Category Archives: script development

Script Consultant James Breckenridge on Rex Sikes’ Movie Beat 12/10

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James Breckenridge has worked in the entertainment industry for over 25 years. In 1995, his years of professional training and experience culminated in the founding of The PlayCrafters Group.

As its Director, he specializes in helping writers from all over the country develop producible scripts for motion pictures, television and theatre. Through creative counseling and objective feedback, he encourages writers to focus in on the essential elements of their stories in viably dramatic ways.

JOIN US LIVE: Thursday, Dec 10, 2015 11am ET, 10am CT, 8am PT Click the bolded link below. Chatroom open during discussion.

Rex Sikes’ Movie Beat chats with James Breckenridge, Script Consultant

His script development service has been rated in the Top Ten and recommended as the Best of the Best Buys in Creative Screenwriting Magazine’s review of leading script consultants from all around the country.

In addition to private coachings and consultations, Mr. Breckenridge has created a number of Courses and Workshops for the beginning as well as the advanced screenwriter.

Some of the most popular include Screenwriting Essentials, First Steps: Dramatic Steps to a Dynamic Screenplay and Pitching: Five Minutes to Fame. He has taught for The Bryn Mawr Film Institute, the Bucks County Writer’s Room,

The Writers Corner USA and the Lehigh Valley Writer’s Academy. For more information we invite you to visit http://www.playcraftersgroup.com or email us at HBCraft@att.net

As a featured speaker he has been invited to present at The Philadelphia Writers’ Conference, The Algonquin Film Festival, The Bucks Fever FilmFest, the Weyauwega International Film Festival and has also presented a number of seminars at the SCREENWRITING EXPO in Los Angeles, California where he was named “Star Speaker.”

Mr. Breckenridge served as Juror for the Theatrical Motion Pictures Nominating Committee for the Screen Actors Guild Awards, The Philadelphia Film Festival’s Feature Film Competition, The American Independents category for the Philadelphia Film Festival/Cinefest as well as the Bucks Fever FilmFest.

As a director and creative writing consultant, he has helped in the staging and conceptualizing of well over 200 dramatic scripts.

Mr. Breckenridge credits much his creative consulting instincts to his acting background. Trained for the professional theatre, Mr. Breckenridge received his undergraduate degree in Theatre at the University of Wisconsin Stevens Point and his Master of Fine Arts degree from Temple University in Philadelphia.

Over the years, he has performed professionally on radio, television, film and on stage. Most of his acting credits came from New York City.  This work has also taken him to Europe twice, once touring Germany and Italy, and a second time, appearing at The Edinburgh Festival in Scotland and in London.

Though working fulltime for The PlayCrafters Group, he currently maintains active memberships with The Actors’ Equity Association and the SAG-AFTRA Union.

Past affiliations have included The Charles Maryan Workshop for Playwrights and Directors, Ron Roston’s Playwrights Lab/Writer’s Circle, Stella Adler’s Scene Interpretation Class and The Freestyle Repertory Theatre in New York City where he judged improvisations for structure, content and story development.

Mr. Breckenridge created and served as Director of The Breckenridge Workshops from 1983 – 1988. He was also a founding member of PlayMarket, an organization whose purpose was to assist dramatic writers in focusing and shaping their scripts towards production.

Presently, he is a member and/or supporter of The Drama League, The Dramatists Guild, The Theatre Communications Group and LMDA – the Literary Managers & Dramaturgs of the Americas.

One of James’ students summed up his experience with him this way: “ I have an MA in TV/Film, took several master’s level screenwriting courses. None as good as this!

Official website: Rex Sikes’ Movie Beat

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Rex Sikes’ Movie Beat chats with FlyWay Film Festival Director Rick Vaicius Tues 10/21

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Rick Vaicius is director and founder of Flyway Film Festival, Wisconsin’s bluff premier destination for independent film as noted by Emmy award-winning blogger Scott W. Smith “ … a festival that should be on your radar”. Founded in 2008 Vaicius has created a standout, intimate and high-quality annual festival.

Over the past four years, Flyway has brought over 80 filmmakers into the local community. In addition to screening remarkable films, it has become a unique venue for filmmakers to network and discuss projects and the “state of the industry” in the film world. Vaicius has already persuaded some top film industry talent to appear.

UPCOMING LIVE: Tuesday October 21st, 2014 11aET 10aCT 8aPT TO LISTEN CLICK THE BOLDED Link Below:

Rex Sikes’ Movie Beat chats with FlyWay Film Festival director Rick Vaicius

The 7th Annual Flyway Film Festival in Pepin and Stockholm, Wisconsin promises to be its most exciting to-date. October 23-26, 2014.

