who is kind of at that stage of my career where I do have the opportunity to have some meetings with people and have some conversations and conversations I've had with the W G A, right? It is against the W G A strike guidelines to have meetings with signatory companies right now regarding written work. That does not mean you can't sit at home and write. And it does not mean that you can't work with other writers and pass things around. And what it means is you shouldn't be seeking employment or to gain monetary value from a signatory in violation. So regardless if you're in the guild or not, you shouldn't be doing that.Michael Jamin:Right. So next question,Phil Hudson:Lindsay, what was the biggest surprise to you when you first started working in the writer's room?Michael Jamin:The biggest surprise was everyone was incredibly talented. This is when I was on Just Shoot me and I was in way over my head. I was able to write one script on with my partner. We wrote, I was able to be funny on my own, at my own pace, but in a writer's room, when you're surrounded by really talented writers pitching ideas, I didn't understand the difference between a good idea and a bad idea idea. I had no idea. And I was worried about being fired because I didn't know how to contribute. That was really eye-opening. It was like, man, everyone is so funny. And I'm laughing after a couple weeks. I'm like, no one's paying me to laugh. I'm getting paid to make people laugh. I better figure out how to do that fast and figure out how to contribute meaningfully in a writer's room.And that really means understanding story structure, that that's kind of what I teach in the course. If you were lucky enough to get that break, God, you don't want to screw it up by not understanding how to story structure and understanding how to do the job. Man, if, here's the thing, if you get hired tomorrow, not wonderful, you got hired in a show, sign up for my course immediately and cram it because you do not want to get fired from your job because you don't understand how to do the job. And I'm telling you, 99% of new writers just don't, because there's so much to learn. So whether they get fired or not, it's a different story. But I've see, I see people flame out all the time.Phil Hudson:Yeah, it's heartbreaking. It's heartbreaking seeing that turnover, even for someone at my level just knowing I want that job so bad, but at the same time, coming to the realization that, man, I wouldn't have been able to do that job either.Michael Jamin:Yeah, yeah, yeah.Phil Hudson:Think you think can, and you have the enough gumption and ego to push you along to say, I can do that job. And you have to have that blindness to reality to continue moving forward. But there's also a level of reality you have to settle into, say a personal assessment. Yeah. I would've been fired too. I would not have been able to execute.Michael Jamin:Phil. You know me, I never yell at people, take my course. I'm never saying sell my, I'm never sell a sale, sell. Take my course. You don't. But if you get hired on a staff job, take the course please. Because if you get fired off this thing for not knowing what's sick, oh, you'll kill yourself. You will be so upset that you are not prepared soPhil Hudson:Well, on this note, did, didn't you have a friend who was a showrunner who basically wanted to offered all of her writers your course? Yes. They didn't know story.Michael Jamin:I forgot about that. Yeah, I did havePhil Hudson:A, without going into detail of the that, do you want to talk about that? The conversations you were having with her about what those struggles were?Michael Jamin:Yeah. She was running a show, a big show on a major network. This is a friend that I've worked with many years ago, but she's a really talented writer. And so she was running this show with a bunch of new staff writers, and she was just so frustrated with the quality of work. Actually, I'm not sure if she was running it or she was co-running it with somebody else. So maybe it might not have been her show. She might have been co-executive producer. And she was very frustrated and she was like, I wish everyone here would just take your fricking class so that I don't have to educate them so that they could stop arguing with me all the time when I'm telling them what a story should be. So they would stop arguing with her and just listen and contribute meaningfully because it's like so frustrating is when a new writer doesn't know how to do a job, they'll often fight for something because they don't know any better and they want to contribute and they fight for something, which is a terrible idea without knowing what a good idea is. And she was like, Ugh, this is so frustrating. I wish they would just take your damn class so I wouldn't have to waste energy yelling at them or arguing with them.And she's a good writer. She's talented. She's worked for 20 something years.Phil Hudson:And again, I've seen in my limited career in the writer's room, I have seen people burn out for arguing with the showrunners about something that ultimately doesn't matter to the story, and more specifically arguing with the showrunner's vision of what the story should be.Michael Jamin:Yeah. Oh boy. It'sPhil Hudson:Sad. And you have a whole section in the course too about writers. Were medicate, how do you behave in a room? And I had conversations with the lizards when I was on tour about that etiquette and the reality of the fact that when you're new, shut up and listen. ShutMichael Jamin:Up.Phil Hudson:Yeah. Only open your mouth if you have something that is stunning. Yeah. So awesome. Two more questions here, Olivia, ask, does the corp help? Does the course help us find an agent at the end?Michael Jamin:Well, I mean, it doesn't give you instructions on how to do that, but it's certainly going to, it's certainly if you can't write a good script, good luck getting an agent. So the course teaches you how to write a good script. Hopefully doors open after that, but good luck. You're not be able to trick an agent into hiring you if you don't know how to write or not hiring you. I don't like the expression representing you. Sorry. Yeah,Phil Hudson:Yeah, that's a good point. Two, two things. One there, I believe there is a q and a in the bonus section where you do talk about agents and managers. Yeah. And you go over the realities of that situation. Two, I'm blanking. Oh, you did? I didn't you do? Oh, one of our early podcasts. It was like episode five or something, was talking about agents and managers. So go back and listen to that podcast. Yeah, good stuff in there. Lindsay. Last question. Do you prefer to be a member of the writer staff or be the showrunner?Michael Jamin:So when you're starting off, when I was starting off, I did not want to be the showrunner at all. Like I knew I didn't know what I didn't know. And then I did it for about 10 years as a rest, staff writer, learning, soaking it up after about 10 years, you rise so high that the next step is you either become a showrunner or you just don't work because there's just not that many jobs. So becoming a showrunner actually opens up opportunities. So my partner and I took that jump and we started looking for opportunities to run shows and we ran. We've run three shows when we were before we became showrunners. You're always looking at your boss. You're always thinking, I bet I could do my job. I bet I could do his job or her job better than he or she can. Then when you finally get that job, you're like, Ugh, it's so hard. It's so hard. I don't know why I thought I was so arrogant to think that, and now, like I said, I've done it. I've proven to myself the show I'm currently on, co-executive producers. I'm not the showrunner and I'm perfectly happy not to have that pressure of being the showrunner. I'm perfect. I make less money, but I'm perfectly happy.But if the next job is showrunner better than being unemployed, I'll take whatever. I'll happy to do it. But I'm also, it's not an ego thing for me where I need to be the boss.Phil Hudson:In the documentary showrunners that I've recommended many times, there's a showrunner who says that a network at a certain point is so concerned with getting the thing done, that if you were literally dying on your deathbed and you had to be wheeled, you are like, I can't come in. I can't do the job. I would have to be wheeled in on a gurney and put up on an iv. They would say, what kind of gurney would you like and what kind of iv? What would you like in the iv? Yeah, because the showrunner job is that important to the overall production. Yeah. So do you get paid for the stress involved with that?Michael Jamin:Yeah. Yeah. Although about the shows that I did, they were cable shows, so they were less money. They networkPhil Hudson:Critic, critically acclaimed table shows.Michael Jamin:Yeah. Yeah.Phil Hudson:So that's it, Michael. That's your June webinar q and a.Michael Jamin:Woo. Yeah. Thank you so much everyone. We got a lot. What can you do, Phil? If someone, like I said, I should mention this. All the webinars are free to attend. If you attend, we always give you a little something special if you miss it, we send you a free replay within 24 hours. If you do not watch that and you want to watch some of the old ones, they are available for purchase on my website at a small fee. All this stuff, I got free lesson, I got a free webinar, I got a free newsletter. Sign up for all of it on my website, michaeljamin.com. If you want to see me tour with my book, my forthcoming book is called right now. It's called the Paper Orchestra. Maybe changing the title. I don't know, but you can learn more about that. If you want to see me in your city, go to michaeljamin.com/upcoming. I'd love to see you there. I'd love to see everyone there.Phil Hudson:Oh, it's great too. I went for my birthday last year. You did a performance in an incredible performance. Yeah, incredible performance, but then also I wait your birthday's tomorrow, isn't it?Michael Jamin:Oh God. My dad called me today. He goes, happy birthday. He goes, it's not my birthday yet. He goes, I know. Why'd you call me then?Phil Hudson:Yeah. Anyway, I went and then it was fun. I got to meet people from your course who I've talked to for years and they were there supporting and fun stuff, but really, really cool way to see how story moves and it's not like you have the amazing sets and choreography and like crazy lighting. It's you moving people with words and it's with words. It's a great explanation, A great display of what storytelling should be is how I would describe that.Michael Jamin:Thank you, Phil. Thank you. Yeah, everyone come see it. I thank you so much. Alright, Phil. Until next week.Phil Hudson:Keep writing. SayMichael Jamin:Keep writing. Alright. Thanks everyone.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 @ MichaelJaminwriter. You can follow Phil Hudson on social media @PhilaHudson. This podcast was produced by Phil Hudson. It was edited by Dallas Crane Music by Ken Joseph. Until next time, keep writing.

