This Saturday I’ll be at WGAw in Los Angeles for another “The Best Short Film Workshop Ever” hosted by filmmaker, author and former Sundance programmer Roberta Munroe.

I’ve been both an attendee and speaker at previous workshops, and have met a great slew of filmmakers and industry folk.

Saturday February 27th, 2010
Los Angeles
The Writers Guild Of America
7000 W. Third Street Los Angeles, CA 90048

RSVP and join in!

Thanks to everyone who came out to sing and network last week at Screenwriter Karaoke. Check out some pictures below. (Thanks Angie!)

In other news, New York Screenwriter Karaoke is next week! Tell your east coast friends. You can RSVP at meetup.com

January 28th 2010,  7:30 PM at
Baby Grand
161 Lafeyette St.
New York, NY 10013

photo credit: leinadsimpson

Screenwriter Karaoke is a monthly filmmaking network event organized by yours truly in two cities (NYC and LA.) It’s been a great vehicle to meet some wonderful, creative people. I encourage you to come out and mingle, sing or drink!

LA:
Thursday, January 14th, 2010 at 8:30 PM
Sardo’s Grill and Lounge
259 N. PASS AVE.
BURBANK, CA 91505

Driving directions: Here

NYC:
Since I am now in LA, I’m working with others to help co-organize NYC Screenwriter Karaoke. I anticipate the 3rd week of January for New York Screenwriter Karaoke. Stop by as the date nears for more information.

January TBD 2010 at 8:30 PM
Baby Grand
161 Lafeyette St.
New York, NY 10013

Back in 2002 I was studying to be an audio engineer at The Sheffield Institute for the Recording Arts. I reasoned that since I fancied myself a musician, it was an important step to learn how to produce my own music.

I further studied and later re-directed my focus on production and post-production for film. It was an excellent choice which gave me an important educational foundation to move onto and pursue rewarding work.

So, it is very exciting to share that nearly eight years after I graduated from Sheffield that I’ve been featured in their Alumni online magazine. Check it out!

Back in September, I was invited to speak on a panel about different aspects of short filmmaking at Roberta Munroe’s “Best Short Film Workshop Ever.” It was a great workshop, filled with wonderful discussion about writing, production and distribution of short film. (You can read my notes on the workshop, and notes from Roberta Munroe’s other events.)

Leah Meyerhoff

On the panel was Slava Rubin co-founder of IndieGoGo.com and filmmaker Leah Meyerhoff. Leah’s film Twitch won the grand jury prize at Slamdance in  2007. Twitch went on to show at over 100 festivals and received many awards and was her first foray into the film festival circuit.

Leah has been gracious enough to share a bit of her insight on her short filmmaking and how it has prepared her for her first feature length film. So, let’s get into it!

Merrel Davis: What were the circumstances surrounding the production of Twitch? When you set out to make Twitch did you have a particular endgame in mind, like getting distribution or simply visibility?

Leah Meyerhoff: I made Twitch while I was studying at NYU. I’ve always thought it best when filmmakers “write what they know” so I began with a very personal story and then expanded out from there. My mother was diagnosed with Multiple Sclerosis shortly before I was born and was in a wheelchair by the time I was learning to walk. My parents divorced soon after and I was left having to take care of my mother while I was still a child. I have always been interested in making a film about this mother/daughter role reversal and the complexities and challenges of growing up with a parent who was sick. Thus Twitch tells the story of a teenage girl torn between caring for her disabled mother and escaping into the world of adolescence with her new boyfriend. After many unsatisfying auditions in NY, I decided to cast my real mother as the mother character in the film, which meant that I needed to return to SF for the shoot. Around the same time, I was approached by a reality show called “Film School” who wanted to document the process of making Twitch for a program on the Independent Film Channel (IFC). Although in retrospect, it probably wasn’t worth the headache, at the time it seemed like an easy way to finance the film as well as secure a certain level of visibility. Although I didn’t have a set distribution strategy in mind, I knew that I wanted as many people as possible to see the film and a showcase on IFC seemed like a good opportunity. We shot Twitch on Super16mm over the course of three days with a small crew comprised of many of my classmates from film school. Afterward I edited the film on an Avid and began sending it out to festivals. [Merrel Note: If you want to see part of Leah's process, there are many clips available on Youtube of the "Film School" series.]

