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“I can’t go on to page two until I can get page one as perfect as I can make it. That might mean I will rewrite and rewrite page one 20, 30, 50, 100 times.”
Dean Koontz
CNN

Writer Dean Koontz was born in Everett, Pennsylvania and raised in Bedford, PA. He was raised poor in a small four room house with a violent alcoholic father. That no doubt shaped his dramatic sensibilities. He told CNN, “There are so many demons in me I could write for another 100 years.”

After graduating from what is now known as Shippensburg University he began, like fellow best-selling author Stephen King, teaching high school English. (He happened to teach at Mechanicsburg High School which is where Se7en screenwriter Andrew Kevin Walker graduated from school in 1982.)

I’m not sure how long Koontz was a school teacher but in 1968 he had his first book published and since then has written enough books to be named by Forbes as one of the top ten best-paid authors. More than ten of his stories have been made into films or TV movies.

It’s three for one day here at Screenwriting from Iowa as I’ve pulled three quotes by Koontz from his book Writing Popular Fiction.

“The theme, the ‘meaning’ of a story, is not something you can sit down and plan out ahead of time. Or, anyhow, it shouldn’t be. Theme should grow from your characters and your plot, naturally, almost subconsciously. If you sit down to deliver a Great Message to the reader, above all else, then you are an essayist, not a novelist.”

“Duty. In Shakespeare’s day, duty was a valid motive for a writer’s characters but is now dated. The masses no longer blindly give their loyalty to king and state. It is not sufficient, for example, to establish that your detective or secret agent is investigating the case because it is his job. The reader finds little empathy or escape in the exploits of a man just doing his job. Your protagonist must have a reason for his actions aside from the fact he’s paid for them. Why is he a spy or detective? What is there about him that makes him want to do these things, what need is satisfied? Therein lies your real motivation.”

“Of the seven major categories of modern fiction, the mystery and suspense forms—especially suspense—provide the writer with the greatest opportunity for financial success.”

Koontz has written thirty plus New York Times best sellers and more than 200 million books so if you’re looking for advice he’s a solid source.

FYI—Koontz has an excellent website including podcasts.

Scott W. Smith

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One thing that is not going down in price is the cost of going to movies. While you can buy a classic movie on DVD for $5, going to a mediocre one in the theaters can cost just about twice as much. And by the time you add drinks, snacks, gas (and sometimes parking), a family of four can spend over $70 bucks going to a single movie.

Heck, for $70 you can make a movie these days. A feature film, too. That’s how much Welsh director Marc Price spent making his film Colin which made it to the Cannes Film Festival last month. According to an interview with CNN the film took 18 months to shoot and most of the money according to Price went to, “A crowbar and a couple of tapes, some tea and coffee.” Remember when low-budget filmmaking used to be a couple hundred thousand dollars?

Blame it on the Blair Witch guys and their $40,000 film, Kevin Smith’s Clerks for $27,500, then Robert Rodriguez and his sub- $10,000 film El mariachi. Welcome to filmmaking in the new economics. If you can get your hands on the latest cameras that shoot digitally you should be able to cut the tape costs out and maybe cut Price’s budget in half.

The film’s press release says, “Without funding the filmmaker’s goal to make an explosive feature length production fuelled by the creativity and inventiveness of those involved that would not be restricted in any way by lack of funding.”

Casting was done through Facebook and MySpace where 50 people answered the call to “Who wants to be a zombie?”And what sets this film apart from other no budget films is that it not only played at Cannes, but it may be the first one to pick up a distribution deal. It’s another piece of a growing trend.

Another piece of new school filmmaking is Twitter. A couple months ago I said someone was going to write a screenplay on Twitter. Well…Killer Green is reported to be the first screenplay written on Twitter to have been optioned. Writer David Niall Wilson began the script in February 2009 and it was optioned this month by Ambergris Films. Wilson has been writing since the mid-80s and has had over 150 short stories published. He lives in North Carolina and you can follow him on twitter @David_N_Wilson.

Interesting things happening outside L.A.

Things a lot more interesting and original than The Proposal which happens to be number one at the box office this weekend. Really, is that the best that Hollywood can do? Think of the years it takes to sift through thousands of scripts to find the few that will be produced by a studio. Think of all of the creative, talented, and experienced cast and crew that it takes to make a film. The tens of millions of dollars that it takes to produce a Hollywood feature. And we get …The Proposal.