In May I hosted a webinar titled "How To Get People To Attend Your Industry Event" where I discussed the idea of scabbing during a writers' strike, how having people striking is shutting down productions, and how to get someone to read your script. 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:That's how you do it is you really create relationships where people want to help you, but don't send anything unsolicited ever. And I was going to do a post about that as well ever, because you expose people to liability. So this is one of those things where no good deed goes undone. If you send a script out to someone unsolicited like it, it's just going to get that person in trouble. So that's why we won't do it. That's why we won't read unsolicited scripts. You're listening to Screenwriters. Need to Hear This with Michael. Hey everyone, welcome back. It's Michael Jamin. I'm here with Phil Hudson. Hey Phil.Phil Hudson:Hey, every, everybodyMichael Jamin:What up? He says, what up. Keeps it low key. So we are doing another Q and a episode. So every month Phil and I host a live webinar where we talk, we pick a topic, we dive into it real deep. The last one, this one is from May. The one we did in May had a bunch of questions and if anybody wants to go get that one, they're all the webinars. By the way, Phil, you know this, but I'm telling everyone who's listening, they're all free. They're all free. If you 10 live and we give you stuff like free stuff, download stuff that you can get if you 10 live and if you miss it, you can get a free replay 24 for 24 hours. But then if you miss that and you want to buy it, you can buy it for a slow low price on my website, michaeljamin.com. And this website, this sorry webinar was called How to Get People to Attend Your Industry Event Or Watch Your Stuff, right? Because everyone wants to entice industry types. So we give a whole hour long talk on that. And then we got a lot of Q and as, a lot of questions. And so here are the ones that I wasn't able to answer and for your enjoyment and listening pleasure. Alright, Phil, hit me.Phil Hudson:So for formatting, again, I've kind of grouped them into topics. So we'll go topic by topic. And again, if your question was asked and you don't get an answer, we probably already answered that. Yeah, there are a couple questions at times that we re-answer or readdress because everyone asked that question and people don't seem to get the answer when you tell them because you say it all the time. So yeah, that's okay. That being said, a couple things about the rider strike, just because it's topical right now, MB Stevens, w g a strike question. If the assistant loves our work and recommends it to an executive who wants to sign us, do we sign or wait until the strike is over?Michael Jamin:Oh, no one's going to, one's going to sign with you now. I really don't think anyone's going to sign. So you can sign, if they decide to sign you, you can go ahead and sign, but they're not going to solicit work for you right now.Phil Hudson:Oh, you think you're referring to agents and managers? And this question is about studio executives.Michael Jamin:Oh, studio.Phil Hudson:No. Yeah, they're saying if recommends you to an executive, so the answer is no. Right? Because that would be considered scabbing and the WGA has documentation about that. There's a whole site about it. You could go look up. But anyway, from an agent manager question, I think that's a good question. Lots of people have.Michael Jamin:Yeah, sorry, I was mis misinformed. Yeah, no, if it's a studio, you can't solicit any work for even try you.Phil Hudson:I think they said that even having a meeting with a studio executive about writing is considered an act of aggression against the WGA A and you're hurting your future industry anyway, so you wouldn't want to do that.Michael Jamin:You don't want to do that.Phil Hudson:I want to point out too, Michael, I get it. For a lot of people this feels a little unfair because they don't get any of the benefits of the W G A right now. However, the whole point of this is that they are fighting for your future rights. The way that other people fought for Michael Jamon rights and Steve Glam and Kevin ever, all the other people that we know who are writers, otherMichael Jamin:Writers that just in the 2008 strike cost me a lot of money. A lot of money and didn't, I'm not even upset about it. I don't losing obviously that money, but I always felt like it. I wouldn't have gotten any of this if it weren't for the people before me. So it's not really my money to have because it would've been zero without those people. So it's just like this, it's this honor thing that you have to do if you want to have any honor in your life. So yeah, don't shoot yourself in the foot. Yeah.Phil Hudson:Awesome. Ryan McCurdy, are there riders who are striking trying to shut down current productions in protests separate from picketing outside of the major studiosMichael Jamin:And they're being very successful, they're shutting down shows everywhere. I also know, I was talking to somebody about this just yesterday on the picket line, there's like, I dunno what they call it, it's like a guild strike force or whatever. And so they work the night shift from 6:00 PM to 6:00 AM and so it's only a couple of hardcore picketers. They go up like it's three in the morning and they start picketing studios if they know if that they're going to be doing a production there. And as long as there's more two or more people carrying a picket sign, people won't break the line you, but there has to be two or more. And so the transpo drivers, they're not going to break the line. No one, anyone who works in any union or guild, they're not going to break the lump, but there has to be two or more. And so these guys I was talking to actually this friend of mines, Mike Paler who's on Taco fd, he did it one night, he was there, it was 3:00 AM he's like it was bleary. So yeah, they'll shut down. And I did it as well back in 2008. I was running around as well to different sets. As long as there's locations, as long as there's two more writers, people honor that. The picket line.Phil Hudson:Yeah. One thing that's really important to note is that it's a very unified front from basically everyone in the industry where they understand that this is a reflection of a trend in the industry for everyone. And so the transportation department is who I was thinking of in their contract. They're allowed, they're no, they cannot force their drivers to cross a picket line. And so literally transpo won't show up to your set. And if you don't have transpo, you don't have a show.Michael Jamin:These are union guys and Teamsters. Yeah, teamsters. Teamsters. Don't mess with the teamsters. That'sPhil Hudson:Right. They got good sandwiches. There's your 30 rock reference.Michael Jamin:Oh that,Phil Hudson:Yeah. Liz Lemon. She like the teamsters show up and make sandwiches and she's trying to figure out where they get their steak sandwich. It's like a whole episode. It's like a thing. Anyway, engagement. This is our next section, which I think speaks a little bit more to the topic of the webinar. And these are just the whole topic. The whole thing was about this, how to get industry people to watch your stuff, attend your event. So the meat of this is in the replay, which is available right now @michaeljamin.com slash shop. It's just a nominal fee and it's lifetime access. You on demand, you can watch as many times as you want. Yeah, Fran, yeah. Shop,Michael Jamin:It's just kind of hard to hear. Yeah. Michael jamin.com.Phil Hudson:ShopMichael Jamin:With a P.Phil Hudson:Okay. S h o P. Yep. Fran, what if you don't have an event or something to watch? What about reading your script? Meaning how would you get people to read your script?Michael Jamin:Oh, how would get someone to read your script that that's a big ask of, I was going to do a post about this. Actually, that's a huge ask and you only get to ask that once. And if it's garbage or not up to snuff or mediocre, you forget it. You just shot yourself in the foot because you only get one chance for a great first impression. And it's big. You're asking someone in the industry to spend, let's say two hours on your script, maybe spend an hour on notes, maybe another hour on a phone call, giving you those notes during which you are going to be very defensive because no one likes getting notes and it's an unpleasant experience. I was the same way. I didn't like getting notes. I want to be told my script was perfect. And I, I've done this enough where you start giving notes and people are like, they get defensive. It's like, all right, look, I'm doing you a favor. It's a huge ask. So the best way to do it is, is the best way obviously. And Phil, this the best way is to have someone owe you a favor and I've owed you, that's how we met. You were very good to me and my wife and I felt like I owed you a favor. And that's how I read yourPhil Hudson:Script. And for everyone listening, I didn't know that you were who you