MD: Much short film seeks to mimic the style and pacing of television. I increasingly see “all flash, no substance” short films that feel very impressed with themselves. After traveling the festival circuit promoting your various projects and music videos, do you see any emerging trends?

LM: I agree that many short filmmakers seem more interested in making calling cards than telling a story, but at the same time I think there is a counter movement towards smaller, more performance driven work. Some of my recent favorites are films like Man, Lady Margaret, Antonio’s Breakfast, In the Morning and The Execution of Solomon Harris which don’t try to cram an entire feature into a short, but rather focus on conveying the emotional truth of a particular moment in a character’s life.

MD: At the Boston Underground Film Festival, you talked a little bit about your original career aspirations, you said you wanted to be a marine biologist. How has that skillset come in handy as a filmmaker?

LM: Although I had different interests in high school, by the time I attended Brown University I ended up majoring in Art-Semiotics, which is basically a combination of film theory, art history, postmodern thought and film production. This skillset has informed my filmmaking by provoking me to consider the meaning behind each shot in addition to the visual effect. Similarly, I am able to watch films with a more critical eye and take away specific lessons which I then apply to my work. At the same time, I think too much theory can be dangerous because the emotional truth of the story has to come first.

MD: Can you talk a little bit about your first feature Unicorns? Has your introduction to the short film and festival world been helpful?

LM: Unicorns portrays an awkward teenage girl who escapes to a fantasy world when her first romantic relationship becomes increasingly abusive.  Through a combination of social and magical realism, I hope to create an intimate, honest, performance-driven film that allows us to get inside the character’s head as well as her heart. I began writing the script as my thesis at NYU and simultaneously started fundraising as I traveled the festival circuit with my short Twitch. In fact, I would not be in the place I am at now were it not for my prior experiences in the short film and festival worlds.

MD: How did the production of Unicorns come about?

LM: I met most of the people who are currently working on Unicorns through the festival circuit. Our executive producer Allison Anders had recently mentored a film I saw at the Sarasota Film Festival as well as directed several amazing films of her own. I met producers Alexis Fish and Heather Rae through the Sundance Film Festival (where Heather’s previous film Frozen River won the Grand Jury Prize). Our casting directors Judy Henderson, Meg Morman and Sunday Boling were recommended by other filmmakers I met on the festival circuit and I initially had seen many of the actors we ended up casting in festival films as well. Similarly, many of the other crew members we ended up hiring were originally introduced to us through the festival world.

MD: Do you feel filmmakers should embark on short film projects before attempting to begin their first feature? In what ways did it prepare you?

LM: I absolutely recommend that filmmakers make several shorts before they try to tackle a feature. Not only did making shorts allow me to hone my skills as a director (how to work with actors, where to place the camera, etc.) but traveling the film festival circuit prepared me for the reality of the distribution landscape. It makes much more sense to learn the system with a short, plus you are able to make amazing connections along the way!

MD: Now that you’ve navigated the waters of the festival circuit. Do you have any advice to new filmmakers looking to embark down this path? What would you do again and what would you do differently?

LM: My advice is to plan out a festival strategy at least a year in advance. Figure out where you want to premiere, how many submission fees you can afford, where you want to travel, which festivals treat filmmakers well and so on. Compile a master database of everywhere you want to submit and then tackle each group of submissions one month at a time. Although this requires extra effort in the beginning, by the end you will have saved yourself a lot of time and trouble. Though I was lucky with Twitch (premiering at Clermont-Ferrand and Slamdance) I wish I had spent more time making a strategy in advance because there definitely were deadlines I missed or festivals I was disqualified from because I had already premiered elsewhere. Also, I can’t emphasize enough not to neglect the smaller festivals. Not only are you more likely to win awards there, but regional festivals tend to treat filmmakers really well and you are more likely to reach an audience that otherwise would never be able to see your film.

