Moving to LA

[Dan Muchnik]

Hit up everybody you know out there, and anybody who may know someone. get to set early. work your ass off. talk to people in the departments you're interested in. Listen. Be patient. Accept that you have a lot to learn, and keep learning forever.

[Tyler Purcell]

Couldn't have said it better Adrian!

[Phil Rhodes]

Seconded. Further to the ideas above, I recently had a conversation with an extremely prominent director of photography who described his dissatisfaction at having to shoot "a man in his underpants in front of acres of green", so perhaps let's leave off the comic book adaptations, too.

 

P

[JD Hartman]

Join/start hanging out on Stage32 dot com. See if all the buzz that surrounds the screenwriters over there floats you boat.

[Bill DiPietra]

Honestly, if you want to write things, good things, please, go live your life.

 

EXACTLY!!! Life experience is what all real ideas are rooted in.

[joshua gallegos]

Screenwriting is my passion, but as I've mentioned before I want to be able to direct my own work. I've done it before unsuccessfully- and I did it by writing a couple of shorts that were incredibly cheap to shoot, so I regard them as simple experiments. From those shorts I learned that a director requires a sense of leadership- knowing every aspect of a production, from the moment a film idea is developed to post-production. Having the ability to make decisions and collaborate is the key to a film's success. I am not a professional in anything- therefore, I must learn how professionals work. I want to see professional people in a working environment and learn from them. Simple.

 

I think a lot of people have a misconception when it comes to writing. Writing for the screen is nothing like writing a novel. Screenwriting is a craft, the structure of a story is the most important aspect of writing- it's not so much about what you write, but HOW you write it that counts. Writing about ones life experiences will amount to a boring autobiography. A screenplay requires a sense of imagination- a touch for the dramatic- learning how to build conflicts with sequences and bits of action. A screenplay can be anything but one thing.... boring. "Living life" whatever that means is horrendous advice. Everyone is living a life, every conscious thing that is aware and feels are living life. Consider J.K. Rowling, she was working as a secretary, Stephen King was a school teacher- but these people were avid readers and had a great imagination.

 

Being an adventurer or traveler will make you cultured but it won't make you a good writer. In fact Hemingway himself was a lousy screenwriter, so was F. Scott Fitzgerald and William Faulkner- despite being world renown novelists. Writing is a craft like cinematography- the craft can be learned by anyone, but it requires some talent and a lot of hard work, it requires the ability to form an idea and construct it in a way that is dramatically satisfying, Seeing something in a cinematic context and placing it within a genre so that it is marketable is a requirement. It's a business, first and foremost- it's the sad reality, but I think enough filmmakers have found a way to be artistic in the business. I've been writing for about seven years now, and until now I feel like I'm ready- some of my work was ranked higher than some of the people who ranked as quarter-finalists in the Nicholl screenwriting competition (the most prestigious of them all) on The Black List, and it was a good feeling. Most screenwriters hit their prime in their 30s and i'm willing to work hard to get there AND learn how film productions are handled. Maybe then I'll invest my own money to make a short film worthy of filming with a real cast and crew. Who knows...

Edited October 26, 2015 by joshua gallegos

[John E Clark]

Atlanta because Georgia tax incentives.

 

You gotta go where the work is. Film and tv shows in North America are currently made in LA, New York, Atlanta, Louisiana, New Mexico, Vancouver, and Toronto (right now). I've pretty much come to the conclusion that there will never be much film and tv work in SF, the bread and butter work here for better or worse revolves around the tech industry. If you move here or somewhere else without an current established film industry and expect to have a career like Greg Irwin, it's just not gonna happen.

 

There use to be quite a bit of shooting in SF and here in San Diego. But I think California in general has turned rather 'negative' relative to other places in regard to the financial/tax benefits.

 

I would see SF being a haven for boutique film making... the Daughter tells me there are places one can still rent still processing/print labs and the like, which have totally disappeared from San Diego... and because LA is... well LA... getting anywhere is a major pain... even if there are labs to to be had...

[Tyler Purcell]

Being an adventurer or traveler will make you cultured but it won't make you a good writer.

