Author: BIll True

Husband. Dad. Guy who writes things.

A brief interlude: a more accomplished screenwriter than I gives me some solace

~ BIll True ~ Leave a comment

Earlier today, I had a phone conversation with a friend of mine.  He’s a very accomplished screenwriter who spent nearly two decades as a development executive and in-house re-write master at a few of the major studios.  Now he’s on his own and putting together a new company with an A-list screenwriter and a former studio head.

Anyway, so he’s working on this re-write for the screenwriter he’s partnered with, and he’s talking about the difficulty he’s having making everything gel together.

"It’s hard," he tells me, "because the scenario is set at one point in the story and then at a later point in the story, and my job is to fill in the gap between.  I know basically what I need to do, but I am having a devil of a time in the execution.

"I heard a quote–I can’t remember who said it–that just at the point where you’re about to throw your hands up and quit is when the answer comes to you.  I’m about at that point."

I am not happy that my friend is having a difficult go.  Of course, I know and he knows that he’ll find the answer, and everything will work out fine.  This is what he does.

At one point in our commiseration, he asked me, "Do you know what I mean?"

"Do I ever," I replied.

Uh…yeah.  Trawling in the cracks?  Trying to turn those lame "placeholder" scenes into real, full fledged, creative and dramatic ones that jump off the page and suddenly make the whole story work on a whole new level?  Story of my writing life.

I take a measure of comfort tonight knowing that guys like my friend struggle with the same problems as I do.  Makes me feel a little less lame.  And a little more like I belong here on the playing field.

#2–Bill’s top 10 highlights for the 2008 Austin Film Festival and Screenwriters Conference

~ BIll True ~ Leave a comment

Affblog
Over the next 5 days, I am going to post the highlights of this year’s
AFF screenwriters conference.  Well, my highlights, that is.

To continue our journey, here are #s 3 & 4.

Enjoy!

– – – – –

3. Had a writing epiphany – About two hours after our run-in with the deer, both Robbye and I were understandably a little shaky.  We’d done our best to soldier on through the night, but the wind was definitely out of our sails.  Even worse, everywhere I looked in front of me I saw deer.  Whether they were real or imagined made no difference.  My freaked out meter was near redline.

We needed to stop.

We pulled off the Interstate in the middle of nowhere.  This tiny oasis of light was the only thing we’d seen for over an hour.  There was a gas station and there was a small café.  Good enough for us.

We went inside the café, The Plainsman, and instantly felt like we’d stepped onto the set of some kitschy indie Americana drama.  As we walked in, we were greeted by—no kidding—a huge stuffed deer head nailed to the paneled wall.  Aside from the waitresses, who wore matching smocks (of course), the only other people in the place were two regulars, Bill and Carl, both of whom were members of the bib overall brigade.

Okay…I realize I need to take a sec to say this.  So hold on the story, please.

A common mistake by many new writers (yours truly included) is to write dialogue where characters are constantly calling or referring to each other by name.  It looks like this:

John: Martha, would you like a martini?

Martha:  If I’ve told you once, I’ve told you a thousand times, John.  I don’t like martinis.

Now…yes…people do, indeed, call each other by name at times.  What seems to be a universal problem with folks at the starting line of their writerly journey, however, is that they tend to overuse character names in dialogue.  Basically, you can spot a newbie a mile away this way.  And when you become attuned to it, it becomes absolutely glaring.

Because this has been an issue for me in the past, I am very cognizant of how many times I use character names in dialogue.  Of the several passes (i.e., editing reads) I give a script before I call it done, I always do a names once over.  It’s critical.

Okay…now I can return to the story.

Robbye and I are sitting in a booth, bleary-eyed and out-of-whack, sipping the colored water the place was trying to pass of as coffee.  During this time, something was working its way through the veil between my unconscious and conscious minds.  I couldn’t put my finger on it until I heard this exchange:

Kathy: You need more coffee, Bill (customer, not me)?

Bill: No, thanks, Kathy.

Kathy: How ‘bout you, Carl?

Carl:  I dunno.  Hmm…Sure, Kathy.  I’ll take some.

Bill: Well, Kathy, if Carl’s takin’ some, I’ll have one more cup.

Kathy: Sure thang, Bill.

I kid you not.  It sounded exactly like that.  Almost word-for-word.

Through the rest of our Plainsman dining experience, I had a hard time focusing on the conversation between Robbye and me because me ear kept drifting back to the conversations of the indigenous peoples.  Every time I tuned into one, it was a virtual replay of the Bill/Kathy/Carl exchange.

By the time we walked out, my writer’s mind was officially blown.  All of a sudden, my hard-and-fast rule wasn’t so hard-and-fast anymore.  I realized that there was at least one small pocket in the world where real-life people spoke like characters in a newbie script.  If there was one place, there were bound to be others.

I’d had an epiphany.  Though I will remain vigilant about my name usage in dialogue, I will relax a little.  Especially if I am writing characters who hail from small towns in the southern part of Kansas.

4. Kicked ass at moderating three panels – I mentioned in an earlier post that I had asked the AFF if I could try my hand at moderating a few panels this year.  I was very excited when they assigned my to three of them over the course of the conference.

I printed off pages of research materials, determined to be the sharpest, most engaging moderator the AFF had ever seen. My plan was to use the drive down to Austin to go through my research and notes and formulate a plan for each panel.  And even though I wasn’t exactly sure what angle of approach I was going to take for the “Know Your Rights” panel, I was feeling pretty damn skippy about the rest of them. 

That is…

Until we hit a deer.

CRAP!

And then I realized that I’d forgotten all my research and notes on my desk.

DOUBLE CRAP!

Luckily, there was a computer and printer at the Driskill Hotel.  Friday was a light day for me, so I had time to squirrel away and re-research.  I was able to re-print most of the stuff I’d left at home.  It was difficult, but also I managed to extract myself from the collective for an hour or so between Friday and Saturday and do my preparation work.

Also, I’d met a really cool guy by the name of Scott Richter on my Competitions panel.  Scott’s not only a writer, but he’s also a lawyer…and he won the 2007 AFF teleplay competition with his GREY’S ANATOMY spec.  He was a great co-panelist, and he and I had a rapport from the very beginning.  Felt very easy and very conversational, and we were able to build on each other’s points in ways that I think made the panel far more valuable for participants than it’s been in other years.  Anyway…he was slated to be one of the panelists on the Rights panel, so I asked him if he would have breakfast with Robbye and me beforehand and help me figure out how to make the most it.