MD: Leah, thank you so much for taking the time to share your knowledge with other filmmakers. Do you have any take aways, or thoughts?

LM: Independent filmmaking is a long and difficult path, so the more we can help each other out and build a community the better off all of us will be!

MD: Amen! I’d like to end by sharing Twtich in its entirety.

LINKS:
Official Twitch Site
Official Unicorns Site
Leah Meyerhoff’s Blog
Leah Meyerhoff’s IMDB
Leah Meyerhoff’s Twitter
Unicorns Twitter

Sorry, I’ve been out of pocket this month. Still getting into the groove of LA life. Luckily part of that groove is some fun tomorrow at Screenwriter Karaoke LA.

THE NEXT SCREENWRITER KARAOKE EVENT IS THURSDAY, DECEMBER 10TH, 8:30 PM AT SARDO’S BAR AND GRILL IN BURBANK, CA.

Thursday December 10th, 8:30 PM
Sardo’s Grill and Lounge
259 N. PASS AVE.
BURBANK, CA 91505

Driving directions: Here

TO RSVP PLEASE GOT TO THE MEETUP.COM EVENT PAGE HERE

Screenwriter Karaoke LA is a go!  All you left coasters were aching for some fun, singing and networking action so here it is! Please come out and have a good time and connect.

THE NEXT SCREENWRITER KARAOKE EVENT IS THURSDAY, DECEMBER 10TH, 8:30 PM AT SARDO’S BAR AND GRILL IN BURBANK, CA.

Thursday December 10th, 8:30 PM
Sardo’s Grill and Lounge
259 N. PASS AVE.
BURBANK, CA 91505

Driving directions: Here

TO RSVP PLEASE GOT TO THE MEETUP.COM EVENT PAGE HERE

(This article was originally written for FilmCrusade.com)

During the summer of 1997, I worked in a Mom and Pop video store. We didn’t let the fact that we were small hold us back from being at the forefront. We were the first local video shop to carry a library of DVD’s while the behemoth retail chains were still hawking the soon-to-be-outdated VHS. As I first navigated the DVD format, something novel yet surprisingly intuitive emerged. Multiple languages, chapter stops, and special features introduced me to a brave new world of film. The feature that I was most enraptured by, and had the most value to me, was the audio commentary tracks.

Audio Commentary for “The Matrix.”

As a young aspiring writer and filmmaker, audio commentaries provided me an unprecedented, yet conversational look into filmmaking. I was enthralled by the scholarly discourse and entertained by the production minutiae. It was like a little bit of film school attached to the end of my favorite film. It made me feel like an insider. For others audio commentary provides sheer entertainment, an expected feature of modern home video. And others still, find it as an uninteresting feature that remains relegated to the niche backgrounds of cinephiles.

Long gone from today’s commentaries is the scholarly discourse. Instead, the commentary has been replaced by insipid anecdotes and the filmmaker’s inside jokes. It seems audiences are more interested in the strict entertainment aspects of commentary, such as on EuroTrip where the director plays a drinking game. Indeed it has become masturbatory rather than informational.

So, what happened to the thoughtful and deliberate audio commentary? When did the landscape change from deconstruction and intellectualization of filmmaking to a sheer and meaningless entertainment romp?

I asked a close friend of mine, a television writer, what she thought of the state of audio commentaries for film and television. She said plainly, she’s never watched or listened to a single one because she simply didn’t care. I was surprised! I had assumed, like me, most of my peers would enjoy, dare I say, revel in the special features and audio commentaries especially with movies that are repeat viewing favorites. Why wouldn’t they want to know everything there is to know about their favorite movie?

