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Professionalism in the Age of the Influencer

November 20, 2019 Film Industry, Follow Up, General, International, Random Advice

On October 24, 2019, I presented the Hawley Foundation Lecture at Drake University. It was an update and reexamination of a 2006 speech on professionalism I originally gave at Trinity University, and later that year at Drake.

What follows is a pretty close approximation of my speech, but hardly a transcript. It’s long, around 14,000 words. My presentation originally had slides. I’ve included many of them, and swapped out others for links or embedded posts.

If you’re familiar with the earlier speech and want to jump to the new stuff, you can click here.


Back in 2006, I gave a speech here at Drake entitled “Professional Writing and the Rise of the Amateur.” In it, I presented my observations and arguments about how the emergence of the internet had made the old distinctions between amateurs and professionals largely irrelevant. Tonight I want to revisit that speech and look at what still makes sense in 2019, and more importantly, what I got wrong.

To do that, we need to start with a bit of time travel so we can all remember what 2006 looked like.

Here’s Facebook:

facebook 2006

Here’s Twitter:

twitter 2006

Here’s Netflix:

netflix home screen 2006

Here’s Reddit:

reddit 2006

Here’s Instagram:

instagram debuted in 2010

Oh, 2006 was a simpler time. The internet existed, but it wasn’t as all-consuming as it is now. We had blogs. We had MySpace. But we didn’t have the internet on our iPhones. Because iPhones wouldn’t come out for another year.

However, even in this innocent age, issues would arise that would feel very familiar today. We had fake news and trolls and pile-ons.

For example, back in 2006, I started my speech with this anecdote:

> On March 21, 2004, at about nine in the morning, I got an email from my friend James, saying, “Hey, congrats on the great review of Charlie and the Chocolate Factory on Ain’t It Cool News!”

Let’s start by answering, What is Ain’t It Cool News? It was a movie website started by a guy named Harry Knowles. It looked like this:

aicn 2006

Ain’t It Cool News billed itself as a fan site. I’d argue that it was an incredibly significant step towards today’s fan-centered nerd culture, for better and for worse. Online fandom has brought forth the Avengers and fixed Sonic the Hedgehog’s teeth, but it’s also unleashed digital mobs upon actors and journalists, women in particular.

Back in 2006, the nexus of movie fandom was Ain’t It Cool News. It wasn’t just a barometer of what a certain class of movie fan would like; it could set expectations and buzz. Studio publicity departments checked it constantly.

So, back to my email from James. He’d written:

> “Hey, congrats on the great review of Charlie and the Chocolate Factory on Ain’t It Cool News!”

This was troubling for a couple of reasons.

First off, the movie hadn’t been shot yet. We weren’t in production. So the review was actually a review of the script. Studios and filmmakers really, really don’t like it when scripts leak out and get reviewed on the internet, because it starts this cycle of conjecture and fuss about things that may or may not ever be shot. So I knew that no matter what, I was going to get panicked phone calls from Warner Bros.

I click through to Ain’t It Cool and read this “review.” And it’s immediately clear that it’s a complete work of fiction.

aicn article 2006

The author of the article, “Michael Marker,” claims to have read the script, but he definitely hasn’t. He’s just making it up. It is literally fake news.

Fortunately, back in 2004, I knew exactly one person at Ain’t It Cool News. His name was Jeremy, but he went by the handle “Mr. Beaks.” So I emailed him, and say, hey, that review of the Charlie script is bullshit.

Actually, I don’t say that. I say, “That guy is bullshitting you.” It’s not that I’m wronged, no. It’s that that guy, Michael Marker, is besmirching the good name of Ain’t It Cool News by trying to pass off his deluded ramblings as truth. How dare he!

And it works. Mr. Beaks talks to Harry Knowles, and Harry posts a new article saying that the review was bogus.

aicn article screenshot

They don’t pull the original article, but oh well. It’s basically resolved.

I can’t help but think — this article was wrong, but it was really, really positive. What if it had been negative? Would Mr. Beaks or Harry Knowles have believed me? Probably not. They would have said, “Oh, sour grapes.” My complaining would have made the readers believe the bogus review even more.

It might have led to the Streisand effect, where complaining about something just brings more attention to it.

Back in 2006, if you tried to really go after any of these film-related sites, criticizing them for say, running a review of a test screening or just outright making shit up, you’d get one standard response:

> Hey, we’re not professional journalists. We’re just a bunch of guys who really love movies.

Their defense is that they’re amateurs, so they can’t be held to the same standards of the New York Times or NBC.

That became the topic of my speech in 2006: the eroding distinction between professionals and amateurs.