Well, to make a long story er…not quite as long…the all three panels went swimmingly. Robbye had heard people talking about my Competitions panel and the Pitch Competition rounds I’d judged, and apparently the word on the street was that I was a guy whose panels you wanted to catch.  So all three were packed.  Standing room only, actually. 

I got a lot of great compliments from the folks that attended the panels, many of whom (and many of the panelist, too) said they were the best-moderated panels they’d ever seen at the AFF.  In fact, several people who were in attendance at my first Sunday panel showed up at the second one because they enjoyed the first one so much.

It was cool and humbling at the same time.

When all was said and done, I was just glad that I had delivered some value for the participants.  I was glad that I could bring a writer’s perspective—their perspective—the panel topics, and ask the questions they were burning to ask.  And I was glad people had fun.  That there was laughter at the same time as there was learning.

My two favorite moments:

–In the “Online World” panel, Brad Neely got defective instructions and showed up 30 minutes late.  TO make things worse, there was no chair for him.  We tried to get a standard AFF-issue high director’s chair for him, but all the volunteers could rustle up was a plain old chair.  As a result, poor Brad, though he’s kind of a big guy, sat a full 24 inches lower than the rest of us.

The first time I directed a question to him, I said, “Brad, I think you might want to weigh in on this.  What’s the perspective from the Shire?”

The place was in stitches for nearly a minute.  Brad, who was obviously feeling a little discombobulated and not quite sure why he was there in the first place got a big, ole smile on his face.

“That’s a good one.”

The ice was broken for Brad, and the conversation finally kicked into high gear.

–In the “Niche Projects” panel, Turk Pipkin brought in a twelver of Shiner Bock.  Everyone on the panel cracked one open, and we all swilled beer as we tried to talk smart.  During the Q&A, we rewarded the best questions with a beer.  So…okay…as much as I’d like to believe every panel was a favorite because of me, I have to admit that the beer was definitely the star here.

During the panel, we were talking a lot of about securing financing, in particular through getting sponsorships from companies.  At the end of the panel, I raised my bottle and said, “I’d like to thank you all for coming to the ‘Niche Projects’ panel, brought to you by Shiner Bock.”

People got a kick out of that.

#1–Bill’s top 10 highlights for the 2008 Austin Film Festival and Screenwriters Conference

~ BIll True ~ Leave a comment

Affblog
Over the next 5 days, I am going to post the highlights of this year’s AFF screenwriters conference.  Well, my highlights, that is.

To kick things off, here are numbers 1 & 2.

Enjoy!

– – – – –

1. Hit a deer – Okay…I don’t know whether this qualifies as a “highlight”, per se.  More like a “lowlight”.  But it was a major event associated with this year’s trek to Austin.  A defining one, if fact.  That means it makes the list.  Hell, if anything, to honor the poor deer that gave its life in the name of getting our butts down there to participate in the conference.

First off, any illusions Robbye and I had of this year’s road trip being a replay of last year’s breezy cakewalk were pretty much killed by the time we got to Des Moines.  It started raining 30 miles into Iowa and continued the entire night—through every state—and didn’t stop until we pulled into the hotel parking lot.  The deer, however, was a little “adding insult to injury” the Universe tossed in for good measure.

It was 2:45 AM.  I’d taken over driving duties a few miles outside of said Iowan town, and we were about 10 miles south of Emporia, KS.  Robbye was sound asleep in the backseat.  The choices for the time being were heavy mist or fog.  It was a toss up which one I preferred.  They both sucked.  I had just passed though a patch of fog, when…

“SHIT!”

Right in front of me, a beefy buck, not more than five feet off the driver’s side front fender.  Saucer-eyed and doing the death-dash across I-35.  Thank god my reflexes were working.  I locked up the brakes for a second, slowing a bit, and turned with the deer.  That, if I say so myself, is what saved us from a much worse situation.  Well, for us, that is.

The deer, I’m sure, went instantly into the next world.  His head bounced off the fender and then took the mirror.  He spun around, I think, and hit the backdoor, where Robbye’s head was resting, and then he was gone.

The humans involved in the incident were, needless to say, a tad shaken.  We stopped a few miles up the road at an all-night gas ‘n sip and called the sheriff’s office.

“Yep.  That kinda thang happens ‘round these parts.”

The car, which was a rental, looked a little crunched, but it worked fine.  We’d bought the damage waiver, so we decided to keep going and call the rental company later when it was open.  See what they said.  They said, “Dang.”  But other than that they said go on with your trip.  So we did.

The good news, if there is any, is that it only added to our celebrity at the conference.  People we didn’t even know were grabbing us in the Driskill lobby and party venues.

“Aren’t you the people who hit a deer?”

“Umm…yes.  Thank you for reminding me.”

2. Chatted up Lawrence Kasdan – For nearly 30 years, Lawrence Kasdan has been one of my heros.  It all started with a little movie he wrote called RAIDERS OF THE LOST ARK.  You mighta heard of it.  He was cool.  HE wore a fedora, just like Indy.  And he wrote the coolest, snappiest dialogue I’d ever heard.

Then he wrote the script for a movie called THE EMPIRE STRIKES back (and, I learned later, basically wrote the production draft of STAR WARS…suddenly things made sense).  Stick a fork in me.  I was done—a fan for life.

I don’t think there’s a Lawrence Kasdan movie I haven’t seen.  But more important, as I got older, and my journey to a career in the movies took some unexpected detours, Kasdan’s story gave me hope.  He was a working guy.  He had a family.  He didn’t live in Hollywood.  He came into the game a little later than conventional wisdom suggests.  Yet, he wrote and taught himself the screenwriting craft, and when he thought he was ready, he went for it.

My good friend Carol, whom I met somewhat serendipitously 5-6 years back, turns out is one of Kasdan’s best friends.  She edits nearly all of his movies, and her husband has been DP for many of Kasdan’s films, too.  And every time we would get together, she would tell me, “You have to meet Larry.  The two of you would get along so well.  You come from such similar backgrounds, and your sensibilities are similar, too.”

