Friday, December 08, 2006


With the holidays approaching, things have been busy, so I thought I'd offer up some reading material without having to do too much work.

What follows are results from the former Logline Lottery at

For two years, we randomly selected ten loglines a month to be critiqued. The most effective logline - as judged by me - would win a prize of script coverage (for the logline's screenplay) by a professional story analyst.

The point of the lottery was to examine both the presentation and effectiveness of loglines.

The lottery lasted two years and left a library of material in the twoadverbs forum.

This is from the December 2004 lottery.


To get back into his fiancée's good graces after an argument, a compulsively punctual corporate raider agrees to drive his flight-phobic future mother-in-law cross country to attend the wedding. But when he loses his license and is relegated to the passenger seat, her dawdling, doting ways jeopardize not only the upcoming nuptials, but the deal of a lifetime as well.

Sort of MONSTER-IN-LAW meets PLANES, TRAINS AND AUTOMOBILES. Road movies certainly conjure up momentum and visual resonance. However, they can also be one-note. Although this logline could be a little wordy (maybe a few too many adjectives), there is enough information here to assuage that "one-note" fear a bit. (For instance, we get a hint of a "deal of a lifetime," which lets us know that there is another level to the story which may open it up.) Casting could be a mixed blessing; the script puts a potentially "older" actress in the driver's seat here - which may not be a benefit from a "spec" perspective. On the other hand, the male lead could go to anyone from Ashton Kutcher to Ben Stiller to Will Ferrell (which could excite producers). If the "mother" role were well-written (and this needs to be a funny, memorable character), it could attract the likes of Meryl Streep, Kathy Bates, Susan Sarandon, and etcetera.


A perfectly competent comic concept that enables us to see various scenes - like groom and mother-in-law being put in embarrassing and compromising situations. (A good logline is one that allows the reader to see a swirl of story possibilities.) The most important aspect of this kind of comedy is the interrelationship between these two characters. The logline doesn't offer up a strong sense of conflict between groom and mother-in-law (other than the fact that she dawdles). Think of DeNiro's character in MEET THE PARENTS - a much stronger offering than simply a "dawdler." (Of course, this mother could have all sorts of great idiosyncrasies.) Most importantly, the logline suggests two very "castable" comic characters - which is a big plus. This is a CONSIDER.

"SCIENCE" OF LOVE - Family Comedy

Disgusted by the thought of becoming stepbrother and stepsister, two rival grade school science wizards grudgingly team up to break up their single parents' re-kindled passionate college romance.

A workable twist on THE PARENT TRAP. The "science" angle seems prominent in the logline but doesn't work much into the story (as presented here). Are the kids using their knowledge of science to break-up their parents? Also, is there some sort of science fair/competition to add an extra level of conflict? Like the logline above, this could fall into the "one-note" category, so it's important that there be an additional narrative element to add an extra level of story dimension.


This is frustrating, because the "grade school" leads are a bit of a turn-off. After all, there aren't many kids that can open a movie. (Dakota Fanning is great, but box-office receipts haven't been put on her shoulders yet). It would be much smarter to age these kiddies from grade schoolers to high school seniors, which would make it much more appropriate for a spec script. Plus, the script could deal with a burgeoning attraction between the future step siblings. As a writer hoping to sell a script, it is almost irresponsible that this concept would be developed with little kids instead of teens - the very audience that pays to see movies over and over again. This is a serious note, which could make the difference between the script being used as a martini coaster or earning six figures. As presented here, it's more of a Disney Channel movie - but there's nothing wrong with that. CONSIDER.


After a young journalist invents a story about a nursery rhyme that unleashes a supernatural killer on those who say it, his friends who recite the verse are brutally slain. Accused of the murders, the journalist struggles to evade a relentless detective and destroy the killer before the NY Times prints his article containing the rhyme.

Inspired a bit by CANDYMAN. When one reads a logline, it needs to appeal on two levels. 1) The logline itself needs to be well constructed to convey the major throughline of the story. 2) The story itself must appeal to the reader, if he is to solicit a synopsis or script. For the most part, this logline works. However, the story being offered up here is questionable. Although the dramatic plot points hold up, this story could work better if it flushed out its motif. The most interesting part of the story is the "nursery rhyme". When one thinks of nursery rhymes, children come to mind. But the log line is filled with adult images. If a nursery rhyme serves as some evil incantation, it would seem to make more sense if children were at stake. (Maybe the adults who are slain are parents of children.) To further this idea, it would also make more sense if the nursery rhyme were to be published in a magazine/paper (or released in a book) to which children had access. As presented, the story doesn't support the reasoning behind using a nursery rhyme. It could be a poem. It could be a song lyric. It could be a limerick. ("There once was a man from Nantucket....") Look at how A NIGHTMARE ON ELM STREET exploited its motif of "dream" or how CANDYMAN exploited its "urban" motif. Since horror movies rely heavily on imagery and motifs, it is important to think this through. Also, we don't get a sense of the killer - which may or may not be important to the story. (It probably should be important in the story.)


