Carol,

Another good book to purchase is "The Writer's Journey...A Mythic Structure For
StoryTelllers and Screenwriters", by  Christopher Vogler.

This may actually be the book that Zack was talking about.

It is a wonderful interpretation of Joseph Campbell's theories on the mythical
structure in film and has been an incredibly useful tool
to many a writer I know in Hollywood.

Best of luck to you in your endeavors.


MBR@...

"Zack@WriteMovies" wrote:

> Hey Carol,
>
> Welcome to the brood!
>
> Never heard of Stracynski... The best ones are anything by Linda Seger, the
Robert McKee book and the David Vogel book on Mythology.
>
> Other members of the group might want to add to this list.
>
> Best,
>
> Zack.
>
> WriteMovies.com
> Empowering Writers WorldWide!
> 7510 Sunset Blvd., Suite 1160
> Hollywood, CA 90046
> USA
> tel: 310.281.6213 fax: 310.827.4887 email: admin@...
>
> [Non-text portions of this message have been removed]
>
> ------------------------------------------------------------------------
> Old school buds here:
> http://click.egroups.com/1/5536/12/_/_/_/962998331/
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> WriteMovies-unsubscribe@egroups.com

Greetings Mark,

  Hey, thanks, and yes, you are brilliant,
Not rambling!  Need an editor perhaps,
But don't we all.

I thought you weren't real, just spam.
Is there a greater insult than that?  No,
I beleive you have good work, or

You have the mind to produce good work.
Yes, there are a lot of Marks.
My real (Day) job,   I'm always hearing

From Marks  Wierd..  Cool.
It's not Ramblin. You're communicating.
I'm delighted to hear from you.

Zack and I, well, we're buds,
I think.  I know him E lectroinic.
Cyber.  How about you?

What do you you have?
Give me the pitch.  I'll comment.
It' s free...............

Thanks,

MDS





From: Mark Parker <mjgzparker@...>
To: <WriteMovies@egroups.com>
Sent: Sunday, July 09, 2000 5:55 PM
Subject: Re: [WriteMovies] newbie question