Uh…let’s see.  Meet my screenwriting hero.  Okay…sign me up.

Unfortunately, schedules and the like never quite lined up.  And then…

It’s Friday night at the AFF, and Robbye and I are waiting for the bus to take us to the Texas Film Commission BBQ.  Who do you think is standing five feet away?  Yep.

Robbye was nudging me.

“Say hi to him.”

“No.”

“If you don’t, I will.”

That worked.  I hate it when she calls my bluff.

I’d sat in on a panel he’d done earlier in the day, so I opened up the conversation on that…seemed like a decent opening.

“I enjoyed your panel.”

Sheer genius, in fact.

Well, maybe not, but it got the ball rolling.

I got to tell him about our mutual friend, and he perked up immediately.  And that’s how I got to talk to Lawrence Kasdan the entire bus ride.  He asked me about what I was doing there, and I got to tell him about winning the AFF in ’05 with RUNAWAY.  And he congratulated me.

Lawrence Kasdan.  Congratulating me.

When I said good-bye to him, we were talking about possibly making the get-together Carol had been talking about happen sometime when we were all in LA.

And as I walked off the bus, my only concern was whether or not I’d wet myself.  After our very pleasant conversation, that woulda been…you know…awkward.

I suck as a friend (or “Watch this movie!”)

~ BIll True ~ Leave a comment

I can’t believe I waited so long to see this movie.  Geeze!

My friend, Greg Lessans, is a stellar guy and a helluva producer.  He runs a production company in Hollywood called Terra Firma Films with Adam Herz of AMERICAN PIE (and AMERICAN EVERYTHING) fame.

Terra Firma’s first movie , MY BEST FRIEND’S GIRL (on which Greg is one of the producers), came out on September 19.

http://www.youtube.com/v/8Cr7pcPG8Hc&hl=en&fs=1

Greg and I met nearly five years ago at Sundance, when I tried to pawn a script for what at that time was called MICHAEL’S LETTERS on him.  In the end, that script got sold, got re-titled, and became RUNAWAY.  Anyway, he took my card, and I thought that was the last time I’d hear from him.  But Greg is not Hollywood as usual.  Within a week, I’d gotten an email from his assistant saying that he’d like to meet me sometime.

A month later, I was on the Universal lot and spending an hour or so visiting with him.  I had a great time, if you don’t consider that I was also suffering from a minor bout of food poisoning (bad egg salad sandwich from earlier in the day–lunch meeting with a guy from WMA…appropos, no?).  We’ve kind of kept in touch after that, and have gotten together a few times when I’ve been in LA for meetings and such.

We’ve been in a perennial search for a project we can work on together.  Truth be told, the person getting in the way of that lately has been your truly.  This past spring, we were discussing an idea, and it’s been in my corner to make the next volley.  With all the work (and subsequent progress) on INCARNATION and the springing up of this new project, UNDONE–not to mention my SagePresence responsibilities–I simply haven’t had the time to noodle any more on the idea to flesh it out.  But Greg is a very patient guy…thank God.

That’s one of the things I really appreciate about Greg, by the way.  He’s been such a stalwart supporter of my work.  He consistently reinforces the stance that it’s not "if" we work together, but "when".  I am hoping that day comes sooner than later because I think he’d be a gas to work with and I’ve learned tons from him already just by hanging out with him and talking on the phone–he has this uncanny ability to dissect ideas and concepts and test their marketability and "movie-ness" immediately and in the moment.  It’s an amazing thing to see in action.  Frustrating, if you’re a writer trying to get him to say yes to a project, but secretly you’re thankful for it later because you know he really just wants you to succeed.

But I digress from the point of this post…

I had every intention of seeing the movie that day and sending Greg a bottle of champagne or something.  I ended up being in Chicago at the time, and my plans got kinda torpedoed.  I told myself that I would see the movie as soon as I got home, but life had other plans.

FINALLY!  Last night I told Robbye we had to go see it.  I plied her with the promise of a 55-gallon barrel of Cherry Coke and a tub of butter with popcorn sprinkles.  And so we went.

Mbfgside It was a fun movie.  Perfect for date night.  It’s kinda sweet and kinda caustic all at the same time, and Dane Cook is hilarious.  Not to mention Alec Baldwin, who has, it seems, found a whole new career as the wise-cracking curmudgeon and delivers here in spades.

Last time I checked, it’s still playing in over 1,700 screens around the country.  If you’ve got a couple of hours on your hands this weekend, head on over to your local cineplex and check it out.  I think you’ll enjoy it.

And support my friend, Greg!  Way to go, man.  I am quite proud.

P.S. Also, props out to my other friend, Josh Alexander, who has a great cameo as a prissy salon manager in the flick.  There’s a funny moment with him, Cook, and Jason Biggs (and the gal who plays Roxy in ARMY WIVES…yeah, I watch it.  What’s it to ya?).  I had forgotten that he was in it, and it was a little embarrassing when I noticed him and said way-too-out loud, "Oh, my god!  I know him!"

The skinny on Austin

~ BIll True ~ Leave a comment

Man!  Tempus really does fugit, don’t it?

I can’t believe it’s just a week till the start of the Austin Film Festival and Screenwriters Conference.  It seems like the last one was, like, a month ago.

I am truly looking forward to this year’s conference.  When the AFF contacted me about being a panelist this year, I told them that I would love to and that I would also be happy (and in some respects more happy) moderating some panels.  They really took that message to heart, and I am involved in some really cool panel discussions.

Kwbtolu
I think it’s a really good idea, having actual screenwriters moderating some of the panels.  Being that the participants are, you know, screenwriters, guys like me know the questions they’re burning to get answered.  Because they’re same same one I want answered.

I notice there are a number of other screenwriters moderating panels this year (one of them being my good friend, Karl Williams, who is one of the most intelligent, articulate, AND funny guys I know.  And the guy can write, too).  It’s a good thing.  I believe it will make for a fuller, more engaging, and educational experience for the participants.

Okay…enough babbling.  Here’s the lowdown on the panels I’m on during the conference:

THURS. 10/16, 1:00 PM — GETTING THE MOST OUT OF COMPETITIONS: What can competitions do for writers? Attending the Austin Film
Festival is only the first step in having your work progress in the
industry. Learn how to make your work stand out from the rest and get
the best experience possible from the festival.