A movie that Rolling Stone critic Peter Travis wrote, “A romantic comedy so numbing it feels like Novocaine,” and that Michael Phillips at the Chicago Tribune wrote, “The problem is not the acting. The problem is what these actors are required to say and do.”

Now Sandra Bullock could make eating an apple interesting to watch for an hour and a half, my point is simply this — The Proposal reflects the best Hollywood has to offer. My case for this whole blog is the cure — fresh scripts and movies from places far from L.A.

Nov.’09 Update: Story in New York Post of guy who started to Twitter funny thing his dads says and lands a TV deal.

March ’11 Update: In 2010, CBS began airing the sitcom  $#*! My Dad Says starring William Shatner based on the Twitter feed @ShitMyDadSays written by Justin Halpern (and which I referenced in November ’09).

Scott W. Smith

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“Twitter is on its way to becoming the next killer app.”
                                                                         Time Magazine 

 

I’m so behind the times (and Time magazine). Yesterday I mentioned something about screenwriting and Twitter and now I find out that just last month Southwest Airlines asked Twitter followers to help them write the first Southwest Airlines Script. Here are the results. (It’s not art, but remember that one of the first images caught on film in 1894 was Fred Ott’s Sneeze. That’s the kind of stuff you learn in film school.)

But now I’m catching up; http://twitter.com/scottwsmith_com

For a list of Hollywood producers, directors, screenwriters and actors using twitter go to /Film.

And congrats to actor/director (an Iowa-native) Ashton Kutcher  on just last week being the first Twitter member to have 1 million followers. (And for pledging $100,000 if he won to fight Malaria. “I’m calling to have a check made out for $100,000 to the Malaria No More Fund,” wrote Kutcher. Second place was media giant CNN. I don’t know how much a threat swine flu is to North America (and, yes, in Iowa we don’t care for that name), but I do know the foundations are shifting in how we are processing our news and entertainment. 

And just to totally try to keep up with the changes, I know The New York Times called Twitter “One of the fastest-growing phenomena on the Internet,.” but just yesterday Michael Liedtke at Yahoo announced that Twitter quitters outnumber those flocking to Twitter. 

 

Scott W. Smith

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New Cinema Screenwriting (part 2)

“The future of cinema lies in the power of the pixel. The injection of fresh ideas and methodologies will only serve to mix up the metaphorical gene pool and empower a new generation of filmmakers.
                                                                                           Roger Corman

“The comeback of documentaries is strictly linked to the arrival of digital technology. We only see the tip of the iceberg. The whole the notion of distribution will be changed in the next decade.”
                                                                                          Wim Wenders

“I wanted this movement to be like the French New Wave, in which directors told different types of stories and used the language of cinema a little differently, with smaller cameras on real locations.”
                                                                                           Gary Winick

“Cinema has always been marriage of technology and human talent.”
                                                                                           Francis Ford Coppola 

 

Francis Ford Coppola is a prophet. As he gets older he even starts to look like a Moses-like figure. (Well, at least Charlton Heston-like.)  He’s every screenwriters friend and should be an inspiration to you.

He’s made great films (The Godfather, Apocalypse Now), he’s made money and lost money, he’s won five Oscars, he even has a daughter who’s won an Oscar for screenwriting, he’s been a visionary, an artist, “a idea machine,” he own a resort in Belize and a home in Buenos Aires, and he makes a good bottle of wine there in Northern California.

A few months ago I was doing a shoot in the San Francisco Bay area and had an opportunity to make a quick stop in Napa Valley. I had not been there in over a decade and one of the things that struck me was it reminded me of Iowa. Then I realized why, it’s farm land with many Victorian homes scattered around.

Granted those homes in California are five times more expensive than the ones in Iowa. But the area has a similar feel.  In fact if you head west on Interstate 80 from Iowa after a couple days you will end up in California which is essentially what Midwest people did years ago on the first transcontinetal highway looking for new opportunities (and before that looking for gold). Which is why the street names in Napa include, Iowa St., Illinois St., Omaha Ct. and Kansas Ave.