were. I didn't, right, because it was the right thing to do and I would've done it for anybody in that situation. And I never looked at it as, I'm going to get something from this guy. It was literally like I just had to do my job and this was the ethical thing to do. And that paid off as, call it karma. It paid off the way it should have, which is you offered to read something, I sent you something and your response was, eh, it's a bit of a Frankenstein here. And that hurt. And I didn't ask you to read anything again for three yearsMichael Jamin:Until you, until were ready. But also, as far as I was going to do a whole, I could do a whole, I dunno, maybe a webinar in the future. So I don't want to rob from that. But basically if it's talking about agents, and I've spoken about this, you got to bring more to the table than just a script. But there are some agents that will read the unsolicited scripts, they will read from new writers, the big ones, you're not going to have anyone at U T A or I C M or ca read your script, but that's okay. There are much smaller ones, but you don't pay them, don't pay them upfront. That's not what agents don't do that. They work on commission. So that's how you do it is you really create relationships where people want to help you, but don't send anything unsolicited ever. And I was going to do a post about that as well ever, because you expose people to liability. So this is one of those things where no good deeded goes undone. If you send a script out to someone unsolicited it, it's just going to get that. It's just get that person in trouble. So that's why we won't do it. That's why we won't read unsolicited scripts.Phil Hudson:But to that note, Chandra Thomas, who's in the writer's room this season, she's a strike captain, super go-getter. She was kind enough after the season to reach out to myself and Hannah, our writer's assistant, and offer to read anything we had. I've never asked anyone else on, I've never asked our showrunners, I've never asked anybody to read anything except for Mike Rap who was a peer, who became a snap writer and we trade things. But beyond that, she offered. And that's incredibly kind gesture of hers. I still haven't sent her anything though. I don't want to waste her. AndMichael Jamin:That's because you forged a relationshipPhil Hudson:With her and I don't want to waste your time, so I still haven't followed up with her, but I haven't sent her anything. I don't want to waste her time,Michael Jamin:So,Phil Hudson:Alright, awesome. Josh Hunt does the book you suggest we publish, and I think this was you saying you need to put yourself out there and you need to do more. Don't wait for people. Does the book you suggest we publish? Should it be the same story as an existing pilot, we want to sell itMichael Jamin:Could do anything you want. I mean, make a name for yourself. Make a name, you know, putting out a book and whether you indie, publish it or get it by, pick it up by a publisher. If it only sells 500 copies or whatever, that's not going to move the needle. You have to make a hit, whatever. If it becomes a bestseller, people are going to reach out to you because they want to exploit you. When you want to be exploited, and I use the word exploit, it gets your attention. Obviously I'm being a little flip, but you want to create something that people want. And so if you create whatever your script is, whatever your book is, I don't know, whatever you want it to be, as long when it becomes a bestseller because and because people want to read it, by the way, your poorly written book will probably not be a bestseller. Your well-written book might be. And so then people will come after you because you got something they want, which is basically a platform, something that's comes with a built in audience. It's all about marketing so much about Hollywood. Is it? It's a business. I didn't read Fresh 50 Shades of Gray.It became a bestseller and they made a movie out of it. And that's just how it's done. And when you go back in time, this is how it's always been done for 40, 50 years, you go, oh, I didn't realize that was that movie that I loved was based on a book. Based on a book.Phil Hudson:Yep. Yeah, absolutely. Graham Garside. If established writers such as yourself cannot read established writer scripts for legal reasons or fear of co conflict of interest sake, who do you suggest we reach out to that can read them?Michael Jamin:Well, I kind of the same thing. You forge forge relationships. That's why people, I say, do I have to move to Hollywood? Well, you don't have to do a damn thing, but this is where you're going to make relationships. I met a kid today just on the picket line and I was talking to, he was a nice kid and he was actually friend. Oh no, a student of one of my friends who teaches at local university and he goes, this student is really good. He introduced me to him because I don't know, I can't really help him at, it's, we're all on strike. But he wanted to help this kid out, make a relationship. And so that only happens by being out here and by being good. It wasn't like the kid was bad, was a bad writer, he thought this kid had potential. So that's why that came.Phil Hudson:Well, it's right, there's capital and we talk about this principle in business leadership capital. There's capital being exchanged. It's goodwill in that that's that favor you're talking about being owed, feeling like you owe someone. So your friend is not going to put you in a position to be around someone who they don't think can, will make it or can cut it. Right.Michael Jamin:ThatPhil Hudson:Makes him, because it burns your bridge, his bridge with you. And that's what people are asking people to do that. That's literally one of the other questions here, deeper down, will I have to move back to Los Angeles to be successful at screenwriting? Don't put it on here. You don't because you,Michael Jamin:Right. What's that, Phil? You don't have to do anything you want. And I was going to do a whole webinar coming up. You know what to do if you absolutely refuse to move back to Los Angeles or move to Los Angeles. Is there, what can you do? I promise, well, not promise, but I'm going to look into trying to do a webinar based on that topic. But you are tying one hand behind your back for sure. It's not saying it's impossible, but you are making it, making, this is a hard industry to break into. You're making it even harder because there are people here who are willing to sacrifice, give up, move away from their friends and families to start a new life in Los Angeles, maybe at the bottom. And they, they're hungrier. They want it long, a harder, more, and they're going to skip to the head of the line, deservedly so, because they've already sacrificed more than you have. So you don't have to do anything. And like I said, I'll, I'll try to do a webinar on that topic, what I would do if I refuse to move to la, but you're making it harder.Phil Hudson:Yeah, absolutely. Zachary Dolan, and this is shifting into craft by the way, which is alright, the art of telling story, the Art of screenwriting, Zachary Dolan, how much value do you give personal experience for inspiring great writing as a young person? Do I have to gain more of life experience to be a better or more authentic writer?Michael Jamin:Yeah, that's a really good question. That's the advantage of being older. You have more life experiences and you can kind of see things a little more clearly that you probably can't see when you're 20. I know when I was young, when I was in my twenties, early twenties, and I wanted to be a writer. Well, here, here's a really good example. I loved the Well movie Biloxi Blues by Neil Simon. And then when I was in college, they were staging it. So I auditioned for it and I got one of the leads, one of the small leads. And because I loved that play and that movie, and I remember thinking at the time, man, because it was loosely based on Neil Simon's life, and I remember thinking, ah man, Neil Simon's so lucky that he was in the army and that he had an insane drill sergeant.Then he got a movie and a play out of it how he's so lucky. And I was like, if only I had been in the army and been abused like that as I got older and I wrote this collection, my collection of personal essays, I have stories just like that. I didn't in the army, but I have interesting stories that I've just because I've lived life and I know fortunately I have the talent and the craft now to be able to turn that into an interesting story because it's not just typing things up. So it's definitely, that's an advantage to being older. When you're young, it's easier to you, it might be easier to break in hungrier. You can live off less money, you don't have a family, maybe you might be willing to sleep on the floor more. So it's struggling is easier I think when you're younger. So there's that middle age, what is it, between 20 and 50? What is it? Is it 30? We don't know. There comes a point where hopefully you'll have enough experience to put into your