This is the third year I have served on this panel, and I have to say I absolutely love it.  For one thing, the room is always packed, and the energy and excitement from the audience is palpable.  It’s great being in a room with so many passionate people, and it’s an honor to be a part of their writerly journey.  Another cool aspect is, though we do talk about competitions, we can’t help but speak to the whole picture–the entire spectrum of things serious amateurs should do to help make their first break.

And it’s always a pleasure to serve on a panel with Greg Beal of the Nicholl Fellowship.  That guy…he’s not only very bright and always has some entertaining and pertinent story that perfectly models the point we’re trying to make, but I swear he remembers every script that funnels through the competition.  In a contest, by the way, that receives upward of 6,000 entries each year.  It’s uncanny.

SAT. 10/18, 3:45 PM — KNOW YOUR RIGHTS: POST PRODUCTION: You have the right to know if you are getting a fair deal on your
screenplay or film. From distribution and financial responsibilities to
maintaining the rights to your own work, How do you get your film seen
by its audience while protecting your own future? Come hear from
lawyers and filmmakers in the know about how to preserve your own
intellectual property.

Funny…I was checking this one out because I thought it sounded kinda interesting.  As a guy who’s been there AND who’s also been dipping his toes into the producing pond, I wanted to hear what the Hollywood brain trust had to say on the subject.  Then I noticed my name in the moderator spot.  Cool!  I guess it’s a lock, then.  I’m goin’!

Seriously, especially considering the current state of the industry, understanding the rights game and distinguishing fact from fiction is of paramount importance to fledgling writers.  It’s the first step to avoiding being the main character in a cautionary tale people talk about at future screenwriting conferences.

SUN. 10/19, 11:30 AM — THE ONLINE WORLD: Writing, creating and exploring content for the web. The interweb
provides infinite options for reaching new audiences. How does that
access translate into making a living from producing content for the
web?

One needs to look any further than this very articulate and more-than-slightly disturbing commentary by Mark Gill in IndieWire to know at the very least the Internets are THE (to use a little Presidential campaignspeak) game-changer in out industry.  It’s the new talkies, the new color, new TV, the new cable, the new VHS, and the new DVD.  In some respects, it’s all of those all rolled up in one.

In fact, when I talk about its impact on the movies, I equate its significance to the invention of movies, themselves, and how that impacted legit theatre.  I believe it’s going to fundamentally change the way people look at entertainment.  And, oh yeah…it already has.

Sun. 10/19, 2:30 PM — NICHE PROJECTS — With an ever-expanding landscape of independent film, how you get your
film seen by its demographic? Learn from independent filmmakers who
have successfully found their audience and had an impact.

First off, what I just said about Mark Gill’s commentary in IndieWire.

Second, this is such an intriguing concept for a panel.  I have to admit, at first blush I would’ve been tempted to pass over it.  I didn’t really get it until I read the description.  But think about it.  In today’s world, the distribution channels are favoring movies that can find a niche–over mainstream ones, even. 

In reality, this is probably one of the most important panels that anyone could attend at this year’s conference, and I feel quite fortunate to be trusted to moderate it.  As evidence of its importance, I will refer to Peter Broderick’s excellent article in the 9/15/08 issue of IndieWire, titled "Welcome to the New World of Distribution".  In it, he outlined 10 things filmmakers and distributors need to realize in today’s movie marketplace.  Here are the two that I think apply here:

"4. CORE AUDIENCES – Filmmakers target core audiences. Their
priority is to reach them effectively, and then hopefully cross over to
a wider public. They reach core audiences directly both online and
offline, through websites, mailing lists, organizations, and
publications. In the OW, many distributors market to a general
audience, which is highly inefficient and more and more expensive."

and…

"10. TRUE FANS – Filmmakers connect with viewers online and at
screenings, establish direct relationships with them, and build core
personal audiences. They ask for their support, making it clear that
DVD purchases from the website will help them break even and make more
movies. Every filmmaker with a website has the chance to turn visitors
into subscribers, subscribers into purchasers, and purchasers into true
fans who can contribute to new productions. In the OW, filmmakers do
not have direct access to viewers."

Okay…  So there you have it.  Very exciting.  I am happy that they’re using me so much this year and that I am going to be quite the busy boy next week.

I am also, by the way, going to be judging the pitch competition again this year.  That’s always a blast and a real highlight for me.

Not certain what’s going to happen with the Filmcatcher commentary.  The project kind of fell through, which was a bummer.  The Filmcatcher folks really wanted to do it, but they have tons of festivals they’re trying to cover this year.  In the end, they felt like they simply couldn’t put the resources into covering the AFF they would need to in order to do it justice.  They’re hoping next year…We’ll see what happens.

I may still do some blogging for Filmcatcher on the AFF.  With the lack of a laptop, I am not certain how feasible that will be.  I am trying to figure that out this week.

Meanwhile, I am also excited because Robbye and I will be road-tripping it down there like we did last year.  We had such a blast.  I’m quite psyched for the sequel.  Sans our car getting towed, that is.

Just Breathe

~ BIll True ~ Leave a comment

note: if you wanna skip all this commentary crap and cut straight to the song, scroll down.

– – – – – – – – –

Last winter, I decided it was time to say good bye to my old M-Audio keyboard.  The bright idea to sell the thing was predicated on the proposition that I would soon be in a position to upgrade my computer system in its entirety and enter the world of utter Garageband kick-assedness.

Said upgrade was not in the cards, and I found myself standing at the brink of fall still muddling through with flagging technology and sorely missing the keyboard I so prematurely sent into the craigslist ether.

I was a bit amazed and perplexed.  I didn’t think that I would miss noodling around in Garageband as much as I did.  I guess that’s why I thought it would be no biggie to hawk the keyboard.  I hadn’t realized just how much I’ve come to rely on it.  To calm me.  To help me work through things.  To inspire me.

It’s a strange life, this living into one’s dream.  One side-effect is that my fun is also my work.  That means I get to do it all the time.  The other edge of the sword, however, is I never quite get away from it, either.  What was my "hobby" has become my vocation.  Which begs the question, "What do I now do ‘just for fun?’"

