To EW or not to EW?

Maximum Z Aint It Cool News, Entertainment Weekly, Hollywood Elsewhere, Netflix, Roger Ebert

A little more progress into the second half of Act Two of LUCY today, thanks yet again to the creative energy that abounds in the midday traffic studio.  I see a lot of potential in the scenes I came up with today.

When I got home, I couldn’t help but notice the short but growing stack of unread Entertainment Weekly magazines next to the bed.  I think there’s at least 3, possibly 4 there right now.  Yet I don’t feel compelled to read them.  Maybe the Oscar nominees issue, but the rest?  Meh.

Over the weekend I got the subscription renewal notice.  My subscription ends in August, and I’m not really sure whether or not I’ll follow through this time.  I can zip through an issue in about 30 minutes, and after that it seems like a waste of money.  (Except for the seasonal Movie preview issues.  Those are always worth it.)

I’ve been getting EW for around 15 years or so.  During that time, the content has, to me, made a gradual downward turn in terms of quality and relatability (which I’m not sure is even a word, but it’s the best I could come up with).  A lot of the articles are based more on style rather than substance.  And the way they hype non-celebrities to the upper stratosphere is getting nauseating.  I don’t care about no-talent nobodies who are famous for being famous (yes, Kardashian family and cast of JERSEY SHORE.  I’m referring to you, amongst others.)

Maybe it’s a sign of my age/demographic that I don’t know or care who a lot of the new batch of celebrities are.  To me, a lot of these actors and actresses look exactly the same.  They’re interchangeable, and honestly, not that talented.

But I will commend EW for their coverage on films, TV and books.  I don’t always agree with the grades they give, but at least they’re not ignoring smaller films.  But I can also get better reviews and information online.  For film, I’d go to any number of screenwriting blogs (see list on the right), Roger Ebert, Ain’t It Cool or Hollywood Elsewhere.  Even Netflix can yield better results.

I’ve never really been into the music scene, but I could read ROLLING STONE for that.  And if I want to read about something on Broadway, I’ll check out THE NEW YORK TIMES or ask my parents, who seem to see just about everything.

I used to get Movieline way back when, like when it actually focused on film.  It had a definite vibe that said “this was written by people  bitter at Hollywood for not making them the successes they thought they should be.”  Which contributed to the fun of reading it.

Then they started pimping stuff like clothes and restaurants, and I lost interest.  I kind of see that happening with EW.  What are the stars wearing?  Who cares?

Is getting Entertainment Weekly really worth it?  A few years ago, I would have said yes.  Now I’m not so sure.

Now entering Euphoria. Drive safely

Maximum Z Lucy Steele, outlines, screenwriting

I am in what can definitely be considered a state of giddiness. Sheer and unmitigated joy. The heavens have opened and are shining down upon me.

For today, I hit the halfway mark. And it feels freaking AWESOME!!

But it’s more than just reaching that point in the story. It’s also about how I got there. Yesterday I was concerned about the page count from where I left off. Today I was determined to reach the Point of No Return no matter what.

I had my characters in an already dicey situation, but needed to keep making it harder for them to come out ahead. A minor story point from earlier this week paid off in spades in terms of establishing more conflict. I saw an opportunity to insert another character that would create still another obstacle. The ideas were coming in fast and furious, to coin a phrase.

Sure, some of the scenes need to be fleshed out a bit, but they WORK! And at no time whatsoever was I ever concerned with page count. I knew what I wanted and needed, and followed through accordingly.

It felt absolutely incredible to fill in the blanks for something I was really stressing over just a week ago.

It would be even more incredible if I can make this kind of progress now that the latter half of Act Two is here. A little intimidating, but really quite exhilarating.

Don’t get me wrong. I’m having an absolute blast, and the best really is yet to come.

Time to put on my editing hat

Maximum Z Lucy Steele, outlines, Pixar, plot, screenwriting

Nice progress today on the outline.  I’m getting close to the midpoint, with only a handful of scenes left to fill in.  But it also looks like I’m going to need more scenes than I expected to get there.

I’m a bit concerned I may try to jam too much into that handful.  The first quarter of Act Two is approximately 16-17 pages, and I’m nearing the end of that second quarter.  I know what I would like to happen in those pages, but worry it may run around 20 pages, or even more.

I’m trying to keep things nice and tight, but don’t want to skimp on moving the story forward.

I may go the “get it all on the page” route, and then edit the hell out of it.  I could also probably shrink down that first quarter-section by at least 1-2 pages.  I suppose the important part is it’s getting done, period.

I’m also a little surprised about how productive I’ve been over the past few weeks.  When I first started this a few months ago, I had a very basic idea of what I wanted.  But the more I worked at it, the harder it seemed to keep things moving.  The self-doubt started to creep in, but I had a good feeling about this and was determined to keep going.

