Hello from Austin, TX

For the second year in a row, Signe and Bob have officially launched our efforts for the Great American Pitchfest & Screenwriting Conference at the Austin Film Festival in beautiful Austin, TX. Aside from the opportunity to see some amazing films (programmed with a focus on the writer), we enjoy the chance to meet the writers themselves at the weekend-long conference.

It's been an exciting time. GAPF guru Bill True (an Austin Film Fest winner) moderated several panels, Signe advised and helped writers at a round table discussion, and Bob judged three rounds of the AFF pitch contest, including the finals alongside Oscar-nominated screenwriter Terry Rossio (Shrek, the Pirates of the Carribean films). We proudly gave away 4 passes to the contest winners, and look forward to seeing them all in Los Angeles in June!

After a weekend of rubbing elbows with Rossio, David Wain (the amazing "Role Models," Robert Townsend ("Phantom Punch"), Shane Black ("Kiss Kiss, Bang Bang"), and many others, the writing bug is itchin' and anxious to be scratched. Inspiring stories were just oozing out of the woodwork.

Most gratifying was seeing so many of our past participants in attendance, including success story Scott Richter who signed with his new manager after meeting at last year's Great American Pitchfest. Scott moderated some panels and advised aspiring screenwriters in a round table. Congratulations, Scott! We're proud of you as well as all of our success stories.

GAPF participant Kate Wharton (Seattle, WA represent!) also has had her script optioned. It was a blast to celebrate with her at one of the many festival parties. Next year, we hope to celebrate with more of y'all at the amazing Austin Film Festival.

Check back here for more updates, email us, visit www.pitchfest.com, and join our Facebook group to stay clued in on everything we have developing over the course of the year. We have some cool surprises cooking, as well as the quality pitching opportunity and classes you have come to expect from us. It's hard to believe this will be our ninth conference (#6 in the US, and 3 in Canada), and we have you to thank. Our loyal particiapants.

Best Wishes,
Bob.

Success Story Alert!

A couple days ago, I received this email from one of the writers who attended last year's pitchfest:

Dear Signe Olynyk,

I just wanted to thank you for putting on the Great American Pitchfest. Back at the 2007 event, I pitched a college comedy to Ellen Sandler (Co-Exec Producer & Emmy Nominee for 'Everybody Loves Raymond'). For over a year now, my sister, Christy, and I have been working with Ellen to develop it into a webisode series called
"Girls Gone College." We just finished shooting the first 4 episodes last week! It was amazing seeing what we wrote come to life on screen. I just wanted to say thank you, since it all started at Great American Pitchfest.

Allison Dillard

Way to go, Allison! We're thrilled to have helped play a role in your success. Your story is exactly why we continue to do what we do.
Congratulations!!

A Success Story From Last Year

Hello, PitchFesters! Here is an inspirational tale for us all! Last year, Donna was with us at the Great American PitchFest... this year, she went to watch her film at Cannes instead.

2007 Great American PitchFest participant Donna Roa is pleased to report to friends and film industry colleagues that "One Child," her first short film co-produced with The Vine Entertainment, premiered at The Cannes Film Festival this year.

"One Child" is a short film based on a full-length screenplay, that presents the story of a young Chinese girl caught in the crossfire of the most despised and controversial population policy in the world.

We recently caught up with Donna for an interview before she headed off to France.

GRAT AMERICAN PITCHFEST: What made you decide to attend The Great American PitchFest last year?

DONNA ROA: The Great American PitchFest is a high-value, high-return venue for writers to present their story ideas. The PitchFest provides access to industry executives. When you go into the pitch room, the clear majority of representatives are principals in the company they represent.

The Great American PitchFest brings in the executives who can make decisions on the spot. That makes a significant difference on a number of fronts. These executives have the framework or experience to process the relevance of your film and to take immediate action.

I had three companies pull out the writer's consent form within the first three minutes of my pitch because they had the power and intention to do it and because they understood my logline and story idea. This creates a very rewarding experience for the writer.