The music had become that for me.  It was the thing that I did just for me, with no preconceived notions of fame and fortune behind it.  And that made it even more–I don’t know what the word is…special?  No…compelling?  Unique?  No…  I’ll have to get back to you on that one–than even my writing.  Regardless, it’s something upon which I had started to rely.  And it’s something that filled me up.

And it’s something that I feel like it was something at which I was improving.  Although I would, by no means, qualify myself as very good, much less great at it, I would say that I was starting to get a feel for it.  For what it was, I could live with the results.  It was the process, though, that made it all worth it for me.  Getting lost in it provided me immense satisfaction.

Strange…the thought that just occurred to me is that the process is a lot like screenwriting.  Hmmm…I won’t go there.  Pretend I didn’t say that.

Anyway, I found I was missing it.  I found that there was a hole in my life where it had been, and I was worse off for it.

Then…a few weeks ago, Dean, Pete, and I were at Dean’s house.  We were rehearsing for shooting our upcoming streaming video series for SagePresence, and what did I spy gathering dust in the corner of his family room?  The same type of M-Audio keyboard that I had gotten rid of last winter.

I asked him if he was using it.  The answer was (no pun intended) music to my ears.

"Using what?  Oh…that?  No…not really.  Well, never."

Next thing I know I was heading home with the thing ticked under my arm and on indefinite loan.

The difference it made was virtually instantaneous.  As soon as I got home, I launched GarageBand and started futzing around.  There it was, that stirring.  The smile on my face.  The warm glow in my chest.

In honor of this homecoming of sorts, I decided to write and record a song.  Of course, it’s inspired by my muse.  One day, I am certain I will write a song about pencils or world hunger or something, but for now it seems appropriate to wander around in this space.  After all, if music is the language of the heart…

I am pretty happy overall with this little ditty, which I call "Just Breathe".  I believe it demonstrates another big step forward in my understanding of both the craft of songwriting and the tools I am using.  I know that I am still at the starting line on both, but I feel like I am learning and that it shows.

The only thing I am really dissatisfied with is the vocals.  When I hear them, I cringe.  My next purchase will be a better microphone and interface for my computer, so I can record vocals without having them either sound like crap or over-modulating.  The vocals on this version are the second draft scratch track, but I got frustrated trying to make them work to my liking.  Subsequent takes sounded even worse, so I decided to screw it and leave it as is till the day I could do it right.

So here it.  I hope you enjoy it as much as I enjoyed putting it together.

Another one for my baby.

Just Breathe

Hey, darlin’
Don’t fret
This ain’t over yet
Hey, baby
It’s all right   
Even if it takes us all night

We’re gonna close the distance
Between me and you
We’re gonna come together
We’re gonna learn to live what’s true

Just breathe
Trust me
Trust you
We can make it through
More walk
Less talk
Less push and shove
More makin’ love

Hey, darlin’
What gives?
We cannot change the things we did
But, baby
Why say
Our better days are miles away?

Could it be, baby
We’re already there?
Could it be, maybe
All we need is some air?

Just breathe
Trust me
Trust you
We can see this through
More walk
Less talk
Less push and shove
More makin’ love

Where does the love go?
How does a heart know
When the sun will rise?
The night is dark
There’s no end or relief in sight
Along the way
It’s everything we can do sometimes
To keep our faith
We stumble to the light
And hope we make it right

Hey, baby
Don’t cry
This isn’t about good-bye
So, darlin’
Just smile
And come and sit with me awhile

We’re gonna close the distance
Between me and you
We’re gonna come together
We’re gonna learn to live what’s true

Just breathe
Trust me
Trust you
We can make it through
More walk
Less talk
Less push and shove
More makin’ love

Could it be, baby
We’re already there?
Could it be, maybe
All we need is some air?

Just breathe
Trust me
Trust you
We will make it through
More walk
Less talk
More makin’ love
Less push and shove

Just breathe
Trust me
Trust you
We can make it through
More walk
Less talk
Less push and shove
More makin’ love

Don’t Panic

~ BIll True ~ Leave a comment

Dontpanic2
Today is a day that we all stare into the face of the boogey man.  Today is a day that many of us, already teetering in the day-to-day, wonder what tomorrow and the next day will look like?  And the day or the year after that.

Or we’re asking ourselves if there’s even gonna be a "tomorrow".

My mom was a child of the Great Depression, so I’ve heard my share of stories about the hardships that time inflicted on people.  Real people.  Losing jobs.  Losing homes.   Going without.  Going hungry.  On the street, even.  Lives and families devastated.

And even if it didn’t deal a death blow to you and yours, it left scars.  Ones you carried through the rest of your life.  No one was immune from that.

I’ve spent a lot of time this past weekend wondering if we’re on the verge of repeating history.  I mean, we’re damn right on the line now, correct?  True dat.

I asked myself what is the one thing I can do–the most important thing in the moment–to help maintain the integrity of our country and our economy in this hour of need.  The answer came to me in the form of the timeless motto from the great British philosopher, the late Douglas Adams.

The answer is, simply, "Don’t Panic."

And while we’re at it, there are a few other "dos and don’ts" we might wanna consider:

  • DON’T think Democrat or Republican, or one ideology or another.  Let’s face it, that’s one of the things that got us into this mess.  We’ve spent so much energy–especially over the past eight years–focusing on why we’re different than the other guy, and why we’re right and he’s wrong, we’ve lost track of the most important thing we all have in common: we’re all people.  And we’re all Americans.  At this time, more than any other, we need to remember this above all because "United we stand; divided we fail" feels pretty palpable at the moment.
  • DO cut your representatives in Congress a little slack. They know they should probably vote in favor of the recovery bill before them right now, but they’re scared to death that they’ll lose the upcoming election because they did just that.  Guess what?  They know the recovery plan is as whack as we all think it is.  But they know–like we all should know (at least admit)–that to do nothing right now is to fiddle as Rome burns.  It’s the best bad solution we have.  Perhaps the only one.  And both freakin’ Presidential candidates support it.  What else is there to say?  Send them the message that it’s okay to act and, we’re not going to hold it against them next month.
  • DO vote.  Regardless of how we got into this mess, we need to stand up
    and exercise our right–our direct tangible avenue to voice how we
    believe the country can best work its way toward recovery.  It’s time to stand and deliver as Americans.  Let’s get all Nike on those voting booths next month.
  • DO look out for one another now.  Well, all the time.  But today, specifically, when the Golden Rule might just be the most potent and profitable fiscal strategy any and everyone can employ.  I have been self-employed and a business owner for going on five years now.  I’m no millionaire, but I am keeping a roof over my head and my hat in the ring.  And "paying it forward" and "helping other people succeed" and "charging what’s fair versus what I ‘could have charged’" have served my businesses well.  Both businesses–screenwriting and professional speaking–are growing.  It doesn’t matter whether or not nice guys "finish last"…they "finish".  Crossing the finish line is, after all, what matters.  If you don’t know what I’m talking about, watch the movie RUNNING.  ‘Nuff said.
  • Don’t worry so much. We’re gonna be okay.  And one good thing about tough times is that they serve to remind us what’s truly important–and critical–in this life.  Turns out it’s a pretty short list.