For film and panel line up and how to attend visit the Flyway Film Festival Official Website

The Official Flyway Film Festival Website

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*** Please also visit Rex Sikes’ Movie Beat Official Website.

Stay up to date with the live shows on Rex Sikes’ Movie Beat. You can join us and listen live as the show records. You can hang in chat and ask questions. All shows are recorded and archived at the official site.

Updates will be posted at this blog,  at the official site,  on the RSMB Friends page on FB,  through twitter and elsewhere.  When you can’t join us live you can still  listen to archived show from official site, from blogtalk radio and you can subscribe to the podcast at itunes.

Over 400 hours of professional filmmakers share their expertise and tips and secrets with you. All discussion may be listened to live and archived from the Official Site too! Check the INTERVIEWS

Rex Sikes’ Movie Beat Official Site

Rex Sikes’ Movie Beat chats with director Peter D Marshall

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Peter Marshall so far has had a 35-year career and has worked as a PA, dolly grip, electrician, assistant cameraman, commercial production manager, first assistant director, TV series creative consultant, television producer and director.  

He has worked on many different types of productions, from industrial films to documentaries; television commercials to music videos; Emmy Award nominated TV series to Hollywood feature films.

Peter has directed over 30 episodes of Television Drama and written, directed or produced over 50 hours of documentary and educational programs. His documentaries and dramas have won, or been nominated for, 14 International film awards.

UPCOMING LIVE: Thursday Dec 4, 2014  11aE 10AC 8aP TO LISTEN CLICK THE BOLDED LINK BELOW:

Rex Sikes’ Movie Beat chats with Director Peter Marshall Pt 30

Peter has some incredible products for the director and 1st AD a his website. He also organizes thoughts and materials in an incredible easy way for filmmakers to use and apply. I asked Peter to discuss the criteria necessary to be a good director. In this series we go over elements and priciples critical to apply when preparing to direct and when directing. Enjoy this nuts and bolts Director Series with Peter D. Marshall.

***The Directors Series on Rex Sikes’ Movie Beat is listed in descending order from first aired to last episode.***

TO LISTEN RIGHT NOW – CLICK BOLDED LINK BELOW:

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As a First Assistant Director he’s worked on 12 Feature Films, 15 Television Movies, 6 Television Series, 4 TV Pilots & over 20 Commercials. He’s  worked for directors such as Zack Snyder, John Woo, Ed Wick, Phillip Noyce, John Balham, Roger Adam, Anne Wheeler, Bobby Roth &  Kim Manners.

He has worked with talented actors including Michelle Pfeiffer, Kevin Spacey, Morgan Freeman, John Travolta, Mel Gibson, Kathy Bates, Adam Sandler and Peter O’Toole.

He has co-ordinated huge WW1 battle scenes, planned complicated visual FX scenes, managed large groups of extras & directed intimate emotional scenes between two actors. 

His first major series as 1st Assistant Director was Steven J. Cannel’s “Stingray” in 1986 after having been the 1st AD on a Canadian TV series called “Hamilton’s Quest”.

Thereafter he worked on several more TV series with Cannell and became 1st AD on “Wiseguy.” which he worked for two years. He  got his directing break on this series & directed a couple of episodes.

“The Fly 2.” was his move into feature films as a 1st AD. Other credits include “Happy Gilmore”, “Dawn of the Dead”, “The Butterfly effect”, “Lizzie McGuire Movie”,  “Look Who’s Talking Now”, “Bird on a Wire”,  scores of television series as 1st AD & as a director.

Peter Marshall Official Web Site  Peter has incredible learning products, ezine, workshops, blog and services. Check into these.

*** Please also visit Rex Sikes’ Movie Beat Official Website.

Stay up to date with the live shows on Rex Sikes’ Movie Beat. You can join us and listen live as the show records. You can hang in chat and ask questions. All shows are recorded and archived at the official site.

Updates will be posted at this blog,  at the official site,  on the RSMB Friends page on FB,  through twitter and elsewhere.  When you can’t join us live you can still  listen to archived show from official site, from blogtalk radio and you can subscribe to the podcast at itunes.

