Austin Film Festival News

My Super Bowl

2012-02-01T11:01:00.000-06:00

A friend recently asked mewho I think will win the Super Bowl. Myresponse was: “The Super Bowl? It’s thisSunday? Are the Cowboys playing?” Obviously, I am not planning to watch thegame on Sunday (although I heard Madonna will be performing). Lately, my focus has been diverted to my ownversion of the Super Bowl: the Oscars. Some guys are into fantasy football; I’m into predicting the Oscars.

My earliest memory of theOscars was in 1991 when Beauty and the Beast was nominated for BestPicture. I was 8 years old then livingin Southern California and my school took a field trip to watch the film at theEl Capitan Theater in Hollywood. It was perhaps the first time that I hadactually seen a film that was nominated for an Oscar for Best Picture and Ihoped it would win. Instead, anotherfilm about a beauty and a beast would eventually win (Silence of theLambs). Since then, I was hooked on theOscars.

Fast forward several yearslater and I would find myself a student in film school attending friends’ Oscarparties still debating who will win. Iwould religiously read Entertainment Weekly’s coverage of the Oscars andfrequent many Oscar message boards and blogs especially Sasha Stone’sOscarWatch site (now called Awards Daily). I became obsessed. Before theAcademy cracked down on unofficial Oscar-viewing parties, I used to attend theAlamo Drafthouse’s annual Oscar party. For two years in a row, I won their prediction contest and was asked togo to the stage to accept a fake Oscar and give a speech.

This may all seem silly, Iknow, but what makes predicting the Oscars so fun and interesting is that itopens a dialogue about a film’s merits. Just because a film wins an Oscar, does it validate it as the best filmof the year? As I’ve come to realizefirsthand as the director of a screenplay competition, judging art at any levelis, by nature, extremely subjective. Themeasure of an artist’s talent is not subject to the outcome of a competition oran Academy Award but it sure is fun to debate about it.

So who will win the SuperBowl? Unless Meryl Streep is playingquarterback this Sunday, I have no idea. In the meantime, I’ll eagerly await mySuper Bowl on February 26^th.

In the weeks leading up tothe Oscars, I’ll reveal my picks for each of the categories. This week, I’ll give my predictions for thewriting categories.

Writing (AdaptedScreenplay)

The Descendants

Written by Alexander Payne and Nat Faxon & Jim Rash

Hugo

Written by John Logan

The Ides of March

Written by George Clooney & Grant Heslov and Beau Willimon

Moneyball

Written by Steven Zaillian and Aaron Sorkin. Story by Stan Chervin

Tinker Tailor Soldier Spy

Written by Bridget O'Connor & Peter Straughan

Will Win: The Descendants should take this but thedream team of Zaillian and Sorkin for Moneyball might be enough to upset.

Writing (Original Screenplay)

The Artist

Written byMichel Hazanavicius

Bridesmaids

Written byAnnie Mumolo & Kristen Wiig

Margin Call

Written byJ.C. Chandor

Midnight in Paris

Written byWoody Allen

A Separation

Written byAsghar Far

Will Win: Midnight in Paris. The Artist could win here but I think Hazanavicius has a better shot forBest Director and the Academy probably can’t resist giving Woody Allen anotherOscar even though he probably won’t show up.

--Matt Dy, Screenplay & Teleplay Competition Director

“How To Get your Groove Back…”

2012-01-31T10:35:00.003-06:00

It’sfunny what we’ll do to find inspiration. When it comes to the creative process, it seems like all of us will dowhat we can to find that “a-ha!” moment. Maybe it’s exercising, or visiting your favorite place. Maybe it’s praying, or chanting, or turningto a higher power for help. We focus somuch on finding that one thing that will help us write that story, or paintthat picture, or sing that song that we’ve been dying to get out. As artists (and really also, as humans),that’s what we live for.

But,what happens when that moment hasn’t quite hit you yet? When you haven’t found that creative spark inyour life?

Asa novice writer, I can tell you that inspiration doesn’t come easy. I have one set of friends who say, “Just sitdown and write, something will come to you. What’s the big deal?” On the flip side, there is the other set who say,“No, you have to wait until something hits you. It might take time, but it’ll happen when you’re ready.” So the question is: which side do youchoose?

Fora whole year, I have struggled with these sides, teetering back and forth,ultimately just settling on not writing anything because it became such acreative battle. And, at the end of theday, it was easier to use the excuse of “I’m just waiting for some inspirationto hit.”

Ilabored under this thought until I attended our 2011 festival. It was my first year both as a writer and asan employee of AFF. Although I did notget to sit in on as many panels as I would have liked, I noticed that onecommon element seemed to stand out amongst all of the panelists: they eachspoke of at least one person in their lives who was interested in what they hadto say.

There,on that final sleep-deprived Sunday afternoon of the Festival, did I finallyhave a pivotal realization: inspiration comes from the support of those aroundyou. This realization came further intoplay when our Marketing Director, Taylor, asked if anyone wanted to contributeto our blog, read by thousands of writers, attendees, and panelists alike. I hesitated to throw my name into the hatbecause I wasn’t sure what an Office Manager could say that would be of use topeople. Once again, I used the fall backof “not writing is easier”. But itwasn’t until she said that it didn’t matter what my title was or what I do atthe office every day, but that my voice is just as important as everyone else’s– that I have thoughts and ideas that should be shared. I knew that that was exactly what I needed tohear, if even for this small project, to get my creative juices flowingagain. And thus, I landed myself a spoton this lovely little blog!

Myadvice to you, dear reader/writer, is this: surround yourself with the peoplewho know what you truly want to do. Youmay not have that “a-ha!” moment today, or tomorrow, or even 5 years fromnow. But it will happen. Because of her, as well as an equallysupportive staff, I can now pass that same encouragement along to all ofyou. Sure, maybe what you have to saywon’t appeal to everyone... but I promise you that there will always be oneperson who believes in and wants to hear what you have to say. I hope that you,too, can find your inspiration through them.

-- Marcie Mayhorn, AFF Office Manager

LIVING RECORD: The Music Documentaries of DA Pennebaker

2012-01-30T12:20:00.001-06:00

We will kick off the year on Wednesday, February 1 at 7:00pm, with our new series, Living Record: The Music Docs of DA Pennebaker. Partnering with Jo's Hot Coffee, we will be offering free screenings of this legendary documentarian's films at the downtown 2nd Street Jo's location the first Wednesday of every month.

Pennebaker is renowned for his verite approach, replacing talking heads and intrusive voiceover with a simple record of seminal music events as they happened. After capturing hundreds of hours of footage at concerts, hotel rooms, and press interviews, Pennebaker told his story in the editing room, finding the moments that would resonate most with audiences. His films offer those who lived through these events a chance to recapture those memories while giving those who didn't an opportunity to feel intimately connected to our musical history.

The first film in the series is THIS WEDNESDAY - Don't Look Back, covering Bob Dylan's 1965 concert tour in the United Kingdom.

Pennebaker captures a young Dylan at the beginning of his ascent to superstardom - confident if not arrogant, confrontational and contrary, but also charismatic and charming. Along with transcendental performances by Dylan, the film also features Joan Baez, Donovan, Alan Price (who had just left The Animals), Marianne Faithfull, John Mayall, Ginger Baker, and Allen Ginsberg.

In 1998, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".

Jo's will also be offering drinks specials - $3 premium drafts, $3 house wine.

Don't miss these pivotal moments in music history:

February 1 | Music Docs of D. A. Pennebaker...DON'T LOOK BACK, @7pm, Jo's Downtown, FREE!

March 7 | Music Docs of D. A. Pennebaker...MONTEREY POP, @7pm, Jo's Downtown, FREE!

April 4 | Music Docs of D. A. Pennebaker...ZIGGY STARDUST AND THE SPIDERS FROM MARS, @7pm, Jo's Downtown, FREE!

May 2 | Music Docs of D. A. Pennebaker...ONLY THE STRONG SURVIVE, @7pm, Jo's Downtown, FREE!

And don't forget, AFF Members recieve a 10% discount at both Jo's Coffee locations! Interested in signing up? There will be a table at the events for more information, or visit our website.

Writers on Screenwriting - Herschel Weingrod

2012-01-27T08:58:00.004-06:00

Herschel Weingrod at the 2011 Austin Film Festival & Conference
Photo credit: Jack Plunkett

We know how valuable it can be to hear another writer, especially a successful one, discuss their craft. It can inspire renewed commitment to one's work, give ideas for different ways to approach a story and remind us that we are not alone with our frustrations - and joys - in the writing process.

We've asked some friends of Austin Film Festival to share some of their thoughts on aspects of the writing process with us. Below, our good friend Herschel Weingrod shares some advice on preparing to tell your story.

Ray Bradbury once said, "Find out what your hero wants, then follow him." He didn't say lead him, he said follow him. If you've created your protagonists well enough, they'll take you where your story needs to go and, in doing so, you'll discover your theme rather than start with one and then hammer us over the head with it - the theme needs to be invoked rather than imposed. The trick is to get rid of all the facile cliches that are the first things you go for, the easy solutions to scenes and plot and character. Good writing can only begin after a lot of heavy lifting - a mountain of false starts and stops and what used to be crumpled paper. And then, if you're lucky, and talented, in return for your labor and humiliation you might wake up in the morning and know more about the scene you're about to write than when you went to sleep the night before...and, if you're really lucky, your characters will start to take you where they would go and do what they would do...and you'll experience the writer's equivalent of what athletes call being "in the zone".

- Herschel Weingrod, screenwriter Trading Places, Brewster’s Millions, producer Falling Down

Sundance Update

2012-01-25T12:18:00.005-06:00

Stephen Jannise, Film Program Director, reports from Sundance.

Certain films are starting to pick up buzz at Sundance, sending audiences into a frenzy for tickets and distributors into bidding wars for the chance to put their name on the next “Like Crazy” or “Martha Marcy May Marlene.” But the films aren’t the only things making news. From angry Q&As to the loss of a beloved industry veteran, emotions have been running high in the past few days.

“Compliance” has enjoyed very solid word-of-mouth with the added bonus of contentious Q&As, suggesting that the film will be a surefire conversation starter. When a man claiming to be a police officer calls a local fast food restaurant and demands that the manager, Sandra, detain her young female employee, Becky, Sandra follows his orders. As the film progresses, Sandra continues to do what the man says, with horrific results for Becky.

The film examines how quickly we can bow to authority and how dangerous it can be to do so without question. “Compliance” is tense and terrifying, and after its world premiere, some audience members who felt that the film had gone too far loudly voiced their opinions. One filmgoer took offense to the violence against women depicted in the film, arguing that it was too exploitative, and the argument is certainly valid. This film is anything but tame and conservative, and it will surely elicit strong responses from its audience, whether positive or negative. Craig Zobel directs, and Ann Dowd, Dreama Walker and Pat Healy star.

Spike Lee was in town for the premiere of his new film “Red Hook Summer,” and his Q&A was also somewhat contentious. The film itself has received mixed reviews, but, as a fan of Lee’s films, I enjoyed it and think other fans of the director’s work will, too. You’ll find the unmistakable writing and visual style that has been the strength of his past films, particularly since the film is a sequel of sorts to “Do the Right Thing.” But don’t tell Lee that.

Using words that can’t be printed here, Lee asserted that the film is absolutely not a sequel and went on to claim that major studios “know nothing about black people.” As usual with Lee, the spectacle of his rant has overshadowed the fact that he has some good points. Lee is a filmmaker who puts a lot of thought and heart into his films, and it doesn’t seem so crazy that he would want his latest film to stand on its own merits, rather than being aggressively marketed as “Do the Right Thing 2.”

Lee’s dissatisfaction with the studio experience underlined the importance of indie film champions like Bingham Ray, who passed away early Monday morning. The independent film community has profited from Ray’s ambition and foresight for years; he played a significant role in the careers of indie masters like Mike Leigh, Lars von Trier, David Lynch and Jim Jarmusch. It is clear, based on the mood in industry parties, that he will be greatly missed, even by those who never got to know the generous and genuine man that he was.

Strong emotions were also felt at the screenings for two films that depict families struggling to cope when a loved one is sentenced to several years in prison. “Middle of Nowhere” follows a young woman with remarkable patience who finds herself waiting for five years for her drug-dealing husband to be released. Director Ava DuVernay wrote the screenplay after having conversations with several women dealing with an incarcerated spouse or partner, and she drew memorable performances from her lead Emayatzy Corinealdi, Lorraine Toussaint as a mother concerned that her daughter is throwing her life away, and the unceasingly charming David Oyelowo as a man who offers our heroine a second chance.

DuVernay is a talent to keep an eye on, as is Gina Rodriguez, who portrays the title character in the pulsating “Filly Brown.” This is an astonishing, star-making turn for Rodriguez, who plays an aspiring hip-hop artist trying to make the money she needs to bail her addict mom out of prison. The actress not only handles a very difficult role with aplomb, but she is also an incredible musician, leading several people in the audience to beg for the soundtrack. With great supporting performances from Lou Diamond Phillips, Edward James Olmos and the rest of this amazing cast, the film is so much more than an “8 Mile for Girls.”

After the screening, “Filly Brown” received a standing ovation from the 1,000 people filling Sundance’s largest venue, which brought Rodriguez to tears. She took a bow and thanked everyone in the theater for sharing in the realization of her indie dream. At that moment, I couldn’t help but think about Bingham Ray. Those are the kind of moments that people like Ray spend their lives fighting for. We have lost another fighter.

For all of Jannise's Sundance reports, visit Austin 360's movie blog!

Read the award-winning scripts of the season

2012-01-23T10:42:00.012-06:00

Around this time of year many studios post PDFs of screenplays online as part of their marketing for awards consideration. It seems very likely that most screenplay awards are handed out without most or any of the voting members having read any of them. Why would they even need to if they already saw the finished film? A good story is a good story, right? This is true for the most part but I think to truly appreciate a writer’s work you would need to read the script. Call me old fashioned. I was curious to see how some of my favorite films of the season were written so I downloaded a few scripts from their respective studio websites. One of those was Steven Zaillian’s adaptation of The Girl With the Dragon Tattoo which was just as exciting to read as watching David Fincher’s interpretation of his script. Here’s a scene from the script where we first meet the heroine of the story, Lisbeth Salander:

INT. ARMANSKY’S OFFICE - SAME TIME - CONTINUED

SECRETARY/INTERCOM

Ms. Salander’s here.

Armansky breathes a defeated sigh, taps the intercom button twice to say ‘okay, let her in.’

Lisbeth Salander walks in: A small, pale, anorexic looking waif in her early 20’s. Short black-dyed hair – pierced eyelid - tattoo of a wasp on her neck; probably several more under her black leather jacket - black tshirt, black jeans, black Caterpillar boots. Frode is only middlingly successful in concealing his initial reaction to her. This isn’t punk fashion. This is someone saying, Stay the fuck away from me.

This scene comes across no differently on screen but it’s still fun to see how Zaillian wrote it out. What I always love and appreciate when I read a script, are the detailed descriptions that can sometimes get lost in the translation to screen. It’s moments like these in scripts that show the true style and character of the writer. Zaillian is one of the best working screenwriters today (he was the recipient of our Distinguished Screenwriter Award in 2009) and he has a one-two punch this year with Dragon Tattoo and Moneyball.

You can read the rest of the script in the link below. I also included downloadable links for other scripts of some of my favorite films of the season. Enjoy!

"The Girl With the Dragon Tattoo" by Steven Zaillian

"The Artist" by Michel Hazanavicius

"Beginners" by Mike Mills

"Bridesmaids" by Annie Mumolo & Kristen Wiig

"The Descendants" by Alexander Payne and Nat Faxon & Jim Rash

"The Help" by Tate Taylor

"The Ides of March" by George Clooney & Grant Heslov and Beau Williman

"Moneyball" by Steven Zaillian and Aaron Sorkin

"Tinker, Tailor, Soldier, Spy" by Bridget O'Cconnor & Peter Straughan

Congratulations to Alec Berg on his WGA nomination for Best Comedy Series for "Curb Your Enthusiasm"!

