Ha, doesn't matter the subject, I always edit long posts like crazy. It's a weird habit. In this instance, I caught a few typos and then I kept thinking of things to add.

aggieactor01 said:

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TCTTS said:

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Yeah, the actor world is even crazier. Writers at least get the courtesy of a meeting being scheduled days in advance. But for so many aspiring actors they get little to no warning in some instances and have to drop everything to make a last-minute or next-day audition. Writers also get the pretense in meetings of everyone saying they love them, even if nothing ever comes of it. But actors have to drop everything to more often than not be bluntly told no either to their face or by their agent after the fact. No thanks.

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Did that for a number of years (hence the username). Life and responsibilities, like twins, made me exit that game. It's definitely a grind. Many of my friends are showing up in little things here and there which is awesome to see, but man did it take them a long time to get there. And even when you think you've gotten there you aren't really there.

Friend of mine has done a few broadway shows, took over for lead roles in them, and done a bunch of the usual NYC actor things (like SVU) and still waits tables and does odd jobs like that between gigs. He's also a musician so that helps a little but it's not an easy life by any stretch. And the last minute thing, like you said, makes it almost impossible to do anything but service industry stuff because you have to be able to take a call at 9am and be at an audition that same day.

The rejection and the self doubt that comes with it is something you have to constantly fight. Sometimes being told no to your face is a mercy because there are times when you do the audition and hear nothing for months. Or you get cast in projects that ultimately fall through. I had a bunch of those. Films that were going to get made where I got cast in decent roles only to hear back a few weeks later that the money didn't come through like they hoped and the whole thing is scrapped.

The ones that hurt the most are the ones that you were in the final couple options for and ultimately it was about something out of your control. I would get rejections where they said things like "you were great but we wanted someone ______" Fill in the blank with whatever you can think of - fatter, taller, shorter, blonde, older, younger.

That ended up being longer than I meant it to be. Apologies for derailing the thread but TCTTS's post took me down memory lane for a minute.

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This is 100% accurate. My cousin is a "successful" commercial actor (he only acts - no side job, owns a house, 2 cars, 2 kids) and he moved to LA in the early 90s for just the reason of availability. Bounced around - acting classes, stage, improv, random work. Then ended up in a USPS campaign (with Bugs Bunny, so he and 23 have that in common) which allowed him to quit outside work. He's had some pretty big gigs (was the Allstate CFB guy - Bergwood - before the current ass-hat Mayhem guy) and much smaller (played "the sun" in a west Texas energy company ad).

Through all of that, though, it is a CONSTANT grind. He's had times when that random royalty check comes and allows him to make mortgage. He'll go weeks without a new shoot and then get a couple, or a nice big one that'll carry him for a while.

The networking/social aspect is huge too. We stayed with them (North Hollywood) one New Year's and went to a party which was 90% working people you have NEVER seen before (OK, so my cousin's wife's best friend is a soap actress and might be recognizable). Great conversations about what was going on though. That network is very very active.

That all makes a lot of sense, thanks again. I can see why the industry works that way, film is such a collaborative effort its no surprise that the meetings and interpersonal dimension are so important. Though my military commitment limits my flexibility for such a move for a few years, I'll plan to continue to hone my understanding and skill in the craft in the interim through reading scripts and continuing to write specs. Once I am more free to move I would be more than willing to and I don't mind biding my time for now; its a life-long pursuit for me and I enjoy writing spec scripts even if just for practice.

CCALI17 said:

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That all makes a lot of sense, thanks again. I can see why the industry works that way, film is such a collaborative effort its no surprise that the meetings and interpersonal dimension are so important. Though my military commitment limits my flexibility for such a move for a few years, I'll plan to continue to hone my understanding and skill in the craft in the interim through reading scripts and continuing to write specs. Once I am more free to move I would be more than willing to and I don't mind biding my time for now; its a life-long pursuit for me and I enjoy writing spec scripts even if just for practice.

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Sure thing.

I think you and kais77 are in a great position to continue to hone your skills while honoring your current commitments. Then, when the time comes, if you want to make the leap, you'll hopefully be as ready as can be.

In the meantime, feel free to reach out anytime if you guys ever have any additional questions, want to talk, etc.

Drawkcab said:

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MSFC Aggie said:

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Bunk Moreland said:

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OP after he forces his script into the hands of TCTTS, SteadicaTm and maybe nai06's wife.

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What happened to SteadicaTm? Is he still around?

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Used to be Facebook friends but after reading your post I realized I hadn't seen him post in a while. Went and looked and he's vanished. Guess he grew up and left us all behind.

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I'm around. I got logged off awhile back and couldn't remember my sign in info. Didn't have access to the old email address Texags had on file.