I won’t get into Coppola being born in Michigan because there’s too much room to cover already. Toward the end of part 1 of this post I mentioned Coppola using video on The Outsiders back in 1982.  But before that film he also used video according to ASC cinematographer Russ Alsobrook:

“In 1982 Francis Ford Coppola directed One from the Heart from inside his 28-foot Airstream trailer designed as a complete “Image and Sound Control Center” complete with editing suite, kitchen and Jacuzzi. Aside from the Jacuzzi, the most unusual new piece of equipment that found its way into virtually every aspect of production on One from the Heart was the computer. From word processors in the script phase to budgeting, scheduling, storyboarding, sophisticated video tapes with playback and instant editing, the newest in silicon technology was being integrated into the Hollywood system.”

Coppola and those working with him 25 years ago showed where the technology was heading and helped pave the way. Earlier this year his first film in ten years, Youth Without Youth was released. It was shot on with a high end HD video camera and edited on Final Cut Pro. With five Oscars behind him I’m pulling for Coppola himself to do some of his best work ever in this new cinema.

I’m pulling for you too which is why this is a monster length post, even after being broken up into two parts. It’s important for you to grasp where all the technology is heading. 

What happened between Coppola’s Airstream video center in 1982 and today that makes it an exciting time to be a screenwriter and filmmaker?

Let’s start with 1997. That was the year that digital video arrived on the scene with the Sony VX1000. It was a leap in image quality, portability, and cost and independent filmmakers jumped on board. Lars von Trier’s was one of the first to shoot a feature with the Sony VX1000. He did the camera work as well as direct The Idiots, which was in competition at Cannes in 1998.

In 2000 Van Trier released Dancer in the Dark which was also shot on video, but in one scene he used 100 DV cameras.  Let it be stated that the critics have be far apart on judging his films. Rodger Ebert wrote, “It smashes down the walls of habit that surround so many movies. It returns to the wellsprings. It is a bold, reckless gesture.” Another reviewer called it “A 2 ½ hour demo of auteurist self-importance that’s artistically bankrupt on almost every level.” (Derek Elly, Variety) But another reviewer said of the same film, “An exhilarating and original work of cinema. A triumph of form, content, and artistic integrity. Astonishing!” (Lisa Schwarzbaum, Entertainment Weekly)

Dancer in the Dark went on to win the top award at the Cannes film festival.

In 2000, Spike Lee chose to shoot most of his $10 million dollar film Bamboozled with the Sony VX1000. In that same year Academy-award winning director Michael Figgis released a DV feature Timecode.

Another film first happened in 2002 with Aleksandr Sokurov’s Russian Ark that was shot digitally in one take.  Impossible to do with film due to limitations of film loads. (Though Hitchcock did his best to make Rope look like one take.) Russian Ark was shot not with a DV camera but a Sony HD camera. That same year Academy –award winning director Steven Soderbergh shot a DV feature Full Frontal.

Jerry Seinfeld was executive producer and featured performer for the DV documentary Comedian (2002) that covered his return to stand-up comedy after his successful run on the TV hit Seinfeld. It was made with a small crew, is raw in production values, but offers a unique behind the scene look at the work of a comedian.

In 1999 a company called InDigEnt was formed by director/producer Gary Winick, John Sloss, Jonathan Sehring, and Caroline Kaplan. 

“I got inspired by the Dogme 95 movement because I felt they were starting to tell the types of stories and tell stories in a different way, and I was hoping at InDigEnt we would do that.”
                                                                                                   Gary Winick

Winick directed Tadpole, shot with a Sony PD-150 DV camera, and won the Best Director Award at the 2002 Sundance Film Festival.

InDigEnt also made my personal favorite DV feature Pieces of April in 2003. It won many awards at film festivals and actress Patricia Clarkson was nominated for an Oscar.  It written and directed by Peter Hedges (who also wrote What’s Eating Gilbert Grape?)

In an Interview with Indie Wire Winick told Matthew Ross:

“I could have shot Tadpole on 35mm, and would it have been a better film? I don’t know. Would I have gotten that cast? I don’t know. Part of the reasons for the cast wanting to be in the film, besides the material, was that they were all interested in working in DV, which I presented it to them as this hybrid between the theater and film. And also, I only need you for two weeks and not two months.”

Ross: I’ve never heard DV described as a hybrid of theater and film.

Winick: Actually it was Sigourney Weaver who inspired me to phrase it that way. But I think it’s well-put for a couple of reasons. One is that you can let the scene keep rolling; you can let the scene unfold like you would in theater. The actors can just perform…Digital cameras can be portable enough that if you suddenly come up with a new approach, you can just back up and redo your scene….Charlie Chaplin used to make films that way… These days, studios just aren’t going to give directors permission to play around that way in 35mm — on DV, you can.