The classic, easy distinction is that the professional gets paid for it, while the amateur doesn’t. For a lot of things, that works. You have a professional boxer versus an amateur. You have a professional astronomer versus an amateur — some guy with a telescope in his back yard.

[Read more…] about Professionalism in the Age of the Influencer

The Chinese Box Office is Huge

February 11, 2019 International

Writing for Forbes, Scott Mendelson notes that the biggest movie in China is bigger than even the biggest US movies:

The Wandering Earth wrapped up its first week of release in China with a record-breaking $349 million. That’s the biggest one-week total ever in China, besting the $338m debut of Detective Chinatown 2 last year and the $307m launch of Wolf Warrior 2 in the summer of 2017. It was the second-biggest seven day total for any release in any territory save for the $390m seven-day cume of Walt Disney’s Star Wars: The Force Awakens in 2015.

Yes, Wandering Earth earned more in its first week in China than Disney’s Avengers: Infinity War earned in North America ($338m) last April.

Yes: it’s complicated because China controls which movies can be released, and how wide they can expand, so it’s not an apples-to-apples comparison. But it’s clear that the Chinese box office is simply massive.

Hollywood movies have long been one of the America’s most reliable exports, because you simply couldn’t make a certain kind of movie anywhere else. That’s not true anymore.

Changing the Defaults

Episode - 346

Go to Archive

April 17, 2018 Film Industry, International, News, Scriptnotes, Transcribed, WGA

John sits down with screenwriter Christina Hodson to discuss race, gender, and representation in Hollywood, and how screenwriters can help correct the status quo with the one thing they can control: the words on the page.

We tackle the nuances of designating race for open-ethnicity characters, the assumption of whiteness, the pros and cons of feature writers rooms and the promise of inclusion riders.

We also answer a listener question about why some movies are timeless and some feel dated as soon as they premiere.

Links:

  • Thanks for joining us, Christina Hodson. Her upcoming movies include Bumblebee of the Transformers franchise and Batgirl.
  • The Pudding’s Film Dialogue from 2,000 screenplays, Broken Down by Gender and Age
  • Premium subscribers can listen to the Crazy Ex-Girlfriend bonus episode with Aline Brosh McKenna and Rachel Bloom here.
  • A pilot announcement that includes this character description: “a girl-next-door type but also with a behind-the-ear tattoo. She can just as easily bro out with the guys as she can be the girliest girl.”
  • A guide to WGA dues, courtesy of Stuart!
  • Mothers of Sparta by Dawn Davies
  • Female writer friends, like Frances Marion
  • The Scriptnotes Listeners’ Guide!
  • The USB drives!
  • John August on Twitter
  • Craig Mazin on Twitter
  • John on Instagram
  • Find past episodes
  • Outro by Hunter Christensen (send us yours!)

Email us at ask@johnaugust.com

You can download the episode here.

UPDATE 4-19-18: The transcript of this episode can be found here.

Writing Other Things

September 19, 2017 Books, Broadway, How-To, International, Scriptnotes, Television, Transcribed, Writing Process

John and Craig welcome back Aline Brosh McKenna to talk about writing projects outside the familiar constraints of screenwriting.

We discuss the surprises and adjustments involved in the creative processes of different media: Aline’s graphic novel Jane, Craig’s HBO miniseries Chernobyl, and John’s original song, “Rise.” We also dig into why screenwriters sometimes need to be amateurs again.

Then we answer listener questions about making fair deals as someone in a different country, and how best to read one’s script before rewriting.

Links:

  • Submit to the Three Page Challenge and check the box if you’ll be in Austin for the Austin Film Festival
  • The new season of Crazy Ex Girlfriend premieres Friday October 13th
  • John Gatins’ IMDb
  • Order Aline Brosh McKenna’s new graphic novel, Jane
  • Ramón K. Pérez’s website, twitter and graphic novel, Jim Henson’s Tale of Sand
  • “Rise” composer Sam Davis’ website
  • The Original Melody, John’s Snap Track, and the demo track with vocalist Curt Hansen for “Rise”
  • Or you can check out this post for more details about “Rise”
  • Mark Halpin Puzzles
  • Insecure on HBO
  • Out on the Wire by Jessica Abel
  • The Scriptnotes Listeners’ Guide!
  • The USB drives!
  • John August on Twitter
  • Craig Mazin on Twitter
  • Aline Brosh McKenna on Twitter
  • John on Instagram
  • Find past episodes
  • Outro by John August (lyrics) and Sam Davis (music) (send us yours!)

Email us at ask@johnaugust.com

Credits: Produced by Megan McDonnell Edited by Matthew Chilelli With Nima Yousefi and Dustin Bocks

You can download the episode here.

UPDATE 9-26-17: The transcript of this episode can be found here

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