The concept definitely offers up some momentum and suspense (not an easy task in a few lines). This is a tricky situation, because the writer wants to present an accurate and effective logline. While this presents all the drama inherent in the story, it downplays the elements that a producer or agent may think are most important: the nursery rhyme and the killer. To play it smart, this sort of logline should suggest FRANCHISE, since horror movies can often spawn several sequels. But the sequels would revolve around the incantation and the killer - not the newspaper man. (Horror sequels bring back the KILLERS for the encore and not usually the scream queen who survives the onslaught.) We're also getting mixed motifs here - a point that may or may not bother a reader. We're dealing with a nursery rhyme that conjures up certain motifs, and dealing with the world of newspaper publication, which conjures up a completely different set of motifs. It is perfectly acceptable to do this, provided there is a stronger bridge that effectively connects these seemingly disparate pieces. MILD CONSIDER.

SMALL TOWN SLICKER - Romantic Comedy

A big city oil exec secretly discovers a massive oil reserve under southern swampland and struggles to swindle the property from redneck owners of a local tourist trap by romancing their prodigal daughter who wants to keep it as a nature preserve.

This is a perfectly solid concept for a romantic comedy. It has a folksy, old fashioned quality to it. The log line hits upon all the key elements: the protagonist, the mission, the antagonistic force (the redneck family), the stakes are inferred, and we can see some story momentum with the inferred romance between the exec and the comely daughter. There is a straightforward nature to the storyline here that seems to detract from the concept. Perhaps this needs more of a hook. (For instance, maybe a "creative lie" scenario - like the big city oil exec posing as someone he isn't.) There are several tacks the writer could take to dress this up a bit more. However, as presented the story can certainly play.


Although this is a perfectly good presentation, the story doesn’t quite jump out. Perhaps the straightforward nature of the dilemma (no real hook) is part of the culprit. Of course, we know that the oil exec will face the real dilemma when he falls in love with the girl and must choose between her and his mission (but that won't happen until later in the script). The logline does allow us to see some comic characters - namely the redneck family. And the "tourist trap" (whatever that may be) also allows the mind to drum up comic possibilities. Overall, there is more than enough here to warrant a CONSIDER.


An undercover investigation turns deadly, when a former Army officer looking into "friendly fire" incidents discovers the Arrowhead missile's fatal flaw was known but squelched by high-level insiders. After his cover is blown, he must dodge assassins to stay alive while securing the evidence that will expose the conspirators and derail a multi-billion dollar procurement deal.

This provides all the information we need to see the overall arc of the storyline. Although it doesn't have an easy flow (this logline needs to be read twice), it provides all the important plot points that enable us to understand the dilemma and see the action. Like the concept above, this is pretty straightforward and lacks a really intriguing hook. Think of the hook in THE BOURNE IDENTITY, as an example. Since spec scripts are more concept driven today than they have ever been, it is crucial to amp up a story idea to make it something more exciting.


The logline definitely suggests its chosen genre: thriller. Of course the subtext here is topical - as the United States engages in an unpopular war in Iraq. The tension is palpable within the logline but this feels like it's more of a direct-to-video sort-of-concept rather than one for the big screen - because it lacks a compelling hook. Its lack of hook also gives it a 1980's action quality, which is problematic in today's market. VERY WEAK CONSIDER.

WHISPER - Supernatural Thriller

After a car accident leaves a despondent lawyer with the ability to see phantom men controlling people's minds, he struggles on a dangerous mission to find and destroy a portal to the phantom world that is guarded by a powerful secret society.