Actually, I think it really does. Having made a feature documentary about a filmmaker (Sam Fuller) who spent his entire youth roving the country, went to war, came back and became one of the most prolific and talented writers in Hollywood. I understand that it doesn't magically make you successful, but what it would do is give you stories that don't revolve around Hollywood. You've gotta remember, most scripts are tweaked by people like Sam, they're the "ghost" writers and are brought in to add all of those extra seamy bits that make for success.

 

You could spend 10 years learning the trade and working your way up the ladder, but it doesn't mean you'll have any success. Thousands of people are in the same boat you're in, everyone is trampling over each other, trying to screw one another, trying to make THEIR project a reality. So what differentiates your project from the next guys? It's not how you write honestly, it's all about what you write. It's the uniqueness of the story that makes your film what it is. You aren't writing the next crappy blockbuster, you're writing the little indy film that will start your career. It's gotta be an awesome little story, most of which you'll base on the unique experiences you've had in your life.

 

Being on a film set will only teach you so much and almost nothing about filmmaking craft. Most films are made in the months prior to production (writing, casting, story boards, art design, pre-production) and months after production (editing, music, sound mixing, coloring). Production itself is only the result of all the prior hard work and that's one of the reason you won't really learn much on film set. I'd say watching movies and decent behind the scenes documentaries, is actually better for you.

 

So if you wanna learn how to make movies, you need to go out and make movies. I know that kinda sounds stupid, but it's the right way to go. When I started making shorts on film in the late 90's in Boston, we had to figure everything out on our own. We learned a lot after making our first short and eventually became better filmmakers along the way. Today with digital technology and the ease of making a commercially viable movie without the expense of film, you can really make something good for very little money. Here in Hollywood, you can get help from experienced people for very little money and hopefully someone can mentor you through the process. It's all about making the right connections and simply going for it. Come here with a lot of money, get a decent 9 - 6 job that will pay your bills, work on your film every night after work and shoot on the weekends. Pay for it all out of your pocket and make something super unique that everyone will want to see.

 

That's just my .02 cents.

[Kenny N Suleimanagich]

 

There use to be quite a bit of shooting in SF and here in San Diego. But I think California in general has turned rather 'negative' relative to other places in regard to the financial/tax benefits.

 

I would see SF being a haven for boutique film making... the Daughter tells me there are places one can still rent still processing/print labs and the like, which have totally disappeared from San Diego... and because LA is... well LA... getting anywhere is a major pain... even if there are labs to to be had...

After Lee Utterbach closed and Monaco stopped processing, celluloid is considerably more difficult to shoot in San Francisco. Although for still photo its another story. I still miss dropping off at Lightwaves - my lab in New York is nowhere near the high standard of that lab.

Edited October 26, 2015 by Kenny N Suleimanagich

[JD Hartman]

So why not just write and pitch your scripts. If they're good some company will option one, if it's great, some company will buy and produce it. I again suggest you check out Stage32.

[joshua gallegos]

Okay, you guys convinced me, LA is most likely a huge misstep. I think LA is the last and final step you take once you've actually succeeded at something, grabbing attention from major agencies, etc, otherwise, the doors will be closed to unknowns. So, there's no way in unless you've proven yourself by doing something so good that they can't ignore you. Houston is still a terrible film city, so Austin sounds like the right place for me, Spec screenplays are rarely optioned nowadays- I think there's only been about 60 last year, which is an incredibly small amount- this by major studios. I'll check out Stage 32, thanks.

[Satsuki Murashige]

After Lee Utterbach closed and Monaco stopped processing, celluloid is considerably more difficult to shoot in San Francisco. Although for still photo its another story. I still miss dropping off at Lightwaves - my lab in New York is nowhere near the high standard of that lab.

Yeah, losing a local motion picture lab where I could physically drop off, print, and pick up my film was a big blow. I think I've shot less than 10 rolls since it closed years ago, too much of a hassle now.

 

Lightwaves Imaging is still fantastic! Just wish they would stock Cinestill film.

[Satsuki Murashige]

There use to be quite a bit of shooting in SF...