> Hello Mark Shannon,
>
> (What's in a name?! I've never met so many "Marks" as I have in
screenwriting... :-)... must be cosmic, man...)
>
> << Care to share a few words of wisdom? >>
>
> No "wisdom," but some thoughts that may or may not be worth much.
>
> I guess what I most appreciated about JMS was that his book demystified
the business-side of the business for me. None of the other how-to books
managed that. In addition, he gives very practical advice on the craft
itself; offering examples, for the most part, that ultimately went into
production or were essential to the process (like a treatment of an episode
to MURDER, SHE WROTE).
>
> As far as title and story go, I don't know: I know of some writers who say
that they won't/can't begin a script without a title, and others who say it
doesn't matter much, either to them or to marketing the product (because
it's likely to be changed along the way...). Who to believe? I du know...
>
> For story: "Keep it simple... Keep it concise..." Sure. But the writer
better have complications and great characters built in! Otherwise, nobody
is going to give a shit by page 45. Having said that, no matter how complex
the movie may become (complications and characters), if the writer can't
pitch (summarize) the monster in fifty words or less, there will be
problems -- both in the writing of the screenplay and in its marketing.
So... I guess I took a long time to say I agree with you, but with a few
qualifications... (Not very Hollywood of me, was it?)
>
> That leads me to something I specifically learned from JMS: The summary is
as important as the treatment before writing a screenplay. The treatment
gives you the scene-by-scene, prose description of the script/movie-to-be.
The summary keeps the writer on focus, and focus ("a boy and his dog...") is
essential to keeping us moving toward our goal (whatever that may be).
>
> e.g., "A boy and his dog..." What does the boy want? Say... to be with his
mom. What does the dog want? (don't laugh) Say... to be loved by the boy and
to be with him every waking moment. The dog mostly has what he wants. The
boy doesn't. The boy sees his chance when he stumbles across a pile of loot
stashed by a gang of bank robbers. Let's say the boy is a latchkey kid,
mom's divorced and working eighty hours a week to keep him in his
AirJordans, he loves mom but hates their situation... Let's say that the kid
likes exploring, he breaks into an abandoned house, they snoop around and
find a bag of money... But he's smart and he knows that he just can't
deliver a million bucks to mom -- she'll give it to the cops and blow his
one chance to remake the world. So he hides it in his tree house until he
can figure out what to do next. But the crooks are on top of him... somebody
(a neighbor) saw a boy and dog leave the house ("...Sure I know him. That
mutt dug up my prize azaleas last month...") So the crooks are on his tail.
[And so it goes... always keeping in mind that the story is about a boy and
his dog. The money, the crooks, the struggle to escape and to outsmart the
bad guys, etc. are just complications, as is the boy's relationship to mom,
her long hours at work, even his loneliness. It's all about the boy and the
dog and their relationship and their fundamental desires in that context.]
But where do we want to take them? When is the movie finished? I would say
it's done when the boy realizes that he can't buy his way out, that he is
actually lucky to have a mom who loves him and cares for him (even though
she doesn't have a lot of time to share), and that he has this wonderfully
devoted best friend -- the dog. Naturally the bad guys have to get theirs,
but that is neither here nor there as concerns our story's focus.
>
> Were you expecting such a long answer, Mark? I have a bad habit of
rambling when I'm looking for reasons not to work. But enough of that. Time
to write.
>
> Mark Parker
>
> ----- Original Message -----
>   From: markshannon
>   To: WriteMovies@egroups.com
>   Sent: Saturday, July 08, 2000 7:30 PM
>   Subject: Re: [WriteMovies] newbie question
>
>
>   Hey Mark,
>
>   What did you learn about the book?
>   There's a lot to this scriptwriting craft, don't you think?
>   Care to share a few words of wisdom?
>
>   For me,  I learned this one from a prof. in grad school:
>   Express the story in as few words as possible:
>   The  story of a boy and his dog.
>
>   Or, the story of a guy who writes a movie script.
>   About teenage werewolves.  Home.  Lust.  Childhood.
>   Get it?  Make it simple.  Define it.  Title it.
>
>   It all starts with the title.  The suits read this
>   before they read a word of the script.  Question is,
>   how to make a script live up to a story?
>
>   MDS
>
>
>
>
>
>   ----- Original Message -----
>   From: Mark Parker <mjgzparker@...>
>   To: <WriteMovies@egroups.com>
>   Sent: Saturday, July 08, 2000 7:25 PM
>   Subject: Re: [WriteMovies] newbie question
>
>
>   > I found JMS's "The Complete Book of Scriptwriting" to be one of the
best.
>   I wish I'd found it first. (But everyone has a favorite when it comes to
>   books like these.)
>   > Mark P.
>   >   ----- Original Message -----
>   >   From: tomorrow's parties
>   >   To: WriteMovies
>   >   Sent: Thursday, July 06, 2000 6:26 PM
>   >   Subject: [WriteMovies] newbie question
>   >
>   >
>   >   So lately I've been intrigued by the idea of trying my hand at a
>   screenplay
>   >   (I never have before--have mainly been focused on nonfiction prose,
and
>   >   poetry).  I've got some ideas, and I'm thinking of buying one of
those
>   >   "Screenwriting 101"-type books.  Anybody got a recommendation on a
good
>   one?
>   >   What do you all think of "The Complete Book of Scriptwriting" by J.
>   Michael
>   >   Straczynski?
>   >
>   >   gracias, Carol
>   >
>   >
>   >
>   >
>   >
>   >   _______________________________________________________
>   >   Say Bye to Slow Internet!
>   >   http://www.home.com/xinbox/signup.html
>   >
>   >
>


> --------------------------------------------------------------------------
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>   >
>   >
>   >
>


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>

Hello Mark Shannon,

(What's in a name?! I've never met so many "Marks" as I have in screenwriting...
:-)... must be cosmic, man...)

<< Care to share a few words of wisdom? >>

No "wisdom," but some thoughts that may or may not be worth much.

I guess what I most appreciated about JMS was that his book demystified the
business-side of the business for me. None of the other how-to books managed
that. In addition, he gives very practical advice on the craft itself; offering
examples, for the most part, that ultimately went into production or were
essential to the process (like a treatment of an episode to MURDER, SHE WROTE).