I've been to pitching events where the young staff representing major companies didn't have this framework or experience, and most of them acted as if they really had better things to do on a Sunday than listen to your idea. This is not good for the writer or for the company they represent.

The Great American PitchFest also runs a tight ship during the event. This allows a writer to make the most of the two days. I was able to meet with 24 companies formally and many others informally.

High-value and high-return. Where else can you do this? I am still in contact with five of the companies that I met at The Great American PitchFest and value these and other relationships that I established while I was there.

GAPF: What was the most valuable thing you learned from the PitchFest?

Donna: Three critical things:

1. Be ready to network and pitch your film to anyone, anywhere -- the pitch room, hallways, elevators, bathrooms, poolside, etc. I pitched a movie to a famous actress as we washed our hands in the ladies' room. She's been a mentor and supporter to me ever since.
2. Don't skimp on your marketing materials. They are "leave behinds" that help to tell your story when you are not around. I worked with a company that help me to ensure that my marketing materials conveyed the message that I was already a part of Hollywood, instead of some writer from Rockville, MD who wrote screenplays with no real intentions of getting it made. Good design is good business. If you are serious about your screenplay and believe in its worth, invest in the right graphics and materials to support it.
3. Be very strategic about the companies you choose and don't use all of your time waiting in line for the big companies. I firmly believe that because you have an overall event time limit, it is better to see more of the right companies than to put all of your eggs in one basket for a large one that everybody wants to see. I met with 24 companies using this strategy.
4. Make your logline rock solid. I read (Storylink All-Star) Blake Snyder's critically-acclaimed "Save the Cat" as I was writing "One Child." I followed the steps he recommended and locked in a superb logline. And because the PitchFest offered a 30 minute Private Consultation with Blake, I got a chance to thank him for the advice he proffered in the book and to present my logline to him. He was wowed and asked to see my script on the spot. It doesn't get any better than that.
   

GAPF: What advice would you give to other newcomers to the world of writing?

Donna: I can boil it down to five words and a question mark.

• Work ethic. Work smart and strategically.
• Attitude. The glass is always more than half full.
• What odds? Expect magical moments to happen.

GAPF: Tell us about what comes next for you in terms of "One Child."

Donna: "One Child", which was co-produced by me and The Vine Entertainment in Santa Monica, CA, has been accepted to the Cannes Film Festival, where it will have its world premiere. I will be going to Cannes this month for a week. I plan to pitch "One Child" (the short film) to acquisition executives from a number of countries, and will pitch "One Child" the full-length screenplay to development executives and other industry attendees at the Festival. This is the year for the full feature to get started. We will make it happen.

The Great American PitchFest gave me great practice for this international high profile gathering. I am finalizing my marketing materials, shining my shoes, practicing my French, and getting packed for this event of a lifetime.

Thank you, Signe for having the foresight and vision to put in place a goldmine for writers. It's a tremendous launching pad for writing careers and for getting connected to so many industry insiders in one weekend. It's an event that has proven to be of tremendous value time and again. I will forever be grateful.

Good luck, Donna! We are proud of Donna and the other success stories from Great American PitchFests past (There are around 60 of you!), and look forward to having more after this year's event.

The early-bird rate for this year's Great American PitchFest expires on Sunday, and this year's event WILL sell out. Don't miss your opportunity to pitch to more than 100 companies. Register today.

May 22, 2008

For Immediate Release

The Great American PitchFest

Celebrates 5^th Anniversary

More than 100+ Companies & Agencies expected to attend!

Earlier this week, more than 100 invitations were sent out to production companies, agencies, managers, and other industry executives to hear pitches at this year’s Great American PitchFest. As the fifth annual event, organizers promise the largest gathering of development executives and screenwriters ever to attend.

The fifth Great American Pitchfest & Screenwriting Conference will be held June 20 – 22, 2008 at the Marriott Burbank Hotel & Convention Center in Burbank, CA. For a full list of companies, as well as a schedule of our Master Classes, and more than 30 FREE Screenwriting classes, please visit www.pitchfest.com. The event is open to the public and screenwriters of all experience levels.