work and until you do, it's really important to learn the craft. Might as well, might as well use that time to write how to write.Phil Hudson:I'll add that to as well and say it's a level of life experience, but then there's also a level of emotional vulnerability. I had a lot of life experience that most people don't want to have. Very early on in life, I could not emotionally process that information until I was in my thirties. I know a lot of people who have a lot of life experience young and a lot of emotional vulnerability young, and they are the people who are doing amazing things at a young age. I mean, not that your daughter has gone through a ton of stuff, but you speak often about one of your daughters having something to say. Yeah, I had something to say, I just didn't know how to say it. Despite having a phone to talk through, which is the form of screenwriting,Michael Jamin:Right? Yeah. See, that's the thing, you're right, Phil, you need two things. You have to have something to say and you have to know how to say it to be a good writer. And you had plenty to say you didn't know how to say it, you know, had a difficult child, tough childhood, and now you can tap into it. I didn't have anything to say and I didn't know how to say it when I was 20. I have neither myPhil Hudson:Daughter who's 20. That should make you all very happy by the way, everyone listening, saying you can make a career even if you can learn those things,Michael Jamin:You can learn those things. Yeah. My daughter who's in college I think is amazing because she has a very high emotional IQ and she has something to say and I'm teaching her how to say it and she's learning really fast. She's really good. So everyone's got their own path.Phil Hudson:But Michael isn't that nepotism,Michael Jamin:Isn't that right? But if your father was a mechanic or worked on cars, then you probably would learn how to work on cars just by being around them all the time.Phil Hudson:I was rarely have an opportunity to sit down on TikTok and scroll through things, but my wife lives on there and so she'll send me things and I randomly one day stumbled upon this kid. He's 20 years old and he's a stone mason in Britain and he restores cathedrals. And I'm watching this 20 year old with a chisel do things that blows my freaking mind. And I'm like, it is so fascinating to watch this kid do this thing that's basically a dead craft because machines should be able to do all these things and he does it as an artisan and he's 20 years old andMichael Jamin:There's probably four people in the world who can do it.Phil Hudson:Oh, that's beautiful about it. Like how did you learn this? And then he shows a photo of his dad and he's sitting beside his dad as a kid and his dad's doing that job and he's chiseling away practicing at eight years old. He learned from his parents the same way we all did for thousands of years.Michael Jamin:Right. Learned from your parents. SoPhil Hudson:I asked that question facetiously. I know the answer is not nepotism. It is taking advantage of the opportunities in front of everyone, and there has never been a better time to get an advantage in anything you want to do than right now because of how accessible the internet has made people like you. Yeah. You are teaching people how to do that. You taught your daughter.Michael Jamin:Yeah, exactly. I don't know, she, it's thePhil Hudson:Same stuff. It's not special. Right?Michael Jamin:Yeah, right. Same stuff.Phil Hudson:Yeah. Awesome. Similar to that Adam Biard talking about worldviews, is there a line where writers should shy away from content because they didn't live it?Michael Jamin:Is there a line if they shy? I mean obviously you're not, it's hard for you to write a story, an authentic story about some in experience. I can't write a story about growing up in the inner city. So if I were to write a story like that, I would certainly want a co-writer or someone who lived that experience so that it could be authentic. But that doesn't mean they say write what, so if, whatever it helps, it helps to be able to write what it feels more authentic.Phil Hudson:Yeah. There's a writer, a New York Times bestselling writer that I was listening to and in an introduction in his book, he said, I'm not the guy who interviewed this guy who did this thing. I'm the guy who remembers what it was like to do it and that's why my books are more authentic. I was like, oh, that's deep. And that's not to say, going back to what we were talking about, emotional intelligence and emotional iq, a lot of people with a lot of empathy who can channel a lot of those things, but never going to be authentic as someone who has the capability to say something and experience.Michael Jamin:It's like when we audition for actors who come in for parts, a lot of actors have a wide range. Let's say they have a wide range. Let's say you're auditioning for school bully or whatever, and a bunch of actors come in and they, they're convincing, but then one kid comes in who's a dick? You could just tell this kid's a dick. Could they just exude it? And you go, you got the part because they don't have to pretend you. They got that vibe. And I, we've cast people like that all the time who are so close to the part who basically are the part, they don't need to act. They are the part. And soPhil Hudson:You told me about one of those people, you told me about one of those people and I laughed because like I imagine that person being that exactly that because they just live. Yeah.Michael Jamin:So it's the same thing for writing. It just, it's easier if you are that part.Phil Hudson:I was listening to an interview with Chris Pratt and he said that his big hit was on Everwood and he read the role and he didn't want to go do it. And so he is like, you know what? There's this thing I've always wanted to do, which is just go in and pretend I was the person and not put on the scene, but just be the person. And it's like the school bully. And so he's like, I walked into the audition, I was like, alright, so here's the thing. Obviously I am the star of this show and this kid is a punk and he wants to be with my sister, and that's messed up and my job is to make sure he knows he can't come into my world and mess this up. And they're like, and then he walked out all egotistical, and then he said when he left, he turned to the door and listened. And they're like, that's our guy, right? Because obviously he's not the main character, he's the dick in the show messing with the main character, but that, and you say this all the time, the bad guy is the hero of the story in his mind. He's the hero and he did it, and that's how he got his break doing exactly what you said.Michael Jamin:Right, right. Interesting.Phil Hudson:Cool. Awesome. So next up we've got Linda Gakko. Is there a specific format for scripts? And I thought that would be something you haven't talked about in a while.Michael Jamin:Well, yeah, there's a format. Depends on what you're writing. So the format is going to be different for a half hour multi-camera sitcom for a half hour live action single camera sitcom or an animated, they all have slightly different formats. There's a different format for slightly different format from a movie. But to be honest, if you mess up, you're not going to get hired. If the margins are perfect, the story has to be good or great. So you can Google all those formats and you can go on my website and even download some sample formats@michaeljamin.com. You could download some sample scripts and a couple different formats just so you get the margins just so it looks better. But to be, but honestly, if you get the margins slightly wrong, it's not a big deal. I, I've written professional scripts, turned them in, and to have someone at the studio say, we don't like your margins, I, I'll change the margins. Why do I care? I'll change the margins. But the story works. The story is the most important part. You can't fake that part.Phil Hudson:Yeah. And software does that for you now. Yeah. You don't have to have a word to template that you handcrafted with the margins like you did in 92.Michael Jamin:Yeah, right. APhil Hudson:Awesome Joshua Drew, Joshua DeBerry, excuse me, Joshua. When developing characters for shows or movies, are certain actors kept in mind during the writing process or are they picked after the characters are developed?Michael Jamin:It, it depends what you want. I mean, my partner and I generally, no, pretty much always write with an actor in mind for each part. And it could be an A-list star, it could be someone we're never going to get for the role, but we write with them in mind just to get their voice. It helps just to imagine, oh no, that's not how that actor wouldn't play that well or, oh, that they do snarky. So I can hear the voice. So it definitely helps, but I don't need to, sometimes you'll read a script and they'll say, think Arnold Schwarzenegger for the whatever role. Okay, okay, sure. I tend not to do that, but some people do.Phil Hudson:Yeah. Yeah. I tend to do