As far as title and story go, I don't know: I know of some writers who say that
they won't/can't begin a script without a title, and others who say it doesn't
matter much, either to them or to marketing the product (because it's likely to
be changed along the way...). Who to believe? I du know...

For story: "Keep it simple... Keep it concise..." Sure. But the writer better
have complications and great characters built in! Otherwise, nobody is going to
give a shit by page 45. Having said that, no matter how complex the movie may
become (complications and characters), if the writer can't pitch (summarize) the
monster in fifty words or less, there will be problems -- both in the writing of
the screenplay and in its marketing. So... I guess I took a long time to say I
agree with you, but with a few qualifications... (Not very Hollywood of me, was
it?)

That leads me to something I specifically learned from JMS: The summary is as
important as the treatment before writing a screenplay. The treatment gives you
the scene-by-scene, prose description of the script/movie-to-be. The summary
keeps the writer on focus, and focus ("a boy and his dog...") is essential to
keeping us moving toward our goal (whatever that may be).

e.g., "A boy and his dog..." What does the boy want? Say... to be with his mom.
What does the dog want? (don't laugh) Say... to be loved by the boy and to be
with him every waking moment. The dog mostly has what he wants. The boy doesn't.
The boy sees his chance when he stumbles across a pile of loot stashed by a gang
of bank robbers. Let's say the boy is a latchkey kid, mom's divorced and working
eighty hours a week to keep him in his AirJordans, he loves mom but hates their
situation... Let's say that the kid likes exploring, he breaks into an abandoned
house, they snoop around and find a bag of money... But he's smart and he knows
that he just can't deliver a million bucks to mom -- she'll give it to the cops
and blow his one chance to remake the world. So he hides it in his tree house
until he can figure out what to do next. But the crooks are on top of him...
somebody (a neighbor) saw a boy and dog leave the house ("...Sure I know him.
That mutt dug up my prize azaleas last month...") So the crooks are on his tail.
[And so it goes... always keeping in mind that the story is about a boy and his
dog. The money, the crooks, the struggle to escape and to outsmart the bad guys,
etc. are just complications, as is the boy's relationship to mom, her long hours
at work, even his loneliness. It's all about the boy and the dog and their
relationship and their fundamental desires in that context.] But where do we
want to take them? When is the movie finished? I would say it's done when the
boy realizes that he can't buy his way out, that he is actually lucky to have a
mom who loves him and cares for him (even though she doesn't have a lot of time
to share), and that he has this wonderfully devoted best friend -- the dog.
Naturally the bad guys have to get theirs, but that is neither here nor there as
concerns our story's focus.

Were you expecting such a long answer, Mark? I have a bad habit of rambling when
I'm looking for reasons not to work. But enough of that. Time to write.

Mark Parker

----- Original Message -----
   From: markshannon
   To: WriteMovies@egroups.com
   Sent: Saturday, July 08, 2000 7:30 PM
   Subject: Re: [WriteMovies] newbie question


   Hey Mark,

   What did you learn about the book?
   There's a lot to this scriptwriting craft, don't you think?
   Care to share a few words of wisdom?

   For me,  I learned this one from a prof. in grad school:
   Express the story in as few words as possible:
   The  story of a boy and his dog.

   Or, the story of a guy who writes a movie script.
   About teenage werewolves.  Home.  Lust.  Childhood.
   Get it?  Make it simple.  Define it.  Title it.

   It all starts with the title.  The suits read this
   before they read a word of the script.  Question is,
   how to make a script live up to a story?