Another friend, a special effects artist feels ambivalent, “[the commentaries] always act like everything is a big happy family during production. I was just watching a dvd commentary on a movie I worked on. We [the effects team] made their movie look great. But the production was a nightmare, I wasn’t fully paid.” For him, commentary simply reminds him of the injustices of the industry.

Maybe there is very little usefulness of audio commentary for filmmakers. But that only makes up for a small portion of the movie-consuming public. Even today, despite its ubiquity, the value of having commentary on a film is difficult to measure. If you are an unknown, with only unsold or self produced projects there will be little interest in hearing you yap about how your uncle let you use his roller rink for the dance scene.

When an interviewer asked Woody Allen if he would like “definitive statements” on each of his films by way of commentary, Allen simply responded “No, I’m really not interested. I want my films to speak for themselves.”  For him, what is important is the film’s content. Is it a good film in its own merit?

Audio Commentary for “Donnie Darko.”

When I listened to the Director’s Cut DVD of Donnie Darko, I was disappointed when I discovered Kevin Smith, (whom was not involved in film) “stopped by” to talk on the commentary. I was far more interested in what Richard Kelly had to say about his vision and the new cut than Kevin Smith’s occasional dick joke and ramblings. It took me out of the experience; it was no longer a filmmaker and his film. I was no longer a fly on the wall, but an annoyed third wheel listening to two dudes who might as well have been chatting over a beer.

For those of you who love commentary and still feel like it has merit, there are sites that have emerged to help the film consumer navigate. Most notably is the user supported website RateThatCommentary.com. A quick look at the site and you may notice attitudes are changing. Interest in commentary that is more like an Inside the Actor’s Studio affair than a traditional audio commentary is on the rise. Indeed, one entry about the Donnie Darko audio commentary says: “I’m beginning to enjoy more commentaries where someone from outside the production of the film can sit in with the filmmaker.”

Despite this, I still love the audio commentaries and find their content mostly worthwhile. While I may get frustrated by their inelegance, or their pointless banter, it is still an inside ticket into a film. I feel more connected to it, knowing the small details that happened on set or the “happy accidents” that helped create my favorite scene. And for me, that’s what it’s all about.

Just a quick note. I’m officially in Los Angeles. It was a grueling 4 day, 3000 mile trek, but I’m here. Recovering. You can check out my twitter account for pictures I’ve tweeted along the way.

I have some exciting projects and events on the horizon. Too soon to speak about, but suffice it to say, I’m already busy!

Now! To unpack!

Last month I posted about some unsavory job listings for screenwriters on Craigslist. The article was picked up by a couple of blogs. So it comes as a disappointment, though not a surprise, that the same unprincipled individuals are at it again.

Same M.O. — this ad is directed towards novice screenwriters. It intends to exploit them.

Like the earlier ad this one:

• $1000 to be piecemealed as payment over six weeks. [Never allow anyone to give you payment this way.]
• Must meet with “team members” 90 minutes per week this time in Hudson Valley.
• Work to be done on an existing script. This time it’s Horror instead of a “Dark Comic Thriller”
• You must waive any right to the work you create upfront.
• The ad uses disposable Gmail addresses to conceal identity.

New Twists:

• “Writer must also understand that if we edit the script we will share a writing credit.” [Translation, we will edit the script to the point where we will claim we wrote it, and you will get no credit.]
• “We may be willing to pay a little more to the right person and only upon the delivery of a project that is so good it simply leaves us breathless. So think of it as a generous bonus to an amazing job well done!” [The Gall! They hope to rope and make writers slave with some whimsical idea of a "bonus."]

Remember folks $1000 is way below the rate for a re-write or development of existing material. Never write material for free unless you are spec-ing your own show or feature or have a personal investment in the outcome.  You have no way of knowing who these individuals are or what they intend to do with your work. This is not how real writers and producers do business. Avoid at all costs.

The pictures are in. October’s Screenwriter Karaoke was the largest one yet. Screenwriters and filmmakers filled out the entire bar from end to end. The place was filled creative energy.