 

Yes, we still have a lot of very experienced older crew who cut their teeth on Nash Bridges, ILM special effects work, and other local union shows. But the younger generation has had less of that kind of work. For us, we mostly cut our teeth on non-union commercials, corporate, docs, and indie film because that's all we had. Occasionally, union jobs like HBO's 'Looking' and 'Steve Jobs' come to town and stay for longer than a few weeks of exteriors and plates, but most of that work goes to the older local crew. It's not easy to join the union without physically being in LA, I believe they intentionally make it difficult for non-LA locals to join by insisting that we come down to the union hall to fill out paperwork and schedule safety classes. It's crazy to me how young a lot of the union crew in LA is (like early 20's), but it really is that much easier to get in down there. Cie la vie.

 

I believe that this is what will eventually happen to locales like New Mexico, NOLA, and ATL when the tax credits finally go away.

[Satsuki Murashige]

Joshua, if you would like to see some of your scripts produced, why not offer them to more experienced producers and directors? Everyone is always looking for great scripts. Get some well-produced and decently budgeted films out there with your name attached as the screenwriter and you'll attract all kinds of interest. At that point, maybe a producer will even let you direct your own script if they want it badly enough. Just a thought.

[joshua gallegos]

It's really not that simple. Producers will never read unsolicited material because of potential lawsuits. Therefore the first objective for any spec writer is to attain representation and management- and that usually happens to writers who win the Nicholl screenplay competition and to the top finalists. In order for that to happen you have to be at the very top of your game as there a thousands upon thousands of submissions. Another way would be to write/direct a short film that makes it to Cannes or Sundance- or any other major festival. It's not as simple as many people think as most producers don't have time to waste on unknowns.

[Satsuki Murashige]

Well, you're talking about the upper eschelon of studio filmmaking. I was saying that you should try to step up 2-3 rungs on the production ladder first, working on the kind of budgets where the producer would have enough resources to hire experienced actors and crew, scout and negotiate for good locations, pay for permits if necessary so you can legally shoot things like driving scenes, city street exteriors etc. Build a reel of short films with your name attached as the writer. Attract representation and management based on the strength of those projects. Then start directing with those new contacts. That is a realistic path upward in my opinion. But what do I know, I'm not a writer or a director! :)

[Michael LaVoie]

So why not just write and pitch your scripts. If they're good some company will option one, if it's great, some company will buy and produce it. I again suggest you check out Stage32.

Have you tried pitching at Stage 32? :lol:

[Michael LaVoie]

It's really not that simple. Producers will never read unsolicited material because of potential lawsuits. Therefore the first objective for any spec writer is to attain representation and management- and that usually happens to writers who win the Nicholl screenplay competition and to the top finalists. In order for that to happen you have to be at the very top of your game as there a thousands upon thousands of submissions. Another way would be to write/direct a short film that makes it to Cannes or Sundance- or any other major festival. It's not as simple as many people think as most producers don't have time to waste on unknowns.

I don't think anyone here would assert that developing a script is simple. This forum tends to be pretty positive for the most part and there's a real "Go for it" spirit that is refreshing. Try not to focus on the barriers to your goal cause that will really hold you back. Selling a script is one thing. But selling yourself as a filmmaker is entirely different.

 

I've been speaking to a lot of distributors and producers trying to get a small indie I wrote into development. I can say this after making a trailer and pitching and speaking with many known and successful industry execs including film financing companies...

 

Primary considerations are on camera talent and behind the camera track record. If it's your first film, you're on your own. It's highly unlikely that anyone new or young who is climbing up is going to risk being knocked back down to help you unless you have a personal direct relationship with the talent you want in the film or the investor offering private equity.

 

Directors and producers with track records including Sundance wins have a difficult enough time financing their next project. I'd recommend Satsuki's advice and look for a veteran producer who may not be that busy but has a successful track record producing films similar to your script and try to pitch them on getting "back in the game" with your script.

 

Then look for actors that are also "known but not that busy". Same thing. Reach out on social media and try to get them a script directly. That's the best advice I could suggest. It's not gonna be easy. You really need someone who's proven themselves in some way attached to the project to lend it some financial credibility.

[JD Hartman]

No Micheal I haven't tried pitching a script onStage32. I'm not a writer, are you?