   MDS





   ----- Original Message -----
   From: Mark Parker <mjgzparker@...>
   To: <WriteMovies@egroups.com>
   Sent: Saturday, July 08, 2000 7:25 PM
   Subject: Re: [WriteMovies] newbie question


   > I found JMS's "The Complete Book of Scriptwriting" to be one of the best.
   I wish I'd found it first. (But everyone has a favorite when it comes to
   books like these.)
   > Mark P.
   >   ----- Original Message -----
   >   From: tomorrow's parties
   >   To: WriteMovies
   >   Sent: Thursday, July 06, 2000 6:26 PM
   >   Subject: [WriteMovies] newbie question
   >
   >
   >   So lately I've been intrigued by the idea of trying my hand at a
   screenplay
   >   (I never have before--have mainly been focused on nonfiction prose, and
   >   poetry).  I've got some ideas, and I'm thinking of buying one of those
   >   "Screenwriting 101"-type books.  Anybody got a recommendation on a good
   one?
   >   What do you all think of "The Complete Book of Scriptwriting" by J.
   Michael
   >   Straczynski?
   >
   >   gracias, Carol
   >
   >
   >
   >
   >
   >   _______________________________________________________
   >   Say Bye to Slow Internet!
   >   http://www.home.com/xinbox/signup.html
   >
   >
   > --------------------------------------------------------------------------
   ----
   >
   >
   >
   > --------------------------------------------------------------------------
   ----
   >   To unsubscribe from this group, send an email to:
   >   WriteMovies-unsubscribe@egroups.com
   >
   >
   >
   >
   >
   > [Non-text portions of this message have been removed]
   >
   >
   > ------------------------------------------------------------------------
   > Free, Unlimited Calls Anywhere!
   > Visit Firetalk.com - click below.
   > http://click.egroups.com/1/5479/12/_/_/_/963103387/
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   >
   >


------------------------------------------------------------------------------



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[Non-text portions of this message have been removed]

Original Message -----
From: markshannon <mds@...>
To: <WriteMovies@egroups.com>
Sent: Saturday, July 08, 2000 9:30 PM
Subject: Re: [WriteMovies] newbie question


> Hey Mark,
>
> What did you learn about the book?
> There's a lot to this scriptwriting craft, don't you think?
> Care to share a few words of wisdom?
>
> For me,  I learned this one from a prof. in grad school:
> Express the story in as few words as possible:
> The  story of a boy and his dog.
>
> Or, the story of a guy who writes a movie script.
> About teenage werewolves.  Home.  Lust.  Childhood.
> Get it?  Make it simple.  Define it.  Title it.
>
> It all starts with the title.  The suits read this
> before they read a word of the script.  Question is,
> how to make a script live up to a story?
>
> MDS
>
>
>
>
>
> ----- Original Message -----
> From: Mark Parker <mjgzparker@...>
> To: <WriteMovies@egroups.com>
> Sent: Saturday, July 08, 2000 7:25 PM
> Subject: Re: [WriteMovies] newbie question
>
>
> > I found JMS's "The Complete Book of Scriptwriting" to be one of the
best.
> I wish I'd found it first. (But everyone has a favorite when it comes to
> books like these.)
> > Mark P.
> >   ----- Original Message -----
> >   From: tomorrow's parties
> >   To: WriteMovies
> >   Sent: Thursday, July 06, 2000 6:26 PM
> >   Subject: [WriteMovies] newbie question
> >
> >
> >   So lately I've been intrigued by the idea of trying my hand at a
> screenplay
> >   (I never have before--have mainly been focused on nonfiction prose,
and
> >   poetry).  I've got some ideas, and I'm thinking of buying one of those
> >   "Screenwriting 101"-type books.  Anybody got a recommendation on a
good
> one?
> >   What do you all think of "The Complete Book of Scriptwriting" by J.
> Michael
> >   Straczynski?
> >
> >   gracias, Carol
> >
> >
> >
> >
> >
> >   _______________________________________________________
> >   Say Bye to Slow Internet!
> >   http://www.home.com/xinbox/signup.html
> >
> >
>
> --------------------------------------------------------------------------
> ----
> >
> >
> >
>
> --------------------------------------------------------------------------
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> >   WriteMovies-unsubscribe@egroups.com
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> >
> >
> >
> >
> > [Non-text portions of this message have been removed]
> >
> >
> > ------------------------------------------------------------------------
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> > Visit Firetalk.com - click below.
> > http://click.egroups.com/1/5479/12/_/_/_/963103387/
> > ------------------------------------------------------------------------
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> > WriteMovies-unsubscribe@egroups.com
> >
> >
> >
>
>
> ------------------------------------------------------------------------
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> http://click.egroups.com/1/5803/12/_/_/_/963110967/
> ------------------------------------------------------------------------
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> To unsubscribe from this group, send an email to:
> WriteMovies-unsubscribe@egroups.com
>
>
>

Hey Mark,

What did you learn about the book?
There's a lot to this scriptwriting craft, don't you think?
Care to share a few words of wisdom?