Check out the pictures. (Yes, I’m the guy in the hat.)

And be sure to come to November Screenwriter Karaoke. This will be the last Screenwriter Karaoke in New York City for a little bit while I set up shop in LA.

Time: Wednesday, November 4th, 8 p.m.

Location: Baby Grand
161 Lafayette Street at Grand
New York, NY 10013
212.219.8110

Big things over at the Merrel Davis camp. Chiefly, I’m moving to Los Angeles. It was a long time in the making. I’ve positioned myself in a good place, and I’m heading out.

Life in New York City is great. I’ve done a lot of good work here, connected with great television and filmmakers. New York led me to my first work on a documentary. New York led me to work on the Olympics. New York and I saw the production of several short films, more seminars and workshops than I can count, and the genesis of “Screenwriter Karaoke.”

But worry not! I won’t be a stranger, and I suspect work will bring me back around here soon enough. Oh, and to be clear Screenwriter Karaoke in New York City is not dead. In fact, it has just grown into a bi-coastal endeavor.

So What’s the Plan?
Well,  I’m selling off my dead weight. And by dead weight I mean loads of dvds and video games. I just can’t take them with me, So if you would, check out my for sale list. I’d be delighted if you bought something from me.

After that, it’s a cross country drive from New York to California. I plan to regularly tweet and twitpic (from my iphone) as I travel from state to state. So stay tuned for next month when I get on the road!

It is quite possible that you’ve landed on my blog and you aren’t aware that I also organize a filmmaking network event called Screenwriter Karaoke. Right now the events are NYC based, but I hope soon to have an LA counterpart.

What is Screenwriter Karaoke? Think of it as a way to let your hair down, step up, wail on Super Tramp’s “The Long Way Home,” and then talk about your latest romantic comedy script. Looking for a collaborative writing partner with a knack for 17th Century English? You just might find one at Screenwriter Karaoke.

The event aims to be an informal way to meet your writing and filmmaking peers. Sometimes network events are just awkward, so why not try to loosen up have a couple of drinks and sing?

When: October 15, 2009 8:00 PM
Where:
Baby Grand
161 Lafayette Street at Grand
New York, NY 10013
212.219.8110

Please RSVP: http://www.meetup.com/Screenwriter-Karaoke/

To prove there is nothing to be afraid of, here I am on the right, rocking out to some Build me up Buttercup!

This past Saturday, I was a special guest of Roberta Munroe’s “Best Short Film Workshop Ever” — It was a great event, and despite also being a speaker, I took some time to live tweet the event for all those who couldn’t make it.

Leah Meyerhoff and Kim Garland chat during "The Best Short Film Workshop Ever"

Here is a twitter transcript of the event. Look for a full write-up on the event soon!