Over 400 hours of professional filmmakers share their expertise and tips and secrets with you. All discussion may be listened to live and archived from the Official Site too! Check the INTERVIEWS

Rex Sikes’ Movie Beat Official Site

Rex Sikes’ Movie Beat chats with director Rex Piano on making TV movies – Thursday 10/2

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Rex graduated from NYU School of the Arts in 1981 as a film major – concentrating on writing, producing and directing. While there, he worked on several films and commercials, most notably: “Ms. 45” for director Abel Ferrara and “Mother’s Day” and “When Nature Calls” for director Charles Kaufman. Upon graduating, Rex worked as a 1st A.D. on dozens of commercials and films until he took a full time position at a NY Commercial Production Company.

UPCOMING LIVE: Thursday October 1 2014 11aE 10aC 8aP TO LISTEN CLICK  the bolded link below:

Rex Sikes’ Movie Beat chats with director Rex Piano PT 5

Previous Episodes: TO LISTEN CLICK the bolded link below:

Rex Sikes’ Movie Beat chats with director Rex Piano

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In 1985 Rex became Head of Production for O’Quinn Productions where he produced numerous videos for Fangoria Magazine (O’Quinn’s creation) that were distributed by MPI and Paramount Home Video.

In 1987 Rex moved to Los Angeles and was Head of Production for Associated Television International. While there, Rex wrote, produced and/or directed several TV specials and numerous travel videos. Rex also co-wrote and line produced the feature film “Chill Factor,” starring Paul Williams, Patrick Macnee and Andrew Prine.

Rex line produced “Severed Ties” in 1991 for Fangoria Films and continued freelance production work until 1995 when he was hired to produce the syndicated TV show “High Tide,” starring singer Rick Springfield. Rex also directed two episodes that season which lead to him becoming one of the series’ rotating directors.

Rex continued directing episodic TV shows, including “Mike Hammer, Private Eye”, “Silk Stalkings”, “Born Free”, “Air America” and “Nightman.”

In 2000 Rex produced and directed the multi-award winning romantic comedy feature film “The Month Of August.” The film garnered nine Best Picture awards and ten Official Designations at various film festivals around the country.

Rex followed that film with the highly viewed and critically acclaimed TV movie “Hope Ranch” for The Animal Planet channel. Rex then began directing TV movies that aired on PAX and Lifetime Television.

To date, Rex has directed or produced 21 movies that have either aired on television, gone straight to DVD or have had limited theatrical distribution.

In 2007 Rex was the primary director on “ROME – The Rise and Fall of an Empire,” for the History Channel.

Rex continues to produce and direct TV shows and Independent films; the most recent being “The Littlest Angel,” an animated Christmas movie that comes out in 2011.

Rex is currently attached to direct/produce several films including “Storm Front”, “Pizza Face” and “Phylicia’s Final Fling,” to name a few. Rex continues to write screenplays, his most recent a comedy called “In A Gadda Da Vida,” is currently making the rounds in Hollywood.

Rex Piano Official Website

Subscribe and Follow Rex Sikes’ Movie Beat Blog!  Visit often & please share with others!

*** Please also visit Rex Sikes’ Movie Beat Official Website.

Stay up to date with the live shows on Rex Sikes’ Movie Beat. You can join us and listen live as the show records. You can hang in chat and ask questions. All shows are recorded and archived at the official site.

Updates will be posted at this blog,  at the official site,  on the RSMB Friends page on FB,  through twitter and elsewhere.  When you can’t join us live you can still  listen to archived show from official site, from blogtalk radio and you can subscribe to the podcast at itunes.

Over 400 hours of professional filmmakers share their expertise and tips and secrets with you. All discussion may be listened to live and archived from the Official Site too! Check the INTERVIEWS

Rex Sikes’ Movie Beat Official Site

Brian Herskowitz Producer, Director, Screenwriter, Author ‘Process To Product’

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For the last twenty years Brian Herskowitz has taught screenwriting, first with WRITER’S BOOT CAMP, then with UCLA EXTENSIONS, and for the last five years he has held the post of Lead Faculty for the prestigious BOSTON UNIVERSITY in LOS ANGELES WRITER IN HOLLYWOOD graduate degree program.  His script writing textbook, PROCESS TO PRODUCT: A PRACTICAL GUIDE TO SCREENWRITING, is available on Amazon.com and in bookstores.

As a writer, Brian has completed well over a dozen feature films. His first screenplay KAMI HITO E (THE THIN LINE) was based on his experience as an international Judo champion training in Tokyo.