For me,  I learned this one from a prof. in grad school:
Express the story in as few words as possible:
The  story of a boy and his dog.

Or, the story of a guy who writes a movie script.
About teenage werewolves.  Home.  Lust.  Childhood.
Get it?  Make it simple.  Define it.  Title it.

It all starts with the title.  The suits read this
before they read a word of the script.  Question is,
how to make a script live up to a story?

MDS





----- Original Message -----
From: Mark Parker <mjgzparker@...>
To: <WriteMovies@egroups.com>
Sent: Saturday, July 08, 2000 7:25 PM
Subject: Re: [WriteMovies] newbie question


> I found JMS's "The Complete Book of Scriptwriting" to be one of the best.
I wish I'd found it first. (But everyone has a favorite when it comes to
books like these.)
> Mark P.
>   ----- Original Message -----
>   From: tomorrow's parties
>   To: WriteMovies
>   Sent: Thursday, July 06, 2000 6:26 PM
>   Subject: [WriteMovies] newbie question
>
>
>   So lately I've been intrigued by the idea of trying my hand at a
screenplay
>   (I never have before--have mainly been focused on nonfiction prose, and
>   poetry).  I've got some ideas, and I'm thinking of buying one of those
>   "Screenwriting 101"-type books.  Anybody got a recommendation on a good
one?
>   What do you all think of "The Complete Book of Scriptwriting" by J.
Michael
>   Straczynski?
>
>   gracias, Carol
>
>
>
>
>
>   _______________________________________________________
>   Say Bye to Slow Internet!
>   http://www.home.com/xinbox/signup.html
>
>
> --------------------------------------------------------------------------
----
>
>
>
> --------------------------------------------------------------------------
----
>   To unsubscribe from this group, send an email to:
>   WriteMovies-unsubscribe@egroups.com
>
>
>
>
>
> [Non-text portions of this message have been removed]
>
>
> ------------------------------------------------------------------------
> Free, Unlimited Calls Anywhere!
> Visit Firetalk.com - click below.
> http://click.egroups.com/1/5479/12/_/_/_/963103387/
> ------------------------------------------------------------------------
>
> To unsubscribe from this group, send an email to:
> WriteMovies-unsubscribe@egroups.com
>
>
>

I found JMS's "The Complete Book of Scriptwriting" to be one of the best. I wish
I'd found it first. (But everyone has a favorite when it comes to books like
these.)
Mark P.
   ----- Original Message -----
   From: tomorrow's parties
   To: WriteMovies
   Sent: Thursday, July 06, 2000 6:26 PM
   Subject: [WriteMovies] newbie question


   So lately I've been intrigued by the idea of trying my hand at a screenplay
   (I never have before--have mainly been focused on nonfiction prose, and
   poetry).  I've got some ideas, and I'm thinking of buying one of those
   "Screenwriting 101"-type books.  Anybody got a recommendation on a good one?
   What do you all think of "The Complete Book of Scriptwriting" by J. Michael
   Straczynski?

   gracias, Carol





   _______________________________________________________
   Say Bye to Slow Internet!
   http://www.home.com/xinbox/signup.html


------------------------------------------------------------------------------



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[Non-text portions of this message have been removed]

Hey Carol,

Welcome to the brood!

Never heard of Stracynski... The best ones are anything by Linda Seger, the
Robert McKee book and the David Vogel book on Mythology.

Other members of the group might want to add to this list.

Best,


Zack.

WriteMovies.com
Empowering Writers WorldWide!
7510 Sunset Blvd., Suite 1160
Hollywood, CA 90046
USA
tel: 310.281.6213 fax: 310.827.4887 email: admin@...