2012-01-19T11:36:00.013-06:00

Alec's television credits include Seinfeld where he was a writer and executive producer, and Curb Your Enthusiasm where he currently serves as a writer, executive producer and director, and for which he was nominated.

His feature film work includes writing the screenplays for THE CAT IN THE HAT (which was made into a terrible film) and EUROTRIP (which he produced and co-directed and is excellent.) His most recent writing and producing credit is THE DICTATOR, starring Sacha Baron Cohen and scheduled for release this May. He has also done extensive rewriting, having worked on films for Jim Carrey, Will Ferrell, Will Smith, Ivan Reitman and Robert Zemeckis. Alec has been nominated for numerous Emmy awards, a WGA Award, a DGA award and a Razzie (yes, for THE CAT IN THE HAT, it’s that bad.)

Check out this clip on YouTube from one of Alec's panels last year in which he discussed the story process for Curb Your Enthusiasm. We're thrilled he'll be joining us again in 2012!

Why the Awards Season Really Does Matter

2012-01-18T18:06:00.003-06:00

The cinematic juggernaut that is The Artist continued steamrolling toward the Best Picture Oscar with several wins at the Golden Globes this past Sunday. Not too shabby for a black-and-white silent film from France that initially scared away several distributors before being picked up by The Weinstein Company. Anyone who has seen the film would say that these awards have been justly earned based on the film’s quality, and they would be correct. The Artist is an absolute delight. However, that doesn’t stop industry cynics from crediting this silent film’s accolades to one of the most aggressive campaigners in the history of awards, Harvey Weinstein, who is anything but silent.

The validity of film awards has increasingly come under question over the years, and the lengths to which awards campaigners will go to win awards for their films are the stuff of legend. Listen to rumors and hearsay, and you’d think that Weinstein stops just shy of threatening murder to get his films the recognition they deserve, which leads many to believe that these awards are meritless and unimportant. But I’d like to take this opportunity to make a bold statement: They’re wrong.

Ask any filmmaker or production studio, “Who do you want in your corner come Oscar season?” and you’ll more than likely hear them say Harvey Weinstein’s name. That’s because they recognize how important these awards truly are. The value of having “Academy Award Winner” stamped on a DVD cover is immeasurable; in fact, it is almost required if an independent or foreign film hopes to sell any copies at the local Target. That’s because, for the average moviegoer, the Oscars provide a quick summary of the best (well, one version of the best) films in a given year, films that an average moviegoer may not have had access to in their local movie theater.

I can speak to this issue from a personal angle. As a young film lover growing up in small-town Texas, my first chance at seeing a film like The Artist would’ve been home video. Films that run for weeks in LA or NYC cinemas never make it as far as Southeast Texas, so I used award nominations and critics lists as a guide to what I should look for at my local movie rental. Although the circumstances have changed a bit (rentals have given way to iTunes and Netflix), the basic facts are still the same: many great films don’t reach a broader audience until after they leave the cinema. That’s why these films need the awards season, and that’s why we need it, too.

-- Stephen Jannise, Film Program Director

Guest Blog Post - Kevin Rawls, Public Relations Senior, Texas State University-San Marcos

2012-01-13T14:53:00.004-06:00

Hello, fellow film junkies and bloggers!

This is Kevin Rawls checking in for day #2 of job shadowing at Austin Film Festival. Before I get started on my little rant, let me begin by giving you a little of my background.

I am a 22-year-old senior at Texas State University-San Marcos majoring in Mass Communications with an emphasis in Public Relations and my minor is Sociology. It’s been a long, tumultuous five years in college, but I am glad to finally say I’ll be graduating this May! That is to say if everything goes well and they don’t magically manifest 12 more hours that I need to take. I was born in Yuma, Arizona, but I’ve done most of my growing up in Cedar Park, right here in Austin.

I chose Public Relations as my major because I love to interact and meet new people on a daily basis. The ability to communicate with others effectively is a priceless trait that others take for granted, and getting the opportunity to do that for the rest of my life is something I look forward to. My focus is on the sports side of PR because that is what I have always been interested in. If it has anything to do with sports then I’m trying to be in the middle of it, particularly basketball and football. I couldn’t begin to tell you how much of my day is dedicated to watching EPSN, but then again, what guy isn’t watching that channel 24/7? My dream is to someday move to Houston and work for the Houston Texans or the Rockets, two of my favorite professional teams growing up. Honestly, just working somewhere in Houston would be a great opportunity for me. All of my family, with the exception of myself, is from Houston and I would love the chance to live there and take advantage of all it has to offer! I know I probably won’t be able to make the jump there right out of college but I’m still hopeful and doing whatever it takes to make that happen.

That brings me to my next point, which is finding an internship. For some reason I never can land one and I think that’s in part of me just wanting to find a place where I can fit in and get the most experience. Most of my search has been this year, but nothing has come up yet. However, I am currently doing job-shadowing, which in my eyes is a precursor to landing an internship. One of my job shadowing sites is here at Austin Film Festival. The reason I chose AFF was because I applied for an internship with them earlier in the fall at Texas State’s Job and Internship Fair. The representative they had doing their applications just happened to be a girl I knew from two of my classes, named Kristen. She talked to me about what AFF was all about and how much she liked interning for them. Not only that, but I knew a former intern, Malcolm Rogers, who told me he loved being there as well and recommended it to me. The name Austin Film Festival sounded familiar to me, but I hadn’t really heard of anything else they did, so I thought, why not apply?

So far, my time here has been nothing short of spectacular. As soon as I walked in my first day, I felt so warm and cozy. I didn’t know their office was set up in a house so I didn’t know what to expect, but when I got there I definitely felt “right at home.” If I could describe AFF in one word, it would be CBS, like the channel. All their personalities and humor remind me of the sitcoms they have on that station, especially when I sat in on their staff meeting, seeing everyone in the same room bouncing ideas off each other. It makes you feel like you’re behind the scenes of some popular television sitcom and in front of you are all the writers and producers. When I got there, we all went over the gist of what Austin Film Festival is about and what they do, and then we were split up into our different departments. I was assigned to the Conference Department which is headed up by Maya Perez. Working with Maya has been real cool. She’s super chill and that’s kind of how I am too. Never getting too worked up, taking things one step at a time. She gave me a couple of assignments and was really helpful when I needed some assistance on something. If I get the opportunity to intern here, I think I’ll either apply under her department or the marketing department.

Well, I don’t want to give too much away about my experience! If you ever consider doing job shadowing or possibly interning for Austin Film Festival, go for it! I’ve heard nothing but positive feedback about them and my time here has definitely been pleasant. I’m really looking to get my foot in the door and get some experience somewhere and I think here is a great place to start.

-Kevin Rawls, Public Relations Senior, Texas State University-San Marcos

2012: The Year Film Marketing Gets Wise

2012-01-11T15:18:00.016-06:00

Last weekend, the film industry was all abuzz over The Devil Inside, the first major film release of 2012. Made for pennies, the horror thriller ultimately grossed over $30 million in its first weekend, which immediately resulted in new production deals for its writer/director and talks of a sequel. Despite the poor critical response and even worse word of mouth from audience members, the film is a bonafide hit.

Being the intrepid film lover that I am, I simply had to see what all the fuss was about, so I attended a screening of the movie. I can now confirm what most people have already stated online: the film’s success is due more to its smart marketing campaign and fantastic timing than to any unique vision or narrative invention. In fact, the most intriguing part of my experience that night was not the film itself but the trailers that played before, many of which seem to suggest that The Devil Inside will not be the only box office success created by intelligent marketing this year. Take, for example, Project X, 2012’s official drunken high school blowout film. It may be nothing more than another in a series of Superbad wannabes, but I can’t help but be intrigued by the sheer excess of this trailer, which suggests a Hangover for the younger crowd:

I can’t help but notice that the trailer doesn’t offer a URL for an official movie website but instead directs you straight to the film’s Facebook page before offering the film’s Twitter hashtag. Immediately following this, we were treated to a preview of Chronicle with a delightfully unique structure:

Again, who’s to say if Chronicle will be a great film or a forgettable one. What I do know is that film marketing seems to be trying harder than ever before. In the past, studios would just throw hundreds of millions of dollars around to get their film on every network, billboard, and party napkin they could find. But those dollars don’t exist anymore, forcing the marketing department to get savvy, target specific audiences, and make smaller budgets go a long way. That’s how Paramount turned $1 million into $34 million with The Devil Inside, and that’s how other studios will find success this year. As moviegoers, we can only hope a few of these films will actually be good.

- Stephen Jannise, Film Program Director

Start off the New Year right and WRITE!

2012-01-10T10:44:00.004-06:00

At a New Year’s Eve dinner with friends, we all took turns proclaiming what our New Year’s resolutions are. While I don’t think I need to lose weight, don’t smoke (regularly), and certainly don’t want to stop drinking, I decided my resolution is to make 2012 the year I finish the screenplay that has remained in my head for so long.

What inspired me to make this resolution is my coworker who just recently finished her first screenplay. This time last year, I playfully made fun of her when she said she finished her 50 page feature script which is now a much more polished 89 pages. She has the last laugh now and I admire her for her persistence to finish her script. It has been nearly 3 years since I have completed a feature screenplay. I have another story that I am passionate about sharing, but all this time, I’ve only jotted down random thoughts and ideas in notebooks without any real focus. I can blame the long stressful hours working at AFF and the numerous amount of amazing scripts that I have to read (that not only put my previous work to shame), but who needs to make excuses? I know there are writers who probably work two jobs with families to raise and they still make time to write and are more prolific in one year than I’ve been in 3 years. I have a story; I just need to write the damn thing! For all us who are writers, this is a plight we all share. There never seems to be enough hours in the day to write but if we budget our time well, turn off the TV (except for Modern Family and Breaking Bad), and dedicate at least one hour a day to write, we can all have a polished screenplay by this time next year or sooner just like my coworker.

Even if the Mayans are right and this will indeed be our last year of life on Earth, what have we got to lose? Our stories may be all that remain anyway just like the ancient hieroglyphics of cave men. If you have a story you’re itching to share, join me and make 2012 your year to finish that screenplay.

-Matt Dy, Screenplay & Teleplay Competition Director

Writers on Screenwriting - Jim Dauterive

2012-01-04T16:32:00.004-06:00

Jim Dauterive at the 2011 Austin Film Festival & Conference

Next up in our series Writers on Screenwriting: Jim Dauterive, developer/executive producer “Bob’s Burgers” and writer/executive producer for "King of the Hill."

We know how valuable it can be to hear another writer, especially a successful one, discuss their craft. It can inspire renewed commitment to one's work, give ideas for different ways to approach a story and remind us that we are not alone with our frustrations - and joys - in the writing process.

We've asked some friends of Austin Film Festival to share some of their thoughts on aspects of the writing process with us. Here's Jim on how to combat feeling stonewalled by creativity:

When I was a younger writer, I used to dawdle, delay and wait for perfection that was never going to come until I had run out of time and had to write something, anything, and hope it was okay. Somehow, I almost always got away with it. But that's a cocky, immature young man's game and I no longer have a young man's nerves. I've got what old golfers call the yips. I hate the yips.

So this is how I cope; this is the deal I make with myself: I give my writing permission to be bad. I keep writing until I feel in my core it is good. That works for me. That's how I get words on the page. But the creative process is, I think, like grieving. It's a very personal thing. There's no way around it; writing is godawful hard. So if you're going to take it on, I suggest that you forgive yourself, love yourself, be hard but not too hard on yourself, and do the best you can.

Writers on Screenwriting - Brian Helgeland

2011-12-14T09:24:00.003-06:00

Brian Helgeland, Rose McGowan and Robert Rodriguez at the 2006 Austin Film Festival

We know how valuable it can be to hear another writer, especially a successful one, discuss their craft. It can inspire renewed commitment to one's work, give ideas for different ways to approach a story and remind us that we are not alone with our frustrations - and joys - in the writing process.

We've asked some friends of Austin Film Festival to share some of their thoughts on aspects of the writing process with us. Here's Brian Helgeland on Writer's Block. How do you combat feeling stonewalled by creativity?

Writer’s Block is a myth, a chimera. It is a bogeyman spoken of around the fire by deluded writers too afraid to deal with the bitter truth. Writer’s block is not the departure of the muse. Because writing itself is a con, it’s a bait and switch and the muse is a slut who skipped town at dawn the night after you slept with her. Why would she stick with you? There are rock stars out there and writing is just hard goddamn work. Mental ditch digging. Anyone who ever used a shovel and hit a rock along the way knows what I mean. Writer’s block is not an obstacle to writing. Writer’s block is writing. When you stare at the wall, you are looking at the very spot through which the muse exited. She went that-a-way. Through the sheet rock. And she was laughing. Laughing at you for believing the lie. The life of the mind… Ha ha ha. Writing is staring at walls, banging your head into them, feeling stupid and useless and facing a life in which you will always fall short. Fear, anxiety and inadequacy are your cohorts. They are the weight you feel on your shoulder as you sit there staring. The joke of it is: get up from your seat and you have stopped writing. Do you really think you are writing when your hands are flying across the keys, when it feels like a symphony is rising before your eyes? Ha ha ha. Writing is a one man chain gang. Writing happens when you stare at that wall and wonder why you are so useless. Writing is doing the time harder than the time is doing you. So get your game face on, crybabies. Your sorry crooked ditch just uncovered a block.

- Brian Helgeland, screenwriter MAN ON FIRE, THE TAKING OF PELHAM 123, PAYBACK, ROBIN HOOD, L.A. CONFIDENTIAL, MYSTIC RIVER, A KNIGHT’S TALE

AFF Friends Are Getting a Jump on the New Year!

2011-12-12T16:36:00.003-06:00

The 2011 Black List is out! Check it out here: http://www.blcklst.com/

Austin Film Festival has several alums and friends on the list - both writers and their representatives - including Ed Solomon, Tom O'Connor (2003 AFF Screenplay Competition Winner), Christopher Cantwell (2010 AFF Screenplay Competition Semi-Finalist), Mike Jones, Allison Doyle (Oasis Media Group), Rebecca Ewing (UTA), Jeff Gorin (WME), Gayla Nethercott (The Nethercott Agency), Andrew Deane (Industry Entertainment), David Boxerbaum (Paradigm), and Ryan Saul (APA). We wouldn't have this list if not for Franklin Leonard, Black List creator, AFF and writer champion extraordinaire.

Also, no strangers to the Black List,

Brian McGreevy and Lee Shipman have just signed a deal with Netflix and Gaumont International Television to adapt McGreevy's book HEMLOCK GROVE into a 13-episode series. This should make their adaptation panel at next year's Conference interesting!

Lindsay Doran's Elements of a First Act

2011-11-16T12:16:00.002-06:00

Producer Lindsay Doran recently gave a talk at Sony Pictures Animation on the topic of constructing a first act. As part of her talk she listed ten elements one might expect to find in the first act of a screenplay. She's happy to share the list but would be interested to hear if anyone thinks she left something out.

ELEMENTS OF A FIRST ACT

a. Establish the main character(s)

b. Establish what they want (this might change scene to scene, or even within a scene, so make sure it's clear what they want every second) (My most basic rule is: Nothing can happen till somebody wants something.)

c. Create a rooting interest -Do we want the main character to get what he wants, or are we rooting against it? (Stranger Than Fiction is an example of a character who wants his life to stay exactly the same while the audience wants to see his life shaken up. But once he realizes he's going to die, we're on his side.)

d. Establish the stakes - Why does it matter that the various characters get what they want? What will happen if they don’t? If the stakes aren't life or death, they still have to feel like life and death. (Wall*E isn't going to die if he never gets to hold someone's hand, but I can't bear the idea that he might never get to know that feeling for himself rather than watching it endlessly on an old tape of Hello Dolly. Annie in "Bridesmaids" isn't going to die if she loses Lillian's friendship, but underneath the comedy there are plenty of moments that show me how desperately lonely and unhappy she is, and that her life is spiraling downward, so I believe that it matters that she hangs on to that friendship.)

e. Establish the obstacles – These might also change from scene to scene or in the middle of a scene

f. Set up ticking clock - What creates time pressure for these characters?

g. Set up tone – Sometimes it's not clear that a script is supposed to be a comedy, or a drama mixed with comedy, or even a parody.

h. Set up theme (My talk was to the filmmakers at Sony Pictures Animation, and in animated movies theme is a crucial element. But I think it should be a crucial element in every movie.)

i. Create Suspense (Unless you're making The Tree of Life or Meek's Cutoff, every story should have suspense.)

j. Start the story – In other words, get to the premise. But take enough time with the other elements so that when the rubber band snaps - assuming the first act up until that moment has felt like a rubber band being pulled back - we really care.