Some of the 100+ companies attending this year include:

20th Century – FOX Searchlight

Family Guy, The Simpson, My Name Is Earl, How I Met Your Mother,American Dad, King Of The Hill, Juno, I Think I Love My Wife, The Savages, The Last King of Scotland.

Adventures in Comedy

(Canadian Production Company)

Cedar Grove Agency

(Agency)

Cine LA

The Flying Scotsman, Lucky 13, Snowbound, Touched by a Killer, Man of the Century, Charades, Bad Manners

Clifford Werber Productions

Sydney White, A Cinderella Story

Creative Convergence Literary Management

Dual

Daniel Paulson Productions

Sunset Park, Jack, Staffers, Full-Court Miracle, Saving Jessica Lynch, Dead in a Heartbeat, Till Dad Do Us Part, By Dawn's Early Light, Custody of the Heart, A Gift of Love: The Daniel Huffman Story, A Cooler Climate, Bonanno: A Godfather's Story

David Greathouse Productions / 6-17 Productions

Living Hell, Undead or Alive, Buried Alive, Even Money, Hellraiser: Deader, Teenage Caveman (TV movie), She Creature (TV movie), How to Make a Monster (TV movie), Earth vs. the Spider (TV movie)

ES Entertainment

Hope in Heaven (documentary), Out of Sync (TV movie), Mörder meiner Mutter, Der (TV movie), I Know What You Did (TV movie), The Companion (TV movie), One Special Victory (TV movie)

Fun Little Movies

The Ghost of Salsbury Inn (short), Nightmare Boss (TV series)

Goddess Productions

ASTROMATES

Krainin Productions Inc.

The John Glenn Story (documentary short), The John Glenn Story: A Return to Space (TV documentary), The American Experience (TV series), The Quiz Show Scandal, Memory & Imagination: New Pathways to the Library of Congress (TV documentary), Verdict: The Wrong Man, The South Pacific: End of Eden?, The Other Americans (TV documentary)

Max Freedman Management

(Management Company)

Minor Distractions Entertainment

Volcano, Star Trek: Generations, Panga, May The Best Man Win, Final Alliance

Motion Theory

(Production Company specializing in visual effects)

Nash Entertainment / Robert Kosberg Productions

Deep Blue Sea, Twelve Monkeys, Man's Best Friend, The Secret World of Dreams (documentary), Who Wants to Be a Superhero? (TV series), X-Testers, For Love or Money (TV series), My Life Is a Sitcom (TV series), Who Wants to Marry My Dad? (TV series), Dance Fever (TV series), Meet My Folks (TV series)

Niad Management

Boutique management company formed by former ICM exec Wendi Niad. They represent writers, directors and talent. Clients include Neil Cohen (Moebius/Car Wars), Orson Scott Card (Ender’s Game)

Popular Films

SEALAND @ Warner Bros, HURRICANE SEASON @ HBO, LIVE NUDE GIRLS, UNITE @ Reason Pictures, WEASEL @ Echo Lake Productions, CROAK @ Hudson River Entertainment

Protagonist Pictures, Inc.

Cheerful Tearful, Stone Coats, Check It Out (TV series), Once Upon a Library, Project Cougar (TV series documentary), Below Zero

Sandbar Pictures

SEX AND DEATH 101, WHIZ KIDS, LORELEI

Shamrock Motion Pictures

Deal with Dreamworks, (Principle was winner of ‘On The Lot’)

Studio Talent Group

(Agency)

Twilight Pictures, Inc.