And in 2004 the InDigEnt produced November starring Courteney Cox and shot with a $4,000. Panasonic DVX 100 DV camera by director of photography Nancy Schreiber who won best cinematography at the Sundance Film Festival.

That same year at Sundance Morgan Spurlock earned the Directing Award for Super Size Me and the documentary Born into Brothels won an audience award, both of which were shot on digital video cameras. Brothels beat Super at the Academy Awards.

So in less than a decade digital video made some incredible inroads winning international awards and finding audiences.

You can sit around and argue all day about how film is superior to digital video, but folks the train has left the station. And it’s going to get wilder.  I really don’t think most audiences watching the above films or other DV features such as Trainspotting, Murderball, The Buena Vista Social Club, Inland Empire, and Grizzly Man really care what the film was shot on. They want to be entertained, engaged and get a glimpse into the world they live in. Dare I say films with meaning?

All of this means there are going to be more opportunities for films made and distributed outside the Hollywood system.  People have been dreaming about this time since at least 1955 when Daily Variety’s headline read “Film is Dead” with the invention of the first Ampex video tape recording machine. That bold declaration, and those like it, have caused much laughter. Hollywood is slow to change.

It’s always fun to look back at past predictions and read things like, “The radio will never replace TV because people have to stop and sit down to watch TV” and that Manhattan would never have more than 1 million people living there because there wouldn’t be enough room for all the horses.” 

I remember when a trailer for Silkwood came out in ’83 and Cher’s name appeared on screen. People in the theater laughed. Apparently they missed her excellent film acting debut performance in Robert Altman’s Welcome Back to the Five and Dime, Jimmy Dean, Jimmy Dean that came out in 1982.

To the people laughing, Cher was only known as part of the kitchy TV program The Sonny and Cher Show that ran from 1976-1977. She had had a few hit songs, but no one (except Altman perhaps) took her as a serious actress. They weren’t laughing after they saw her performance in Silkwood or the next year for her roll in Peter Bogdanovich’s Mask, or her academy-award winning performance in Moonstruck.

But that’s the same laughter that I heard when my boyhood friends learned the motorcycle company Honda was going to make cars. It’s the same laughter that Ted Turner heard when he said he was going to start a 24 Hour News channel. When told by a reporter that he lost 10 million dollars in his first year of operation, in true maverick spirit he said, “And I plan on losing 10 million dollars every year until this works.”

No one’s laughing at CNN now and behind Tunrer’s wake are many channels dedicated to sports, weather, history, pets and home improvement. (Coppola’s Tucker: The Man and His Dreams touches on the spirit of the entrepreneur.) The entrepreneur and the artist often share a stubborn vision of what is possible.

Artists have always taken the tools at hand and created art; Be it an old Polaroid camera or a cheap Russian made Holga camera. For years filmmakers have been using a plastic video camera designed by Fisher-Price in the 1970’s for children called PixelVision. It originally shot onto cassettes but now is commonly adapted for DV use and there are now PixelVision film festivals as well. 

Now that iTunes is selling short films from the Sundance Film Festival and Academy Award Nominated films it allows a revenue stream never seen before for short filmmakers. With a few clicks on your computer you can be watching The Last Farm shot in Iceland.

Most books on screenwriting are geared toward the traditional Hollywood feature film route and I’m indebted to those books for there I learned classic storytelling structure, but there are many alternative routes for you these days due to the increased bandwidth of the Internet.

Keep in mind that You Tube was just launched in 2005. And already it’s had success (Lonely Girl 15 and We Need Girlfriends) launching careers. The later now being developed by Sex in the City creator Darren Star, who is working on a CBS pilot with the original creators who made the videos in off hours from their day jobs.

And don’t forget the potential for screenwriting for videos games that have become more and more story orientated. Video game sales a couple years ago surpassed movie revenue. And every year more and more businesses will be using video on the Internet to tell their stories.

The digital genie is way out of the bottle. It may be digital but someone still has to write the screenplays. On the high end there will continue to be films shot digitally like Sin City and 300 that were shot on blue screens on sound stages, and this years’ $30 million Cloverfield which was shot mostly with the Panasonic HVX 200 digital camera that sells new for under $6,000. shooting onto digital P2 cards.

There will continually be upgrades to smaller high def DV cameras and films made from them, and there are films now being made being shot directly to hard drives and edited as they’re being shot, and even those older cameras like the Sony VX1000 will filter down to someone who decides its time to make a little film.