TO LISTEN CLICK THE BOLDED link below:

Rex Sikes’ Movie Beat chats with Producer, Screenwriter, Director Brian Herskowitz

UPCOMING LIVE: TBA 11aE 10aC 8aP TO LISTEN LIVE CLICK THE BOLDED link below:

Rex Sikes’ Movie Beat chats with Producer, Screenwriter, Director Brian Herskowitz PT 2

From there he continued to write and his first produced feature was a low budget slasher titled DARKROOM. He wrote and directed the award winning short film ODESSA OR BUST starring SEINFELD’S Jason Alexander, ACADEMY AWARD WINNER Red Buttons, and RUSHMORE’S Jason Schwartzman. Brian wrote, directed, and produced the documentary 1736: SOMEWHERE TO TURN – about a family crisis center for domestic abuse victims, and the short film JOANNE – the story of a woman going through hard economic times and a mid-life crisis.

As a voice over artist he’s been heard in hundreds of films, games, and commercials including, FORREST GUMP, TOTAL RECALL (with Colin Ferrell), X-2, WOLVERINE, the hit video games DILBERTS DESKTOP GAMES, and MEDAL OF HONOR:AIRBORNE, as well as national commercials for Kentucky Fried Chicken, and Beringer Wine.

His voice has been heard in hundreds of hours of TV including the classic horror shows BUFFY THE VAMPIRE SLAYER and TRUE BLOOD.  Brian recently took on the duties of Voice Director for the new Animated Children’s series ANNIE SUNBEAM produced by Debbie Margolis-Horwitz.

Brian’s theatrical directing credits include the world premieres of I.A.N. (THE ITALIAN AMERICAN NETWORK), CONFESSION AND AVOIDANCE (based on the book of the same name written by his father, prolific biographer Mickey Herskowitz), JESSICA AND THE COUCH POTATO, the west coast premiere of  SHUFFLE OFF THIS MORTAL BUFFALO, and the recent hit CIRCLE OF WILL.

As a writer in TV his credits include a staff writing position on the NBC sit-com BLOSSOM, multiple episodes of the syndicated series HERCULES: THE LEGENDARY JOURNEYS, and ACAPULCO HEAT, the HBO hit comedy DREAM ON, CBS’s RENEGADE, THE EXILE, MURDER, SHE WROTE, the TV movie MURDER OF MY AUNT, the FOX Network’s YOUNG HERCULES, and CBS’s critically acclaimed was series TOUR OF DUTY (associate producer).

Brian co-wrote the FOX pilot MANTIC with Jason Alexander. In addition, he worked as a punch-up writer on BOB PATTERSON, and LISTEN UP.

Working with Co-Op Productions in New York (THE GUITAR, THIS REVOLUTION), Brian line produced Candace Bushnell’s web series THE BROADROOM, which starred JENNY GARTH, JENNIFER ESPOSITO, and TALIA BALSAM.

As a feature film producer Brian just finished principal photography on UNTIL SOMEONE GETS HURT (co-writer), and BUCKY AND THE SQUIRRELS a comedy from director-writer Allan Katz (M*A*S*H*, BIG MAN ON CAMPUS),  MUSICAL CHAIRS, directed by Susan Seidelman (DESPERATELY SEEKING SUSAN), TIO PAPI directed by Fro Rojas, which he co-wrote.  He will producing the feature films SUSPENDED and AN INVISIBLE MAN for Scatterbrained Media.

In addition, Brian has several producing/directing duties on the boards including the slacker comedy MARTY AND VAHE TAKE A RIDE, and the HEF supported projects SHE FEEDS, THE WHANGDOODLE, and CREATURE FEATURE:THE MOVIE MUSICAL.

In his personal life, Brian is married to actress Gina Hecht (Mork and Mindy, Seven Pounds), and has two amazing daughters.  A fourth degree black belt in Judo, Brian continues to compete in the martial arts and is the 2014 U.S. National Masters Champion in Judo and 2013 Pan American Champion in Jujitsu.  Brian is thrilled to be a part of the HEF team.

Subscribe and Follow Rex Sikes’ Movie Beat Blog!  Visit often & please share with others!

*** Please also visit Rex Sikes’ Movie Beat Official Website.

Stay up to date with the live shows on Rex Sikes’ Movie Beat. You can join us and listen live as the show records. You can hang in chat and ask questions. All shows are recorded and archived at the official site.

Updates will be posted at this blog,  at the official site,  on the RSMB Friends page on FB,  through twitter and elsewhere.  When you can’t join us live you can still  listen to archived show from official site, from blogtalk radio and you can subscribe to the podcast at itunes.