[Non-text portions of this message have been removed]

So lately I've been intrigued by the idea of trying my hand at a screenplay
(I never have before--have mainly been focused on nonfiction prose, and
poetry).  I've got some ideas, and I'm thinking of buying one of those
"Screenwriting 101"-type books.  Anybody got a recommendation on a good one?
What do you all think of "The Complete Book of Scriptwriting" by J. Michael
Straczynski?

gracias, Carol





_______________________________________________________
Say Bye to Slow Internet!
http://www.home.com/xinbox/signup.html

Hey Zack,

Thanks for the message.

I don't know what the answer is.

Seems to me that writers are really faced
with uncertainties when it come to Hollywood
and you, Zack,  have your finger on the pulse
of the problems.

I do know this-- for a writer trying to break in
it's gonna take one hell of  a script.   What's that?
I'm not sure.

I don't know what the suits are looking for, but
if they are as dumb as you suggest they are,
then they're trying to have next year's mega-hit
without taking any risks.  It's that's true, and
I believe it is, then the Oscars is kind of like
an ump at Shea who sees a ball hit over the wall
and  says "that's my homerun!"

You're right, they're looking for something
but they have not a clue.  But it doesn't keep them
from wielding  power.

About this McKee and the Law of  Turn of Events before
page 36,  he's right.  And I don't blame any industry
execs for flipping aside a script that doesn't have a couple
suprises in the first thrity minutes.  That is unless it
is great literature.

That brings us to a deeper question.  What is great
literature in the genre of screenwriting?  I don't know
what the answer of this one either, but I know it has
little to do with the real making of movies.

Let me expiain.  You see,  most scriptwriters
don't see the big-reality picture.    A great script does not
make a great  movie.  Only the potential for one.
It's like a seed  laying in dormancy with its original creator
unable to cultivate it beyond the germination level.
All a writer can do is plant a seed.   About making
it brilliant-- well, if you try to write  "The Great Movie",
it's a  misguided effort.   A screenplay should merely
strive to  move the studio morons--to put the suits into
action.  It doesn't have to be a great script.  In fact, it's
best for it not to be.  It should really be mediocre.
A great story, a great concept perhaps, but nothing more.
We're dealing with pop  culture here.  Hollyweird.

  You're right,  Zack, the screenwriter's destiny is in the
  hands of  those  who don't know, can't  judge competently.
  Imagine the work of Michael Angelo in the hands of
a janitor at  the chapel.  This is our reality.
Do we give them the cheap cartoons they can
understand?  The alternative is to try to bring them
to a higher level.

But seriously,  given the situation we're in,
is that possible?


MDS












[Non-text portions of this message have been removed]

Olla!

I'd like to know how many of you have taken the McKee screenwriting
course or read his book?

Here's the scoop: In essence he does ask some really
interesting/valid questions. However, a lot of writers misinterpret
him and think that in order to write a good piece, you have to
positively answer every question! Others use his guidelines as a way
of writing "by the numbers".

In all, the concensus is: "good stuff, use with caution, learn the
rules, learn to break them".

The other downside: a lot of the suits at the studios and production
companies have never written a line themselves, they are clueless, so
in order to sound smart and indulge in "Development Speak" they do
McKee's course (or read the book)and start seeing this stuff as the
Bible, i.e. if the writer does not deliver a turning point by page
36, it's a bad script...

The result, a lot of original work gets canned, even worse, a lot of
screenwriters, in order to make a living have capitulated and are
writing in that robot fashion. Ergo: more and more screenplays and
movies that sound exactly the same, more crap on the big screen.

Let me know if you agree/disagree + do you have experiences along
these lines and any solutions?

Happy Fourth!!!


Zack.

Zack-

Thank you and you're right, it is a shame, but if true writers want to get
involved, then they'll sign up.

Sincerely,

Matt
Drop Dead Films
http://www.dropdeadfilms.com/

-----Original Message-----
From: ZACK  [SMTP:Zack@...]
Sent: Saturday, June 24, 2000 10:04 PM
To: WriteMovies@egroups.com
Subject: [WriteMovies] SPAM!!!

ok people. we now have a closed door policy. posting is only open to
members and i check everything before it goes up.

kinda sad really, you start with an open door so passing scribes can
leave a message, but soon you find out in this day and age, if you
leave your front door open, some @*&^%$#@!!! spammer comes in and
craps on your carpet!

happy scribing to all!


zack.