Suzuki’s World, Project Cougar, The Twilight Years, The Middle Child

Underground Films

Deal with Weinstein Company

Village Roadshow

Speed Racer, I Am Legend, December Boys, The Brave One, The Invasion, No Reservations, License to Wed, Ocean's Thirteen, Lucky You, The Reaping, Music and Lyrics, Unaccompanied Minors, Happy Feet, Beerfest, The Lake House, Firewall, Rumor Has It..., The Dukes of Hazzard, Charlie and the Chocolate Factory, House of Wax, Miss Congeniality, Constantine, Ocean's Twelve, Catwoman, Envy, Torque, Mystic River, Dreamcatcher, Confessions of a Dangerous Mind, Two Weeks Notice, Ghost Ship, Eight Legged Freaks, Ocean's Eleven, Training Day, Swordfish, Space Cowboys

For the fifth straight year, the Great American PitchFest team proudly brings the best screenwriting instructors, and our premiere pitching event to our fellow screenwriters. All of our executives are vetted and actively searching for new material. As screenwriters ourselves, we know how frustrating pitching events can be. Our unique system and the special attention paid to each participant resulted in last year’s Great American Pitchfest to SELL OUT. This year’s event may well sell out before the early-bird rate for tickets expires on May 31. Don’t miss out. Tickets may be purchased at www.pitchfest.com.

Every week or so, I get an email from someone saying their script has been optioned, or they've signed with an agent or manager they met at the Great American PitchFest. After we've jumped up and down and shared a few tears of joy, we talk about the next steps and what kind of champagne they'll serve us at the Oscars.

I thought I'd share with you a short note, sent to us by one of our favorite speakers, Ellen Sandler. Ellen was nominated for an Emmy for her work as Co-Executive Producer on the hit series, 'Everybody Loves Raymond'. She also wrote the 'gotta have it' bible for every aspiring sitcom writer, 'The TV Writers Workbook' (trust me, this book will save you years of learning the hard way). Ellen will once again be joining us for this year's pitchfest to teach a free class with her colleague , Kathie Fong Yoneda (former Disney Exec & Author of 'The Script Selling Game') called 'Write It, Pitch It, Work It - Lessons from the Pros on Writing for Television.' (Saturday, June 21st 9am-10:30am in the Sunset Ballroom). Everyone is welcome to attend this free class. Just register at www.pitchfest.com for details.

Ellen's note follows:

Hi Signe,

I wanted to let you know that my webisode project that came to me through a pitch at last year's PitchFest has shifted into high gear. The two young writers have completed six episodes under my supervision and this week I put together a writing room with 8 experienced young writers to work on getting these scripts table ready. I have partnered with a producer -- he's experienced in directing and producing commercials for Olgilvy & Mathers -- and we are underway. Casting is nearly done. We plan to shoot later this month. This has been a thrilling creative experience for all of us and it all started at your fabulous Great American PitchFest. I thought you'd like to know.

How is this year's Pitch Fest shaping up? I hope you'll include me in your plans. Look how well that turned out. Please feel free to publicize that success story if you'd like, as encouragement for other pitchers and pitchees.

Best,
Ellen

Congratulations, Ellen! - And thanks for letting us know. I'm looking forward to that champagne! - Signe

Brilliant Dialogue Is As Easy As PTA

The following post appeared on the blog for The Script Department, called The Rouge Wave. If you read both of us, sorry for the rerun. If you don't, you should. The Wavinatrix is awesome.

(WARNING: The following contains possible spoilers for “There Will Be Blood.” If you haven’t seen it yet, what are you waiting for? Go! Now! We’ll wait.)

It’s my choice for the best film of 2007, but Paul Thomas Anderson’s “There Will Be Blood” has only made around $31 million at the box office, far from a blockbuster. Yet somehow, the dialogue from Daniel Plainview (Daniel Day-Lewis) to poor, devastated Eli (Paul Dano) at the end of the movie has launched itself into the zeitgeist. T-shirts, websites, articles, and blogs have all been created to pay tribute to this line:

DANIEL PLAINVIEW
I drink your milkshake.

On the page, it doesn’t look like much. Taken on its own, who among us would rank it on the same level as “Live long and prosper,” or “Here’s looking at you, Kid,” or “Fasten your seatbelts, it’s going to be a bumpy night?” Who would have seen this line, and thought, “Amazing. This is going to blow up all over the place!”?

And yet it has.