Listen to "Ready for My Closeup, Ms. Mills" Mondays, 1:00-1:30pm, on KOOP, 91.7, streaming live at www.koop.org.

2011-11-14T10:28:00.000-06:00

Listen to "Ready for My Closeup, Ms. Mills" Mondays, 1:00-1:30pm (CST), on KOOP, 91.7, streaming live at www.koop.org. AFF member Sherry Mills interviews (mostly) women and men in the creative arts and (mostly) film world. Contact her at close@koop.org.

Listen to Sherry on the radio: "Ready for My Closeup, Ms. Mills!"
Mondays, 1:00-1:30pm, on KOOP, 91.7, streaming LIVE at www.koop.org!
Guest 11/14/11: Voice Actor & Coach Lainie Frasier of Voiceworks
Guest 11/7/11: Shelley Eager, Executive Director of the Austin Cinematic Symphony
Guest 11/2/11: Alex Ward, General Manager of I Luv Video
Guest 10/26/11: Author/Filmmaker Kelley Baker, AKA "The Angry Filmmaker"
Guest 10/19/11: Big Event Producer Debra Davis
Guests 10/12/11: Carla Jackson, Kelvin Phillips, Michael Morlan from the film "A Swingin' Trio"
Guest 10/5/11: Stephen Janisse & Kelly Williams, Programmers for the Austin Film Festival
Guest 9/28/11: Rebecca Campbell, Executive Director of the Austin Film Society
Guests 9/21/11: Steve Mims & Joe Bailey, producers of the documentary "Incendiary"
Guest 9/14/11: Actress/Writer/Designer Jolyn Janis
Guest 9/7/11: Jill Chamberlain, Founder/Director of the Screenwriting Workshop
Guest 8/31/11: Dr. Caroline Frick, UT R/T/F Faculty
Guests 8/24/11: Michelle Forbes & Laura Luthy of aGLIFF
Guests 8/17/11: Carolyn Banks & Jean Zurow of Upstart
Guests 8/10/11: Carlyn Hudson & Maggie Lea of East Austin Screenings
Guests 8/3/11: Amparo Garcia-Crow, Timeca Seretti, Carla Jackson, Chithra Jeyaram of the "Women of Color" panel & screening

2008 AFF Film BIGGA THAN BEN: A RUSSIANS' GUIDE TO RIPPING OFF LONDON Raising Funds Toward US Release!

2011-11-04T12:45:00.005-05:00

In the running for Best Narrative Feature at the Austin Film Festival in 2008, Bigga Than Ben: A Russians' Guide to Ripping Off London is now raising funds towards its US release via an indieGoGo. The film made the Times Top 100 films of 2008 and received great reviews in the UK, opening on 85 screens in Russia (maybe they thought it was a real guide?) and winning awards. Starring Ben Barnes (Prince Caspian, Dorian Gray) and Andrei Chadov, Bigga Than Ben perks include signed Ben Barnes posters, credits and original paintings. Currently this is the only place you can buy the US version as a limited edition: www.indiegogo.com/biggathanben

****
'Dark, funny, charming, fast, immoral, decadent and delightful...a fresh blast of foul air. Chadov and Barnes are the best double act buddies since Butch Cassidy and the Sundance Kid' - Cosmo Landesman, Sunday Times.

'Well it's not the sound of music' - my dad.

Documentary Storytelling

2011-10-16T19:23:00.002-05:00

Still from TOWNSHIP TO THE STAGE

One of the great challenges every year is finding documentaries that fulfill our expectations of great narrative storytelling. Real life is very rarely interesting; it takes a great documentarian to take hours and hours of footage and turn them into a cohesive and compelling story. Whether you're interested in tackling your own documentary project or simply opening a door into another person's life, we've got the schedule for you.

BY DAY

SATURDAY 10/22
9:00am–10:15am
Independent Filmmaking: Getting Started
Stephen F. Austin Hotel, Assembly Room
You have a great script that you want to turn into a film. What should your next step be? And the 10 steps after that? Join a conversation with three filmmakers who share their independent filmmaking experiences. This panel will offer the motivation you need to bite the bullet and will cover the basics and overlooked hurdles first-time filmmakers often encounter when making their films.
Jeremiah Jones, Eric Schaeffer, Ya’Ke Smith
Moderated Chet Garner

10:45am–12:00pm
Independent Filmmaking: Budget and Funding Sources
Stephen F. Austin Hotel, Assembly Room
Anyone can get their hands on a video camera these days, but that doesn’t mean you won’t still need a budget and an overall plan. Micro-budget and low budget films (under $50,000) require some creative strategies to be successful. This panel will cover formulating and determining a budget that can serve as an outline for your production and impress potential investors (hint: don’t forget music licensing, festival fees, and travel and marketing costs!). In addition, the panel will offer ideas on how to raise and save money, including in-kind support, donations, tax breaks and incentives, grants and foundation support, fundraisers, and crowdsourcing.
Noel Paynter, Stu Pollard, Susan Kirr
Moderated by Jason Wehling

12:30pm-3:30pm
Independent Filmmaking: Pre-Production and Production
Stephen F. Austin Hotel, Assembly Room
This session will cover the nuts and bolts of starting production on your feature film, beginning with organizing a detailed plan to implement your idea and achieve your goal. From here, the panelists will walk you through all the legal stuff you need to know— crew agreements, releases, libel, privacy, right of publicity, copyright and trademark, music licensing, and more. They will also discuss the arts of identifying essential crew needs and the resources to find them; determining locations and equipment needs; creating a shooting schedule; preparing for a typical day of production; starting your marketing campaign (yes, now); working with your editor (yes, also now); and tips on how to have a successful production, stay on schedule, and keep your crew intact and positive (hint: food).
Kat Candler, Martin Guigui, Scott Meyers, Bryan Poyser, Eric Weissman
Moderated by Tom Copeland

3:45pm–5:00pm
Independent Filmmaking: Post-Production
Stephen F. Austin Hotel, Assembly Room
This panel will cover the various elements of post-production for your film—editing (whether editing your own film or working with a hired editor), color correction, post-sound editing (cleaning and mixing), scoring, etc. It will also include information on finding and working with good, affordable people; putting together your trailer; and tricks for achieving high production value on a limited budget.
Mark Coffey, Eric Friend, Melissa Shea, Marcus van Bavel
Moderated by Alan Berg

SUNDAY 10/23
1:15pm–3:15pm
Documentaries 101
Driskill Hotel, Hogg Parlor
Join these notable documentary filmmakers as they walk you thorough the production steps of a documentary feature. From an inventive idea to a marketable trailer to the time you’ll need to spend filming and editing, these experts will relate their own experiences and offer insight on how to maintain control of your concept while staying true to your real-life subject.
Karen Bernstein, Vince Clemente, Henry Corra, Vanessa Roth, Michael Urie
Moderated by Paul Stekler

BY NIGHT

Ecstasy of Order: The Tetris Masters (USA , 92min)
Director: Adam Cornelius
WORLD PREMIERE
Tetris. We've all played it. It may have been decades ago or today on the latest smart phone. But everyone has spent time rotating the pieces, dropping them in place, or despairing over that piece that just won't fit. But what about the people who've truly mastered Tetris? Are they out there; great champions who've dedicated their minds to solving these intricate puzzles?' Ecstasy of Order tracks down such a group of record-holding Tetris players as they prepare to compete in the 2010 Classic Tetris World Championship. The film gives us an intimate look at the Masters as they reveal their secrets, recount their decade-long obsessions with the game, and take us to the transcendental state required to reach the highest levels known as the 'Ecstasy of Order'.

One Night Stand (USA , 74min)
Director: Elisabeth Sperling, Trish Dalton
REGIONAL PREMIERE
It takes a lot of creativity, hard work, and talent to put together a musical. But is it possible to do this in under 24 hours? One Night Stand is a funny, intimate, behind-the-scenes documentary following top Broadway and television writers, actors, and directors as they invent four short musicals, from the blank page to the live stage, all within 24 hours. It's A Chorus Line meets Project Runway-- a window into the creative process intensified by a tight deadline: the spark, the camaraderie, the sheer panic, and the ultimate thrill of expression. Cheyenne Jackson, Rachel Dratch, and Richard Kind among many other talented actors, composers and directors come together one night to unleash their creative minds and talents in One Night Stand.

Township to the Stage (USA, 85min.)
Director: David Meyer
WORLD PREMIERE
In South Africa 's emerging world of stand-up comedy, comedians of color have only recently started performing on stage. With the opportunity to finally command the attention of a large audience, they go beyond just settling for easy laughs and confront the legacy of apartheid head on in their material. Against the backdrop of this volatile environment, twenty-five year old Trevor Noah attempts his first one-man show, despite his lack of experience performing on stage. Revisiting his past, he creates material from memories of growing up in the township under apartheid. Yet as he prepares, Trevor faces a multitude of challenges: an underdeveloped comedy scene, criticism from other comics, strained personal relationships, lingering racial tension, and a shocking family tragedy. They combine to form a crisis that threatens not just the success of the show, but Trevor's dreams of lifting himself and the South African comedy scene to the global stage.

Thank You For Judging (USA , 91min.)
Directors: Michael Urie, Sean Fornara, Selma Al-Faqih, Travis Flournoy
WORLD PREMIERE
In the spirit of Spellbound and American Teen, actor Michael Urie returns to his former High School to document a unique form of speech competition referred to as oral interpretation. Thank You For Judging tracks a group of teens with determined hearts and minds, not to mention talent, as they train and compete in hopes of winning first place at theTexas State Finals Tournament in Plano, Texas. Each year, the best from across the state come to be judged. Join Urie as he follows this young, passionate group of teens on a quest for more than just a trophy, but for a way to express themselves. Thank You for Judging is inspiring in how it gently reminders us of how commonplace events can be immeasurably influential in developing character and instilling values in today's youth.

When Dreams Take Flight (Canada, 54min)
Writer/Director: Sheona McDonald
WORLD PREMIERE
Through a series of fascinating stories about brilliant, obsessed and often courageous characters, spanning six centuries and two continents, When Dreams Take Flight explores the genesis, myth and reality of why humans are compelled to fly like birds and what six hundred years of failed experiments have taught us. But one man is determined to make it happen. Todd Reichert is a determined student at the University of Toronto who is set on building and flying the first human-propelled ornithopter. He and a small team workout diligently to accomplish what Da Vinci only dreamt of - pilot a human powered flying machine. If successful, this small group of Canadians will have a place in the aviation history books. This exciting film begins with the myth of Icarus, then travels through the dreams of DaVinci before moving into the 19th century with pioneers like Otto Lilienthal and Alexander Lippisch and finally landing with modern day characters like Yves Rousseau. When Dreams Take Flight is a film about dreams and dreamers, a film about people who are willing to risk life and limb to follow their hearts and chase a dream that has existed since the dawn of man.

Darwin (Switzerland , 98 min)
Writer: Taylor Segrest
Director: Nick Brandestini
REGIONAL PREMIERE
Darwin is an isolated community at the end of a weathered road in Death Valley , California with a population of 35 people . Propelled from society by tragic turns, the people of Darwin must now find ways to coexist in a place without a government, a church, jobs, or children. This near-ghost town's survival depends on a fragile, gravity-fed waterline that descends from the mountains where top-secret weapons are being tested. One 'accidental' drop of a bomb, they half-joke, could wipe out their entire town. Come and meet the people of Darwin.

Stories From An Undeclared War (USA , 82 min)
Director: Dennis Rice
REGIONAL PREMIERE
Stories from an Undeclared War is a feature-length documentary about The Freedom Writers Diary, a collection of journal entries written by 150 'at-risk' students from Long Beach , California who were once considered 'unteachable.' Encouraged by teacher Erin Gruwell and inspired by the writings of Anne Frank, the students discovered a new way to express themselves and began to care more about history, humanity, and perhaps most importantly, their futures. This new documentary follows their story from the first day of Freshman Year in 1994 to the present day. Containing intimate accounts from the students of Woodrow Wilson Hight School's Room 203, Stories from and Undeclared War exposes the truth behind this extraordinarily inspiring story.

Goold’s Gold (USA , 90 min)
Director: Tucker Capps, Ryan Sevy
REGIONAL PREMIERE
Jonathan Goold has discovered gold! Or so he thinks. Convinced that there's gold hidden in the recently exposed hills of the Alaskan wilderness due to the melting glaciers of global warming, Goold sets in motion events to find his treasure. With heart, a reckless adventurous spirit, and a group of supportive pals, Goold sets out on a quest to find gold. Set against the backdrop of the breathtaking Alaskan wilderness, Goold's Gold is an offbeat global warming adventure that takes us on a journey not only for gold, but one of self-discovery, friendships, and of course, hidden treasure. Join Jonathan Goold as he hunts for gold where no man has ever set foot.

The Art of the Pitch by Max Adams

2011-10-15T16:17:00.004-05:00

In anticipation of the bevy of AFF Pitch Sessions, VH-1 Pitch Sessions, High School Pitch sessions, bar pitches, standing in line at the theater pitches and, of course, the old - and sometimes effective - elevator pitches about to hit this city, we asked Max Adams to share some of her best tips on pitching. Read on and good luck!

The Art of the Pitch by Max Adams

Pitching is story telling. It is also, however, selling. And it is the "selling" part that makes people crazy. Perfectly normal people will go into a meeting to pitch, or pick up the phone to pitch, or be standing in an elevator or supermarket line and suddenly have the opportunity to pitch -- and choke. This is in part being nervous, thinking too much is riding on performing well. It is also an unfamiliarity with what needs to be said, which results in people being unsure of themselves and the bottom dropping out when they are in the hot seat.

Pitching really is not that hard if you simply think of it as story telling. Which is exactly what it is: You telling someone your story. And if you can relax, and just fall into what it is you like about your story -- and presumably you do like it, it is your story and if you do not like it who will? -- you can tell your story to anyone. All you have to do is put faith in the story and tell it.

That’s the story telling part. But there is that other part: The selling part.

There are several different types of pitch. One is the full on meeting pitch. That lasts anywhere from a half hour to forty-five minutes -- and less is better. One is the short one liner pitch. That’s what goes in query letters or what you spit out over the phone, essentially the premise statement. Another is a sort of in-between pitch, what you could call the elevator pitch. You’ve got one to three minutes from floor one to floor ten -- ready, get set, go!

We’re going to talk about the basic executive meeting pitch here. We will come back to the shorter pitches later on.

When you pitch an executive or a producer, he or she is going to have to be able to tell someone else the same story you just told him or her. And if it goes well, the person he or she tells the story to will tell it again, to someone higher up the ladder, and if it keeps going well, the story will slowly make it up the food chain in the studio system all the way to the president of the studio. And if the president of the studio likes it, and “gets” the “movie,” feels like this story is a movie, and a good one -- he or she can buy the pitch.

If he or she doesn’t feel like it is a movie, he or she won’t buy the pitch. And notice, to get to the president of the studio, the pitch had to go from your mouth through a sort of telephone game all the way up to the studio president, remaining more or less intact, and had to “feel” like a “movie” when it got there.