Over 400 hours of professional filmmakers share their expertise and tips and secrets with you. All discussion may be listened to live and archived from the Official Site too! Check the INTERVIEWS

Rex Sikes’ Movie Beat Official Site

Hollywood Is A Meritocracy

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I have been writing about the need for people to become a rare, sought after, desired person in Hollywood, in ‘the industry’. You know the kind of person we need  a genuine person, a nice, honest, decent, hard working co-contributor who works well with others. When it comes to advancing one’s career there is no better means that to add value to others first.

The entertainment business, like any business, is driven by dollars. It seeks profits and is concerned with bottom line. It catapults into stardom anyone who can fill theater seats or pitch and sell products in media because of who they are and how they look. Make no mistake about it the movie business is a commercial endeavor. It spends money to make money and it is concerned with every last dime.

So adding value means you don’t cost them you help them. It means you are not a liability but an asset. If you can help them save money by being professional, by being dedicated and going the extra mile, by adding value then you are sought after and put to work doing that. If you can help make them money by your actions you are a godsend.

Make no mistake, it is about business after all.

At the same time I share with you how to get inside the business there are other things to do simultaneous. Some do these without regard to what I have already shared about how to get in. I believe you need to do both. Here is what you need to be and do.

First and foremost you have to be the kind of person people like and want to be around. You DO need to add value first to everyone and develop the reputation for helping others and solving problems. You want to become the nice go to person everyone wants on their team.

Second you have to make films, movies, television. act. write. edit, shoot, compose or do whatever it is you do. NO YOU DO NOT have to do them all. Probably far better if you don’t try all of them anyway. You have to produce product for the business. It should be quality product, great story, great acting, unique, novel or original. You want to have an original voice and not be a copy cat. Still, you can model success from others, build on what has gone before you without looking the same.

What Hollywood doesn’t want is to do any of the work. They don’t want to have to say yes to you or your projects that is too risky. Invest in you or your movie WOW really risky! Better to say no and wait and see if you come through anyway. THAT is exactly what the business does these days.

You find it tough because they say no. They say no because they don’t want to loose their jobs. They will anyway if they never say yes, but at least they think they can squeeze a few more days, weeks or months out of the current tenuous position. So they say no.

If you are the kind of person who takes rejection personally and it hurts you and crushes you and you give up Hollywood beat you. Because there is no failure until you quit but once you throw in the towel it is definitely over. So move on. If on the other hand you don’t let it bother you but you allow it to motivate you to work smarter and harder then you can improve your chances.

If, instead of quitting, you make your movie, your show, your web content, and you do it well, you have something to offer you have a tangible money making product. While it is true that it is difficult to get movies made and released, it is equally true that it is difficult to get people to read your screenplays, and watch the product you have made. Everyone is too busy and too lazy to be bothered. They just don’t want to have to work to make things happen.

But they are more likely to watch something of your work or latch on to your idea when they see that it is fully developed, quality produced and acted and that there is merit behind your thoughts and you actions. Proof of concept or sizzle reels seems to be a way to go. You have to prove your project has wings.

The bottom line in this day is anyone can make a movie. Anyone can make a full feature film the technology exists and the costs, while there are costs, it is not prohibitive as it once was. So if you write, produce, direct, act, shoot or edit you have no excuse not to be making content.

It had better be awesome though. Because anyone can make movies everyone seems to want to and many make really bad ones. There is so much noise to signal these days because it is cheap and available. If you want to get recognized as a talent then you have to be talented and make good projects.

Let me stop here and say this because it is important. DO NOT do every thing yourself. These are thought of as vanity productions whether they actually are or because you don’t have the people to fill the positions. Movie making is collaborative. If you want to produce or direct you have to be able to lead and manage a team, in some cases a very large team. The more people you have to manage the more your import skyrockets. There is great value in finding those talented producers and directors who understand people skills and are able to get things done effectively.

For directors watch your actors make sure you cast well and get stellar performances. After all that is what a director does. The director brings the story to life. First the story must be incredible no one wants to waste their time watching something that is boring, implausible, and poorly constructed. We all want to be entertained. We want to lose ourselves in the story, in the characters, we want to love them, fight along side them, be them, bed them or hate and revile them. We don’t want to not care. We don’t want to think this story or this person sucks. We want to be lost in your movie and your characters not pulled out of it by silly plot contrivances and weak or overacted performances. Directors this is your domain. THIS IS YOUR MOST IMPORTANT DOMAIN.

