Education

Four for four, or Hooray for Chad

January 3, 2007 Education, News

Longtime readers will note that my former assistants have done well for themselves. [Rawson](http://imdb.com/name/nm1098493/) has directed two movies, [Dana](http://imdb.com/name/nm1401416/) has become an in-demand screenwriter, and [Sean](http://imdb.com/name/nm1091301/) is a TV staff writer with a pilot in production.

I’m happy to add [Chad](http://imdb.com/name/nm1548657/) to the list of successes. After many delays, his script “Sydney White” is going into production on February 12th, with [Joe Nussbaum](http://imdb.com/name/nm0638271/) directing. Variety has [the story](http://www.variety.com/article/VR1117956518.html?categoryid=13&cs=1) in today’s issue.

“Sydney White” is basically Snow White set in college, with Amanda Bynes playing the titular character, and seven outcasts taking over as the dwarfs. The project is a family affair; Chad’s wife Dara is co-producing. You may recognize her as an occasional poster on the site.

What’s the secret behind my assistants’ success? It’s certainly not me. I rarely read their scripts, never take them to meetings, and only sporadically offer advice. I think one main factor may be that there’s only a limited amount of work to do in any given day, so that leaves lots of time for staring at the computer monitor, wondering what the hell they should write.

Another common factor: except for Sean, they’re all [Starkies](http://cinema.usc.edu/producing/index.cfm). So I’m hiring from a pool of people who are likely to be successful regardless. But that doesn’t make me any less happy for them.

Is the Screenwriting Expo any good?

October 6, 2005 Education, Los Angeles, QandA

[ Expo Logo ](http://screenwritingexpo.com)My question is about the [Screenwriting Expo](http://screenwritingexpo.com) and other industry seminars. I realize that you are speaking this year, but is it really a worthwhile event? It seems like just another one of the money-sucks preying on desperate fledgling writers. Thanks!

— Corey
Los Angeles, CA

To be honest, I don’t know if the Screenwriting Expo is any good or not. I’ve never been, so I can’t vouch for it. I suspect some of you readers out there have been to it, and can give Corey the thumbs-up or thumbs-down.

I’m one of the “Guests of Honor” at this year’s Expo, along with a bunch of other really good screenwriters. I’m not on a panel per se, nor am I teaching a workshop. Rather, I guess I’m just a featured speaker, or doing a Q & A.

I guess I should ask. I really have no idea.

Public speaking used to terrify me, but I’ve gotten a lot better at it over the past few years. Some of that’s just from success; it’s a lot easier to speak to an audience that’s actually interested in what you’re saying. But a fair amount of it is just practice. I’ve survived enough panels, roundtables and TV interviews that the experience isn’t as intimidating as it used to be.

Whatever it is I’m doing at the Expo, it happens at 2 p.m. on Friday, November 11th, at the Los Angeles Convention Center. The event is listed as being free, so I assume you don’t have to register for the whole thing if you just want to come see me talk.

In general, I don’t speak at anything that charges a fee, unless it’s part of a larger film festival. I recognize that’s a fairly arbitrary rule, since I do speak to university classes, and college tuition can run $30,000 per year. But, like you Corey, I’m troubled and annoyed by the commercialization of screenwriter education. USC or UCLA might be expensive, but I don’t believe they’re profiting on false hopes and unrealistic expectations.

If any readers do come to my thing at the Expo, don’t be shy. Introduce yourself. The few minutes after a talk are always chaotic, with a bunch of awkward hand-shaking, but I’m happy to do it.

Which side of the pond should I choose?

October 4, 2005 Education, Film Industry, QandA

As a long time reader of your blog, I have finally decided to pose a question to you which for myself irritates and intrigues me. I am currently 18 years old and in the midst of a gap year before taking cinema studies and scriptwriting next September.

However the thing is, as I live in the United Kingdom, more accurately England, I often wonder what is the potential in the future in script negotiations, optioning etc overseas? Is this possible, and if not would it be required to move to the wannabe writer over-saturated Los Angeles or attempt to firmly establish myself within my own countries Film and television network?

— Paul
Birmingham, England

Stay in England, study film, then decide whether it’s British or American movies you want to make. I won’t even try to describe the differences between the British and American film industries, but you’ll have a gut feeling about where your instincts lie. (Hint: If you find yourself saying, “This would be perfect for Jessica Alba!” then you belong in America.)

You’ll be at no disadvantage coming to Hollywood at 23 or 24, though you may find the visa situation a little trickier if you’re not enrolled in some sort of university program.

[Does a Brit have a chance?](http://johnaugust.com/archives/2003/does-a-brit-have-a-chance) [Is film school necessary?](http://johnaugust.com/archives/2003/is-film-school-necessary)

Please state your purpose

September 6, 2005 Education, QandA

I’m in the middle of applications for USC and UCLA, where I hope to get an MFA in screenwriting.

Any tips on writing the ultimate statement of purpose? Also, what kind of references play well? Should I get industry types or not — I have a couple of contacts in L.A.

I notice you went to USC. Was it very expensive?

— Matt
London

Last question first: yes. Film school is and was expensive. In my case, it was definitely worth it, but for every film school grad who’s making a living at it, there are probably three who aren’t. It’s certainly not like an MBA, where you’re pretty much guaranteed to get some kind of decent job at the end.

I was tempted to dig back through the archives (which are probably on floppy disk) to find my original application letter for the [Peter Stark Producing Program at USC](http://www-cntv.usc.edu/academic_programs/stark_program/academic-stark-home.cfm). Laziness trumped temptation, and I didn’t. But here’s my recollection of my “statement of purpose”:

I want to learn about the film industry in a comprehensive way, everything from loading a camera to analyzing a marketing plan. In specific, I’m curious to learn how the industry learns from its successes and failures, both critically and commercially.

My letters of recommendation came from a journalism professor and a marketing professor at Drake, and a film instructor I’d had for a summer program at Stanford. I think if you have a film-related reference, use it. But make sure at least one of your references is someone who knows you well and can really speak to your unique strengths with specific examples. To me, there’s nothing worse than a hollow, generic letter of recommendation from someone who seems to be a near-stranger.

For USC requirements, I also had to take the GRE exam. Apparently, the Stark program doesn’t really care about the scores, but I’ll gloat and say I did well. I really miss standardized tests.

The Stark program didn’t ask for a writing sample, so I didn’t need to send in anything for that. What’s weird to realize is that back then, I really didn’t know what screenwriting was.

[How to get into film school](http://johnaugust.com/archives/2005/how-to-get-into-film-school) [Is film school necessary?](http://johnaugust.com/archives/2003/is-film-school-necessary)

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