Supernatural thrillers - like THE OTHERS and THE RING - are still in vogue. However, this takes the genre a few steps beyond. The overall logline is well crafted, but my objections here are with the story. This starts off well. The car accident and subsequent supernatural symptoms are intriguing. There is something inherently creepy about "phantom men" (whatever they may be). However, the concept of these phantoms controlling people's minds is a bit murky. It is also difficult to visualize, which is a red flag. (This could simply be my limited scope and vision, but the writer must face all sorts of prejudices when trying to sell a story.) The logline deflates from this point on. The notion of a "dangerous mission" is too vague here. Have the phantom men always been at work - prior to his ability to see them? Why is it so important that this portal be destroyed now versus six months ago? What is at stake? Is the secret society a group of mortals?


Delving into a world that the reader is unfamiliar with means the logline will be under greater scrutiny. For example, we can understand the world of an oil exec trying to woo rednecks into selling their land or even a soldier trying to uncover a conspiracy. (This identifiable quality comes from two majors factors. 1) These stories take place within a world we live and understand. 2) These stories are facsimiles of stories we have seen before. Pitching STAR WARS might have been a bitch since the world was something we had never seen before - but the writer wisely used archetypes to make it all more digestible. THE MATRIX writers actually pitched with story boards.) Because WHISPERS deals with an unfamiliar world and images, the log line needs to be less vague and more specific. Great title, by the way, but this is a PASS.


After an experimental drug gives a suicidal woman the ability to see a murderous demon, she enlists the help of an ex-priest to destroy it--before she becomes its next victim.

This has a similar ring to the logline above. This sets-up (most of) the information we need to know, but the concept feels a little hollow. The first half is more interesting than the latter part. The ex-priest feels a little too familiar and that part of the story doesn't resonate with much excitement. Perhaps the most interesting part of the story is how they set about to destroy the demon and maybe that piece of information could be included (if it were an intriguing plot development). Of course, as we say over and over in this lottery, choosing what information to include is always the hardest part.


Although the idea of an experimental drug causing this vision is interesting, there isn't enough of a hook here, and the priestly sidekick feels too clichéd. This could be effective with some skilled execution, but the logline doesn't whet the appetite enough. PASS.


A distraught mother fights biased evidence, vigilante neighbors, and a nervous breakdown to prove her innocent son didn't molest a child before he's sent to jail for life. Based on a true story.

Sounds more like a LIFETIME TELEVISION movie rather than a feature film. The material has some inherent drama - especially since it deals with the hot button issue of child molestation. And the fact that it is a true story helps a lot. This could be more interesting if the son's innocence was in question; the logline makes it quite clear that the boy is wrongfully accused. The "black and white" take may be too static. Conversely, the juxtaposition of her son battling molestation charges while being "molested" by the system is interesting and ironic. Strong female roles are sparse in feature films (which could be why this feels like TV). Regardless, this does have the potential to offer a beefy role for an actress.


Its movie-of-the-week quality is a strike against this (as a feature) but the (potentially) juicy female role is a plus. WEAK CONSIDER.

NOT SPARKS, BULLETS - Romantic Comedy

Determined to keep her mobster father out of prison for a murder he didn't commit, an engineer disguises her high-tech expertise and uses the DA's low ditz-tolerance to counter every surveillance move, until the DA, her former HS crush, puts the moves on her.

This is a little confusing. The first part makes perfect sense, but the "low ditz tolerance" is baffling. Does this mean that the DA has a low tolerance for dumb women? And is the smart engineer going to pose as a dumb woman? (Is this a "creative lie" scenario?) The surveillance stuff is also murky, and the "high school crush" conflict doesn't flow smoothly from what comes before it.


Not clear as to what this is about. PASS.


A comedy about a pampered heiress who is tricked by a mischievous Genie into trading identities. Trapped in Genieland to a life of poverty and servitude, the heiress fights to escape before the greedy Genie bags her fiancé and blows her trust fund.

Like the log line for WHISPER (above), this entry is weighed down by its vague world. Furthermore, the central conflict isn't particularly compelling, and the stakes don't feel dire. It isn't clear why a genie has to trick the heiress. Can't she just "blink" her into oblivion or something? And what does the genie need with a trust fund or the boyfriend? One assumes that a genie could have all the money in the world and access to any man on the planet.


There is probably a good GENIE idea out there. But this "hook" feels a little forced and doesn't generate much intrigue. Other than our heiress being trapped in GENIELAND, the genie concept doesn't feel maxed out here. After all, anyone could try to spend the heiress's trust fund and woo her boyfriend - not just a genie. This diabolical plan doesn't seem genie specific. As stated in past lotteries (and on this board), the trick to this genre (unless the movie is animated) is to set the fantasy in our real world. In other words - NO Genieland! (HEAVEN CAN WAIT and BIG are excellent examples of this.) PASS.