Been working on getting the movie I produced back in October through post production. Who likes space zombies?

https://i.imgur.com/ZdMewSM.png

https://i.imgur.com/g813uvp.png

https://i.imgur.com/FHX42eK.png

https://i.imgur.com/oHUCu1g.png

uujm said:

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Been working on getting the movie I produced back in October through post production. Who likes space zombies?

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Um, everyone?

Looking awesome.

Yep, EVERYTHING is on Zoom now, and I do think it's going to have an impact going forward. In-person meetings will of course still be preferred, but Zoom meetings will certainly be more of an option.

That said, I've talked to a few people who find Zoom calls to be more exhausting than in person, simply because you always have to be "on." In an in-person meeting, when one person is talking, the attention of the room naturally shifts to that person. But with Zoom, everyone is constantly looking at everyone, and you can never really "relax." It's just a mental thing, I know, but multiple people have mentioned the same thing to me. Granted, it's still better than sitting in LA traffic, so who knows.

I could also see certain types of meetings being more Zoom oriented. Like, introductory meetings are in person, but then all follow ups from that point on, when, say, working on script development with execs, could easily be done via Zoom.

I think we're talking about two different things, but ultimately in agreement. What I'm mainly referring to are known as "general meetings" in the writer world (writers having introductory meetings with companies to get to know each other, see if there's a fit/anything they'd like to collaborate on, etc) and "pitch meetings" (writers trying to sell their ideas to companies and get paid to write them). I think those two kinds of meetings remain in-person for the most part, as do TV writer rooms.

But yeah, I think actual *work* meetings - once a project is in full swing in the development stage - could shift more to Zoom and the like between writers and executives, writers and directors, etc. Kind of sort of in the same realm as the logistics/work flow you're talking about.

Either way, you're totally right about that line of work. I posted an article in the coronavirus thread the other day about that very thing and all the remote VFX stuff you and I have discussed briefly in the past.

tgtown said:

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We have two children who are creatives, but in different areas. One is a singer/songwriter who is trying to launch her career and the other is interested in all aspects of filmmaking including writing. We have gone to L.A. for meetings etc. with our oldest child and I will definitely agree it would be easier living in L.A.

Our younger child is in high school and we we have found "film camps", but do you have any recommendations for writing? We have always tried to allow our children to find their own path and be as supportive as possible, but are not sure if she will want to continue this as her career or not. She has had some creative 'tv type ideas' and has a really good eye for film and photography.

Any suggestions would be appreciated.

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I admittedly don't know much about film camps/schools/seminars/etc. To be completely honest, I don't know what a "film camp" is, but for someone in high school, it can't hurt to check one or two out and see if your daughter finds value in them.

For college, I'd say film school is a toss up. Though, I've talked to more people who say it's a waste than not. If anything, I would go for the culture aspect - just to be around fellow aspiring filmmakers - but especially for screenwriting, there's nothing a few screenwriting books can't teach you that four years of school can. I think there's value in attending for directing, but not so much for writing.

I would say the most valuable experience I had was my internship in LA in college. Nothing tops real-world, hands-on experience at a production company. You not only learn exactly how the day-to-day of the industry operated, and participate in that regard, but you establish valuable connections - and maybe even potential job opportunities - for when and if you do finally make the move to LA officially.

In the meantime, I would say A) write every day, if possible, and B) read as many screenplays and books on the subject as possible. Think of it like being a college or professional athlete. Writing is the "practice," while reading is the "game film" you study, and if you want to get good, you'll do both as often as you possibly can.

As for books on the subject, these are the three most helpful and insightful I've read (with the understanding that many of the rules these books teach are meant to be broken, especially when it comes to "Save the Cat," but together they'll help form an incredibly solid foundation)...

"Story" by Robert McKee
https://www.amazon.com/Story-Robert-McKee-audiobook/dp/B000E6TVNW/

"Save the Cat" by Blake Snyder
https://www.amazon.com/Save-Last-Book-Screenwriting-Youll/dp/1932907009

"Creating Character" Arcs by K.M. Weiland
https://www.amazon.com/Creating-Character-Arcs-Workbook-Exceptional/dp/194493605X/

And then screenplay resources...

https://drive.google.com/drive/folders/0B98ZdIxoETG5Qk81S1YwNk1DaTQ
https://sites.google.com/site/tvwriting
http://www.script-o-rama.com/table.shtml
http://www.simplyscripts.com/movie.html

Finally, the Scriptnotes podcast is basically free film school, and I'd argue even more valuable, as it's hosted by two of the most successful screenwriters working in Hollywood today. Every episode, dating back weekly for years, is a mini lecture on not only the craft, but how to navigate the business itself. I seriously cannot recommend it enough. The Scriptnotes library should be devoured, and new episodes each week should be mandatory listening for anyone looking to break into the business...

https://johnaugust.com/scriptnotes

Anyway, I hope this all helps, and let me know if you have any more questions.