As I sat down to write this, I looked to the guy who lead us out of the last big mess for a bit of wisdom.  These word from Franklin D. Roosevelt, which seemed merely "historical" before, feel downright pertinent today.

"When Andrew Jackson, ‘Old Hickory,’ died, someone asked, ‘Will he go
to Heaven?’ and the answer was, ‘He will if he wants to.’ If I am asked
whether the American people will pull themselves out of this depression, I answer, ‘They will if they want to.’"  He goes on to say, "I
have no faith in ‘cure-alls’ but I believe that we can greatly
influence economic forces. I have no sympathy with the professional
economists who insist that things must run their course and that human
agencies can have no influence on economic ills. One reason is that I
happen to know that professional economists have changed their
definition of economic laws every five or ten years for a very long
time, but I do have faith, and retain faith, in the strength of common
purpose, and in the strength of unified action taken by the American
people."

We can walk this walk together, folks.  We can make it through the eye needle and be even better on the other side.  If we come together.  If we stand truly united.

If we don’t panic.

It might, in fact, be the one thing that saves us.

I ):-( Dream Bill

~ BIll True ~ Leave a comment

Dreambill
It’s early.  It’ll be a little while till Robbye wakes up.  Anyone that follows her blog knows she’s been a bit of an insomniac of late.  My snoring contributes to that, and I am trying to get that under control.  It’s a difficult fight to fight, much less win, as I’m lightyears away when it’s happening.

That’s not the only reason she’s having difficulty sleeping, though.

Life, with all its promise and possibility, is a tenuous affair.  The phrase “passing through the eye of the needle” makes its way out of our mouths with notable frequency.  When all is said and done, we will be great.  In fact, despite a few nuts and bolts that need tightening, everything is great now.

But it—life itself—is a stressor…on myriad levels and in numerous forms.  Hell, for my own part, living right now feels more like the storming the beach at Normandy scene in SAVING PRIVATE RYAN than anything else.  I’m relieved simply to exit the day intact.  Taking the bunker isn’t even a consideration.

I know that this life—for all its positives—has proven to be a rough road for my beloved.  Rougher than I think was expected.  Definitely more bumpy than she deserves.

Which, of course, makes me love her all the more.  I often tell people that Robbye is the bravest person I know because she stepped into all this—the somewhat psychotic tempest that frames my existence—and she did so without hesitation.  And she stays here.  The fact that this wonderful woman doesn’t run screaming from the house on any given day amazes me.  The fact that she’s still here and that she loves me as she does lays me low.  It awes me.

Because I know that the pressure cooker of our life leaves her feeling blistered and burned at times.  I know she worries.  I understand she has fears.

Of course, she talks about them.  That’s good.  But the bigger, deeper worries and fears come out another way.  In an altogether more insidious manner.

Enter my new nemesis: Dream Bill.

Sleep is a precious commodity right now.  I am trying work the mornings to give her all she can get.  Thank heavens Boy and the dogs have been cooperating lately.  That’s the difference sometimes between 2-3 hours of sleep and 5-6 for her.  Every hour counts.  Because she not only loves sleep (as is well documented), but she needs it.  And she deserves the rest.

When Robbye wakes up, she likes to share her dreams with me.  She has about he most vivid and exciting dream life of anyone I’ve met.  Since I’m a person that rarely dreams, it fascinates me (and tires me out a little) to recount the excitement that unfolds as she slumbers.  Usually it’s fun to listen.  It’s a lot like Cute Overload…on psychedelics.

Then there are the other times.  When he shows up, and the party’s over.

Dream Bill does all sorts of raunchy and terrible things.  He disappears.  He runs off, even.  He says bad things and does even worse ones.  He’s an ass of unspeakable magnitude.  And when Robbye awakens, Dream Bill haunts her.  Casts shadows over her thoughts and a shroud over our morning.

It’s not as difficult as it used to be.  In past days we’ve logged serious time helping her see that Dream Bill and Real-Live Bill are two very different guys.  That I would never do the things Dream Bill does.

As we move farther along in our relationship, she’s more trusting this as opposed to intellectualizing it.  We find ourselves laughing about it more often than not.

Yet, occasionally, Dream Bill does something so deplorable that Real-Live Bill needs to answer for it.  Like last night.

There are times when I wish Dream Bill would take his own heat.  That I wasn’t taken to task for his crappy faults just because we share the same face and name.  He makes his bed, but I gotta sleep in it.  Which used to make me a little grumpy.

I’m learning something about Dream Bill, though, that lately has me appreciating the guy..if only a little.

Dream Bill represents—of course—my beloved’s deeper fears.  You don’t live 30+ years without gathering up more than a few of those babies, right?  And the scars we carry are, I believe, the windows to said fears.  They speak to their presence and validity.

Hell, I got ‘em.  We all do.  I think it’s part of what makes us, you know, human.  They’re part of the journey, and I’ve come to think of them more as badges of honor than baggage.

I know talking about Dream Bill’s shenanigans provides her a venue to talk about her fears and address the scars in a tangible way.  And a way to meet the fears head-on.  I realize if Dream Bill didn’t exist, we might not ever get a chance to talk about them, and our relationship would suffer for it.

So…Dream Bill.  I don’t like you, man.  You are—to put it mildy—an absolute dick.