Yes, you work with the cinematographer to get the right shots and pretty pictures, but no one cares about your shots if the story and the acting is poor. Then we could go look at a travel video or a photograph. You use the camera and its placement and movement TO TELL THE STORY and CAPTURE THE PERFORMANCES not as an end to itself. By far this is to prevalent in today’s film endeavors. People spend all sorts of time and energy lighting and setting the camera at the expense of what goes on in front of it. Let your cinematographer light the set, deal with the shot while you work with the actors. Confer with them yes, but spend the lion share of your time on the story, character and performance and less on style. Focus on substance over style. Consider this if your story is riveting and the performances captivating 95% of everything is accomplished, maybe 99%. When you have intriguing story and compelling characters the audience lives through, it doesn’t matter so much how it looks.about  I am not saying it isn’t important at all, but it really isn’t. What I am saying is put your energy and talent in what matters the most to everyone who will watch your work.

You are not going to get hired as a director if your film is gorgeous and the story and acting suck.

Writers do everything you can to make in capture our hearts and minds. We have to believe every second, we need to live it as the characters do. Or as an audience we live it a moment in front of them anticipating the next moment, the suspense, or a minute after when some poignant moment is revealed. We should be caught up in the story and moved along on a roller coaster. While the ups and downs and violent turns of the ride don’t have to be such in each story all stories have a pace, have high moments, drama and conflict, overwhelming odds whereby the hero may lose all and moments of accomplishment and learning. It can not be the same pace, the same level, story cannot only be revealed through dialogue. We have to see what is going on and feel what is going on with these characters. You need to write it as the best written screenplay ever. Will you most likely not right out of the gate but you have to stick with it, re-write it, polish it and develop it and make it production worthy. Besides it being important to you, the writer (or the writer, director or producer and sometimes one person is all three) it must be important to others. It has to speak to the audience so that when they are done with the experience they feel better off for having been a part of it. If they feel they have wasted their time then they have and so have you.

Directors and producers must be choosy about what they make. Just because you have an idea doesn’t make it worthy of a short film or feature film. Just shooting for the sake of doing it isn’t going to help you.Strive to do the best with the resources you have. You may not have great equipment or enough people, money, food, time or energy but you should have an incredible story and an incredible cast. WHY? Because before movies came along these were plays and plays need to be great too. This is an important point I am not saying you have to write for theater that is a different form but you have to write and produce and direct and act so that humans that would watch it, whether on film or on a stage, want to see more come from you.

You always only make a first impression once. It is nearly indelible, and while this first impression may be overcome later with better future work, why shoot yourself in the foot to begin with. Start out right by making the best impression you are able to.

Make the best short or feature or web series you can. Wether comedy, drama, science fiction, western action or horror, there is one thing it absolutely be and that is ENTERTAINING!!! IT MUST be worth watching from the very first frame because if not, a few frames later, they will turn it off. If you give them crap the first time do you think they will accept anything from you the second time? Why make your job more difficult make it easy.

Become the best filmmaker you can be. Do it all the time but don’t put it out there unless it is worth it. Know the difference between something worth showing and something you cut your teeth on. As you grow in experience and get better and better you will make the project you want to show, just make sure it is the best you can do.

Actors the same applies to you. There is no reason why you can’t act on camera and put content out there worth seeing if no one is hiring you. You increase your chances of getting hired when you do BUT it must be wonderful. Again business smarts is crucial. Don’t put things up and out that are not your best. It is more important for actors and filmmakers to develop quality over quantity especially to get in the door. Once inside you want to follow up your work with more better work, This is a quest that frustrates many, how to top an earlier success.

I don’t think you have to top it but you have to consistently deliver the goods. If it is business you may have a flop now and then but ultimately you need to make people more money than you loose if you want to stay in any business.

So Hollywood doesn’t want to develop you instead they want you to come to them ready made. They want to claim to have discovered you, the next new great talent. They want to exploit you and make money from you but they don’t want to pay anything to start it. It does make sense because they are currently busy keeping those already ‘there’ busy making movies and projects. They are nurturing and milking their cash cows until the cows have nothing left to give.

SO understanding how things work in a business helps us move forward in the business, It may seem daunting but you can’t give in to that type of thinking. You do need to be positive in your thoughts and actions. You should also be realistic about your knowledge and your skills and talent. Be accurate in your assessment where are you strong and where do you need to develop?