LOS MATADORES (The Killers) - Supernatural Thriller

When an adolescent girl's burgeoning supernatural powers destroy her seemingly normal life in the suburbs, she and her estranged family struggle to unite and battle to exorcise the evil spirit inside her by embarking on a dangerous journey to its mysterious origin deep in the perilous jungles of Central America.

Although the idea of a jungle adventure is interesting, the two halves lack a strong connective tissue. The "embarking on the dangerous journey" doesn't follow smoothly with the girl's dilemma, and the estranged family also feels like an incongruous detail. As a result, the logline feels a little scattered. Also, the nature of her supernatural powers is unclear. Is she possessed by the devil or are her powers and the devil two separate entities?


Cool title (though I don't know if it fits). The "thriller" elements are absent here, as this feels more like a "supernatural adventure." Although, as presented, this seems a little spread out, there could be potential here if the concept were focused. In its present condition, however, this is a PASS.


The members of twoadverbs picked their winner: SMALL TOWN SLICKER.

However, I wanted to get some additional opinions.


Firstly, I recruited my newest partner-in-crime, JULIE RICHARDSON. Julie recently produced COLLATERAL (voted one of the ten best films of the year by the National Board of Review). She has a slate of projects currently in development and met writers here in the chat room this past summer. Julie has a great story sense, and, more importantly, she has a lot of integrity - something sorely absent in this business. She is also extremely passionate about storytelling.

She scrutinized the loglines and said, "I decided to respond as a producer - as if I were considering new material for the company. Hence my results are based not on the construction of the loglines, but the perceived quality of the material which they describe."

"Of all the loglines, the comedies worked best. I was really torn between two. My first pick goes to FOR BETTY OR WORSE. It struck me as funny. SMALL TOWN SLICKER could also be very funny if executed well. It's my runner-up." Julie concluded.

I couldn't ask for opinions without soliciting a response from my original partner-in-crime, JACK D'ANNIBALE, who left ICM to find and develop projects for Jerry Bruckheimer Films.

His pick is "SCIENCE" OF LOVE.

"Why? I understand what's at stake," he said. "Although I wonder what happens after 50 minutes of break-up hi-jinks. It feels very castable. But grade school kids is off - it needs to be like Wilmer Valderramma and Lindsay Lohan and Mel Gibson and Michelle Pfeiffer. At the end of the day, this needs to be about the kids falling in love. There's potential here, however," Jack said.

His co-worker, CHARLIE BANKS, a story god in the business, says it's a toss up. "A tie between FOR BETTY OR WORSE and "SCIENCE" OF LOVE - with Lindsey Lohan and Ashton Kutcher as leads."

MATTHEW ESKANDER is an ICM talent agent (a young turk) working in the MP (motion picture) department. He trained under the legendary Ed Limato and wunderkind Jim Osborne. Matt "covers" projects - meaning he finds potential roles for clients and submits his suggestions to casting directors, using his "agenting" skills to give our clients the edge up on the part. He reads a lot of material.

Matt said, "It's a tie for me. "SCIENCE" OF LOVE is a simple premise and could be a fun family movie. However, the kids could be tough to cast. As a talent agent, who's always looking for good parts for clients, WELL TOLD LIES sounds like a meaty role for an actress, if the script is well written. Those two hold equal interest for me."

DJ TALBOT is an ICM lit agent. Despite his very busy schedule, DJ gave the list a perusal and said, "I like DEADLINE first. It sounds like a commercial thriller, and I like serial killers. But those scripts have had a hard time getting set up in the last few months. As a second choice, I'd pick SIDE EFFECT."

JASON PATTI has a law degree, writes scripts, and has been a freelance story analyst for many years. He recently filled Jack d'Annibale's job at ICM as the new SENIOR STORY ANALYST.

Jason's choice is "SCIENCE" OF LOVE. He seemed pretty enthusiastic about it. "I can already hear the agents pitching this one: 'It's Spy Kids meets The Parent Trap - in reverse!!' A good logline is one that allows the reader to "see" the movie before reading the script. Based on this sentence, I have a clear image of the protagonists, the set-up and the major conflict that will drive the story into the second act. I worry a bit about act two, as the writer will need some strong story threads to avoid a repetitive, episodic second act [specifically: the same situation over and over with the only difference being a new 'gadget']. Nevertheless, the idea has a good hook. I'd bite and pray for a strong plotting anchor at the midpoint."