• Heading on train to downtown to “The Best Short Film Workshop Ever” headed by former Sundance Programmer Roberta Munroe. Gunna be a blast! 5:58 AM Sep 26th
• Introductions have begun – @robertamunroe is leading the room. Good turnout. #ScreenwritingSaturday7:33 AM Sep 26th
• In the “Best Short Film Workshop Ever” is a great mix of writers, directors, actors, and producers. #ScreenwritinSaturday7:43 AM Sep 26th
• Dispelling myths about Sundance “the # of good films never changed from year to year… despite increased # submissions.” – Roberta Munroe 7:51 AM Sep 26th
• On your short film for festival circuit “No opening credits, no long credits at the end” – Roberta Munroe. Don’t be overly self indulgent. 7:56 AM Sep 26th
• Surround yourself with others inline with your goals in filmmaking. “Surround yourself with genius” #ScreenwritingSaturday8:08 AM Sep 26th
• Workshop Break. Next up. ME! I’ll be talking about Mental Spackle, and where I “fell down” on my last short film. #ScreenwritingSaturday8:37 AM Sep 26th
• Talking about the Duplass Brothers — “This is John” and “The intervention” and “The Puffy Chair” #ScreenwritingSaturday8:55 AM Sep 26th
• The post-production process is the “final rewrite” — work is not done when you call “Wrap!’ #ScreenwritingSaturday9:24 AM Sep 26th from TweetDeck
• If you send a short film to festival — have your a feature script READY. If you a don’t you may be passed for other workshops @ festival. 9:28 AM Sep 26th
• “Youtube Screeningroom is the curated section of youtube. Filmmakers that got paid for their films” -Roberta Munroe http://bit.ly/C0MIO9:48 AM Sep 26th
• Nash Edgerton’s short film “Spider” — check it out! http://bit.ly/xTvPN (Roberta Recommends) 9:54 AM Sep 26th
• Break time from “The Best Short Film Workshop Ever” #ScreenwritingSaturday9:54 AM Sep 26th
• Re: Your short film “Get a Casting Director.” N/E thing takes something off shoulders. “get to know casting assistants” -Roberta Munroe. 11:01 AM Sep 26th
• “Do not settle in your casting. Find someone that knows more than you. You are paying for their time.” – Roberta Munroe. 11:09 AM Sep 26th
• “Cover peoples cost, they will respect you, and work harder” – Roberta Munroe RE: Day rates on short films. 11:13 AM Sep 26th
• “Create a ‘look book’ of your movie. Take book to your DP/Producer/Prod Designer. This is your vision/Colors/Magazine clips” – Roberta Monroe. 11:16 AM Sep 26th
• “You should never ‘be’ a post-production supervisor, unless you ARE a post-production supervisor” — Roberta Munroe 11:41 AM Sep 26th
• “1st time filmmakers often don’t understand post-production process.” – Roberta M. Admit you don’t know everything & hire someone who does.11:44 AM Sep 26th
• What a good editor says “you are probably are not going to be in love with the first cut. This is a skeleton.” Good editor gives you options. 11:54 AM Sep 26th
• “Don’t get stuck on the Master Shot. Get your close shots, mediums. Move onto getting closer. Make sure you’ve the coverage” – Roberta Munroe 11:55 AM Sep 26th
• Check out “The Lean Forward Moment: Create Compelling Stories for Film, TV, and the Web” by Norman Hollyn http://bit.ly/15aqu912:12 PM Sep 26th
• “More sound design, less music. Sound Design can add muscle to a scene. Fill out, move dialogue.” -Roberta Monroe 12:21 PM Sep 26th
• “Do not put music in the first 3rd of your film. Should stand and deliver on its own. Music should accompany not overwhelm.” -Roberta Munroe. 12:24 PM Sep 26th
• For those wondering what I’m tweeting. Am a special guest @ “The Best Short Film Workshop Ever” w/ Roberta Munroe former sundance programmer. 12:27 PM Sep 26th
• Now talking distribution with Leah Meyerhoff, @GoGoSlava will be here soon. 12:43 PM Sep 26th
• “If you want your short film to be distribution ready, don’t use recognizable music. You will not get the rights to The Who” -Roberta Munroe 12:47 PM Sep 26th
• “Take some pictures on set for promotional purposes.” It’s much better than pulling stills from your cut. They never look as good. 12:52 PM Sep 26th
• “Did you separate your Dialogue, Music, and Effects tracks? Ask about this in your soundmix! Important!” – Roberta Munroe. 12:57 PM Sep 26th
• “Contracts: Remember! “NON-EXCLUSIVE” never give all rights to single distribution co. Different Markets different needs” – Roberta Munroe. 1:01 PM Sep 26th
• “There is not a single distributor who can exploit your film worldwide. To be able to sell to as many people, non-exclusive!” -Roberta Munroe. 1:05 PM Sep 26th
• Now Leah Meyerhoff (@leahland) speaking about distribution. When shopping “Twitch” she created a “distribution database”
• Leah’s (@leahland)Her short film Twitch won Grand Jury Prize at Slamdance http://bit.ly/78Jpv1:11 PM Sep 26th
• Leah Meyerhoff (@leahland) sold exclusive rights for Twitch in Scandinavia for $7000. So there are cases when exclusive contracts work!1:12 PM Sep 26th
• “Sign all non-exclusive contracts you can. At this point it is about getting your work seen” – Leah Meyerhoff (@leahland ) 1:14 PM Sep 26th
• “Internet is murky & tricky. I held off releasing my film online until I completed the full festival run.” – Leah Meyerhoff (@leahland) 1:16 PM Sep 26th
• Be sure to have a website for yourself or your film. Oh, and Slava Rubin (@GoGoSlava) has arrived to the workshop. 1:19 PM Sep 26th
• “The more kind buzz you build about yourself comes back 10 fold. I know the importance of how to have a great image” – @leahland1:25 PM Sep 26th
• “When you go to film festivals, you are collecting a database of people who may later be part of your filmmaking career” – Roberta Munroe 1:27 PM Sep 26th
• “Build an email list. Don’t spam. Create an ongoing conversation and engage about your film and filmmaking” – Leah Meyerhoff (@leahland) 1:32 PM Sep 26th
• “Do not write a scathing email if you got rejection from a festival. It makes your look like an ass.” – Roberta Munroe 1:52 PM Sep 26th
• Now up is @GoGoSlava from Indie Go Go talking about raising about monies 2:06 PM Sep 26th
• “Email campaigns are the most undervalued items in your arsenal. Not just to market, but to engage filmmakers.” – Slava Rubin (@GoGoSlava) 2:14 PM Sep 26th
• Check out IndieGoGo provides “tools for fundraising, promotion, and discovery for filmmaking” Listening to @GoGoSlava speak. 2:28 PM Sep 26th
• Flyer from today’s “The Best Short Film Workshop Ever” http://twitpic.com/j9l80 3:03 PM Sep 26th
• “Focus on European festivals that don’t charge submission $ Go w/ the free ones 1st. Learn your festival submissions chops”- Roberta Munroe3:08 PM Sep 26th
• Sundance is not the end-all-and-be-all of film festivals, there are others out there, that can help you get great traction. 3:09 PM Sep 26th
• Closing statements from @robertamunroe. [Merrel note: Ouch! My back is killing me!] 3:22 PM Sep 26th
• Workshop over, now back to your regularly scheduled tweeting. Thanks for indulging me! 4:08 PM Sep 26th
• Look for a recap of today’s filmmaking workshop and tweets on my blog sometime mid next week! 4:54 PM Sep 26th