Stay positive in thought and feeling and attitude because you can develop your abilities and talents as you pursue your career. You will especially if you believe in yourself, stay optimistic and continue to work on it. Develop your mind set and never give up. Become a person other people want to work and be with. Megalomaniacs occasionally get in but not as a rule. Usually the nicest people have lasting careers.

Producers and directors remember people keep an eye on how you inspire people to work hard and to be better not how well you whip them into doing things. People management. time management, management of resources are all important. They want to know you can manage money too. If your film cost nothing that is admirable because you did a lot with little BUT you did not actually have to spend money and that is precisely what you do in business. Doing something with nothing may impress some but at the same time it does not lend any credibility to your business skills. Rather it speaks to you creativity to figure out how to pull it off with nothing and I believe this is very valuable. It is just spending money wisely is a different skill set.

The bottom line is today you can make product. Whether that product is one you are able to take to market or not depends on many other factors. What you can and should make is incredible stories whether shorts, serials, or features. You should seek to entertain and fascinate the viewer.

Strive to do your very best in whatever capacity you function and I hope you love doing it. Have fun, enjoy it, strive for quality and keep doing it and you will get better and better. Be wise about what you show and when. Be prudent, in some ways better to err on the side of caution them blow a contact with work not ready. Keep at it and don’t quit.

Be the person other people want to work with. Learn to inspire and motivate and appreciate others. Value them first, add value to them, respect them and they will value you.

The best possible combination. The best of both worlds is an incredibly wonderful person who is also talented, creative and smart about business. It makes it easier to get ahead so be one. If you are not already, I believe you may become one, you just have to spend time doing what it takes. Whenever something is worth having, when something is a must, then it is worth putting in the appropriate effort.

I will discuss many topics as we progress. No single blog post of mine stands in isolation as there are numerous considerations. I consider it a flash light illuminating an aspect of it to give our attention to and explore, not as the final word.

Subscribe and Follow Rex Sikes’ Movie Beat Blog!  Visit often & please share with others!

*** Please also visit Rex Sikes’ Movie Beat Official Website.

Stay up to date with the live shows on Rex Sikes’ Movie Beat. You can join us and listen live as the show records. You can hang in chat and ask questions. All shows are recorded and archived at the official site.

Updates will be posted at this blog,  at the official site,  on the RSMB Friends page on FB,  through twitter and elsewhere.  When you can’t join us live you can still  listen to archived show from official site, from blogtalk radio and you can subscribe to the podcast at itunes.

Over 400 hours of professional filmmakers share their expertise and tips and secrets with you. All discussion may be listened to live and archived from the Official Site too! Check the INTERVIEWS

Rex Sikes’ Movie Beat Official Site

Michael Frost Beckner (RSMB Screenwriter Series)

Michael Beckner jpeg

Michael Frost Beckner launched his writing career in the early 1990’s with three record-making “spec” script sales: “Texas Lead & Gold,” “Cutthroat Island,” “Hunchback of Notre Dame.”

Today, with dozens of screenplays and rewrites for major studios, twenty pilots for commercial and cable networks, numerous episodes for network television, Beckner has—from his first original film, “Sniper,” that introduced the phrase “One shot, one kill” to the public vernacular and spawned three sequels—built a reputation as a film and television writer of realistic, character-based historical, military and espionage dramas.

The Screenwriter Series on Movie Beat with Michael Frost Beckner IS BELOW!

UPCOMING LIVE: Wednesday October 8, 2014 11aET, 10aCT, 8aPT TO LISTEN CLICK THE BOLDED LINK Below

Rex Sikes’ Movie Beat chats with screenwriter producer Michael Frost Beckner WS7

Discussions with Michael on Mini-series he is producing To Appomattox. TO LISTEN CLICK THE BOLDED LINK Below

Rex Sikes’ Movie Beat chats with screenwriter producer Michael Frost Beckner

Rex Sikes’ Movie Beat chats with screenwriter producer Michael Frost Beckner PT 2

****NEWS!!!  Michael and I are conducting a writer’s series. Tips, suggestions, secrets, on writing, selling and getting your screenplay made. Stay tuned!!! More to come!

***** THE SCREENWRITER SERIES with Michael Frost Beckner & Rex. How to write, pitch, sell and produce your screenplay. SCROLL DOWN FOR UPCOMING EPISODES *****

Rex Sikes’ Movie Beat chats with screenwriter producer Michael Frost Beckner WS1

Episode 1. We discuss – idea, generating ideas, plot, how to develop plot, story and what makes it important. The importance of Characters to the story and how these all relate to creating a strong project and selling it. (Show Note – cable company cut cable 3 minutes from end of show – ends abruptly but we will continue the conversation topic in Episode 2.