that occasionally. David Booker, how soon in the script or novel do you need to identify the obstacle and goal or do obstacle in goal to find the protagonist? It need to be defined upfront.Michael Jamin:The sooner you, the sooner the better. The sooner the or the, and I have a free lesson. If anybody wants to download this, go to michael jamin.com/free where I explain this a little better in more detail. But the sooner you set that up, establish the sooner the audience is able to identify the hero and the obstacle and the goal, the better before any time until then, the you're, you're literally boring people. You're waiting for them to do something else. So the sooner, the better that a common note we'll get from any studio executive is can you start the story, the story sooner, and then you'll get that on page three is pretty fast. Yeah, but can you do it on page two? Sure. And I've written stories in my book and Oh, I was going to talk about that. I'm glad we're doing that. I'm making note where the story starts fast, really fast. Yeah. Yeah. Thank you for that question. Hey, it's Michael Jamin. If you like my videos and you wantMe 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 could unsubscribe whenever you want. I'm not going to spam you and it's absolutely free. Just go to michael jammin.com/watchlist.Phil Hudson:Maria Perez, how do you trace a map? This is, I think is a translation. So how do you trace a map to a great story that has multiple layers? How do you outline a story that has multiple layers? Is I think theMichael Jamin:Most important thing you need to do is get the story, tell your compelling story that's figure that out. Figure out how to break the story. Once that's done and your story is rock solid and you can, you know how to hang that thread all the way through, then you can go back and add in the layers, the little themes that maybe people may pick up may not pick up. Then you can go back and say, oh, you know what? He should be watching the clipper game because it feels like a game. And so that's later. If you do it first, you probably will fall in love with it and then you'll bend the story to make that work. And it shouldn't be. The story always comes first. Always talk to anybody. The story comes first.Phil Hudson:Yeah, that's a solid note. When I was in film school in Santa Fe, I was, one night I was driving on a coyote, walked through the middle of the street at night and I was like, oh, that's a cool moment. Let me put that in a script. And then later when I redid another draft on that script, it became a vulture because it was more on theme to what I was writing about with predatory people. So to your note, it's just rewriting andMichael Jamin:Yeah. Yeah.Phil Hudson:Cool. Next section is being a pro. Yeah, Yankee. Okay. What in your mind is a good balance of honing your craft at a higher level? Would you focus more on working with others voices, more solo work or like 40, 60 split between the two?Michael Jamin:Well, when, if you're going to work in television, and most screenwriters, I think start should start in television, you'll learn more about story structure on a TV show than you will trying to sell a movie on your own. So I always recommend starting TV first. And when you start in tv, you don't need to have a voice. You need to capture the voice of whatever show you're on. So it's a little harder now because it's a little harder. Now, new writers are also expected to have their own voice, which I feel is very unfair. So I do, I guess I would, maybe I'd make a case for doing both. I would say work on stuff, original stuff of your own that has a voice, and then also try to write sample material for shows that already exist. Or even if you want to do a movie, a movie that feels the tone of some other movie, so that you can develop two skill sets. One is being this mimic and one is having an original voice. Because when I'm, I'm working on a TV show, I don't have to have an original voice ever. I'm capturing someone else's voice.Phil Hudson:The terminology gets a little confusing here for people. So in features, a spec script is a script that you're writing on speculation that you can sell it. And that typically means you get paid more to do it. You assume the risk, whereas an assignment is something a studio gives you, and you write that. But in the TV world, a spec script is writing a sample of an existing show,Michael Jamin:But you're not going to try to sell. It's just a writing sample.Phil Hudson:And going back to the second thing I ever had you read, it was a spec script of Mr. Robot that I wrote for a TV writing class I had, and your note feedback was different. I can tell you're a competent writer, you captured their voices, these things, but it's good, not great, and you have to be great. And then I was like, ah, crap. And then I took three more years to send you something else, right? But it was a good exercise for me to say, can I do the job of writingMichael Jamin:A show? But along the way, you're al you were always writing, always working, and get working to get better. And you saw improvement in yourself, like others you didn't even have to ask to see. You saw it in yourself, right? The more you wrote, the more better you gotPhil Hudson:For sure. Yeah. And I think there are a couple things I've picked up from you that we've talked about on the podcast and we definitely talk about on the webinar. I wish I would've caught earlier. The big one for me was when I was going to send you something and you're like, do me a favor and print it out and then send it to me so I don't have to print it out. And I was like, huh, okay. And so then my rewrites, the process that really changed this for me was this. I print out my script, I take a red pen, I just sit down in a chair and I read it, and I do no editing on the computer because for years I would just beat up the same script and polish the same first act and never really get anywhere. And now I take the lessons from your course and I'll whiteboard, what are my three acts, what are the structure points that need to be there? And then I write the page count there just to give me an idea of how balanced the script is. And that all comes from the course, but the printing things out thing really did it for me. Yeah. I stopped polishing the turds, andMichael Jamin:That really helps to look at a hard copy. Yeah.Phil Hudson:Yeah. So yeah, to answer your question, yes, I was learning. But those things, for anyone listening, that's just learn that now and save yourself a couple years of pain sitting in front of a computer. Great. Rich Scott, any thoughts on a daily goal for your writing? What is a successful day of writing for you?Michael Jamin:Well, for anybody, it depends what your schedule is. If you can write 10 or 15 minutes a day, if you're super busy and you can do 15 minutes, great. That's a successful day. It just depends what your schedule looks like. If you're a weekend and you only have nothing to do and you only write 15 minutes, that's not successful. If you could have put in more hours. But again, to me, I don't measure success by page count because I'll often put out pages which are unusable, but what it does to me is hopefully gets me closer to what is usable. And so to me, a successful day is, it can even be when I'm driving in a car and I'm working on a story problem, just one problem, not working on the whole story. I'm just thinking, well, how do I make this entrance work for this character? How do I give them a good ENT entrance? Or what is the story really about? Well, I'll focus on one problem, I'll turn the radio off, and if I can find the answer to one problem during a half hour commute or whatever it is that's successful, I make a note. And now I go home and I can write it later. You can get a lot done. You can get a lot done in a half hour car ride if you just focus on one problem.Phil Hudson:That was the other big piece of advice you gave me. So funny how that's lined up. So as a pa, I would spend so much time driving around LA and sitting in traffic, and I'd listen to podcasts and stuff, and you were like, you asked me, do you listen to podcasts in the car? I was like, yeah. And you're like, stop.Michael Jamin:JustPhil Hudson:Start working on yourself. So I would turn on voice memos and I would just talk out loud to myself to solve my problems and I'd get home and oftentimes I didn't even need to reference it, but I had it so I didn't lose anything, and it was really, really helpful. Yeah.Michael Jamin:Yeah. Turn off the radio.Phil Hudson:A lot of people in the webinar also commented that they loved that piece of advice you gave. You had given it earlier, and a lot of people said it's really turned things around for them, which is turning the turning stuff off in your car and focusing on even just 15 minutes a day of just working on a store problem. Yeah, yeah, yeah. Just nuggets of gold being dropped by Michael Jamin here.Michael Jamin:Oh,Phil Hudson:Don't pick your mic up and drop it. We still got a podcast.Michael Jamin:Yeah, we got more to talk about.Phil Hudson:All right. David Kepner, excuse me. Super speed. 