But thank you.  I don’t know whether you mean to do this or not, but thank you for the light you shed on our relationship.  Thank you for giving us an opportunity to talk out some very important and foundational issues, which is making our life together better and our bond even stronger.

And thank you, Baby.  For your courage and for walking beside me every day.

And for your love.

Re: “What else you got?”

~ BIll True ~ 1 Comment

My good friend, Seth Talley, sent me an email this morning suggesting that I take a peek at one of the threads on Wordplay and chime in.  Thought it might be good to also post my response here, too.  Since, you know…this blog has at least something to do with…ummm…writing.

– – – – –

First off, thanks to Seth for the props in this thread. He asked me to poke my head in here, so…

Yes…yes…I, apparently, was one of the chosen few. My first script sold. Meaning the first screenplay I’d ever written.

Yes, it felt great. Still does, in fact. I got great reviews,
screened at most of the A-list festivals, and won a national award.

And you know what? That was three years ago. My career is
moving forward (FINALLY!), but I suffered greatly from "What else you
got?" ‘Cause my answer was "nuthin’."

It’s taken me quite awhile to recover from my own initial (and
humble) success. It has been both a blessing and a curse. I struggle to
get work, and I struggle to get and then keep and then get an agent. At
this time, in fact, I am without one.

Someone in this thread said something along the lines of
(pardon my paraphrase) "First time scripts sell on premise as opposed
to execution." I think this concept is profound and largely true. I
think my first script was pretty good, but I look back now on the
version that was sold and I go "oy!" The producers obviously saw
something, but I believe that what they saw were more the raw materials
that could be shaped. And, quite frankly, I think the fact that the
production company could shoot my script for a smallish budget had as
much to do with them buying it as anything.

Thank God I became friends with the head of the production
company. Thank God he graciously let me stay on and do my own rewrites.
That, my friends, is where I started to realize just how much I DIDN’T
know about screenwriting. Every day I was wringing my hands and
gnashing my teeth because trying to keep up with these folks who had
made a helluva lot more movies than me (read: any) was one of the most
difficult and exhausting experiences of my life. I am proud of the work
I did and proud of the contributions I made to the movie, but I felt so
unprepared. So behind the eight-ball all the time. I suppose I would
have felt some of that no matter what, but it was amplified to the nth
degree because I was such a newbie–even more accurately, like a
"nobie".

I look back, and I sometimes wish my path would have looked
more like Larry Kasdan’s. He kept the day job and wrote five or so
scripts. By the fifth one, he *felt* ready. Then he moved.

My path, however, is my own. I have no regrets and, in spite of
the underlying tone of this post, I know that I am one lucky
motherf*cker.

My point, however, is this–if writing to sell is your primary
reason for writing a screenplay, stop and rethink. For one thing,
writing for money (i.e., to get rich) is an oxymoron. For the
other–and this simply echoes sentiments already well-expressed
here–writing isn’t about selling something in the first place. It’s
about your passion. Your calling. All of the best writers I know would
write even if they could never make money at it. It’s nice that some of
then do, though, because it’s nice to put bread on the table, too.
That’s reality.

It’s been eight years since I told myself I wanted to be a
screenwriter. Three years since the release of RUNAWAY. During this
time, I have gotten paid a smattering on various assignments. Not
enough, however, to fully sustain me. It’s been a difficult road. Far
more difficult than I’d imagined and far, far more difficult than
*before* I sold my first script.

I’ve written five more scripts in the past three years. FINALLY
I am feeling what Larry Kasdan felt. Ready. Educated. Versed (at least
at a base professional level) in the craft. Happy that the sixth draft
of my latest script (versus my 11th of RUNAWAY) is getting great play
in Hollywood and has that high-pro glow.

Oh yeah…and by the way? Eight years is ahead of the curve in this business.

As my amazing and wonderful wife would say, "Calm the hell
down." Don’t be in such a hurry. This is a journey. A long and arduous
one. It’s not for the feint of heart. If you’re standing at the
starting line and already grousing, there’s something wrong. And it
ain’t the process.

Hopefully I don’t sound too offensive here when I serve up a
little tough love–screw your head on straight. I gotta tell you,
reading the original post left me with a familiar feeling–one that
I’ve had a number of times as I’ve traveled around the country talking
to would-be screenwriters and listening to some of them complain like
that. It’s the feeling of, "Oh…I guess that person’s not going
anywhere."

My grandpa used to tell me, "Keep your ass up and your beak
down." Keep working and embrace the struggle. Because the struggle’s
not going anywhere. It’s part of the process. Part and parcel with it.

You’ve written a screenplay…congrats! Now be a writer. Do it again. And keep doing it. Every day. And maybe…one day…

All the best to you…Bill

Bill’s Interview w/Box Office Magazine on Breaking in as a Screenwriter

Knock! Knock! Knock! Housekeeping..!

~ BIll True ~ Leave a comment

Afflogo08
I know everyone’s been waiting with bated breath, and I can finally speak up and officially announce that I will once again be a panelist and pitch competition judge at this year’s Austin Film Festival and Screenwriters Conference.

I am not certain in which panels I will be participating.  The conference folk have told me that I will be getting an email about that shortly.  I did, however, express my interest in moderating a panel or two again this year, since I had a lot of fun doing that last year.  Apparently that’s gonna happen, too.

Filmcatcher08
Another thing I know is that I will be covering the conference on behalf of filmcatcher.com.  The Filmcatcher folks, AFF folks, and I are having a conversation tomorrow about what exactly that means.  Filmcatcher would like to have me doing some on-camera interviews with festival luminaries, panelists, and participants.  If that’s not in the cards, I will at least be blogging again this year.

Which, I learned, (re: the AFF blogging last year) was quite the popular thing at ol’ Filmcatcher.  I was talking to my friend, Al Klingenstein (President of Filmcatcher and RUNAWAY producer), and he said my blog entries got a lot of hits.  He also said that they got a lot of comments that people thought my entries were both highly entertaining and informative.  That’s kinda cool.  I certainly had a lot of fun doing that as well.

I’ll let y’all know when I hear more details on Austin.  For now, mark your calendars for October 16-19.