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ok people. we now have a closed door policy. posting is only open to
members and i check everything before it goes up.

kinda sad really, you start with an open door so passing scribes can
leave a message, but soon you find out in this day and age, if you
leave your front door open, some @*&^%$#@!!! spammer comes in and
craps on your carpet!

happy scribing to all!


zack.

YES! YES!

no idea man, i emailed the *&^%$$!!! three times to take us off their spam list,
i guess they went round egroups with an open door policy and bang!

what's the feeling people, should we close the door? i.e. only allow members to
post?

zack





[Non-text portions of this message have been removed]

what the hell is this?
I thought this was a writing group.
Why are we getting spammed?

Matt

-----Original Message-----
From: ladeu29@... [SMTP:ladeu29@...]
Sent: Saturday, June 24, 2000 12:21 AM
To: ladeu29@...
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oi!

who am i, a mere mortal!

alex.

WriteMovies.com
Empowering Writers WorldWide!
7510 Sunset Blvd., Suite 1160
Hollywood, CA 90046
USA
tel: 310.281.6213 fax: 310.827.4887 email: admin@...



[Non-text portions of this message have been removed]

Hey Alex,

Come on buddy, let's show Hollywood how it's done.

Are you with me?

Mark







----- Original Message -----
From: rossprods <rossprods@...>
To: <WriteMovies@egroups.com>
Sent: Friday, June 09, 2000 7:54 PM
Subject: Re: [WriteMovies] re: Voltaire


> you mean the greatest marketing coup ever? The one Harvard Business School
never tought you about!?
>
> Zack.
>
>
> WriteMovies.com
> Empowering Writers WorldWide!
> 7510 Sunset Blvd., Suite 1160
> Hollywood, CA 90046
> USA
> tel: 310.281.6213 fax: 310.827.4887 email: admin@...
>
>
>
> [Non-text portions of this message have been removed]
>
>
> ------------------------------------------------------------------------
> Get your cash there fast.
> Use PayPal to send money via email.
> Sign up today.
> http://click.egroups.com/1/5025/10/_/_/_/960597893/
> ------------------------------------------------------------------------
>
> To unsubscribe from this group, send an email to:
> WriteMovies-unsubscribe@egroups.com
>
>
>
>

you mean the greatest marketing coup ever? The one Harvard Business School never
tought you about!?

Zack.


WriteMovies.com
Empowering Writers WorldWide!
7510 Sunset Blvd., Suite 1160
Hollywood, CA 90046
USA
tel: 310.281.6213 fax: 310.827.4887 email: admin@...



[Non-text portions of this message have been removed]

>>Zack replied: Now that we have invented God, what do we do with him?

Come up with a way to extort money from the masses by using tools such as fear
and defamation of technology.

Oh wait...

Ma chère Lena,

Maintenant que nous avons inventé Dieu, quoi en faire?

Zack.                                                                 Lena
wrote:

Talking about François-Marie Arouet (Voltaire), here's my favourite quote of
his:
"If God did not exist, we would have to invent him".

Zack replied:

Now that we have invented God, what do we do with him?



WriteMovies.com
Empowering Writers WorldWide!
7510 Sunset Blvd., Suite 1160
Hollywood, CA 90046
USA
tel: 310.281.6213 fax: 310.827.4887 email: admin@...



[Non-text portions of this message have been removed]

Merci Zack d'avoir saisi la balle au bond...
Voici une petite citation dudit François-Marie Arouet parmi mes
favorites:

"Si Dieu n'existait pas, il faudrait l'inventer"

Food for thought comme dirait W.S.

Hey, Zack, Voltiare sounds like a pretty good fella.
Ya think we can invent somebody like him for the new millennium?
We're gonna need him to kick-start the revolution.  There's writers all over
the world scribing with the free spirit of the muses,  but Hollywood ain't
listenin'.  That's an injustice!