And let’s not forget those cell phone cameras I wrote about in New Cinema Screenwriting (Part 1).

This is filmmaking and screenwriting in the 21 century;  A screen is any screen available. Embrace it. That’s new cinema screenwriting.

So pick up a bottle of Coppola wine today a give a toast to Mr. Francis Ford Coppola, prophet, pioneer, and godfather of new cinema.

 

Copyright 2008 Scott W. Smith

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Johnny Depp is in Wisconsin this month shooting a John Dillinger film based on the book Public Enemies by Bryan Burrough. While in Wisconsin the Michael Mann directed film will be shooting in Columbus, Darlington, Madison and Milwaukee.

(You can view photos of the film at www.thedailypage.com/daily/article.php?article=21981)

Wisconsin is just over the Mississippi River from Iowa and has had a three-year legislative wrestling match for the final passage of a state incentive package to attract filmmakers. Film Wisconsin’s executive director Scott Robbe reports of an interim measure for qualified producers and should be encouraged by Depp filming in the state.

While Wisconsin’s film related history is often overlooked, it does have some legendary connections. Pulitzer Prize-winning writer Thorton Wilder (Our Town) was from Madison and the man named by the British Film Institute as the greatest director of all time, Orson Welles (Citizen Kane) was born in Kenosha. Nicolas Ray, who directed Rebel Without a Cause, was from the small town of Galesville.

Actor/writer Gene Wilder (Young Frankenstein) is a Wisconsin-Iowa combo having been born in Milwaukee and was a theater major at the University of Iowa. Wilder-Depp connection: Willy Wonka & the Chocolate Factory and the remake.

Milwaukee was also the setting of one of the most popular all-time TV programs, Happy Days. (I had said Kenosha in an earlier post, but only “Al the Grocer”–Al Molinaro– was from there.) The setting for the TV program Laverne & Shirley was also Milwaukee.

One of the most well-known film characters of all time, Jack from Titanic (played by Leonardo DiCaprio) was from Chippewa Falls. And I have to add that his love interest Rose when we find her as an elderly woman is living in Cedar Rapids, Iowa.

DiCapario and Depp both starred in What’s Eating Gilbert Grape that was set in Iowa and written by Des Moines native Peter Hedges.

Wisconsin news is usually overshadowed by the Green Bay Packers football team and their cheese head fans. (I once did a shoot with Packer Hall-of-Famer Reggie White, the minister of defense, and found him to be a friendly and kind man.) Wisconsin is also where Land’s End clothing, Oshkosh B’Gosh, Kohler, Harley-Davidson, and Trek Bicycle Corporation, have their headquarters, but it does have its artistic bent.

In fact, check out the work Madison interactive group Planet Propaganda is doing — not only with Trek but companies in Chicago, Minneapolis and on both coasts. And just for the record its creative director John Besmer is a screenwriter as well. He was one of the writers of the recently completed Winter of Frozen Dreams starring Keith Carradine.

The creative heartbeat of Wisconsin is Madison. It’s the Midwest equivalent of Austin, Texas. Free spirited college town, state capital, thriving businesses, and plenty of live music. (Nearby Middleton was recently voted the #1 place to live in the country by Money Magazine.CNN.)

Madison is also just two hours away from Chicago by train. And about an hour away from hidden (to people outside the area) jewel of a town called Lake Geneva, which has been called “The Newport of the West” and “The Hamptons of the Midwest” for its mansions on the lake.

The University of Wisconsin, Madison is where “America’s Finest News Source” and satire The Onion began and where Oscar-winning writer/director Michael Moore (Bowling for Columbine) went to school. Zucker, Abrahams and Zucker (David, Jim & Jerry) grew up in Shorewood, Wisconsin and attended UW Madison together before hitting it big with Airplane! in 1980, and other hit films that followed. Documentary filmmaker Errol Morris (The Thin Blue Line) and producer Walter Mirisch (The Apartment) also graduated from UW-Madison.

I know this will be hard to believe but with a Ph.D. from UW-Madison is screenwriter/director Andrew Bergman, whose work includes Blazing Saddles, Fletch, Honeymoon in Vegas, and Striptease. Woody Allen’s co-writer on Manhattan, Sleeper, and Annie Hall is Academy Award winner writer Marshall Brickman –who, yes, attended UW-Madison.