The difference between a pitch feeling like a movie as it goes from one person to the next, being told on its way up the food chain – or not feeling like a movie -- is whether or not you have included the necessary story elements in a pitch that a producer, and later an executive, and later still a studio head, needs to hear in a pitch. There are five elements that have to be there:

The Five Pitch Elements:

•Premise Statement
•Opening
•Characters
•Turning Points
•Climax

Premise Statement: A premise statement is, essentially, the title, the genre, the protagonist, the protagonist’s story goal, and story stakes if there are big stakes. For example, Jaws is an action drama about a sheriff who must hunt and kill a monster Great White shark that is terrorizing his small island community -- before the shark wipes his community off the map. Lord of the Rings is a fantasy action adventure about a hobbit who must transport an evil ring of power across the land and destroy it in the fiery pit is was forged in -- or the ring’s evil creator will plunge the hobbit’s world into darkness forever.

Premise statements are pretty easy if you remember the parts that go into them:

[Title] is a [Genre] about [Protagonist] who must [Protagonist’s Goal] or else [Stakes if Protagonist Fails].

That’s a plot driven action picture. There is another kind of story: The situational story. In a situational story, there are no big stakes if the protagonist fails, but there is a defined central problem for the protagonist in the story. Moonstruck is a situational story. Moonstruck is a romantic comedy about a woman who falls in love with her fiancé’s brother. Note the goal is not mentioned there. It could be. I could say Moonstruck is a romantic comedy about a woman determined to marry a safe man she does not love – there is a definite goal in Moonstruck. But that does not define the conflict in Moonstruck, which is the protagonist falls in love with her fiancé’s brother. Kind of a big problem if you are planning to get married to your fiancé.

The defining difference between a plot driven premise statement and a situation driven premise statement is, where is the conflict in the story? Generally, in a quiet character driven piece, it will be in the situation, whereas, in an action driven piece, it will be in the goal versus stakes.

Opening: The opening of a film is the first clue about the story world an audience is entering. Likewise, describing a script’s opening scene in a pitch visually sets the person who is hearing a pitch in the story world. Think about pitching Jaws. Who in their right mind wouldn’t set the stage with that opening in the pitch? Openings do not always have to be in the pitch, but they are a nice way to open a pitch and set a visual tone for the hearer. And if you’ve got a big cinematic opening – always a plus – use it.

Characters: Characters absolutely have to be in the pitch. Not every character in the story. You want to focus on the protagonist first, and then any important secondary characters in the story. And you don’t go into huge details, you just give someone enough information to get a handle on the character. This is a lot like a character’s introduction in the script. If I were introducing Marshal Gerard from the fugitive, I might give him almost verbatim the introduction he gets in The Fugitive. Buzz saw hair cut. Clothes that spell cop. Shoes that have been shined a million times – and still shine in spite of the miles on them. A cop without a single vice, and one who always gets his man.

Turning Points: Once you’ve introduced the central dilemma in the premise statement, set the stage with an opening scene, and segued into the most important characters in the piece, it is time to start turning the story. Turning points are points in the story in which there is a shift in power/story dynamics. For example, in Die Hard, John McClane is trapped in a high rise with bad guys – so he sets off the fire alarm. That’s a shift in power, help is on the way. But the bad guys disable the alarm and call off the fire department. Oops. Another shift in power, this time power has shifted to the bad guys.

You can think of turning points in terms of a good news/bad news joke. Good news, the fire department is coming. Bad news, the fire department isn’t coming. Good news [sticking with Die Hard], the police are coming. Bad news, the police are leaving. Good news, the police are staying. Bad news, the bad guys are kicking police ass.

Those are turning points. Good news, bad news, when power in the story shifts. You only want to use the big turning points. You wouldn’t, for example, if you were pitching Die Hard, describe every fight in the script. There are lots of fights. Telling them all would take two hours and you haven’t got two hours, with a full story pitch which is what I am defining here, you’ve got between half an hour and forty-five minutes so you have to use the big turning points that really drive the plot, and leave the rest out.

Climax: After you’ve beaten out the big story points for your listener – which are hopefully escalating and building up to a big pay off – you want to close your pitch with the big climax. In Moonstruck, this would be when the fiancé shows and says he can’t marry Loretta and Loretta is objecting, “A promise is a promise!,” while the brother is sitting there ready for a stand off with his brother and now agog the woman he loves is fighting over being set free to marry him. In Die Hard, it’s the big stand off with Hans Gruber who is holding the protagonist’s wife at gunpoint – only to get himself knocked out a window and try to take the protagonist and the wife with him when he falls.

Never close a film pitch without the big ending.

*Excerpted from The Art of the Pitch, a lecture series from Max Adams & The Academy of Film Writing, http://theafw.com

Thanks, Max!

Conference Intern Katherine Freeman's Schedule!

2011-10-12T11:04:00.000-05:00

Hey guys! My name's Katherine Freeman and I'm a conference intern at the 2011 Austin Film Festival. I am currently a student at Southwestern University in Georgetown, TX pursuing a degree in English with a minor in film studies. I am an aspiring screenwriter and would love to be able to visit and watch all of the panels we have scheduled this year during our Conference (October 20-23). However, I'm an intern and there's much work to be done during the Festival so I won't have time to go see the panels I would like to.

If I wasn't working though, I would buy a Conference Badge so that I'd have unlimited access to all of the panels for the entire conference, entry into all eight days of festival screenings, along with many more benefits. The following would be my schedule:

Roundtable: The Creative Side
Complex Characters: A Conversation with Lawrence Kasdan
Comedy - The Hardest Genre?
The Art & Craft of Screenwriting
The Creative Career: What You Need to Know
Writing for Animation: The Writers’ Perspective
A Conversation with 2011 Outstanding Television Writer Awardee Hart Hanson
A Conversation with 2011 Extraordinary Contribution to Filmmaking Awardee John Lasseter
A Conversation with 2011 Distinguished Screenwriter Awardee Caroline Thompson
The Art of Storytelling with the 2011 Awardees
Script-to-Screen: Veronica Mars with Rob Thomas
Exclusive Staged Reading of “The Nice Guys”

The films I am most looking forward to are: EDWARD SCISSORHANDS, METROPOLITAN, BENEATH THE DARKNESS, SMALL AND CREEPY FILMS, ALBERT NOBBS, AMERICAN TEACHER, THE DESCENDENTS, JEFF WHO LIVES AT HOME, LET GO, SHAME, AND LOREN BOUCHARD AND JIM DAUTERIVE'S PILOT BOB'S BURGERS

Conference Intern Christina Burlison's Festival Schedule

2011-10-11T15:14:00.003-05:00

Hello all! Meet me: Christina Burlison. I'm a screenwriter, a graduate from UT Austin's Graduate Screenwriting program and I'm currently interning with the Austin Film Festival, which I love, by the way.

This year, my feature YEAR OF THE COCK a romantic comedy about a heartbroken lesbian who wants to know what's so special about the opposite sex, made it to the second round in comedy. My pilot DREAM SCREEN, a police procedural about a man who dreams of murder 48 hours before it occurs made it to the Second Round also.

If I weren't a Second Rounder, and didn't have the opportunity to attend all the Second Rounder panels, my schedule would include:

A Conversation with Alec Berg
Roundtable: The Creative Side
Roundtable: The Business Side
Raising Stakes, Reversals, and Payoffs: A Conversation with Shane Black
A Shot of Inspiration
Script-to-Screen: FIGHT CLUB with Jim Uhls
Roundtable: Television
In the TV Writers' Room
A Conversation with 2011 Distinguished Screenwriter Awardee Caroline Thompson
The Art of Storytelling with the 2011 Awardees

The films I am most excited to attend include: BUTTER, THE DESCENDENTS, DESPICABLE DICK AND RIGHTEOUS RICHARD, EDWARD SCISSORHANDS, JEFF WHO LIVES AT HOME, THE RUM DIARY, and Kyle Killen's Pilot "Awake."

What are you going to attend?

What Conference Intern Jeff Storms Would Go To If We Didn't Have Him Working 24-Hours-A-Day

2011-10-10T17:18:00.004-05:00

Greetings and salutations, Festivalgoers! I, Jeff Storms, am a screenwriter, sound designer, musician, and producer who has worked in Austin for the past six years. I’m a graduate of the UT Austin Radio-TV-Film program and I also have worked for the University of Texas Institute for Geophysics and the University of Houston Department of Earth and Atmospheric Sciences as a research scientist and project consultant since 2007, specializing in geographic database analysis and research project management.

As a writer, my screenplay, WHEN THE MOON RISES, an existential murder mystery set in Texas Hill Country, was a finalist for production in the University of Texas Film Institute (UTFI) program in Spring 2009, and in summer 2011, myself and my writer/director colleague established Keymaster Films, an Austin-based production company set to produce WHEN THE MOON RISES as well as two other screenplays that I’ve co-written. I ultimately hope to independently produce my work with a number of my co-conspirators in Austin and to work as a screenwriter on both studio and independent films.

In the past, I’ve attended individual screenings at the Austin Film Festival, but this year will mark the first time that I’ll be attending panels, as well. If I weren’t working at the Stephen F. Austin Hotel during this year’s conference, my schedule would probably look something like this:

Thursday, 10/20
12:00pm-12:30pm – Opening Remarks
1:00pm-2:15pm – A Conversation with Alec Berg
2:45pm-4:00pm – Complex Characters: A Conversation with Lawrence Kasdan

Friday, 10/21
9:00am-10:15am – Breaking into the Business: A Conversation with Brian McGreevy and Lee Shipman
10:45am-12:00pm – Based on a True Story
1:45pm-3:00pm – The Creative Career: What You Need to Know
3:15pm-4:30pm – A Shot of Inspiration

Saturday, 10/22
9:00am-10:15am – Authors and Screenwriters: Adaptations and Writing in Different Mediums
10:45am-12:00pm – A Conversation with 2011 Extraordinary Contribution to Filmmaking John Lasseter
12:30pm-3:30pm – Independent Filmmaking: Pre-Production and Production
3:45pm-5:00pm – A Conversation with 2011 Distinguished Screenwriter Awardee Caroline Thompson

Sunday, 10/23
11:30am-12:45pm – How to Take a Meeting & the Development Process
1:15pm-3:15pm – Endings: The Good, the Bad, and the Insanely Great with Michael Arndt
4:30pm – Exclusive Staged Reading of “The Nice Guys” directed by Shane Black

If Your Tastes Run Toward the Macabre...

2011-10-09T17:57:00.004-05:00

Still from DEADHEADS

If your tastes run toward the macabre - whether straight horror, zombies, psychological warfare, or the terrors of real life, we've got you covered day and night. Fans, filmmakers and scribes of the darker genres, this schedule's for you.

And guess what? The Conference and Producers Badges both get you access to ALL of the below - including priority line for the screenings - and more!

By Day...

THURSDAY 10/20/11
2:45pm-4:00pm
Words That Go Bump in the Night: Writing Horror
Driskill Hotel, Ballroom
Scaring the pants off people requires more than just dramatic lighting, monster blood, and Dutch angles. Join this discussion on the language, style, and techniques used to write a convincing and enthralling horror film with writers whose films are sure to keep you up all night.
Alvaro Rodriguez, Juliet Snowden & Stiles White, Beau Thorne
Moderated by Fred Strype

FRIDAY 10/21/11
1:45pm-3:00pm
Graphic Novels and Comic Books: Translating Them to the Screen
Stephen F. Austin Hotel, Ballroom
From Spiderman to Watchmen, comic books and graphic novels are king and have cemented themselves as a diverse commercial and artistic medium whose cinematic adaptations have become some of the most successful films in recent memory. Join the conversation about the complex and conflicted journey of adapting well-known and well-loved stories to film and living up to fans' demanding expectations.
Cort Lane, Chuck Mondry, Beau Thorne, John Turman
Moderated by Álvaro Rodríguez

SATURDAY 10/22
9:00am–11:00am
Script-to-Screen: FIGHT CLUB with Jim Uhls
Driskill Hotel, Maximilian Room
With script in hand and film clips on the screen, writer Jim Uhls (FIGHT CLUB, SEMPER FI, JUMPER) will dissect his critically acclaimed screenplay FIGHT CLUB, discussing his writing process, what worked, what didn't, what needed to be changed for film production and why. This case study will contain information that screenwriters and filmmakers can apply to their own works. Presented with the Texas Book Festival. Uhls will be joined by novelist Chuck Palahniuk (Fight Club).

10:45am–12:00pm
Hart Hanson and Kathy Reichs: The Collaboration Process
Driskill Hotel, Ballroom
Since 2005, writer/producer Hart Hanson and author Kathy Reichs have closely collaborated on the hit Fox television series Bones, based on the international bestselling books, to put a creative spin on forensic anthropology. In this panel, the duo will offer insight into the collaborative process, the importance of research and real-life experience, and how two heads can be better than one when running a popular, long-running television show. Presented with the Texas Book Festival.
Moderated by Noah Hawley

2:15pm-3:30pm
Zombies, Apes, and Vampires: Breathing New Life into Old Genres
Stephen F. Austin Hotel, Ballroom
Just when you thought it was safe to go back to the drive-in, the heroes and monsters from the B-movies of yesteryear have experienced a rebirth over the past few years as films like ZOMBIELAND and RISE OF THE PLANET OF THE APES take the tried-and-true monster movie formula and reinvigorate it. This panel will explore the evolution of monster genre over the years and how filmmakers today continue to find new ways to interpret to their old favorites.
Rick Jaffa, Rhett Reese, Alvaro Rodriguez, Amanda Silver
Moderated by Drew Yanno

2:15pm–3:15pm
Caroline Thompson and Steve Nicolaides Present: “Small & Creepy Films”
Austin Convention Center Screen 2
Eager to encourage the strange and idiosyncratic in young filmmakers, 2011 AFF Distinguished Screenwriter Award Recipient Caroline Thompson (EDWARD SCISSORHANDS, THE ADDAMS FAMILY, THE NIGHTMARE BEFORE CHRISTMAS) and her husband, producer Steve Nicolaides (BOYZ N THE HOOD, LITTLE BIG LEAGUE, SCHOOL OF ROCK) founded and run the website Small & Creepy Films at www.smallandcreepy.com. This is a presentation of the “best of” Small & Creepy Films.

3:45pm–5:00pm
A Conversation with 2011 Distinguished Screenwriter Awardee Caroline Thompson
Stephen F. Austin Hotel, Ballroom
Caroline Thompson's credits include EDWARD SCISSORHANDS, THE ADDAMS FAMILY, HOMEWARD BOUND: THE INCREDIBLE JOURNEY, THE SECRET GARDEN, THE NIGHTMARE BEFORE CHRISTMAS, BLACK BEAUTY, BUDDY, and CORPSE BRIDE. She is currently working on adaptations of Melissa Marr’s novel Wicked Lovely and Mikhail Bulgakov’s The Master and Margarita.
Moderated by Pen Densham

By Night...