Voltaire is gotta be out there somewhere....somewhere.....

Bubba

  ----- Original Message -----
From: admin@WriteMovies <admin@...>
To: <WriteMovies@egroups.com>
Sent: Wednesday, June 07, 2000 10:02 PM
Subject: Re: [WriteMovies] Talkin' in French


> He did much more Bubba!  He went and helped free all sorts of individuals
incarcerated by the French aristocracy: "I might disagree with you, but will
fight to the death for your right to say it".
>
> Also, he was the intellectual catalyst for the French Revolution in 1789.
Pity he died a couple of years too soon!
>
> (ain't i smart!) Zack.
>
> WriteMovies.com
> Empowering Writers WorldWide!
> 7510 Sunset Blvd., Suite 1160
> Hollywood, CA 90046
> USA
> tel: 310.281.6213 fax: 310.827.4887 email: admin@...
>
>
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> To unsubscribe from this group, send an email to:
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>
>
>
>

He did much more Bubba!  He went and helped free all sorts of individuals
incarcerated by the French aristocracy: "I might disagree with you, but will
fight to the death for your right to say it".

Also, he was the intellectual catalyst for the French Revolution in 1789. Pity
he died a couple of years too soon!

(ain't i smart!) Zack.

WriteMovies.com
Empowering Writers WorldWide!
7510 Sunset Blvd., Suite 1160
Hollywood, CA 90046
USA
tel: 310.281.6213 fax: 310.827.4887 email: admin@...



[Non-text portions of this message have been removed]

Say, did that fella Voltaire really drink conac and coffee while he
wrote books?

Bubba

--- In WriteMovies@egroups.com, lena4@n... wrote:
> Y-a-t-il un français dans la salle ?
> Bravo pour le site, Monsieur Zack !
> Enfin un moyen de s'exprimer dans la langue de Voltaire...
> A bientôt
> (promis, je vais apprendre l'anglais...)

Madame,

Je suis ravis d'avoir un des "descendants" de François-Marie
Arouet
parmis nous.

Le cinema ne vous semble pas banal en comparaison?

Zack.

Y-a-t-il un français dans la salle ?
Bravo pour le site, Monsieur Zack !
Enfin un moyen de s'exprimer dans la langue de Voltaire...
A bientôt
(promis, je vais apprendre l'anglais...)

I don't care, get me Lean!
But... Lean's... dead.
Don't ever say that. Never say dead.
Just say... he's unavailable.

Just another case of someone having a job based on who they know instead of
what.
Also, I finally have the updated version of my ebook. It is attached. TIA
Luke Easter


[Non-text portions of this message have been removed]

Talking about studios...

Did you hear the one about Chad McQueen going to pitch at Uni.,
mentioning a film of his father's to illustrate the pitch and the
executive had never heard of Steve McQueen!?

Jenny.

Barry Diller was known to be one of the hardest sells ever when he
ran Fox. He would turn most submissions down, unless they were no-
brainers (i.e. came with a major star attached).

Finally, when he was leaving, an agent who had been un-successfully
sending him material for years cornered him and said:

"Barry, what is with you, you've turned down some amazing material.
What does it take to get you to cut a check!?"

Diller replied:

"I have people pitching me stuff, sending me screenplays, books,
plays, articles etc. all day long. And yeah, I turn down a lot. Know
why? If I turn your project down and you just put your tail between
your legs and walk off to find the next piece, you have shown me that
you don't have faith in the project. Nobody knows shit! But if you as
the person who brings it in to me don't have enough faith,
conviction, passion to get right back in my face and say: "Barry, you
are wrong! This is going to make a great movie because of X, Y &
Z..." Why the hell should I get behind it!?".

So what's the moral of the story? There's no gurus out there. I still
have a letter from a former head of Lit. at ICM turning down a writer
who went on to write a blockbuster which got him an Academy Award
nomination.

By all means take constructive criticism, but it's up to you to
barnstorm with your project and infuse others with your enthusiasm.
All you need is for one person to say: "yes".

(Caveat: I cannot claim these to be Mr. Diller's exact words...But
it's a story that has become part of Hollywood folklore).