Those also attending UW-Madison include screenwriter/director David Koepp who wrote the upcoming script for the new Indiana Jones film (as well as Spider-Man and the Depp thriller Secret Window) and Michael Mann (Miami Vice) himself. Marjorie Kinnan Rawlings graduated from UW-Madison in 1918 twenty years before her book The Yearling was published. Recent Oscar-winning screenwriter Diablo Cody (Juno) wanted to attend UW Madison but says she went to University of Iowa was because she couldn’t get into Madison.

Madison has a chapter of the Wisconsin Screenwriters Forum which offers writing workshops and seminars. (There are also chapters in Milwaukee and Los Angeles.)

Elsewhere in the state many memorable movies have been shot in Wisconsin including A Simple Plan (from a novel by the other Scott Smith), Blues Brothers, Mr. 3000, Meet the Applegates, Uncle Buck, Major League, and parts of Hoop Dreams.

And don’t forget the classic scene in Wayne’s World when Wayne and Garth meet Alice Cooper in the “we’re not worthy” scene backstage at Cooper’s Milwaukee show:

Wayne: So, do you come to Milwaukee often?

Alice Cooper: Well, I’m a regular visitor here, but Milwaukee has certainly had its share of visitors. The French missionaries and explorers were coming here in the late sixteen hundreds to trade with the native Americans.

Pete (Band member): In fact, isn’t Milwaukee an Indian name?

Alice: Yes, Pete, it is. Actually, it’s pronounced mill-e-wah-kee, which is Algonquin for “the good land.”

Wayne: I was not aware of that.

Alice: I think one of the most interesting aspects of Milwaukee is the fact that it’s the only major American city to have ever elected three socialist mayors.

Wayne: Does this guy know how to party or what?

To watch the Alice Cooper scene fast forward past Wisconsin native Chris Farley’s cameo to the 3:00 mark.) 

When I was 19 I went to an Alice Cooper concert in Tampa and about 15 years later met him at a conference I was working in San Diego. Like Reggie White he too appeared to be a friendly and gentle man. (Though quite a bit smaller than White.) He’s quite the golfer and joked that his garage looked like Nevada Bob’s (a chain of golf wholesale stores).

And to come full circle if ever there was a film done on Cooper’s life I can’t think of anyone better to play him than Johnny Depp. (Though he might need to work on his golf game. For some reason Depp strikes me as the kind of guy who like sharp things in his hands versus a golf club.)

As we pull away from our little road trip to Wisconsin let me say that Depp is originally from Owensboro, Kentucky and once driving back to Iowa from a shoot in Charlotte I spent the night in Owensboro. I’m a sucker for shooting neon signs and took this photo near Depp’s childhood house.

owensboroneon2109.jpg

Who knows, maybe long before he was Jack Sparrow, Edward Sizzorhands or John Dillinger he hung out at this place. Just another reminder that talent comes from everywhere. (For what it’s worth George Clooney is also from Kentucky.)

Did you know that writer Hunter S. Thompson was also from Owensboro? The same guy Depp played in Fear and Loathing in Las Vegas.

Here’s a quote from Thompson for all those itching to leave home and run off to LA: “The TV business is a cruel and shallow money trench, a long plastic hallway where thieves and pimps run free, and good men die like dogs. There’s also a negative side.”

Just wanted to pass that along – just in case you were not aware of that. (Good thing for Depp that he fled the TV business early, huh?)

Oh, and back home in Iowa I received a call Saturday to work on a feature film shooting in Des Moines in April and May staring Ellen Page, the star of Juno. That’s really coming full circle for this blog since I started Screenwriting from Iowa after seeing Juno. Schedule-wise I don’t think I’m going to be able to work on that film but it’s good to see that Iowa’s film incentives are working as well.

Actors interested in auditioning for the Ellen Page thriller send pictures, resume, and contact info to PMS Casting, 2018 Hwy G28, PO Box 122, Pella, IA 50219. More info can be found on Iowa casting director Ann Wilkinson’s website www.pmscasting.com .

P.S. Anyone looking for a different place to vacation this summer? One of the great travel surprises of my life was visiting Door County in Wisconsin years ago. I was blown away by how much it reminded me of the Florida Keys. (Good place for actors to find summer stock work as well.) And if you want more of a taste of Florida in Wisconsin, Jimmy Buffett will be playing in Apple Valley on July 19.

Copyright 2008 Scott W. Smith

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