Every once in a while I’ll skim Craigslist for production work. In addition to writing, and editing, I work various production roles and places like Craigslist, Mandy and Production Hub provide good, quick turn around for 2 day weekend shoots and the like.

But, this week I happened upon an interesting craigslist post for a “Ghostwriter for Screenplay.” A paid gig, but with some interesting caveats.

They were looking to pay $1000 for a completed script, much below the rate a screenwriter should charge for completing a full draft. Partly out of curiosity, I responded to the ad stating my rate. Little did I know it would turn into a cautionary example about how to protect yourself as a screenwriter.

And so the response came:

“Due to the overwhelming number of responses, we will be requiring all applicants to submit a draft writing sample to us in order to be considered.  You have the option of submitting one of your previous works (no more than 3 pages) or, as we would prefer, submitting a two-page screenplay based on details we will send you later tonight.

In the mean time, I will provide you with some brief background information about the Project.  The screenplay is for a dark comic thriller that takes place on a college campus.  The final product is intended to be approximately 110 pages long.

The story for the screenplay is in place in the form of a 30-page quasi script treatment; the job of the ghostwriting team will be to take that script treatment and transform it into an industry-recognized screenplay.

Each member of the team will be given their weekly writing assignments at a live meeting that takes place once per week at a location near the Financial District.  Team members will receive their weekly $100 payments at that meeting.  After receiving their assignments, team members will have approximately five (5) days to submit their assignment by email to the team supervisors.