2, 3, 7, 8. Do you as a working writer still find time to make what you consider art? Or do you get enough joy and fulfillment out of the business side, the stuff that makes money?Michael Jamin:No. I get more joy and pleasure from my side project. I'll plug it now. A paper orchestra, which is just my passion project, which is a collection of personal essays, which hopefully will be available soon for purchase for all of you. But to me, I get more pleasure out of that when I write for a studio, I'm getting paid and I have to give them what they want, and that's fair. It's a fair trade. And sometimes I'm writing stuff I'm not crazy about. That's okay, I got to pay the bills totally fine with me. But when I'm writing this on the side, this is, and I'm not sure if I struggle with what art is. We've had this conversation, what is art? But to me, this is closer to art than what I did when I do as a sitcom writer, just because I think it's coming from a more truthful, emotional place, and I struggle with what art is. So I think maybe this is closer to, I think this is maybe art. I know it's difficult to do for me to do, but I get a lot of, and I don't get paid for, or I haven't gotten paid for this yet, at least. So it's not about the money.Phil Hudson:Yeah. Yeah. Awesome. David Kepner, what's the difference between writers and script doctors?Michael Jamin:Well, there's really not such thing as a script doctor. So every writer, I mean, anyone who's ever doctored a script, which is this crazy term, I guess Carrie Fisher wants, everyone's referred to Carrie Fisher as a script doctor. The script is dying, bringing in the script doctor. It is not really a thing. You're just a screenwriter. Every screenwriter will work on trying to sell a movie or a TV show, trying to write something original, working on someone else's project. Sometimes you get called in to do a rewrite on someone else's project. And I guess you could say that person is a script doctor. Some people say, I want to be a script doctor. And there's no such thing. You want to be a screenwriter who maybe gets side work doctoring someone else's script, fixing someone else's script. But by the way, no one's going to hire you to fix someone's script if you can't do it yourself.If you don't write a good script on your own, no one's going to pay you to fix someone else's. Like we're, it's just such a amazing, there's so much bad knowledge on the internet that people are just fishing out and they're thinking, well, I don't really want to write a screenplay. It's a lot of work. I don't really want to learn how to write, but I don't mind fixing someone else's piece of crap. Who do you think is going to hire you if you can't do it yourself? So you need to learn the art of, in the craft of screenwriting, you need to learn it. So this thing about script doctoring, it's just a fancy word that, what are you talking about?Phil Hudson:Yeah. There's another avenue to this, and without naming names, there are people who call themselves script doctors who will read your script, Michael, for $500, and give you notes and tell you all of the problems and help you fix. Yeah,Michael Jamin:I'd like to read their script and find out if they can write and, well, I'd like to read, I'd like to see their credits. I'd like to look 'em up on I md. But what have they done that so good at telling you how to do that job? Really,Phil Hudson:It's a lot of money being spent by naive people who want to be rider and people selling the dream. And you don't do that. You sell the reality, the harsh reality.Michael Jamin:Yeah. And I know say that even at the end when I'm talking about my course, I'm, listen, I have a course, you can get it or not. Okay. If you don't want to get it, just keep following me. I offer a lot of free advice. I'm not trying to trick anybody into buying anything.Phil Hudson:Yeah. And you also tell 'em like you're not going to make their careerMichael Jamin:Like you. No, I'm not. Yeah. All I can do is help you. I can teach you what I know. It's up to you to who knows what kind of talent you have and who knows what kind of work ethic you have that's on you. So yeah,Phil Hudson:Ariel Medley, I'm an aspiring screenwriter with a two-year-old child. Should I ever get into his writer's room? Any advice on balancing the long hours with parenting? And I thought this was a good one because you had kids when you were writing, right? You were in your career.Michael Jamin:Sure, I have. And I was just talking to my friend Cliffy, Carrie Cliffy yesterday, and she has a kid, and so it is hard for her to have long hours. It's hard, especially, I think this is a woman who asked this question.Phil Hudson:Yeah, I heard Ariel, so I'm assuming the mother. Yeah.Michael Jamin:So yeah, it's definitely hard. I mean, the hours in TV can be really brutal, and you will probably be away from your child for long hours. So how do you balance? So that's just the job is the hours are terrible. It might not be for something that you want to consider until your child is a little older. So in the meantime, work on your craft, become really, really good so that when your kid is in high school and wants nothing to do with you, you don't feel so bad when you're working till midnight every night. And at that point, if you're worked on your craft so long, you're going to be really good. Perfect timing is perfect. You'll spend next. Why not spend the next 13 years getting really good at writing so that when you get that job, woo, you can start flying.Phil Hudson:Yeah. Yeah. It's tell you, it's tough. I was working 14 hour days as a producer's assistant on a feature film when my kid was born. And that was just, I would go days without seeing my kid leave before she got up. And that sucked really hard. I miss those days, but I cherished and treasured those midnight cry sessions and the weekends. So yeah,Michael Jamin:JustPhil Hudson:Make the most of the time and be as present as you can be. Paul Cromwell. Do aspiring writers ever make it after turning in a bad draft and burning their one shot?Michael Jamin:Well, I, if you're on, I, do they ever make it? I can't say ever. I can't speak for all of HollywoodWhen I'm on staff of a TV show. If a writer turns in a draft that's unusable, then you got to measure it. Well, how good are they in the writer's room? How much do they contribute that's usable? They may be terrible in the room and their scripts are terrible. Well, that they're not going to, they're gone. But they may actually have really good ideas, but still need a little more handholding, a little more mentorship. And maybe it's a diamond in the rough. But the problem is that these days have changed. When I broke in the writer's staff, the writer's rooms were much larger. And so you could hide if you're a young writer and you didn't really know how to do it yet. Most don't. You could hide a little bit. Today, the writer's rooms are smaller, the budgets are smaller, so there's, there's fewer places to hide. And so you really want to be prepared. You really want to understand story structures so well that you can turn on a draft so that you don't have to worry about being fired because a shame, it's hard enough to break in and then now you've fired. Great.Phil Hudson:And tying it back to what we talked about at the beginning, specifically for aspiring writers, I effectively burned my one shot with you when sent you my first script. It was not a good script. I understood nothing about story structure. I just knew how to put some things together and some formatting, but I didn't burn my bridge with you because of the goodwill I had earned and the understanding of where I was at and your mentorship. But I understood also sending more bad stuff real quick was a quick way to burn that bridge, which is why I didn't. So you just got to be conscientious and you got to have social skills. The social awareness is a really key thing. And I apologize, I didn't write this person's name down, but I'm a student and I don't have the money for the course. This is speaking about your screenwriting course. If I could do a monthly payment that is not one quarter of my entire paycheck for my minimum wage job, is there any way I could get it cheaper? And I thought this was an interesting one because there are a lot of people who want to know, can I take your course? I can't afford the course right now. Any thoughts on that?Michael Jamin:Well, I mean, yeah, we have a monthly payment plan. So where it's a hundred something a month for six months, which is not terrible, but if you're making minimum wage, everything's going to seem expensive to you. I mean, a bar of soap is going to seem expensive. So right now, you have to prioritize, you need to pay, eat, you need to pay your rent and have food. That's the most important thing until you start having more money, then you have a little more spending cash. But I never try to convince somebody to pay me over putting food in their