Below Zero (Canada)
Writer: Signe Olynyk
Director: Justin Thomas Ostensen
Cast: Edward Furlong, Michael Berryman, Kristin Booth, Dee Hanna
US PREMIERE
Jack (Furlong), a once successful screenwriter trying to overcome his new reputation as ‘Jack the Hack,’ arranges to be locked inside a meat cooler in an attempt to cure his writer’s block. As the temperature falls and his frenzy rises, Jack finds it more and more difficult to distinguish between his work and his present situation. Is he writing the best script of his career, or is he losing his mind? Strangely enough, the film is based on true events. The actual screenwriter of the film, Signe Olynyk, locked herself in the meat freezer of an abandoned slaughterhouse, and the film was ultimately shot at this very location, further blurring the line between reality and fiction. Featuring horror icon Michael Berryman (“The Hills Have Eyes”)
Saturday, October 22 – Alamo Ritz
Wednesday, October 26 – Texas Spirit Theater

Beneath the Darkness (USA, 97 min.)
Writer: Bruce Wilkinson
Director: Martin Guigui
Cast: Dennis Quaid, Tony Oller, Aimee Teegarden, Stephen Lunsford, Devon Werkheiser, Brett Cullen
WORLD PREMIERE
A group of high schoolers visit the local “haunted house” for a few laughs, but they soon realize that the horror inside is very serious. The house is inhabited by Ely (Quaid), a local hero, but he doesn’t seem to be the only one living there. After watching their best friend get murdered, the terrified teenagers struggle to expose Ely as the psychopathic killer and avoid becoming his next victims. Quaid delivers a staggering, maniacal performance in a film that was born at the 2003 AFF when director Martin Guigui met writer Bruce Wilkinson at a Q&A.
Saturday, October 22, 6:30pm – Texas Spirit Theater
Sunday, October 23, 5:00pm – Alamo Ritz

DeadHeads (USA, 96 min.)
Writers/Directors: Brett Pierce, Drew Pierce
Cast: Michael McKiddy, Ross Kidder, Markus Taylor, Thomas Galasso, Natalie Victoria, Eden Malyn
REGIONAL PREMIERE
A self-described 'zombedy' that is sure to please both horror and action-adventure fans alike, this frighteningly hilarious film is a return to the great comedy/adventure films of the 80's like “Back to the Future” and “The Goonies.” The story follows two zombie slackers, Mike and Brent, who find themselves surprisingly reborn from the dead during a disastrous zombie outbreak. After discovering an engagement ring in his coat pocket, Mike enlists his new zombie pal, Brent, to embark on a quest in search of his lost love, resulting in a hilarious cross country road trip with zombie-killing bounty hunters in hot pursuit.
Thursday, October 20, 10:00pm – Alamo Ritz
Sunday, October 23, 8:30pm – Austin Convention Center Screen 2

Some Guy Who Kills People (USA, 93 min.)
Writer: Ryan Levin
Director: Jack Perez
Cast: Kevin Corrigan, Barry Bostwick, Karen Black, Leo Fitzpatrick, Ariel Gade, Lucy Davis
REGIONAL PREMIERE
Ken Boyd (Corrigan) has just been released from the mental hospital where he was treated for severe depression following a suicide attempt several years ago. With nowhere else to go, Ken heads back to his hometown of Green Oaks and moves in with his overbearing mother, Ruth (Black). With his life at an all-time low, Ken plans to get revenge on everyone he holds responsible for his miserable fate. However, Ken’s plan for revenge is threatened when his estranged daughter, Amy, now 11 years old, shows up and asks to spend the week with him. Will Ken be able to complete his mission of killing the people who ruined his life?
Friday, October 21, 11:30pm – Alamo Ritz
Thursday, October 27, 9:15pm – Regal Arbor

You can check out the full panel, film and party schedule here.

Really, I Just Want to be a Working Writer

2011-10-06T18:12:00.005-05:00

Okay, so maybe you don't need any more inspiration. You figure your script is already the best it can be, or that you'll work on it when you get back home. What you're coming here for is to launch your freaking career, already - sell your script, get hired for rewrite work, get staffed on a show.

Here's your schedule. And, whatever you do, don't miss the parties - the best place to meet and network with the top players in Hollywood.

THURSDAY 10/20/11
12:00pm-12:30pm
Opening Remarks
Driskill Hotel, Ballroom
The Austin Film Festival welcomes you to its 18th year of panels, intimate discussions, lively conversations, film premieres, special retrospective screenings, parties and limitless networking opportunities and inspiration. Join the staff along with AFF board members Shane Black and Lawrence Kasdan for Opening Remarks to find out about this year’s special events, last-minute additions and special guests.

1:00pm-2:15pm
How to Work the Film Festival: For Filmmakers
Driskill Hotel, Maximilian Room
The camera stopped rolling and the editor finished cutting but your job as a filmmaker is far from over. Get insider secrets on how to develop a marketing strategy and corresponding press kit, get audiences to go to your screenings, and work the festival circuit.
James Faust, Chris Holland, Paula Martinez, Kelly Williams
Moderated by Eugenio del Bosque

How to Work the Conference: For Writers
Stephen F. Austin Hotel, Ballroom
Want to get the most out of your time here? Get an agent, a writing partner, a script sold? Join these successful industry veterans who have attended the AFF Conference over the years and made the most of their time here – from networking to entering the Competitions. They were once in your shoes and have since made countless industry contacts, optioned and sold their scripts, and launched their film careers. Find out how to maximize your Badge and your time here at the Conference!
Richard Bever, Matt Dy, Tom O’Connor

2:45pm-4:00pm
Sustaining a Writing Career Outside of LA
Driskill Hotel, Jim Hogg Parlor
As the pace of technology catches up and film communities grow in cities throughout the world, writers are finding it easier and easier to work outside of Hollywood. Join the discussion on ways to maintain your writing career away from the main centers of film production.
James V. Hart, Tim McCanlies, Monte Williams
Moderated by Stuart Kelban

Breaking into the Business: A Conversation with Ashley Lyle and Bart Nickerson
Driskill Hotel, Maximilian Room
Ashley was a finalist in the 2005 AFF Teleplay Competition, and in 2007, she went on to win the AFF Teleplay Competition with a Scrubs spec. During this time she met her writing partner, Bart, who had been performing improv comedy at both the Improv Jam in Red Bank, NJ, and the UCB Theater in New York City. Their first collaboration, a 30 Rock spec, won best teleplay at the 2008 Columbia Film Festival and they have been working together ever since. Now she and Bart have been hired to write the adaptation of the YA novel SKELETON CREEK for Intrepid Pictures, and recently sold a pilot to ABC Family -- the adaptation of another series of YA novels, THE BIG EMPTY. Join this conversation with Ashley and Bart as they share their experiences and advice on getting into and navigating The Business, marketing themselves as writers, writing as a team, and working in both features and TV.

FRIDAY 10/21/11
9:00am-10:15am
Roundtable: The Business Side
St. David’s Episcopal Church, Crail Hall
Get in-depth answers to your questions about the business of screenwriting. This session offers registrants exclusive access to executives, studio reps, agents, managers, producers and attorneys in an informal setting. Take advantage of this invaluable opportunity to ask those burning questions like how do I get an agent? Do I also need an attorney or manager? What’s the dynamic/relationship I can expect? Are studios buying spec scripts? Am I hurting my chances of selling my script if I ask to direct it? This is your opportunity to ask all this and more, without being charged by the hour or giving up a percentage of your script sale.
Katherine Brown, Mary Coleman, Cort Lane, Barry Josephson, Leif Lillehaugen, Maggie Malone, Justin Manask, Reeva Mandelbaum, Gayla Nethercott, Bonnie Orr, Ryan Saul, Mark Vahradian, Eric Weissman

Breaking into the Business: A Conversation with Brian McGreevy and Lee Shipman
Driskill Hotel, Maximilian Room
Brian and Lee met in grad school at the UT Michener Center for Writers in 2004, and submitted a jointly written script to the 2006 AFF Screenplay Competition. The script didn’t win, and in fact, it didn’t make it past the Second Round. But, they’ve attended the Conference for years, gleaning “an immense amount of helpful stuff on a practical as well as craft issues,” and have since had their original scripts appear multiple times on the Black List. They are currently writing HARKER, an adaptation of Bram Stoker's Dracula, for Warner Bros, director Jaume Collet-Sera, and producer Leonardo DiCaprio. Other feature projects in development include the King Arthur epic PENDRAGON for New Regency and director Sylvain White, and an updated ZORRO for Fox. Join this conversation with Brian and Lee as they share their experiences and advice on getting the most out of the Conference, navigating The Business, marketing themselves as writers, and writing as a team.
Moderated by Dawn Wiercinski

10:45am-12:00pm
Breaking into the Business: A Conversation with Bryan Brucks, Tim Talbott, and Cindy McCreery
Driskill Hotel, Maximilian Room
You’ve got a script and are more than willing to write all kinds of material, but how do you turn your passion into a viable (and hopefully profitable) career? Join Bryan Brucks (DEEP IN THE VALLEY), Tim Talbott (South Park), and Cindy McCreery (FREE WILLY: ESCAPE FROM PIRATE’S COVE) as they share their experiences, successes, and failures breaking into the film industry.
Moderated by Drew Yanno

Writing for Animation: The Studios’ Perspective
Stephen F. Austin Hotel, Assembly Room
Where do the ideas for animated features come from? How do animation studios find writers? How do they work with them? Take a look inside the process with Development Execs from Blue Sky Studios, Disney Animation, and Pixar Animation Studios. They’ll walk you through the elements of their creative process (pitching, research, treatment, outline, script, and reels) using examples from great animated movies.
Mary Coleman, Lisa Fragner, Maggie Malone

1:45pm-3:00pm
Agent-Client Relationships
Driskill Hotel, Citadel Room
You often hear how an agent works to get a writer or filmmaker noticed in the entertainment industry, but how do you get in touch with one? At what point should you seek one out, and how do you know which agent is right for you? This panel will explain the who, what, where, when, how, and why of agent-client relationships for budding filmmakers.
Rebecca Ewing, Amy Talkington
Moderated by Drew Yanno

The Creative Career: What You Need to Know
Driskill Hotel, Ballroom
A panel of successful professional writers will discuss what you need to know when setting out on your career as a writer,the common pitfalls to avoid and what the Writers Guild of America, West can do for you. This panel is presented by WGA, West.
Lawrence Kasdan, Craig Mazin, Daniel Petrie Jr., Rhett Reese
Moderated by Howard A. Rodman

Breaking into the Business: A Conversation with Julie Howe and Joyce San Pedro
Driskill Hotel, Maximilian Room
In 2010, Julie Howe's original script JASPER MILLIKEN won the AFF Screenplay Competition in the comedy category. After the script was acquired by Experience Media Studios, Julie introduced Joyce San Pedro, Creative Executive for Zhiv productions and AFF judge and panelist, to Michael-Ryan Fletchall of EMS. San Pedro quickly signed on with the developing project tentatively scheduled for release in 2013. Join this conversation with Julie and Joyce as they share their experiences and advice on the development process, the writer's relationship with the production company, taking meetings, and navigating The Business.
Moderated by Matt Dy

3:15pm-4:30pm
Roundtable: The Business Side
St. David’s Episcopal Church, Crail Hall
Get in-depth answers to your questions about the business of screenwriting. This session offers registrants exclusive access to executives, studio reps, agents, managers, producers and attorneys in an informal setting. Take advantage of this invaluable opportunity to ask about current trends in the marketplace. Are studios buying spec scripts? Are you hurting your chances of selling your script if you ask to direct it? This is your opportunity to ask all of these questions and more, without being charged by the hour or having to give a percentage of your script sale.
Richard Bever, Katherine Brown, Bryan Brucks, Curtis Burch, Jon Cohen, Allison Doyle, Tai Duncan, Lisa Fragner, Deena Kalai, Maggie Malone, Noreen O’Toole, Stu Pollard, Ed Radtke, Mark Vahradian, Meta Valentic

Agents and Managers
Driskill Hotel, Maximilian Room
A panel for anyone interested in learning current practices for how to go about getting an agent or manager, the roles of each – do you need both? - and how they work together. Also, what are realistic expectations for your relationship? They’ll also discuss how to be a great client and when you should look for someone new.
Melissa Breaux, Rebecca Ewing, Justin Manask, Gayla Nethercott
Moderated by Stuart Kelban

Writing for Animation: The Writers’ Perspective
Stephen F. Austin Hotel, Assembly Room
Is writing for animation different than for live action? How do animation studios find writers? How do they work with them? Take a look inside the process with several successful animation writers. They will step through the elements of their creative process (pitching, research, treatment, outline, script, and reels) using examples from great animated movies.
Jason Eaton, Mike Fry, Rita Hsiao, Kiel Murray
Moderated by Greg Garrett

SATURDAY 10/22
10:45am–12:00pm
Roundtable: Television
St. David’s Episcopal Church, Crail Hall
Get in-depth answers to your questions about the craft and business of writing for television. This session offers registrants exclusive access to TV writers, producers, showrunners and directors in an informal setting.
Sterling Anderson, Alec Berg, Jay Edwards, Dan French, Kyle Killen, Ashley Lyle, Bart Nickerson, Noreen O’Toole, Daniel Petrie, Jr., Nancy Pimental, Pamela Ribon, Malcolm Spellman, Tim Talbott, Donald Todd, Meta Valentic

The Heroine’s Journey: Writing and Selling the Female-Driven Screenplay
Driskill Hotel, Citadel Room
Panelists will discuss both the creative side of writing female characters and the business-related challenges of working in the male-dominated film industry.
Pamela Gray, Elizabeth Hunter
Moderated by Cindy McCreery

2:15pm-3:30pm
In the TV Writers’ Room
Driskill Hotel, Ballroom
This panel will cover everything about writing for TV: getting hired on a staff, the code of conduct once you’re there, the jarring pace at which you'll have to work and write, the new paradigms for pilot structures, how spec pilots become successful primetime television shows, ensuring you stay employed, and more.
Sterling Anderson, Noah Hawley, Nancy Pimental
Moderated by Monte Williams

3:45pm–5:00pm
Showrunners
Driskill Hotel, Ballroom
A discussion on the role of showrunners, their effect on the direction of a show, and how they put together and work with their writing team.
Rodrigo Garcia, Kyle Killen, Rob Thomas, Donald Todd
Moderated by Barry Josephson

SUNDAY 10/23
11:30am–12:45pm
On the Level
Driskill Hotel, Citadel Room
This panel breaks down TV staffing from intern to showrunner and offers advice on how to get inside a writer's room . . . and stay there. What does "executive producer" mean, anyway? What's a "Mid-Level," and is it a good thing? Donald Todd and Pamela Ribon discuss the politics of pitching jokes, taking notes, and the dangers of being funny while female. Think you'd be strong enough to survive?
Moderated by Monte Williams

1:15pm–2:30pm
Producing Outside the Norm: A Conversation with Elizabeth Avellán
Driskill Hotel, Citadel Room
Elizabeth Avellán is the Co-Owner—with writer/director Robert Rodriguez—and Vice President of Troublemaker Studios and President of EYA Productions. She began her producing career when she co-founded Los Hooligans Productions in 1991 with Robert Rodriguez as the two began their feature film project, EL MARIACHI. Made for just $7,000, EL MARIACHI, was the winner of the 1993 Audience Awards at the Sundance and Deauville Film Festivals. Her additional producing credits include DESPERADO, FROM DUSK TILL DAWN I, II & III, THE FACULTY, SPY KIDS I—IV, SIN CITY, PREDATORS, GRINDHOUSE, and MACHETE among others. Through her EYA Productions banner, she produced the recently wrapped holiday feature film, WHEN ANGELS SING, directed by Tim McCanlies, starring Harry Connick Jr., Willie Nelson and Connie Britton.
Moderated by James Faust

2011 Roundtables!

2011-10-05T10:14:00.005-05:00

For the uninitiated, here's how Roundtables work: Roundtable sessions offer you exclusive access to production company executives, filmmakers, screenwriters, and producers. We offer Roundtables: The Business Side (mostly producers, executives, agents, attorneys, etc.) and Roundtables: The Creative Side (mostly screenwriters) - see below for the lists of participants and read their bios on our website.

Roundtables are not pitch sessions, but rather casual table meetings where you are encouraged to ask specific questions about the business of screenwriting and filmmaking. How can I get a writing job without a produced script? What sort of projects is your company looking for? Is it easier to get my foot in the door through television? Do I hurt my scripts chances if I insist upon directing it myself?

All Roundtables take place in the Crail Hall of St. David's Episcopal Church, located at 301 East 8th Street, just one block north of both the Driskill Hotel and the InterContinental Hotel. They run Thursday, 10/20 through Saturday, 10/22, on the same time schedule as the panels.

There are approximately 15 tables in the room with 8 chairs at each table. In one of the chairs is a panelist and in the other seats are you and your fellow AFF registrants. You all meet and talk for 25 minutes and then the panelist will be notified to move to another table. This happens twice, so you will get to meet with three panelists during each session.

How to sign up: These sessions fill up quickly! After you check in at Driskill Hotel registration and get your Badge, go up to the Mezzanine, where the Roundtable Registration table is located, to reserve your spot with Robbin Kohn or Krista Keosheyan. Roundtable Registration opens on Wednesday, 10/19!