The Project will take 10 weeks, and include 10 meetings.  Finally, each member of the team will be required to sign a ghostwriting agreement, which, among other things, will waive/release any rights to, or interest in, the screenplay (or any part thereof).

An email will be sent to you later tonight with details of the mandatory writing submission.”

I’m pretty sure they ignored my rate, or didn’t read my email at all. The parameters for the “Dark Comic Thriller” project are astounding. They want to piece-meal payment over 10 weeks, and they want to assemble “teams” to give “writing assignments” to write a 110 pg script? Can you spell red flags?!, seriously, because they could not. Waiving rights to the script isn’t too uncommon. If you are ghostwriting, generally you don’t get credit. But it all seemed very fishy. The follow-up email was just insane, and pushed me to write this very post.

Behold:

“The specifications for the required screenplay writing sample are below.

Note: in the body of your writing submission email, please print the following: “I hereby waive any claim to copyright protection over the attached writing.”

Assignment:  Please write a short (no longer than two-page) mini screenplay in an attached document, preferably MS Word.

Details of the Plot: The mini screenplay should tell the story of two college students meeting at a location.  One student attempts to get something from the other student.

Genre: dark comic thriller

Format: please use proper industry screenplay formatting. This website http://www.scriptfrenzy.org/howtoformatascreenplay provides a helpful primer.

Max Length: two pages in proper format

Deadline: this Friday, September 25, 2009 at midnight.  If you want to have your submission read before any member of the team is hired, you must submit your sample by midnight on Friday night.  You may still send in your submission after that; however, we cannot guarantee your submission will be read before the team is hired.

Note: please pay particular attention to the quality of the dialogue.”

Have you recovered? Where do we start?

• “I hereby waive any claim to copyright protection over the attached writing.” Did you catch that? Your writing sample belongs to them. That’s right, they are asking for “writing samples” as a free way to get scenes written for this “Dark Comic Thriller.” They have the gall to ask writers to give up full rights, without even being paid for their work. This is akin to asking a graphic designer to design a logo on spec, then not paying him, and taking his logo.
• No 110 page script needs a team of, say, ten people concurrently to assemble it. This is ridiculous. They claim have a 30 page treatment already, so presumably there is some outline done. Why would anyone need ten people, going in ten different directions, reporting to “team supervisors” after they get their “writing assignments?”
• When I invoice a client I do it in one to two ways 1) I invoice for full upfront payment for things like coverage, notes, and post-production services or 2) I invoice 40% upfront 60% after completion for development, polishes, re-writes. No one serious will piece-meal $100 a week over ten weeks, subject to approval by their “team supervisors.”
• A link on screenplay formatting as a “helpful primer” shows these people are targeting novice and aspiring screenwriters. Any serious screenwriter is already comfortable with the format of their trade.
• A “mini-screenplay?” A script in MS Word? How about some scenes in an industry standard file format like, say, Final Draft.
• To top it all off they’ve added an arbitrary deadline to add some sort of impression of urgency. It is just insulting.

Be weary of any job listing that promises the world. If something feels fishy, trust your gut. Whomever posted this ad, went to great lengths to obfuscate who they are and they designed a scenario to extract unpaid written work and rights from screenwriters. You’ll likely have no recourse if they stole your “writing sample.” You wouldn’t even know who they were. Remember, the most of the worthwhile work you find will be a mixture of in person networking, talent, and referrals. The people you’ve worked with before are the best bet to scare up additional work.

Screenwriters take note: You are valuable, and you needn’t allow so-called “producers” or other self proclaimed industry folk to take advantage of you. Your work is a commodity, a commodity that needs to be paid for. There are plenty times when you may write something that won’t bear your name, but you should be fully compensated for that work. If you write anything on spec, it should be your spec script, one that you are vested in. Keep all this in mind when looking for screenwriting work and good luck!