mouth, in their mouth, eat first. Yeah. That's more important than taking a class for me.Phil Hudson:And that's why you do so much in terms of podcasting and the webinars and all these things, just so that you can give that stuff. And it's really a quality check on the people entering the private Facebook group and those things, it's important, valuable information, that's why.Michael Jamin:Yeah. But I give up plenty, like Phil saying, I give up plenty of free knowledge all the time, so that go enjoy that. So that's okay. Yeah.Phil Hudson:Awesome. And then the last three questions here. I know we're getting close on time, the Jovin Sure has two questions. Alright. What's the difference between a studio wanting to cast someone and to develop them?Michael Jamin:Oh, well, often when you're developing a TV show, I'm sure probably the same for movies, but you'll have talent attached or you'll think of attaching talent. Hey, if I go in with this actor, well, can I sell it? And sometimes you'll be told that actor is casting, or sometimes you can say no, they're development and it, it's up to the studio to decide whether the character, whether that actor is casting or not. Which in other words, do they have enough, does the studio want, is willing to pay to put them in the middle of a show? I mean, Tim Allen is not casting Tim Allen you developed for, because he's done so many hits. And so anytime he's attached to a project, the studio's going to probably green light it. And if you go in with Tim Allen or your pitch, it's sold and it's probably on the airs.But if you went in with someone who was like Tim Allen, funny, like Tim Allen, and only using Tim Allen's name because someone mentioned him on the picket line today. If you went into someone like him who had done a couple of guest spots where maybe he's a standup, but no one's heard of he, that's casting. So those questions, and I'm not the one, like I said, I'll often ask my agent or managers, this is this actor, this famous actor who we've heard of. Are they casting or are they development? Can you? And sometimes my managers say, no, no. As famous as they are, they're casting.Phil Hudson:That's wild. I just learned something. I had no idea the difference in this terms. And that's backwards of what I expected that to be.Michael Jamin:Oh, really? Yeah.Phil Hudson:No, that's awesome. Thanks for the question. Follow up. Another question from the Jovin Insure. What's your take on modern Multicam shows? It's clear, clearly not as popular as it used to be. That's a bit of an opinion. And the writing quality seems to be less than most other single cam comedies.Michael Jamin:Well, the studios are always, or networks are always saying, we want more multi cameras because they're less expensive to make, but they seem to always buy single camera shows. I think single camera shows lend themselves to a higher level. They just have a patina about them. And by the way, I've written both and I don't really have a preference as to which one I want to write. They just seem to have a patina. But that's not to say friends. Friends just say, great. And that was a multi-camera show as Seinfeld as well. So yeah. Why do they do less? I don't know. It can be eggy. Sometimes they have cornier jokes. That's not really a good thing. It's just the writing isn't as good. Whereas on a single camera show, often you can go straight. You don't have to have corny jokes. Why is this? I don't know. This is just doesn't, it's such a weird thing to say because back in the seventies there were many multi-camera shows that were not corny and they didn't have a lot of jokes. It's just that styles have changed. And often these networks, they want to have more jokes per page. That's just kind of what they want.Yeah. I didn't answer the question. I'm sorry.Phil Hudson:I tried. No, I think you did. I addressed the core of the question. Okay. Writing quality seems to be less than, and it'sMichael Jamin:Just part of it. Yeah, sometimes it is and sometimes it's not. It just depends on the show. Friends is really good.Phil Hudson:And you've had a ton of really strong multi-cam showrunners on the podcast interviewing, talking about things. So if you haven't gone and listened to those episodes, go do that. And you can see these are people who are pros at the highest level doing their job as best as they can. But oftentimes you're working for someone else, you're giving them the show, right?Michael Jamin:Yeah. Right. Yeah. So,Phil Hudson:All right, last question from Angelina. What opportunities are best to learn from and take advantage of while being a current college student?Michael Jamin:Oh, any opportunity you go make a friend, make a movie with your friends, with the other film students or whatever co college students your opportunities are to write, act, perform, make whatever opportunity is in front of you. Take it. If it's helping somebody out on a student film, do it. This is your start at the bottom. Any opportunity if you have on the week during summer break, if you're able to get any kind of job as a receptionist in a production house or a studio or anything to get, but take it. Whatever you can do to get closer to your goal, whatever your job is, physically closer, take it. There's no opportunity that's wrong. Yeah. You even if you want to work at a med, you get a job as at a working for a talent agent. Alright, that's better. That's closer than you were before. Don't stick it out longer than you have to. But you'll learn just even if you want to be a screenwriter, you'll learn a little bit about the business by working for an agent or a manager.Phil Hudson:Yeah. I wish in film school I would've spent more time taking advantage of production opportunities, but I was so focused on being a writer. I didn't do that. And then when I got to Los Angeles, I would've had far more opportunities if I'd done that. Yeah. Yeah. I had to do things. I knew how walkie works. I knew kind of the basic job of being a pa. I knew what CS stands were. I knew all that stuff, but just didn't quite get the scope of work entailed to do something. So make sure you get those opportunities. That's it. Michael, that's, those are your questions from our May webinar.Michael Jamin:We did it, Phil. Thank you everyone. That's it. We are continue to, I got a newsletter. Everyone should be on that. You should be watching as much as you can. It's free. You can go to michael jamon.com, you can find all this free stuff. I got a free screenwriting list. I got a free webinar that I do once a month. I got a newsletter. We have downloads, we have all this stuff to make your life easier to get along your, to get your dream of whatever it is to become working in Hollywood. So there's plenty of resources. Go get it. Go get it. You know? That's right. Phil, anything else?Phil Hudson:Yeah, the only thing I wanted to point out, I don't think you said it for information about your book, Michaeljamin.com/upcoming, which is also on the site, but particular because you brought it up. I want to make sure knew about that link.Michael Jamin:Yeah. That's a collection of personal essays and some of the stories are for me working in Hollywood and some are just are not. But you'll see when you read it, I hope you all read it. These are little stories and each one could easily be a movie or an episode of a television show. And these are true stories for my life, and you all have the same thing. And in my course, I teach you how to write stories like this and it's lovely. So if you want to go be notified when I start touring to come to your city, go to michael jamon.com/upcoming and I hope to see you there.Phil Hudson:Yeah, it's a really great example for anybody interested in being a writer or an actor or anybody, either. There's a lot of nebulous terms that have been in the industry for a hundred years and write what is one that may not make sense to a lot of people, but yeah, that is a really strong example of doing that. It's mining your life for stories and those kinds of things. Other thing I wanted to point out, we do a webinar every month. Like you said, there's one coming up. Make sure you go to michael jamon.com/webinar. Get on the list and register. It's completely free. You can catch the replay if you can't make it to the official thing, but that's incredibly valuable information that you provide to anybody.Michael Jamin:Yeah, so we'll see you there. Alright, awesome, Phil, thank you so much everyone. Until next week, keep writingPhil Hudson:Cha ChowMichael Jamin:Cha Chow.Phil Hudson:This has been an episode of Screenwriters. Need to Hear This with Michael Jamon and Phil Hudson. If you're interested in learning more about writing, make sure you register for Michael's monthly webinar@michaeljamon.com slash 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 Jamon on social media @MichaelJaminwriter. You can follow Phil Hudson on social media @ PhilaHudson. This podcast was produced by Phil Hudson. It was edited by Dallas Crane Music by Ken Joseph. Until next time, keep writing.