You can sign up for only one Roundtable session during the Conference. Screenplay Competition Second Rounders and Semifinalists may sign up for one of their special sessions in addition to one of the general sessions. If you are a Second Rounder or Semifinalist who has pre-registered for a Roundtable session, be sure to go to the Roundtable Registration table on the Driskill Mezzanine to check in and get your dot.

THURSDAY 10/20/11
1:00pm-2:15pm
Roundtable: The Creative Side
St. David’s Episcopal Church, Crail Hall
Get in-depth answers to your questions about the art, craft and business of screenwriting. This session offers registrants exclusive access to professional screenwriters and filmmakers in an informal setting. This is your opportunity to ask for advice on what to keep in mind while writing your script, how to break into the business, deal with writers’ block, work in a writing team, work with a director, and more.
Max Adams, Ernest Cline, Michael Druxman, Jonah Lisa Dyer, Stephen Dyer, Mike Fry, Leon Ichaso, Tim McCanlies, Turk Pipkin, Bryan Poyser, Anne Rapp, Alvaro Rodriguez, Dan Rosen, Beau Thorne

2:45pm-4:00pm
Roundtable: The Creative Side
St. David’s Episcopal Church, Crail Hall
Get in-depth answers to your questions about the art, craft and business of screenwriting. This session offers registrants exclusive access to professional screenwriters and filmmakers in an informal setting. This is your opportunity to ask for advice on what to keep in mind while writing your script, how to break into the business, deal with writers’ block, work in a writing team, work with a director, and more.
Shane Black, Greg Carter, Jason Eaton, Dan French, David Garrett, Pat Hazell, Craig Mazin, Cindy McCreery, Brian McGreevy, Tom O’Connor, Bonnie Orr, Lee Shipman, Jenny Wingfield

FRIDAY 10/21/11
9:00am-10:15am
Roundtable: The Business Side
St. David’s Episcopal Church, Crail Hall
Get in-depth answers to your questions about the business of screenwriting. This session offers registrants exclusive access to executives, studio reps, agents, managers, producers and attorneys in an informal setting. Take advantage of this invaluable opportunity to ask those burning questions like how do I get an agent? Do I also need an attorney or manager? What’s the dynamic/relationship I can expect? Are studios buying spec scripts? Am I hurting my chances of selling my script if I ask to direct it? This is your opportunity to ask all this and more, without being charged by the hour or giving up a percentage of your script sale.
Katherine Brown, Mary Coleman, Cort Lane, Barry Josephson, Leif Lillehaugen, Maggie Malone, Justin Manask, Reeva Mandelbaum, Gayla Nethercott, Bonnie Orr, Mark Vahradian, Eric Weissman

10:45am-12:00pm
Roundtable: The Creative Side
St. David’s Episcopal Church, Crail Hall
Get in-depth answers to your questions about the art, craft and business of screenwriting. This session offers registrants exclusive access to professional screenwriters and filmmakers in an informal setting. This is your opportunity to ask for advice on what to keep in mind while writing your script, how to break into the business, deal with writers’ block, work in a writing team, work with a director, and more.
Greg Carter, Pen Densham, Michael Druxman, Harris Goldberg, James V. Hart, Jim Herzfeld, Leon Ichaso, Steve Nicolaides, Turk Pipkin, Juliet Snowden, Bob Soderstrom, Jim Uhls, Oren Uziel, Stiles White

1:45pm-3:00pm
Roundtable: The Creative Side
St. David’s Episcopal Church, Crail Hall
Get in-depth answers to your questions about the art, craft and business of screenwriting. This session offers registrants exclusive access to professional screenwriters and filmmakers in an informal setting. This is your opportunity to ask for advice on what to keep in mind while writing your script, how to break into the business, deal with writers’ block, work in a writing team, work with a director, and more.
Max Adams, Anthony Bagarozzi, Jonah Lisa Dyer, Stephen Dyer, Pamela Gray, Rick Jaffa, Tim McCanlies, Dan Rosen, Scott Rosenberg, Terry Rossio, Amanda Silver, Herschel Weingrod

3:15pm-4:30pm
Roundtable: The Business Side
St. David’s Episcopal Church, Crail Hall
Get in-depth answers to your questions about the business of screenwriting. This session offers registrants exclusive access to executives, studio reps, agents, managers, producers and attorneys in an informal setting. Take advantage of this invaluable opportunity to ask about current trends in the marketplace. Are studios buying spec scripts? Are you hurting your chances of selling your script if you ask to direct it? This is your opportunity to ask all of these questions and more, without being charged by the hour or having to give a percentage of your script sale.
Richard Bever, Katherine Brown, Bryan Brucks, Curtis Burch, Jon Cohen, Allison Doyle, Tai Duncan, Lisa Fragner, Deena Kalai, Maggie Malone, Noreen O’Toole, Stu Pollard, Ed Radtke, Mark Vahradian, Meta Valentic

SATURDAY 10/22
9:00am–10:15am
Roundtable: The Creative Side
(Second Rounders Only)
St. David’s Episcopal Church, Crail Hall
Get in-depth answers to your questions about the art, craft and business of screenwriting. This session offers registrants exclusive access to professional screenwriters and filmmakers in an informal setting. This is your opportunity to ask for advice on what to keep in mind while writing your script, how to break into the business, deal with writers’ block, work in a writing team, work with a director, and more.
Jonathan Aibel, Anthony Bagarozzi, Glenn Berger, David Garrett, Harris Goldberg, Nick Kazan, Kiel Murray, Howard A. Rodman, Scott Silver, Amy Talkington, John Turman, Ric Roman Waugh, Herschel Weingrod

10:45am–12:00pm
Roundtable: Television
St. David’s Episcopal Church, Crail Hall
Get in-depth answers to your questions about the craft and business of writing for television. This session offers registrants exclusive access to TV writers, producers, showrunners and directors in an informal setting.
Sterling Anderson, Alec Berg, Jay Edwards, Dan French, Kyle Killen, Ashley Lyle, Bart Nickerson, Noreen O’Toole, Daniel Petrie, Jr., Nancy Pimental, Pamela Ribon, Malcolm Spellman, Tim Talbott, Donald Todd, Meta Valentic

2:15pm-3:30pm
Roundtable: The Business Side
(Semifinalists and Above Only)
St. David’s Episcopal Church, Crail Hall
Get in-depth answers to your questions about the business of screenwriting. This session offers registrants exclusive access to executives, studio reps, agents, managers, producers and attorneys in an informal setting. Take advantage of this invaluable opportunity to ask those burning questions like how do I get an agent? Do I also need an attorney or manager? What’s the dynamic/relationship I can expect? Are studios buying spec scripts? Am I hurting my chances of selling my script if I ask to direct it? This is your opportunity to ask all this and more, without being charged by the hour or giving up a percentage of your script sale.
Richard Bever, Bryan Brucks, Curtis Burch, Jon Cohen, Lindsay Doran, Tai Duncan, Rebecca Ewing, Franklin Leonard, Leif Lillehaugen, Joyce San Pedro

3:45pm–5:00pm
Roundtable: Young Filmmakers Program
(AEO High School Students Only)
St. David’s Episcopal Church, Crail Hall
Get in-depth answers to your questions about the art, craft and business of screenwriting and filmmaking. This session offers high school students exclusive access to industry professionals in an informal setting.
Sterling Anderson, Melissa Breaux, Pen Densham, Jay Edwards, James V. Hart, Rita Hsiao, Elizabeth Hunter, Chuck Mondry, Tom O’Connor, Terry Rossio, Bob Soderstrom, Chris Trew, Oren Uziel

All panelists are confirmed, schedules permitting, and subject to change and/or cancellation without notice.

Austin Film Festival Interviews Amy Talkington!

2011-10-04T10:58:00.004-05:00

Writer/director Amy Talkington and Nick Stahl at the post-screening Q&A for AFF's 2006 screening of THE NIGHT OF THE WHITE PANTS

A writer and director, Amy most recently wrote the remake of VALLEY GIRL for MGM and is currently writing KICKED, BITTEN AND SCRATCHED for Summit Entertainment and the remake of PRIVATE BENJAMIN for New Line Cinema with Anna Faris set to star.

Amy wrote and directed THE NIGHT OF THE WHITE PANTS, which stars Oscar-nominee Tom Wilkinson, Nick Stahl and Selma Blair and was released by Image Entertainment in 2008 - and screened at AFF in 2006! Previously, Amy wrote and directed five short films which were selected for numerous festivals including The Sundance Film Festival and received a number of accolades including AFF’s Best Student Short.

In the television arena, Amy wrote the ABC Family movie "Brave New Girl" and co-wrote "Avalon High,” a children’s movie for which she won a 2011 WGA Award.

Originally from Texas, Amy graduated magna cum laude from Barnard College with a degree in Art History and earned an MFA in Film from Columbia University's Film Division.

Amy will be speaking on panels at this year's Conference, and we start the conversation here:

AFF: While working on new takes for both VALLEY GIRL and PRIVATE BENJAMIN, how much does the original source material influence your scripts? How will VALLEY GIRL and PRIVATE BENJAMIN differ from the originals and how much creative freedom do you have to alter the original source material?

Amy: In both cases the producers and I felt it was crucial to honor the original in spirit but not to be bound to the source material. For VALLEY GIRL, the concept that the producers brought to me was to remake it as a jukebox musical using all 80s songs. We use the framework of the original but expanded on it a great deal, working in a lot more character stuff as well as the bigger set pieces and musical numbers. For example, we gave Randy a lot more in the movie. He’s not just a guy who hangs out in Hollywood but he’s in a band (this of course also helps motivate some of the musical numbers). And, through him, Julie is exposed not just to her first love but also to cool music and art for the first time, sparking her own creativity.

We are departing further from the original in the PRIVATE BENJAMIN remake. The producers wanted to make a PRIVATE BENJAMIN set in the present day. Because the original is so much about feminism as it existed in the late 70s and early 80s, we had to rethink the lead character and her situation in a more radical way. We had to come up with a woman that felt more contemporary and had more contemporary problems than the Jewish American Princess who doesn't think she can live without a husband. Our Judy Benjamin is a victim of the "me generation," the "everyone gets a trophy" generation. She has been raised to think she's going to change the world but has never really lifted a finger. She has a very unrealistic view of her place in the world so being thrown into the Marines (where, for example, you cannot even use the words "I" or “me” during basic training) provides a lot of conflict and humor.

AFF: Working as a writer, director and producer, which of the three are you most passionate about?

Amy: For a long time, directing was my passion. I saw writing as a means to an end. I wrote things to direct or I wrote things to pay the bills (so I could direct things that didn’t pay the bills). But, more recently, my passion has shifted towards writing. Writing VALLEY GIRL really inspired me and showed me that I could write something that I was excited about within the studio system. I hadn’t previously had that experience and it really energized me and re-engaged me as a writer. I’ve been busy with assignments since then. I know I’ll direct again some day (hopefully soon) but at the moment, I’m writing my ass off.

AFF: As exciting as it must be to work on VALLEY GIRL and PRIVATE BENJAMIN, are you also anxious to again write and direct your own feature? We were so thrilled to screen NIGHT OF THE WHITE PANTS and wonder if you've already got in the works your next directing project.

Amy: I’m developing two projects that I want to direct but I’m taking my time with them. One of the great things about being so busy with these assignments is that I’m becoming a better writer every single day. I know that when I get back to my “personal” scripts, I’ll be able to look at them with fresh eyes and make them much better.

AFF: On that note, now that you've been in the industry for several years, how do you look back on NIGHT OF THE WHITE PANTS and the experience you had making it? Many filmmakers say they can't bear to look at their earlier works, how do you feel about it? Do you look back fondness and nostalgia, or do you only see mistakes?

Amy: I look back at the experience of making the movie with great fondness – I really loved my entire cast and crew. But when I look at the movie itself I only see my mistakes. I am definitely eager to direct another feature and use all that I learned from that experience.

AFF: What's your writing routine?

Amy: I like to write in the mornings before I get too distracted with life. Ideally I get to my desk by 8:00 AM and write until at least 1PM. Then, later in the day, I do meetings, conference calls, research or anything else I can do to distract myself from obsessing on how much whatever I wrote that morning probably sucks.

Thanks, Amy, and we'll see you soon!

How to do the Fest by Registrant Robert Hampton

2011-10-03T11:54:00.003-05:00

We asked longtime registrant Rob Hampton to give incoming attendees some advice on how to get the most out of the Austin Film Festival & Conference. Hampton's first year of attending the Conference was 2009 - the year we awarded Ron Howard, Mitch Hurwitz and Steve Zaillian - when he walked up and bought a Conference Badge at our Driskill Hotel Registration Center. He had such a great time that in 2010, he bought a Producers badge, AND introduced us to Emmy Award-winning writer Peter Murrieta (who came in that year), AND drove in a few days in advance from Florida to volunteer in our office which, at that point, is beyond crowded, hectic and crazy. Hampton is on board again this year and we are so pleased and honored to call him an AFF regular. We look forward to the day he joins us as a panelist. Heed his words!

Getting the most out of the Austin Film Festival & Conference by Registrant Robert Hampton

Getting the most out of the festival and conference is easy. If you're coming in from out of town, just being in Austin is worth the cost of the badge, so you're up already.

I discovered the Austin Film Festival in 2009 on the first day of the conference. I had an hour between when I bought my pass and started attending panels. With my superior sense of direction, it took me about thirty seconds to locate everywhere I needed to go, so it might take you a minute. You won't be able to find one that's not full of wonderful people being addressed by wonderful and accomplished people. The biggest problem is that there are several going on at once and you may think it's unfair to have to choose between them. Well, life's unfair. Pick one. Trust me, you won't regret missing the one across the hall.

Where else can you hear writers talk about how impossible it is to work with studio executives and producers, and then have studio executives and producers talk about how exasperating it is to work with writers? No other place that doesn't also have lawyers and a judge, let me tell you.

Why are you there? Answer that and you'll be able to pick panels to best suit your goals. Writing for movies is great, but more writers are employed writing for TV. Last year I attended a panel on "How to be a Showrunner," which is the head writer on a TV show. It wasn't as well attended as panels on movies, even though the people running the panel actually employ dozens of new writers every year and are always looking for talent. One remarked on the irony.

Carry a notebook and take notes. People you meet. Thoughts. You can ask people to write their names and contact info, or copy the Pixar "formula" for success in it. I've done both! And have plenty of cards if you want to network. Entire forests are cleared for the card stock handed out at the parties. Writers aren't the only ones there. People with mad skills in many areas are all over.

Stick around after the panels and ask a question, or just listen to other people ask questions. Many of these panelists are people you would never get close to in Hollywood. Seriously, if you approached them in a shop in Beverly Hills they'd mace you (I suppose). Here, though, they are generous with their time and eager to meet people who aspire to the industry. Don't be shy!

This is the place to meet new friends. At my first Conference Wrap party in 2009, I simply approached a beautiful girl and asked "have you gotten funding for your project yet?" She laughed, and we're still friends, though she was too shy to go over and meet Woody Harrelson or Mike Judge. Did I mention that Woody Harrelson and Mike Judge were at the party?

Hang out at the Driskill. Unless you're doing something specific somewhere else. Last year I spoke to Phil Rosenthal (creator of "Everybody Loves Raymond") in the lobby of the Driskill, at the Hair of the Dog Brunch over scrambled eggs, and after his movie premiere, we told jokes, shared info on the panels, and praised Austin. The year before, I was eating and drinking at the Driskill bar with Danny Rubin (Groundhog Day) and Shane Black (Lethal Weapon). This sort of thing almost never happens to me in my Florida suburb.

See as many movies as possible and meet the filmmakers. These are people who are actually doing the things that most people are only ever gassing on about.

Go to the script reading! The 2010 reading was epic. I don't know how they'll top it. Go anyway!

I was so impressed by my first festival that I started writing a screenplay (it'll be done by this fest!). I also wouldn't shut up about how great the AFF is. Seriously. The next year a journalist friend joined me. She got interviews with Dax Shephard and the cast of several of the movies showing there. We also got to hang out with the coolest writer in Hollywood - Peter Murrieta (Level Up, Wizards of Waverly Place, et al.), who was gracious enough to listen to me when I said he should be a panelist at the conference. We went record shopping and talked writing and baseball and steam punk. Before he left, he said "I'll see you in L.A.!"