In a round table discussion, I gathered the opinions of an eclectic group, all story pros dealing with dramaturgy on a daily basis.

GIDEON started as my intern, then assistant, and bloomed into an excellent (and tough) story analyst. He now reads scripts part-time at ICM and MBST and is finishing up his MFA in screenwriting at LMU.

GARTH FRIEDRICH is an ICM lit agent, who is on the team representing recent Nicholl winner Doug Atchison (AKKELAH AND THE BEE). Garth also oversees the Story Department, which is the portal for all literary material into the agency.

ROB is a freelance story analyst and an award winning teacher (recognized by the White House). He's read everything from "Gilgamesh" to Patricia Cornwell and lots and lots of scripts in between.

PATRICK MELTON & MARCUS DUNSTON recently wrapped shooting on their first feature film, the gory, five million dollar FEAST - which won PROJECT GREENLIGHT. They have since penned another entry in a popular Dimension franchise and look forward to starring in their own TV series, PROJECT GREENLIGHT, the documentary which chronicles the making of the movie. It airs on Bravo in March. PATRICK has an MFA in screenwriting and worked as my intern before being hired as a freelance story analyst. MARCUS is a horror movie aficionado and is delighted that his first movie could be in the genre he loves most.

Here's what each had to say on the ten loglines:



GIDEON: The idea of the mother-in-law having to drive is a mildly funny set-up, but this presentation doesn't explain how she jeopardizes "the deal of a lifetime" and generally fails to show enough of a throughline.

ROB: What deal? Also, what else does the hero need to do but speed up?

PATRICK & MARCUS: For whatever reason, comedies, such as this, tend to pop better as log lines. It's an interesting visual of a groom going on a road trip with, in essence, an older version of his wife. Seems like fun. This is our WINNER.


GARTH: Pass. A tad confusing with the "passionate college romance" line. Did the parents date in college and just all of a sudden meet again? What happened to the other spouses?

GIDEON: Nice logline construction, but the concept feels a little antiquated and is definitely not original. This idea also presents an entirely predictable throughline, we know the kids are doomed to fail and ultimately be happy they did so. Why the quotes around "science" in the title?

ROB: Cute but feels limited; what happens after the break-up?

PATRICK & MARCUS: Not bad. Kind of cute. Very Disney PARENT TRAP-ish. For those looking for this type of thing, it would probably be effective.


GARTH: Interesting. I think it's a combination of elements from movies I've seen. but it effectively conveys the story.

GIDEON: This sounds like half an idea, since there's no explanation given as to why the rhyme kills people. Without this key element, the script could end up like THE FORGOTTEN - an interesting set-up ruined by the lack of a valid explanation.

ROB: Confusing. If the demon says the rhyme, won't he have to vanquish himself?

PATRICK & MARCUS: Too big. And also vague. For us, these types of things are better in smaller circles. The set-up could work, but the threat of the NY Times article is a bit over the top.


GARTH: It sounds cute and you can see where it's headed just from the logline. This is my choice as the WINNER.

GIDEON: Logline could be a better read, but the idea may have some potential. Questions left unanswered: why are the swampland owners "rednecks" (this word has strong negative connotations) and why is swampland a local "tourist trap?" I'd pick this as the WINNER.

ROB: A nice Beverly Hillbillies/Doc Hollywood/ Local Hero (the wisdom of the locals trumps the arrogance of the city slicker) ethos here which should figure in the romance as well. Could be a very charming flick and a cute title, too. This is my WINNER.

PATRICK & MARCUS: We think this one is kind of cute. Very clear setup of very different people being forced to be together. However, it feels like it's just a different setting for a familiar story.


GARTH: The idea feels dated. Pass.

GIDEON: The idea of the protag discovering a government/military conspiracy, then having to go on the run as he looks for evidence, is hardly a new concept, and the friendly fire element isn't enough of a twist to make this stand out.

ROB: Don't all arms deals eventually turn deadly? Old hat. Sounds like DEAL OF THE CENTURY (with Chevy Chase and Gregory Hines) minus both of its jokes.

PATRICK & MARCUS: A routine, but possibly good thriller. A type of story that hasn't been out in a while (says Marcus). It seems somewhat familiar and overly earnest (says Patrick).


GARTH: Pass.