As for the missus and me, I am hoping we’re in a position to repeat our road trip adventure of last year, sans having our car towed for bogus reasons.  We had an absolute blast driving down there and back last year.

In the meantime, Aadip Desai, President of the Northwest Screenwriters Guild (and fellow AFF panelist) asked me to respond to a few questions about the AFF for an FAQ his organization is putting together.  I don’t know exactly what he’s doing with this info yet, but here is how I responded.  Hopefully it helps some other folks considering attending the conference.

– – – – –

Why should I go?

You should go to the AFF conference because it is simply the event for screenwriters…hands down.  You’re going to learn more and meet more industry people in four days than you ever thought possible.  You’re going to gain insight and knowledge—particularly in the realm of how to move from serious amateur to professional screenwriter.  And you’re going to have access to Hollywood types that can help you move your career forward.  Some of the best professional relationships I have were begun at the AFF.

And you’re gonna spend four days with your people.  AFF is like the mothership from Planet Screenwriter.  It lands once a year to call its people home.

Which badge should I get? How much are they?

I know money’s always tight—especially for writers—and the “big badges” come with a hefty price tag.  But if you’re attending the AFF, there is no question that you should purchase the producer’s badge.

Yes…it’s $585 ($650 after Sept. 22).  But it gets you into EVERYTHING.  Most significantly, it gets you into the parties, where all the panelists and industry guests are hanging out.  It’s where all the networking is happening.  Not to denigrate the importance of the panels, but that’s where the industry talks at you.  The parties are where the industry talks to you…and they’re friendly (read: liquored up).

Which days should I attend?

You should arrive Wednesday night, get a good night’s sleep, and be prepared to do everything though the Hair of the Dog Brunch on Sunday morning.  Just assume you’re not going to get much sleep.

How do guests get into events without having to pay for a conference badge? I.e. how can our spouses/partners/friends go to parties with us?

I believe spouses need to purchase a producers badge to attend all the parties.  And I would encourage that.  Having my wife with me at networking events is like having another me promoting me.  And she’s much easier on the eyes.

If you don’t want to/can’t spend that much, I would suggest purchasing a weekend pass for them, which gets them into a few of the key parties and all the rest of the stuff.  Here’s where you go to get info on all the badge options.

Bottom line, though..?  You’re spouse is gonna be pretty bored (and a little ticked) if their stuck in some hotel room and you’re out mixing it up every night till 3-4 in the AM.

Where does all the action happen? Where should I stay?

Here’s where I defy conventional wisdom.

A lot of people stay at the Driskill (where all the action is) or the Stephen F. Austin.  That’s fine…if you never need to sleep and you want to overpay for your hotel room (upwards of $300).

Me..?  I’m a cheapskate.  And I think, why should I spend a ton of dough on a room when all I care about is a bed and a shower?  I can rent a car (which is a smart investment, anyway…I’ve made some great contacts just because of the words “Can I give you a ride?”) and a cheap room up I35 for less than half of what the downtown hotels cost.  AND have an honest shot at a few winks.

Plus, it’s out of the fray.  I’m an introvert (as I guess some of my fellow writers are, too), and I need that quiet every once in awhile to recharge my batteries.  It feels more healthy.

Do I need to rent a car to get around?

No…but see above.  I recommend having one.

Which events are a "must attend"?

As I mentioned above, all of the parties.  And hang out in the Driskill bar every night.  That’s where you meet people.

The other thing I would encourage everyone to try is the pitch competition.  It’s not expensive, and you get a chance to pitch your script in front of real, live production company folk.  The feedback you get alone is worth the price of admission.  But I’ve also seen writers get requests for scripts out of both preliminary and final rounds.  And the winner gets lots of cool stuff (including a producers badge for next year) and a national award for their resume.  Hmmm…

Oh yeah…and any panel where Bill True is speaking.

How does the pitch competition work? How should I prepare?

You should practice your pitch, if anything, to hone it to 90 seconds or under (which is the pitch competition time limit).  You’d be amazed at how many people have trouble with that.

I did an article for the Great American Pitchfest newsletter last November that speaks to some things I think can help pitch competition participants.

At AFF, each round consists of about 15 people delivering their 90-second pitch to two judges, who are industry folk (screenwriters like me or production company execs).  Each pitch is scored, and the top two from each round move on to the next round.  The winners of that next round (about 6-10 in total) go on to the final round, which is a really cool event unto itself.

How do the roundtables work? How should I prepare?

At the roundtables, you sit at a table with six other participants and the each panelist spends 15-20 minutes at your table.  When time is up, the panelist moves to a new table, and another one takes his/her place at your table.  The idea behind the roundtable is that it’s a conversation between the participants and the panelist.

The only preparation you need is to come armed with the burning questions you want answered.  Here’s your chance to ask them.

They’re well worth the time.

One tip, though…questions to NOT ask include: Can I give you my script?  Can I get your email address?  Can I give you my card/get your card?  These roundtables aren’t an appropriate place for you to hawk yourself.

You will sell yourself best by maintaining a position of poise, asking intelligent questions, allowing other people to talk, and really listening to what the panelist has to say.  Then, at a party later on, when you run into that panelist, you will impress them by saying that following: “Thanks for the great roundtable conversation today.  I really appreciated what you had to say about [insert favorite point here].”  Instant conversation starter.

What should I bring with me to the conference (business cards, leave-behinds, etc.)?

Bring business cards.  If you get in a conversation with someone, you want to be able to give them your contact information.

I wouldn’t schlep anything else around with you.  No scripts (if someone’s interested, you can email a pdf to them later), no one-sheets, no DVDs…no nothin’.  I can’t tell you how much stuff I get handed to me at these conferences, and (as much as I hate to admit) it all goes in the circular file.

Make it easy on yourself and the panelists.  They don’t want to be sold.  They just want to be people.  And they already are inclined to help you if they can.

What can our guests do while we’re in panels?

Sit next to you.  Or save a barstool for you at the Driskill.  Movies start at 5 PM, so that’s no an option.

What’s the weather like that time of year?

70s daytime.  Jacket weather in the evening.  It’s a beautiful time of year in Austin.  Perfect weather.

How do people dress?

Standard screenwriter attire.  I wear jeans and a collared shirt.  Always.  It’s casual, but I wouldn’t wear shorts.