Happy 11th birthday to INDOUBT! Although THE INDOUBT SHOW is new, we've had an incredible history of resourcing young people over the past 11 years. Join host Andrew Marcus as he spends time with the founder of INDOUBT Mike Cumiskey, as well as other hosts in the past including Isaac Dagneau, Ryan McCurdy and Daniel Markin as they talk about what's new in their lives, their passion for INDOUBT, and how important it is for us to be grounded on truth! 

This episode is brought to you by National Office Systems Savannah Repertory Theatre executive director Ryan McCurdy joins the Thursday Commute to talk about their upcoming show, On Beckett, which stars Broadway actor Bill Irwin before discussing the state of performance venues in Savannah and an update on their own work on a venue on Broughton Street. Then, Ken Gronbach speaks about the future of the U.S. economy following the first phase of the pandemic after his recent speech at the World Trade Center luncheon. Subscribe to the show on Apple Podcasts

In this episode, we talk to Ryan McCurdy, Vice President of Global Demand Generation at Lacework

This week on this New Years Eve Edition we are Kush Chatting with Stephen Lyons who is a NYC based Actor/Musician. He's performed extensively as a Solo Artist and with his band Bonfire Falls extensively. Stephen's first album 'Fall' was produced by Grammy nominated Producer Anthony Newett and Jeff Barrett. His cover of 'Bridge Over Troubled Water' was a semi-finalist for best male vocalist in the 'Unsigned Only' competition. Stephen performs with fellow Actor/Musicians in Indie Folk Pop band, Bonfire Falls featuring the talents of Ryan McCurdy, Erikka Walsh, Justin Aaronson and Chris Kelly. The band features a diverse sound combining Rock, Indie, Folk and Progressive Rock. They released their debut EP, 'LIFETIME' in May of 2016 recorded at Bunker Studios, BK.Stephen is currently working on developing new music for Bonfire Falls and a new Solo Album. As a Vocalist he was the voice of a Nationally Syndicated Radio program in 2010 which had a listenership of 8 million listeners. Recently he's been involved in efforts to 'Save The Legendary Bitter End' from closing due to the pandemic. He performed with an all-star line up of NYC musicians for a benefit concert for the Bitter End produced by (Roomful of Sky Music / Phil Robinson) and Sam Teichman. As an Actor you can see him on such shows as 'Diabolical', 'Grave Mysteries', 'Dead Reckoning' for Investigation Discovery and The Travel Channel's 'Mysteries at the Museum'. His most recent work includes the short film, 'Peeking' (Dir: Wells Watson) / Editor (TJ Misny) to be released in Winter '21. He starred as 'Brax' an aging hipster in the new comedy webseries 'Dyed In The Wool' (Dir Bill Sorice) with Matilda Szydagis ('Marvelous Mrs. Maisel') and Amie Amis, Bill Sorice which has earned five awards including 'Best Comedy Webseries' for the Houston Comedy Film Festival. The Chinese feature film 'Study Abroad: American Invitation' (Dir: Heluan Zhang / EnMaze Pictures) a RomCom in which he played American Gangster 'Charlie' is also scheduled for release sometime in 2021. SOCIALS: Twitter: @LyonsMusic Insta: @LyonsMusic FB: Stephen Lyons Music Bandcamp: bandcamp.com/stephenlyons Website: StephenLyons.net --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/keon-torres7/support

Street Talk | The Road Traveled: Episode 8Featuring Franklin Street's:Andrew Wright, CEO and Managing PartnerRyan McCurdy, Director, Office & Industrial

This week Laiken sits down to chat with Ryan McCurdy of Savannah Repertory Theatre. In this episode Laiken and Ryan discuss the recent growth of Savannah's theatre scene, being a union actor, and Savannah Rep's upcoming play "Vania, Sonia, Masha, and Spike." "Written by Christopher Durang and Winner of the 2013 Tony Award for Best Play. Middle-aged siblings Vanya and Sonia share a home in Bucks County, PA, where they bicker and complain about the circumstances of their lives. Suddenly, their moviestar sister, Masha, swoops in with her new boy toy, Spike. Old resentments flare up, eventually leading to threats to sell the house. Also on the scene are sassy maid Cassandra, who can predict the future, and a lovely young aspiring actress named Nina, whose prettiness somewhat worries the imperious Masha." For more information and tickets, click here: https://www.savannahrep.org --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/laikenlove/message Support this podcast: https://anchor.fm/laikenlove/support

The Unscripted Interview is back! This week we talk with our pal Ryan McCurdy and Kiley Ebelhard about their short film, Deadly Damsel. It was shown at the second installment of Unscripted 2019. Podcast contains audio clips and music from the film.

This week we meet our new host, Ryan McCurdy. Ryan spends some time giving background on who he is and where he comes from, allowing us to get to know him a little better. In this first episode with Ryan, he takes us back to some of indoubt's past conversations and he highlights specific parts… The post Episode 147: Remembering & Looking Forward appeared first on indoubt.

Ryan McCurdy is a New-York based Actor/Musician, Music Director, and Music Supervisor who has worked on Broadway, Off-Broadway, and regionally at Rattlestick Playwrights, Manhattan Theatre Club, Second Stage, Hudson Valley Shakespeare, and HERE amongst others. He is a twelve-instrument singer/songwriter and co-founder of the rock band Bonfire Falls. The post Episode 83 Ryan McCurdy Actor Musician appeared first on Actor CEO.

Ryan McCurdy, an Unscripted all-star, drops by to discuss his latest effort, Misread. Lots of other stuff, too! Note: We had an issue with our digital recorder, so, unfortunately, the audio quality for this one isn't great. It definitely is more listenable than the ones we recorded on a phone, though. Please overlook the room noise. Intro - "T-Shirt Trot" by Allen Rockhouse Outro - "Rumors" by Big Fresh

Block Talk- Episode 6 (Ryan McCurdy) by Michael Block

Our second Unscripted Interview features Ryan McCurdy and Kevin Arnold, the two men responsible for the incredibly powerful short, No More Messages. Relevant Links: No More Messages - tinyurl.com/NoMoreEvv Dark Nights - tinyurl.com/DarkNightsEvv www.maydayfilmfestival.com/ ------------ Intro Music: Big Fresh - "Here Is The Deal" - BigFresh.Bandcamp.Com Outro Music: Lurxury Elite - "Au Revoir" LuxuryElite.Bandcamp.Com