I noticed that when I would read what I had written, some of it would come across in a different way than I originally intended, which really triggered the creative process.  A lot of “What ifs?” and “How abouts?” just bubbled to the surface, paying off immeasurably more than I could have expected.  So far, that feeling returns just about every time I sit down to work.

No doubt about it.  I am a creative dynamo when things are clicking.

What’s also really cool about working on LUCY is I’m really enjoying it.  I worked on BABY LIKES JAZZ for two years, and was never satisfied with it.  As much as I enjoy comedy, it just ain’t my thing.  In contrast, the spirit of adventure that runs through LUCY is quite liberating, and dare I say it?  Energizing.

Hopefully people (and Hollywood) will feel the same way when it’s done and ready for public consumption.

Movie of the Moment: RATATOUILLE. V and I watched the first half the other day. This is one of Pixar’s underappreciated gems, and I’m not just saying that because I love Paris.  And food.

It’s a clever, original story, told with the usual Pixar flair.  My one complaint is the number of chefs in the kitchen.  It was hard to keep track of who was who, and it’s Linguini’s story anyway, so when they all left, things were much easier to follow.

How to REALLY get an agent

Maximum Z agent, Hollywood Representation Directory, manager, query letter, screenwriting, Writers Guild of America

Probably the most frequent question asked by screenwriters is “How do I get an agent?”

I’ll skip the usual advice like ‘have a bulletproof script.’  That goes without saying.

But one thing I keep hearing over and over again is contact the Writers Guild; they have a directory of agencies that accept unsolicited material.

Whoever tells you that hasn’t seen this directory in quite some time.

When I hear ‘directory,’ I think ‘phone book’.  This is a double-sided piece of paper.

I contacted each agency to find out their submission policy.  And then the fun began.

Some don’t accept unsolicited material anymore. Okay, that’s acceptable.

Some want you to send your query by fax.  Wouldn’t you expect an agent to use email?

Some places don’t represent writers.  WHAT?  Then why are they on the list in the first place?

Some of them want you to send your letter with a SASE, which is still okay (see email question above).  Of the 15 or so I sent out, I got 3 back.  Keep in mind agencies get literally hundreds, if not thousands of queries a week.  What, no interns to handle this sort of thing?  I also got 1 or 2 about 6 months after I sent the query. I’m guessing they were cleaning out the closets.

If the Writers Guild wants to be a good resource for writers trying to break in, they really need to get on the ball and maintain a solid database of agencies.  True, the list of those that accept unsolicited material is constantly shrinking, but they’re still out there.

If you think your script is really ready and you have a killer query letter, you’re much better off with the Hollywood Representation Directory.  You can get a hard copy or subscribe to it online.  Most big libraries should have it, so be prepared to work the copy machine.

My former writing group chipped in and we bought a recent edition on sale.  I went through the agent and manager sections with a highlighter, marking down who accepted unsolicited queries.

Of the 200-plus query emails I sent out, I got about 30 responses, including 10 asking to read the script.  Most of them passed, but one guy optioned it.  Nothing ever came of it, but it was closer than I’d ever gotten before, and once I have another script ready to go, I’ll do it all over again.

-Brief LUCY update:  Closing in on the midpoint, including finishing a much-needed action sequence.  Thrillsville, baby!

LA Confidential + The Untouchables

Maximum Z Black List, screenwriting, The Gangster Squad

THE GANGSTER SQUAD by Will Beall was another script from the Black List that caught my attention when I first heard about it.

“Amidst the corruption and chaos of 1940s Los Angeles, the LAPD’s Gangster Squad works to keep the East Coast Mafia out of the city.”

Oh, but it’s so much more than that.

The whole time period screams out “pulp!” and “noir!”, and the script does a phenomenal job of really putting you into that kind of mood.

Notorious crime boss Mickey Cohen has a firm grip over the City of Angels.  LAPD Sgt John O’Mara is called upon by his superiors to put together a secret team to keep hitting at Cohen until that grip is broken.

Saying anything else would venture into spoiler territory.  So moving past what happens, and into how it’s presented…

The writing really sizzles. Crisp, sharp staccato phrases.  Descriptions that burn an image into your mind’s eye and stay there.  Even the writing about such mundane things such as what a key location looks like, or what a particular kind of machine gun looks like, really jumps off the page.

Beall, a former LAPD officer himself, really puts a genuine hard-boiled spin on what you see on the page; all 136 of them zip by.  Literally a page-turner I couldn’t and didn’t want to stop reading.

This is a story rich and teeming with an abundance of diverse characters. I found it pretty easy to follow along, keeping track of who was who, and what they were all about.  Even though there are several subplots, almost one per major AND supporting character, the overall story was fast-paced and never boring.

Beall has been hired to write the reboot of the LETHAL WEAPON franchise, apparently from his pitch.  I think this is a waste of his talents.  Besides, is it really necessary?  The opportunity is right there for Beall to do something new and original.

Based on this script, I’d rather see something new than a retread of something from 20 years ago.  But that’s just me.