But I'm sure other people have cooler stories and better advice.

(I'd say something about parking, but there isn't any. Good luck with that.)

Everything You Could Ever Want to Know About Writing for Animation. Everything. Seriously.

2011-09-30T13:10:00.004-05:00

Have dreams of writing for Pixar? Curious to know the difference between writing live action and writing for animation? What it's like to work with the studios, how to break in and what you can expect of the development process?

Animation writers, here's your 2011 AFF Conference Schedule!

FRIDAY 10/21/11
10:45am-12:00pm
Writing for Animation: The Studios’ Perspective
Stephen F. Austin Hotel, Assembly Room
Where do the ideas for animated features come from? How do animation studios find writers? How do they work with them? Take a look inside the process with Development Execs from Blue Sky Studios, Disney Animation, and Pixar Animation Studios. They’ll walk you through the elements of their creative process (pitching, research, treatment, outline, script, and reels) using examples from great animated movies.
Mary Coleman, Lisa Fragner, Maggie Malone

1:45pm-3:00pm
Graphic Novels and Comic Books: Translating Them to the Screen
Stephen F. Austin Hotel, Ballroom
From Spiderman to Watchmen, comic books and graphic novels are king and have cemented themselves as a diverse commercial and artistic medium whose cinematic adaptations have become some of the most successful films in recent memory. Join the conversation about the complex and conflicted journey of adapting well-known and well-loved stories to film and living up to fans' demanding expectations.
Cort Lane, Chuck Mondry, Beau Thorne, John Turman
Moderated by Álvaro Rodríguez

Pixar’s Story Development Process
Stephen F. Austin Hotel, Assembly Room
Pixar Animation Studio's development process is unique in the industry. Kiel Murray will talk about the rewards of their approach from a writer's perspective, and Senior Development Executive Mary Coleman will give examples of how support for original ideas, inspiring field trips, and the intense "brain trust" feedback process combine to create memorable stories.

3:15pm-4:30pm
Writing for Animation: The Writers’ Perspective
Stephen F. Austin Hotel, Assembly Room
Is writing for animation different than for live action? How do animation studios find writers? How do they work with them? Take a look inside the process with several successful animation writers. They will step through the elements of their creative process (pitching, research, treatment, outline, script, and reels) using examples from great animated movies.
Jason Eaton, Mike Fry, Rita Hsiao, Kiel Murray

SATURDAY 10/22
9:00am–10:15am
TOY STORY 3: How 4 Years of Creative Agony Became 93 Minutes of Movie Fun
Stephen F. Austin Hotel, Ballroom
Screenwriter Michael Arndt traces the evolution of the script for the Academy Award® winning feature TOY STORY 3, from the first treatment in 2006 to the final film of 2010. Using clips from the film's early reels, he details all the blunders, missteps, blind alleys, and mistakes he and his fellow writers made in the course of the script's development and presents clips from the finished film to show how those missteps were eventually overcome and corrected.

10:45am–12:00pm
A Conversation with 2011 Extraordinary Contribution to Filmmaking Awardee John Lasseter
Stephen F. Austin Hotel, Ballroom
John Lasseter is Chief Creative Officer for Walt Disney and Pixar Animation Studios, and the Academy Award®-winning director and executive-producer of MONSTERS, INC., FINDING NEMO, THE INCREDIBLES, RATATOUILLE, WALL-E, UP, TANGLED, and TOY STORY 3.

2:15pm–3:15pm
Caroline Thompson and Steve Nicolaides Present: “Small & Creepy Films”
Austin Convention Center
Eager to encourage the strange and idiosyncratic in young filmmakers, 2011 AFF Distinguished Screenwriter Award Recipient Caroline Thompson (EDWARD SCISSORHANDS, THE ADDAMS FAMILY, THE NIGHTMARE BEFORE CHRISTMAS) and her husband, producer Steve Nicolaides (BOYZ N THE HOOD, LITTLE BIG LEAGUE, SCHOOL OF ROCK) founded and run the website Small & Creepy Films at www.smallandcreepy.com. This is a presentation of the “best of” Small & Creepy Films.

3:45pm–5:00pm
Writing Animation for the Whole Family: A Conversation with Jonathan Aibel and Glenn Berger
Driskill Hotel, Citadel Room
Join Jonathan Aibel and Glenn Berger (KUNG FU PANDA 1 & 2) as they relate their experience writing for animation in both TV and film. The duo will discuss how to keep your audience broad without sacrificing sophistication and what it takes to entertain the adults as much as the kids.

A Conversation with 2011 Distinguished Screenwriter Awardee Caroline Thompson
Stephen F. Austin Hotel, Ballroom
Caroline Thompson's credits include EDWARD SCISSORHANDS, THE ADDAMS FAMILY, HOMEWARD BOUND: THE INCREDIBLE JOURNEY, THE SECRET GARDEN, THE NIGHTMARE BEFORE CHRISTMAS, BLACK BEAUTY, BUDDY, and CORPSE BRIDE. She is currently working on adaptations of Melissa Marr’s novel Wicked Lovely and Mikhail Bulgakov’s The Master and Margarita.

Check out the full panel schedule here!

Funny Strange, or Funny Ha Ha?

2011-09-29T17:20:00.004-05:00

You already know that regardless of the genre you write in, the basic elements are the same for a great script: tight structure, interesting, multi-dimensional characters, well-crafted dialogue and, above all, a solid and terrific story. Still, if your focus is comedy, you want to know how to make the comedic moments jump off the page and not just rest on the shoulders of actors. Lucky for you, we've programmed several panels around comedy writing, as well as conversations with writers and filmmakers who've taken it to new levels.

Comedy writers, here's your 2011 AFF Conference schedule!

THURSDAY 10/20/11
1:00pm-2:15pm
A Conversation with Alec Berg
Driskill Hotel, Ballroom
For over fifteen years, Alec Berg has been one of the leading voices in comedy writing for television and film. He has been nominated for four Emmy awards for his work with Larry David on the NBC series Seinfeld and Curb Your Enthusiasm - where he currently serves as a writer, executive producer and director - and he also served as a writer for Late Night with Conan O'Brien for several months. Berg will discuss his storied career as well as the key differences in writing for television and film using examples from his work on THE CAT IN THE HAT (terrible) and EUROTRIP (excellent!), and the upcoming THE DICTATOR, co-written by and starring Sacha Baron Cohen.
Moderated by Pat Hazell, formerly a special consultant on Seinfeld, a regular on The Tonight Show and a critically acclaimed playwright.

FRIDAY 10/21/11
9:00am-10:15am
Comedy - The Hardest Genre?
Driskill Hotel, Ballroom
Whether going for broad laughs or more subtle humor, comedies walk a razor-thin line between hilarious success and dead-silent failure trying to please their audiences. A discussion on the perils and pratfalls of writing all types comedy, from the sharpest of wits to the dirtiest limericks.
Alec Berg, Jeff Lowell, Craig Mazin

SATURDAY 10/22
10:45am–12:00pm
A Conversation with 2011 Extraordinary Contribution to Filmmaking Awardee John Lasseter
Stephen F. Austin Hotel, Ballroom
John Lasseter is Chief Creative Officer for Walt Disney and Pixar Animation Studios, and the Academy Award®-winning director and executive-producer of MONSTERS, INC., FINDING NEMO, THE INCREDIBLES, RATATOUILLE, WALL-E, UP, TANGLED, and TOY STORY 3.

3:45pm–5:00pm
Writing Animation for the Whole Family: A Conversation with Jonathan Aibel and Glenn Berger
Driskill Hotel, Citadel Room
Join Jonathan Aibel and Glenn Berger (KUNG FU PANDA 1 & 2) as they relate their experience writing for animation in both TV and film. The duo will discuss how to keep your audience broad without sacrificing sophistication and what it takes to entertain the adults as much as the kids.

SUNDAY 10/23
11:30am–12:45pm
On the Level
Driskill Hotel, Citadel Room
This panel breaks down TV staffing from intern to showrunner and offers advice on how to get inside a writer's room . . . and stay there. What does "executive producer" mean, anyway? What's a "Mid-Level," and is it a good thing? Donald Todd and Pamela Ribon discuss the politics of pitching jokes, taking notes, and the dangers of being funny while female. Think you'd be strong enough to survive?
Moderated by Monte Williams

Comedy—The Hardest Genre?
Driskill Hotel, Ballroom
Whether going for broad laughs or more subtle humor, comedies walk a razor-thin line between hilarious success and dead-silent failure. Join us for a panel on the perils and pratfalls of writing all types of comedy, from the sharpest of wits to the dirtiest limericks.
Jim Herzfeld, Nancy Pimental, Tim Talbott

Check out the full panel schedule here!

And we've got your Film Schedule, too!

Freak Dance (USA, 98 min.)
Writer: Matt Besser
Directors: Matt Besser, Neil Mahoney
Cast: Michael Cassady, Megan Heyn, Amy Poehler, Matt Besser, Ian Roberts, Matt Walsh, Tim Meadows, Andy Daly, Horatio Sanz
WORLD PREMIERE

Make no mistake, FREAK DANCE is a straight-up musical—a brilliant, musical comedy with dance numbers that rival the very films they are parodying. Adapted by Upright Citizens Brigade co-founder, Matt Besser, from the stage show that ran for more than a year at the UCB Theatre, the comedy skips cheap reference humor and goes right for absurdity. FREAK DANCE tells the story of Cocolonia, a spoiled rich girl who just wants to dance, so she sets out to join the ranks of some local street dancers. Little does she know that this will ultimately involve her in an epic battle of good and evil between two warring dance troupes. Besser and Neil Mahoney have created a sure to be cult classic featuring a cast of new comedic actors and fellow UCB Theatre founders Amy Poehler, Matt Walsh, Ian Roberts and Horatio Sanz.

Fred & Vinnie (USA, 89 min.)
Writer: Fred Stoller
Director: Steve Skrovan
Cast: Fred Stoller, Angelo Tsarouches, Scott Chernoff, Bill Rutkoski, John Asher, Fred Willard
REGIONAL PREMIERE

Writer Fred Stoller stars as Fred Stoller, an actor in Hollywood, playing an assortment of deliverymen, clerks and other oddballs. The rest of the time he wanders the streets researching his book project, Restaurants You Don’t Feel Self-Conscious Eating Alone At. He has a long distance bond with his old friend from back East, Vinnie DAngelo, who hardly ever leaves his rent-free basement apartment. Their relationship is put to the test when Vinnie ventures cross country to stay with Fred to give show business a try. At first, Fred is thrilled to have the company and eager to give Vinnie a live tour of his life, but soon feels trapped when Vinnie quickly reverts to his agoraphobic ways. Stoller and Skrova, both comedy veterans, create a surprisingly touching, but hilarious film about that one friend who everyone has and wants to ignore but ultimately, somehow, can’t.

High Road (USA, 83 min.)
Writers: Matt Walsh, Josh Weiner
Director: Matt Walsh
Cast: James Pumphrey, Abby Elliott, Rob Riggle, Joe Lo Truglio, Dylan O’Brien, Rich Fulcher, Lizzy Caplan, Horation Sanz, Ed Helms, Kyle Gass, Andy Daly
REGIONAL PREMIERE

Fitz is about to finish his rock opera about his life philosophy: the triangle theory that describes how any three points or people can make a triangle. But his world crashes around him when his band mates quit to take paying jobs. A despondent Fitz, thinking the cops are also out to bust him for dealing pot, decides to drive to Oakland to visit his estranged stepfather. He reluctantly agrees to let Jimmy, the 16-year-old neighborhood kid, tag along. However, Jimmy’s dad thinks their road trip is a kidnapping and sets off in pursuit of the duo. Naturally, mayhem ensues. The second directorial debut from an Upright Citizens Brigade founder in the program, Matt Walsh delivers a stoner farce from a script he wrote with AFF Alum Weiner.

Treatment (USA, 83 min.)
Writer: Sean Nelson
Directors: Sean Nelson, Steven Schardt
Cast: Joshua Leonard, Sean Nelson, Ross Partridge, Jessica Makinson, Brie Larson, John Hodgman
REGIONAL PREMIERE

Sometimes, screenwriters get to a point where they will do anything to get their film made. Leonard (Leonard actually is the character’s name) is no different: All his life he has dreamed of being a famous filmmaker, but he's better at making excuses than making art. A chance encounter with a wasted A-list movie star could be his lucky break. All he has to do is come up with $15,000 to join the actor at a luxury rehab facility, where their friendship can blossom into wealth and glory. Leonard pressures his writing partner (Nelson) into paying expensive bills while he checks into treatment under false pretenses. Leonard soon discovers that addiction comes in many forms. A daring comedy with serious underpinnings, TREATMENT is about the lies we tell ourselves in order to live, and the price we pay when we start to believe them. Indie film stalwart Joshua Leonard (HUMPDAY, THE BLAIR WITCH PROJECT) and writer/co-director Sean Nelson portray the doomed writing team—two friends who are both ambitious and desperate to make it.

A Letter from Franklin Leonard, VP Creative Affairs at Overbrook Entertainment and Creator & CEO of The Black List

2011-09-29T09:28:00.003-05:00

I am frankly embarrassed to have not been more aware of the Austin Film Festival before 2010, my first year attending the Festival.

Here I am, the creator of the Black List, the annual list of Hollywood’s most liked unproduced screenplays, and here’s a film festival built to celebrate screenwriters. Hell, the logo is a typewriter with film cascading out where the paper should be.

Point is, the Austin Film Festival is a natural home for me as it would be for anyone who believes in the power and value of a great screenplay. There will be tons of us there in 2011 and, I am certain, beyond. And we will be talking about screenplays, how to write better ones, and celebrating those that have already pulled off the feat.

Truth be told, you don’t even need to care all that much about the screenplay to enjoy the festival. A love of movies is probably enough, just don't expect to leave without joining the rest of us who revere those who walk out onto the blank page and come out on the other end with a work of genius.

Looking forward to 2011,

Franklin Leonard
Creator & CEO
The Black List

Franklin Leonard will be hosting The Black List Conference Wrap Party on Saturday, 10/22, 11:00pm-1:00am. Open to Weekend Badge holders and above.