GIDEON: Way too many questions here. How does a car accident do this? Why does it matter that protag is a despondent lawyer? What are phantom men? Why/how do they control people's minds?

ROB: Way, way too complicated. Also, "I see mind-controlling people" doesn't cut it as a filmic mantra, especially coming from a lawyer.

PATRICK & MARCUS: A tad vague. Not sure how this happens or what or why he has to shut these "portals."


GARTH: Pass.

GIDEON: Too vague. The manner in which the plot elements are presented - the woman seeing the demon, then enlisting the help of the ex-priest to stop it before it kills her - comes off as almost random.

ROB: Why an "ex" priest? Did THE EXORICIST retire? (Blatty should.) Old hat again.

PATRICK & MARCUS: Good up to the "murderous demon" aspect. Why is the woman really needed if it's ultimately the priest taking care of the demon? Could be good, but not in great shape right now.


GARTH: I don't know how many people would see it, but I'd be intrigued.

GIDEON: Like the TV movie based on the MCMARTIN TRIAL, but without the scope (and without being first in the medium to tackle the subject matter). This sort of concept, even if written brilliantly, hardly seems as if it would draw big audiences, considering its unpleasant nature.

ROB: Sounds good but is too limited. If the mother doesn't exonerate the kid, will she commit suicide?

PATRICK & MARCUS: Nice title. Very straightforward and realistically disturbing. For those looking for this type of thing, very good.



GIDEON: Presentation sounds disjointed, as if the script starts off as a straight drama (or possibly comedy) then turns into an - almost - slapstick romcom. And the protag's actions aren't specific enough. What does it mean that she uses "the DA's low ditz tolerance?"

ROB: How about the old fashioned way, getting a lawyer? The throughline seems gratuitous.

PATRICK & MARCUS: Rather cutesy and inconsistent.


GARTH: Pass.

GIDEON: A wacky idea that suggests the potential for some funny moments. Still, the logline fails because it implies that most of the script will consist of the protag fighting to escape from genieland (which simply isn't defined enough).

ROB: "Bags?" "Blows?" What's the rating on this one? Do the girl and the genie exchange identities or just places?

PATRICK & MARCUS: At best, this sounds like a cute Nickelodeon cartoon. However, it's not very appealing as a feature. The "Genieland" thing is a tad much. Setting it in reality, a la SPLASH, would make it more attractive.


GARTH: Sounds overly complicated. Pass.

GIDEON: Way too vague. Also, the presentation makes it sound like the script is about the journey to Central America - so why not just take a plane to Honduras or wherever and get the exorcism done?

ROB: What powers? Can't she use them against the demon? Also, how does an "estranged family" unite while trying to help one of its members?

PATRICK & MARCUS: Vague. She has supernatural powers? And they have to go to Central America? Second best title - if it only had a plot that lived up to it.


The official winner was "SCIENCE" OF LOVE, but the various opinions here demonstrate that much of this business is about love connections: Matching the right script with the right person.

Flash foward to the present:

Julie Richardson recently set up THE MIDNIGHT MAN at Dimension and a TV pitch at ABC.

Jack d'Annibale left Bruckheimer Films and is currently adapting "A Nation of Lords: The Autobiography of the Vice Lords" for Reason Pictures. Bob Goldhirsch and Bob Teitel will produce. George Tillman is attached to direct. He has an article in the December 06/January 07 issue of Audrey Magazine about USC running back Emmanuel Moody.

Charlie Banks remains a force at Bruckheimer.

Matt Eskander and DJ Talbot continue to make deals for clients at ICM.

Garth Friedrich left ICM and is an executive at Davis Entertainment.

Jason Patti runs a not-for-profit organization benefiting the homeless in Los Angeles.

Gideon graduated from LMU and is currently producing a film based on his screenplay.

Rob is pursuing a Ph.D in comparative literature and has no time to read scripts.

Patrick Melton and Marcus Dunstan saw the release of their first film FEAST and have since sold three more projects (with Marcus attached to direct two - including THE MIDNIGHT MAN) and a TV pilot for Fox. In November, Patrick became a father.

"SCIENCE" OF LOVE never collected its prize.


For those interested, my Inside Hollywood Screenwriting class runs for six consecutive Saturdays at Los Angeles Valley College (Coldwater & Fulton).

March 10 - April 21 from 10AM - 1PM.

Tuition: $93.00.

Registration starts on January 3, 2007 at 8AM.

Call 818 947 2577, Extension 4172.


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