Edited October 27, 2015 by JD Hartman

[Michael LaVoie]

No Micheal I haven't tried pitching a script onStage32. I'm not a writer, are you?

Their pay per pitch program is called Happy Writers. I tried it a few times before I realized there's a reason it's not called "Happy Filmmakers". haha. But it's good practice for getting a pitch down to 8 minutes and really honing it. Though the skype element is awkward.

 

I recommend it for practice only. And for learning how to give great "cut-and-paste" feedback on someone's scripts. :lol:

Edited October 27, 2015 by Michael LaVoie

[Phil Rhodes]

If they're good some company will option one

 

Really?

 

There are two problems with that. First is that there are many good scripts avaialble. Thousands of them, for every script made. Tens of thousands. It isn't that hard. The second is that it doesn't matter. I was looking at the top UK box office this year - it's Jurassic World, which was a terrible, terrible script.

 

Yes, everyone can name a rock star. Those people are famous because they are very, very, very rare.

 

P

[John E Clark]

 

Really?

 

There are two problems with that. First is that there are many good scripts avaialble. Thousands of them, for every script made. Tens of thousands. It isn't that hard. The second is that it doesn't matter. I was looking at the top UK box office this year - it's Jurassic World, which was a terrible, terrible script.

 

Yes, everyone can name a rock star. Those people are famous because they are very, very, very rare.

 

P

 

The only person I've 'known'... and I didn't really know her, but did sit in her mother's coffee house often... was Denise Richards, of the 'moment of fame as a Bond girl'... but that was 1 degree of separation... ok... ok... there was this girl I used to live with whose brother went on to get an Oscar... at the time he was just another student at CIA... California Institute of the Arts... and the Oscar was a group Oscar for the visual effects on a certain famous sci-fi space opera flick... but that's it... I stand by that...

 

Anyway, the Wife use to take hundreds of acting/modeling portfolio shots for men and women who wanted to 'go to Hollywood', and of those hundreds over the years only one or two did we ever see even once on an ad or show, and only one got a repeat gig on a show...

 

While these examples are for 'acting talent'... the few 'writer' types I've known have never garnered an IMDB entry... ok... some friends use to go visit with Ed Wood while he was still alive, so that was another 1 degrees of separation... never understood that... but in my old age, perhaps I can now see something to it...

 

Anyway, then net 'advice' is... become a dentist... even if at 35 one has to go back to school... but then don't pile up school debt... in any case, don't move to 'Hollywood' with any expectation of success... one's internal drive may get some response, but it's not like doors will open 'magically'.

 

I think anyone who is successful in Hollywood is as lucky as a lottery winner...

Edited October 28, 2015 by John E Clark

[joshua gallegos]

 

Really?

 

There are two problems with that. First is that there are many good scripts avaialble. Thousands of them, for every script made. Tens of thousands. It isn't that hard. The second is that it doesn't matter. I was looking at the top UK box office this year - it's Jurassic World, which was a terrible, terrible script.

 

Yes, everyone can name a rock star. Those people are famous because they are very, very, very rare.

 

P

That's actually very true. There are many "good" screenplays out there- that is why screenwriters have to dish out exceptional stories- which are incredibly rare. I wouldn't say writing a good script "isn't that hard"- it's actually not that simple, unless you're an exception. The real work is in fixing a script- rewriting it to make it better. Even though scripts may not get produced, there are a plethora of them which are optioned and sit in a production company's database for decades. A lot of screenwriters have managed to get representation by merely writing a screenplay worthy of attention. A lot of good scripts can become good writing samples to attract managers or agents. No good script ever goes to waste.

 

Of course it's not easy to make it anywhere- Hollywood is no exception. It's a cut-throat business.

Edited October 30, 2015 by joshua gallegos

[Phil Rhodes]

 

 

A lot of screenwriters have managed to get representation by merely writing a screenplay worthy of attention.

 

And I suspect a lot of people who aren't screenwriters have written screenplays worthy of attention and got nowhere at all.

 

P

[Tyler Purcell]

The problem with Hollywood is that everyone has a screenplay or story they want to tell. Since there are so many people already working in the industry here, it's much easier for them to get their script onto the desk of someone who matters, then a random person coming in from the outside.