On Super Tuesday, political supporters of all stripes were electrified, advocating for their candidates, getting out the word, pounding the pavement to get out the vote. As clichéd as it sounds, this was America at its best. Millions of people, proud believers of what they could accomplish, focusing on potentially the most important and historic time of their lives.

As the results started to roll in, with Senator Barack Obama winning and winning and winning again, an electric charge crackled through the hotel bar where I was watching results come in. The crowd kept getting louder and louder, more excited to hear about the latest upset victory. Then, from a horseshoe booth at the back of the room, lubricated by several beers, a man’s baritone boomed out:

“I drink your delegates, Hillary!” After a long sluuurping noise, he belted out, “I drink them up!”

The whole room – old, young, Republican, Democrat, you name it – burst out laughing, despite the fair (but not amazing) box office numbers.

Had I written that script, that moment would have been the zenith in my career. Regardless of box office success, overhearing my own dialogue quoted by a stranger would be the ultimate measuring stick of my success: My words affected people to such a degree that they spread into parts of the culture unrelated to my movie. In essence, like Plainview’s straw, Paul Thomas Anderson’s words reached all the way across the room and took over. DRAINAGE!

How about you? Would you be satisfied with modest success from the perspective of audience size, if it meant a place in the national lexicon? Would you be willing to trade the dream of box office treasure for a place in etymological history?

Pencils Up!

Signe speaks on the strike!

The Strike Is Over! Now what?

For months I’ve been fielding anxious calls and emails from writers, wondering what the strike means to them. Writers wanted to take advantage of any opportunities the strike offered them, but weren’t sure exactly what those opportunities were. And they didn’t want to risk ruining their careers before they even began, so what protocols should they have followed? And what would it mean to the pitchfest? Would it still go on?

Our advice to all our writers has always been to support the WGA. The Writers Guild of America was established to protect writers, and it is in the interest of every professional and aspiring screenwriter to support their efforts. Like the WGA, the Great American PitchFest was started BY writers FOR writers, and we congratulate the WGA and thank them for their hard work in negotiating the strike to an end.

But we also want to thank all our writers who contacted us over these past few months with their questions and concerns. It raised a lot of questions for us as well, and we’re all relieved that the strike has finally come to an end.

Despite all the uncertainty during the strike, the one thing we can tell you is that the demand for material has never been greater. In fact, we’ve received more calls than ever from companies looking for material, and asking to hear pitches at this year’s Great American PitchFest. We put a number of writers in touch with various companies who contacted us, looking for specific material with the caveat that they should absolutely meet and receive pitches, but under no circumstances, should anyone sign or present a contract until the new WGA terms were firmly established, and the strike was over. From the companies we spoke to (struck and non-struck), all were in agreement on this and supported our efforts in supporting a fair deal for all writers. Now the flurry of phone calls from companies seeking new material and writers has increased even more, and we look forward to hosting more companies than ever at this year’s Great American PitchFest.

Our advice to writers during the strike was to join the picket lines and support their fellow scribes in the march for change. By walking the front lines, many of our writers were able to better understand the issues and challenges facing the WGA, and many made valuable connections with established writers and showrunners while there. One of our participants flew from Toronto to walk the picket lines in LA, and met one of the head writers for CSI while there. He made such an impression that the two have now exchanged scripts, and there may be a writing opportunity for this writer in the story department now that the strike is over. No matter what happens, a relationship was formed – and a new writer must take advantage of every opportunity they can. You never know who you might meet who can help to further your career.

So now that all the uncertainty is over, now what? NOW you can sign an agreement with a WGA signatory company. NOW you can write letters thanking the showrunners and other professionals who bravely risked themselves and supported the efforts of the WGA against the strong voices of the studios because they believed in what they were doing. NOW you can attend this year’s Great American PitchFest knowing that companies are looking for material and new writers more than ever, and that when you enter into a WGA agreement, you are protected by a fair contract that will be enforced by an organization of individuals committed to a common cause. NOW you can write for hire, and sell that screenplay.

Thank you to everyone who contacted us with their many questions, and to those who answered so many of ours. But most of all, thank you for those who took the risk to standup for us all.