C.Whitcomb - Breaking into Hollywood Now

Cynthia Whitcomb – Breaking into Hollywood Today
Willamette Writers
(4-9-2011)


Announcements:
Jessica Morrell – May Speaker. Also has a big conference on a weekend next May.

Aside: Cynthia believes right brain knows things the left brain doesn’t. Her solution: Naps.

Aside: The WW house in Portland: Different purposes:
1) Open critique groups.
a. With different genres each night.
i. Ideal for people who don’t belong to critique groups.


Start:

It’s not really impossible to break into Hollywood. The ticket: original screenplay. Unique. Not with a used underlying premise.
Screenplay has to be finished. With Hollywood, the writer doesn’t have to worry about budget.
Nothing you can write can’t be shot with film. They can do anything.
Structure, characters, minorities, children  Have every kinds of star.

Two kinds of movies:
1) Blockbusters: Don’t go there. No chance.
2) For us: Smaller budget movie companies  real income.

History:
1970’s: Had to type up with typewriters: carbon copies. Didn’t have what they have now. Her philosophy: She’s as good as anyone else. If others could do it so could she.
She had no backup plan. Never gave up on goal.

Took her 10 screenplays to break in. They were all different genres. Sent out as multiple submissions. She had no connections: was just learning how to write.
Some got no response. Others got “have talent, keep writing.”
She chose to not get married and have kids until she was published and successful. Put her career first.


1980 – She got her first sale. About a dying clown.
A lot of actors wanted to play him. Why?
She put in 3 scenes just for the actors (HER TRICK).
Key to actor’s roles: (the kinds of roles actor’s like):
1) Needs dimension
2) Needs inner conflict.
3) Every choice is bad: But actor still has to choose one of them.
4) Trust the actors to do what you need:
a. Can’t tell actors how to interpret role.
5) A great line.
6) Want every scene for actor’s to play have high emotion.
a. Eg. Pacino – Always has a big scene.

History: continued:



Screenplay: Only two senses: Sight and Sound.
Emotions are visible: Don’t have to say the characters’ emotions are.
No stage directions.
No summaries: In screenplay, only have scenes.
Eg. Can’t say somebody’s job (eg. CEO). Instead, show it by a man with an expensive suit.


1st 10 Pages:
Something in them has to surprise audience. Without it, reader won’t go to page 11.
Also, need to know who’s the main character.
Give entrance for star. (Assume egotistical actor). Give them something to do.

Aside: Movie not sinful. Don’t have to be a man. (Eg. Sound of Music)

Sometimes there is a break-in moment: Turn from wannabee to professional.
Word of mouth powerful – bif help. (Like breaking through a wall).

Getting Feedback:
We get a high on finishing a novel that has nothing to do with quality. Process:
1) Take a break.
2) Then get feedback (not family or friends).
a. Instead, people who like what you write (as in same genre?)
b. Lots of academic environments can provide feedback.
3) Critique Groups
a. Use for deadlines.
b. Good for perspective.
c. (She writes with humor).
d. Hers: 5 people for meeting – 5 hours per meeting: 1 hour each member.
4) Also need a support group if possible.

Aside: There are no more mini-series anymore (eg. Roots,etc.)

Question: Does it matter if you’re young?
Answer: It used to, but not anymore. Sometimes they’ve never even seen you before. With women – Younger better?
No. All they care about is what’s on the paper.

Film Companies buy 100 screenplays for the one they shoot. Television: 5 screenplays for 1 they shoot.
Big advantage of TV over movies.

The point: There is no one way to break into Hollywood. No formula. Just keep trying any way you can.

Her biggest star story: Daniel Wilson, “robot guy”. His premise was that household appliances are the robots who are taking over the world.

Her definition of a writer: Someone who feels bad if they are not writing.

(Important): Malcolm Gladwell Takes 10,000 hours on average to be successful.
A lot of writing is a craft which can be learned. You will get better with the more hours you put in. But she recommends other things too: critique groups, books on writing, and anything else you can do but not instead of the actual writing.

She writes one screenplay at a time. The day she sends out a submission, she starts a new screenplay.
(First time, she waited after sending one out. Never heard back from. Made her down in the dumps when she started the next one.)

The Process: Frame things positively and get lots of support.

Success: Become a pro. A real thing: nothing like it according to her.
Eg. Failures -> like potholes; Success-> the road.
We’re in charge of our success. Have to be willing to do the work – lots of work.

Alternating Left and Right Brains:
1) Right -> Choose a story
2) Left Brain -> Outline
3) Right Brain – First Draft
4) Left Brain -> Edit and Polish


Option #1:
Mainstream: mostly big budget and star-driven
Or
Option #2:
Small independent film world.
Not hard to reach it.
All have own websites.
None of their phone numbers are secret.
Querying:
Research similar movies. Find one like yours. Research agents, directors, etc.
Eg. Following exist:
Christian movies
Spiritual movies.

Eg. indie (independent) film producers (Small Press) :
1) Austin TX
2) Sundance (Robert Redford)


Who to submit to:
All small independent presses have companies:
Look at credits.
1) For director. Find directors on websites.
2) Staff people of company who deal with new people.
3) She used to research Blockbuster.
4) Hang around as many film people as you can.

Conferences:
Willamette Writers – 1st week of August
NOTE- You can have 10 minute 1-on-1 pitches at WW conference – most others are
between 3 and 5 minutes. Some only 1 minute. Cynthia has classes on how to pitch.
Kay Snow Award: $10 fee?
One category is screenplays: Get about 40 submissions. Only send in 1st 10 pages to be judged.
Contests good for resume.

Never write a low-key character (or for a low-key actor). Instead look for high energy actor and character. (They will always choose someone else besides the actor you write it for). Writer has no input on casting. (Same with the music). A business decision -> their decision, not yours.

1st ten pages: Same as novels.
1) Don’t fill in with any background.
2) Get into story right away – at beginning – don’t wait for later.

Mistakes:
1) Don’t start with details.
a. Start at problem. (Before the problem -> you have no story).

Underdog stories are good: (eg. Spielberg)
Animal Stories: The animal can never be the main character: still has to be a human – human has to be
the one with the problem.


The money: Film and TV are close except there is also a large shooting bonus for films since so few get made into movies.
Money incremental:
1) Sign contract
2) Outline
3) First draft
4) Finished project
First day of shooting day of reckoning: Biggest payday.
She gets residuals on TV. (Cable pays less).

Bad: Send off 10 pages without finishing the rest of it. (WW Conference: can use as a deadline to work for).
With multiple writers, writer’s guild decides who gets credits. Once you sell something, get into the guild.
Guild sets benefits – health insurance, pension, etc. Similar to screen-actor’s guild. Better than director’s guild. For $25, you can register your writing for 5 years – protect from theft.

Agents – not looking just for good ideas. Are also looking for execution.

Writing is a craft, a career opportunity and a good living.

Can have only one script  get an entertainment lawyer instead of an agent. Agents looking for series or multiple projects – want career writers. You can submit to writer’s groups without joining.
If when making changes most is still the same, don’t resubmit.