Rex Sikes’ Movie Beat chats with screenwriter producer Michael Frost Beckner WS2

Episode 2 We picked up where we left off and continued to explore story and character development. Michael talked about creating character backstory and how you screenplay story emanates from the character not the other way around. We discussed rewriting to keep it a page turner and began discussing crafting your opening, and how important theme is, plus much more.

Rex Sikes’ Movie Beat chats with screenwriter producer Michael Frost Beckner WS3

Episode 3 We continue the discussion where we left off and began to significantly the notion of THEME in your writing. Why and how  it is important and what it means to the reader and audience.

Rex Sikes’ Movie Beat chats with screenwriter producer Michael Frost Beckner WS4

Episode 4 We will pick up where we left off and continue to explore these and new topics. How to Pitch Studio executives and producers. Michael provided valuable tips and suggestions for how to pitch and what to do.

Rex Sikes’ Movie Beat chats with screenwriter producer Michael Frost Beckner WS5

Episode 5 Continues the exploration and discussion on pitching and selling your screenplay. The conversation includes studio, independent production, television and features. Incredible information you can use is in each episode.

Rex Sikes’ Movie Beat chats with screenwriter producer Michael Frost Beckner WS6

Episode 6 Michael and I discuss pitching your feature or spec film and how it differs from pitching Television executives. We discuss the necessity of networking and career success.

ENJOY THE SCREENWRITER SERIES

Beckner’s major big-screen success came with the Universal Pictures, Tony Scott directed film of Beckner’s spec script, “Spy Game” (2001) starring Robert Redford and Brad Pitt.  The release of that film coincided with the debut Beckner’s CBS series, “The Agency” (Creator, Executive Producer, Writer; 2001-2003).  This pilot holds the distinction of being the only dramatic series ever allowed to film at CIA Headquarters in Langley, Virginia.

Beckner began his career as Academy Award winning director, Barry Levinson’s Writing Assistant working with the director on “Good Morning, Vietnam” and “Rain Man.”  From 1997 to 2008, he worked extensively with Academy Award winning director, Sydney Pollack, adapting John Le Carre’s “The Night Manager” and writing two more films and developing two television series; Beckner considers Mr. Pollack his mentor and the greatest influence on his writing and his career.

Recent writing credits include: “CSI: Crime Scene Investigators” (CBS) and “Gold Fever” (Discovery), and is preparing the “Spy Game” prequel “Muir’s Gambit” for production and has adapted his novel “Berlin Mesa” into a 4 hour mini-series for AMC.

Beckner has also developed a working profile in European television writing the miniseries “The Plan” (UK; Purecom Entertainment and Freemantle) based on Alex Dryden’s bestsellers “Red to Black” and “Moscow Sting,” as well as “The Sleepwalkers” based on Christopher Clark’s international bestseller of the same title (Germany;Odeon/H&V Productions).  Beckner is currently working on “City of Lies” which continues his creative partnership with director Wolfgang Petersen they began with “The Agency” (Radiant Productions/Endemol).

As a personality and commentator on American espionage he has appeared on CNN, Fox New, TF1 in France, and was a featured guest on Bill Maher’s “Politically Incorrect.”  As a Civil War speaker, he has spoken at universities and to private organizations on the history behind his upcoming Civil War Event Mini-Series “To Appomattox.”

He is one of three children of Olympic gymnast, coach and judge, and NCAA champion (University of Southern California) Jack Beckner and Barbara Beckner; he attended USC and received a degree in novel writing under the tutelage of award-winning novelist T.C. Boyle; the father of five children, Beckner makes his home in Montrose, California.

Subscribe and Follow Rex Sikes’ Movie Beat Blog!  Visit often & please share with others!

*** Please also visit Rex Sikes’ Movie Beat Official Website.

Stay up to date with the live shows on Rex Sikes’ Movie Beat. You can join us and listen live as the show records. You can hang in chat and ask questions. All shows are recorded and archived at the official site.

Updates will be posted at this blog,  at the official site,  on the RSMB Friends page on FB,  through twitter and elsewhere.  When you can’t join us live you can still  listen to archived show from official site, from blogtalk radio and you can subscribe to the podcast at itunes.

Over 400 hours of professional filmmakers share their expertise and tips and secrets with you. All discussion may be listened to live and archived from the Official Site too! Check the INTERVIEWS

Rex Sikes’ Movie Beat Official Site