2011 Pitch Schedule & Judges

2011-09-20T14:12:00.002-05:00

THURSDAY 10/20/11
1:00pm-2:15pm
Austin Pitch Prep
St. David’s Episcopal Church, Vestry Conference Room
Are you ready to give your pitch? Get prepped for selling your script and yourself and ensure that your first pitch isn’t your last. Will you be in the select group who makes it through to the Pitch Competition Finale on Saturday night?
Bob Schultz, Great American Pitch Fest

2:45pm-4:00pm
Austin Pitch #1
St. David’s Episcopal Church, Vestry Conference Room
It’s the Ninth Annual Austin Film Festival Pitch Competition! Give your best pitch in 90 seconds and secure your spot in the finals at the Pitch Finale Party on Saturday evening.
Curtis Burch, Lisa Fragner

FRIDAY 10/21/11
9:00am-10:15am
Austin Pitch #2
St. David’s Episcopal Church, Vestry Conference Room
It’s the Ninth Annual Austin Film Festival Pitch Competition! Give your best pitch in 90 seconds and secure your spot in the finals at the Pitch Finale Party on Saturday evening.
Jon Cohen, Juliet Snowden

10:45am-12:00pm
Austin Pitch #3
St. David’s Episcopal Church, Vestry Conference Room
It’s the Ninth Annual Austin Film Festival Pitch Competition! Give your best pitch in 90 seconds and secure your spot in the finals at the Pitch Finale Party on Saturday evening.
Reeva Hunter Mandelbaum, Bob Schultz

1:45pm-3:00pm
Austin Pitch #4
St. David’s Episcopal Church, Vestry Conference Room
It’s the Ninth Annual Austin Film Festival Pitch Competition! Give your best pitch in 90 seconds and secure your spot in the finals at the Pitch Finale Party on Saturday evening.
Ted Griffin, Mike Fry

3:15pm-4:30pm
Austin Pitch #5
St. David’s Episcopal Church, Vestry Conference Room
It’s the Ninth Annual Austin Film Festival Pitch Competition! Give your best pitch in 90 seconds and secure your spot in the finals at the Pitch Finale Party on Saturday evening.
Matt Summers, Stiles White

SATURDAY 10/22

9:00am–10:15am
Austin Pitch #6
St. David’s Episcopal Church, Vestry Conference Room
It’s the 9th annual Austin Film Festival Pitch Competition! Give your best pitch in 90 seconds and secure your spot in the finals at the Pitch Finale Party on Saturday evening.
Richard Bever, Elizabeth Hunter

10:45am–12:00pm
Austin Pitch #7
St. David’s Episcopal Church, Vestry Conference Room
It’s the 9th annual Austin Film Festival Pitch Competition! Give your best pitch in 90 seconds and secure your spot in the finals at the Pitch Finale Party on Saturday evening.
Maggie Malone, Ric Roman Waugh

2:15pm-3:30pm
Austin Pitch #8
St. David’s Episcopal Church, Vestry Conference Room
It’s the 9th annual Austin Film Festival Pitch Competition! Give your best pitch in 90 seconds and secure your spot in the finals at the Pitch Finale Party on Saturday evening.
Allison Doyle, Mark Vahradian

3:45pm–5:00pm
Austin Pitch #9
St. David’s Episcopal Church, Vestry Conference Room
It’s the 9th annual Austin Film Festival Pitch Competition! Give your best pitch in 90 seconds and secure your spot in the finals at the Pitch Finale Party on Saturday evening.
Tai Duncan, Joyce San Pedro

PITCH FINALE PARTY!
Saturday, 10/22
8:00pm-10:00pm
Speakeasy

Pitch Finale Judges:
Lindsay Doran
Barry Josephson
Franklin Leonard

How to Rock AFF by Pamela Ribon

2011-08-24T11:06:00.007-05:00

Photo credit Thomas Hargis

Pamela Ribon is a TV writer and best-selling novelist. She’s been in comedy rooms for both network and cable television, most notably the Emmy award-winning SAMANTHA WHO?. She has developed original series for ABC, ABC Family, Sony and 20th Century Fox Productions, some of which included adaptations of her own novels. She’s currently writing an original feature script for the Disney Channel in addition to developing Lauren Conrad’s LA CANDY as a television series with Gerber Pictures and Warner Bros. Studios. Her fourth novel will be released next summer through Gallery Books. Pamela is a former semi-finalist and finalist at AFF for the screenplay competition and teleplay competition, respectively. She’s also a former Austinite with a BFA in Acting from the University of Texas. Visit her popular, long-running website pamie.com to learn more, like how she was recently entered into the Oxford English Dictionary under the word “Muffin Top.” That is not a joke. You can follow her @pamelaribon.

We love Pamela. Love her. Like a lot. Go to all of her panels, and not only will you learn everything you need to know about making it in this business as a writer, you'll also laugh, be inspired and encouraged, and be shamed into motivation by her work ethic. She writes ALL. THE TIME. You'll love her, too.

Pamela Ribon, Álvaro Rodríguez and Craig Mazin at the 2010 Film Texas BBQ. Photo credit Jack Plunkett.

How to Rock AFF by Pamela Ribon

Okay. You’ve got your flight set, your room booked, and I heard you’ve been training your alcohol tolerance to an impressively respectable level for both writers and Texans. You must be on your way to the Austin Film Festival.

Since you’ve got the three most important things covered, I’ll try to help you with the rest. This will be my fifth time at the festival. As I’ve gone from semi-finalist to finalist to panelist, from Austinite to Hollywood denizen, I’ve picked up a few tips I try to share with everyone I can who’s headed to the best damn writers’ festival in the best damn city in the world.

Before we do anything or go anywhere: it’s spelled “y’all.” Not “ya’ll.” Secondly: Texas does not consider itself to be part of “The South.” There’s “The South” and then there’s “Texas.” Oh, and it’s pronounced “Guadaloop.”

Don’t just go for the big names.

Unless you are already a big name, you’re probably attending AFF to get some questions answered. You’re hoping meet people either just like you or ones who are having the kind of career you’d like to achieve. I’m just guessing, but those big names are most likely a few steps ahead of where you are right now. While, yes, it’s interesting to find out how one of your favorite shows got on the air or how one of your favorite films almost wasn’t shot, don’t miss out on the places where you can get important information. Imagine what a waste of time it’d be for a high school freshman to seek advice on how to survive lunch hour politics by asking a senior – who’s also captain of the football team? Vary your panels, meet people at all different levels, at different capacities. Learn how the business works from the top down and the inside out. Writers tend to hole up and freak themselves out. If you get all sides of the story, from agents to producers to directors to writers, you can learn how people develop their projects in television, animation, independent and big-budget. You can find new life where you’d lost hope, new inspiration where you got jaded. You spend all day trying to come up with stories. Let someone else tell you a few for a change. Which brings me to:

Sit in the Driskill Lobby.

You’ll notice that the mostly dead-animal-clad, heavily carpeted lobby area of the Driskill is almost never empty. That’s because it’s the unofficial hub of the Festival, where everybody must pass at some point, usually on their way over to that giant, wooden, circular bar. The Driskill Lobby is a great meeting point or resting point, where you can finish a conversation over a drink or take a second to tweet “I JUST MET ROB THOMAS AND I FOUND A WAY NOT TO GEEK OUT ABOUT VERONICA MARS ALL OVER HIM. #YAYFF” If you are vegan, be warned: you can’t have your eyes open without seeing some form of former living creature.

Don’t forget the business.

It’s easy to start out star struck, quickly move on to over-imbibed, and then finish with a panel-skipping hangover that has you spending your flight or car ride home counting regrets instead of contacts. This festival won’t stop being fun, so it’s on you to remember you paid cash to get yourself out there. Here’s a list of things you need to have with you:

- Business Cards
- Gum/Mints
- Access to a script or film or trailer or web series URL that you have finished.
- At least two modest goals

Do your homework at night or in the morning over coffee. Email those scripts you said you’d send the night before. Click “follow” and “friend.” Call your wife or husband or partner or agent. I know, but call them again.

The Finalists’ scripts will be available for you to read. If you get a chance, check them out (or at least be familiar with who they are) so you know when you’re standing right next to one of the writers at a mixer. Congratulate them on a good job. And if you do meet one of the winners, ask to see the trophy. It’s so pretty that I’m still sad I’ve never won one.

Identify the crazy people.

Contrary to what my mother taught me growing up, you don’t have to be nice to everybody. Don’t be a jerk, but don’t get stuck trapped in a booth with Spittle Me This, who shot at least half of his tongue juice onto your face during the five hours you were too nervous and/or nice to say, “It’s been great talking to you, but there’s this thing I have to get to.” Remind yourself that you paid to be here and this thing’s only so long. Then politely excuse yourself and find someone – anyone – who can save you into a new direction for the night.

(If you just read that and worried that you were the person I’m referring to, I swear you aren’t. If I met you, I found you to be delightful. But that’s also what I say to crazy people because I’ve found they anger/rage easily.)

Don’t be That Guy.

Conversely, don’t monopolize someone’s night. Don’t be a dick, don’t be stalky, and please don’t filibuster someone’s Q&A. And unless the show is on your resume somewhere, you are only allowed to mention "The Simpsons" once. Once! That’s it! You get one public mention and that is all. Do you understand?

Just don’t.

Be careful of your antics and whom you invite to hang on the leather couches with you. People can see you, even if you think nobody’s looking. I was once in that lobby with two local friends who invented a game to see how long they could successfully expose certain areas of their anatomy without getting busted. The game was called “Dristicle” and I don’t want to talk about it.

Be brave.

Mingle, commiserate, participate. Strike up conversations. Most people are leaning around, scrolling through their phones because they’re stalling and probably just as nervous and awkward as you are. (I’m sorry I just called you awkward. Come back.) Ask people what they’re working on. If they’re not crazypants, find out what panels they’ve gone to. Are they participating in the Pitch Competition? Is this their first time at the Festival? Hey, are you talking to the screenwriter of FIGHT CLUB? Don’t tweet that while you’re talking to him! Jeez, you are terrible at this!

Don’t waste your one-on-one time.

If you sign up for a roundtable, go in with a list of questions you want answered. Time is limited and you’re sitting with other people who have their own agendas. If you get a chance to talk with someone you’ve been hoping to talk to, make sure you ask questions and listen. Be ready to talk about your own work, but be more prepared to talk about the business, about your experiences, your stories. This is a festival, not a job interview. You bought a badge to get access to a relaxed, casual atmosphere filled with creative minds and amazing people who have all agreed to stay in one sanctioned place and talk with you. Take advantage of it!

Go out.

Don’t skip the mixers. Don’t skip the screenings. Make sure you don’t oversleep through the panels. Take care of yourself. Go out to the drugstore and make sure you’ve got ibuprofen and bottled water and maybe some emergency Doritos. Make sure you see a bit of Austin while you’re here, because it’s the best city on this planet. You’re just a few wandering steps from all the action on Sixth Street, but a cab over to Trudy’s for a Mexican Martini won’t break your wallet. Visit the food trucks on South Congress and then cross the street to Uncommon Objects to fill the remaining space in your suitcase. Lastly: go ahead and buy that pair of cowboy boots, but you probably don’t want to wear them until you get home. You’ll want to break them in before you’re standing for hours, but I’m really telling you this because the rest of us are going to judge you, especially if we’re from Austin.

See you in October! I’ll be the one asking who wants to drive me to Lucky J’s on Sixth and Waller so I can get a chicken and waffle taco. Y’all, I dream of that thing nightly.

Update on short film SAND, which screened at AFF 2010

2011-08-17T17:52:00.002-05:00

SAND is screening as part of Docuweeks in Los Angeles Aug 19-25, which qualifies it for Academy Award Nomination!

http://www.documentary.org/docuweeks2011/showtimes/#la081611

and here's some buzz:

http://nevertooearlymoviepredictions.blogspot.com/2011/07/84th-oscar-documentary-short-updates.html

Filmmaker Cari Ann Shim Sham credits AFF, saying the success of SAND is in large part due to it screening at Austin Film Festival last year. "Thank you for helping the film rise and be seen!"

Thank you, Cari Ann, and good luck!

AFF for the First-Timer by Jennifer Westcott

2011-08-12T13:52:00.004-05:00

Jennifer Westcott on the set of LOCKED IN A GARAGE BAND.

LOCKED IN A GARAGE BAND, written and directed by Jennifer Westcott and produced by her sister Victoria Westcott, at the 2012 Austin Film Festival.

Sisters Jennifer and Victoria Westcott attended the Austin Film Festival for the first time last year, in 2010, and enthusiastically made the most of all the event had to offer – panels, films, workshops and most importantly, networking and introducing themselves to our guest speakers.

We thought they were the perfect people to have share their Festival experience as we announce our Independent Filmmaking Panel series planned for the 2011 Conference. They just wrapped production on their first feature film, Locked in a Garage Band, which was written and directed by Jennifer and produced by Victoria.

***

AFF for the First-Timer by Jennifer Westcott

My sister Vicky and I experienced the awesomeness that is the Austin Film Festival for the first time last year. Knowing that we were going to be shooting our first feature in the months to follow (I as the writer/director, she as the producer) we wanted to milk as much information, fun and networking as we possibly could out of our two producer badges. And milk those badges we did! We learned more in four panel-packed days than either of us thought possible, partied harder than since we were students, and made a ton of amazing friends that have since helped us survive the crazy that is making your first feature with their unshakeable support, guidance and all-round kickassery.

So here’s our Top Ten Must-Dos for Rocking the AFF:

1. Go Big. Get the badge that gives you the most bang for your buck. We went whole hog: The Producer’s Badge. It gets you into everything - movies, panels, pitch competition, awards ceremonies, round-tables, PARTIES. Yeah, it costs the most but it gets you the most. If you can even remotely afford it, get it. You will not regret it.

2. Get Your Priorities Straight. We knew we wanted to learn as much as we possibly could, so we split up. I hit as many writer/director panels as humanly possible (side note: if you ever get a chance to hear Michael Arndt give a talk about screenwriting, you must do everything in your power to attend - YOU MUST) while Vicky attended what some might see as the less glamorous panels about the nuts and bolts of filmmaking. You might not think that compared to hearing Shane Black and Robert Rodriguez riff about story, delving into the legal intricacies of music licensing or learning how to assemble a competent no-budget film crew would actually be cool. But you’d be wrong. She walked away from those panels a crap-ton more knowledgeable than when she went in and that much more prepared to produce our feature. So figure out what you want to learn and plan accordingly. It’s all there.

3. Talk to Strangers. That’s right. Ignore what your parents told you. The only way to meet people is to talk to them! Sure, you’re alone and feeling dorky and maybe everyone seems way, way cooler than you (or maybe that’s just how I felt?) but I promise you, there are a bunch of other people in that conference room (or lobby, or bar) who feel exactly the same way, and they’re either pretending to be engrossed in their festival guide or riveted by their smartphone. Trust me. They’re not. TALK TO THEM!

4. Pace Yourself. If you’re really going to get all you can out of AFF, your days are going to be jam-packed learning stuff and your nights will be spent partying with your new friends talking about everything you just learned. It can be overwhelming. So make sure you eat - Austin has some of the best food anywhere. Enjoy it. Get some sleep. And I’m sure I’m going to sound like your shawl-clutching, pearl-clasping grandma with this next bit of advice, but take it easy on the booze. Hangovers make it hard to get out of bed in time to make the morning panels.

5. Choose Your Accomodations Wisely. Stay somewhere close. Preferably at a hotel or with a friend within walking distance of the Driskill (or better yet, stay at the Driskill!) Saving a few bucks on a hotel room further afield will just mean you spend it on cabs after staying out too late partying with all of your new friends.

6. It’s All About Location, Location, Location. Where you sit in the room, that is. Get to your panels/workshops/round-tables/table-reads early and get a good seat! Watching the hottest Hollywood actors read an amazing Black-List script is way better when you’re feet don’t hurt from having to stand at the back of the room.

7. Be Cool (otherwise known as Don’t be a Dick). This really belongs in the Talk to Strangers portion of our Must-Dos, but I didn’t want to put too much pressure on those readers who feel freaked out enough by having to speak to someone they don’t know, let alone having to worry about whether or not they’re coming off as a dick (truth be told, it’s been my experience that people who worry about being dicks usually aren’t dicks. Take from that what you will.) Be open. Listen. Be polite. Smile. Wanna make friends with a cool producer or star screenwriter? Don’t just shove your business card in their hand and mumble about having the next billion dollar script sitting on your laptop waiting to be discovered. Talk to them. Try to find some common ground...a mutual interest...a shared hobby...anything to forge some kind of genuine connection. Better yet, talk to everyone. You never know who the person you’re sitting next to will turn out to be. Last year I started up a conversation with a woman who’d snuck her chihuahua into a film screening - having three of my own, I was naturally impressed at her chutzpah. We got to chatting and she revealed that she was a development executive at a major studio. She requested my script, loved it and passed it along to the studio head who then purchased it in a high-seven figure deal that turned out to be the spec sale of the decade. Our two families bought a time share in Majorca last month. OK. That was all a complete lie. Especially the part about me having three chihuahuas. But it TOTALLY could have happened. So be cool.

8. Deets. Have business cards. Give them out (when asked! see Don’t Be a Dick for further study). A little tip: keep them in your badge holder, that way you always have them around and don’t have to rummage through your purse or man-bag to find them. Store cards that people give you in there, too. It’s a perfect little system. Thank you AFF!

9. See Some Movies. With everything going on around you, you might forget that there are a whole whackload of awesome films being screened all around you in some of the coolest theaters you’re ever going to get to see a movie in. Watching a film at the Alamo Drafthouse is an experience unto itself - there are servers who bring you food and alcohol (Yes. You read that right. Alcohol.) right to your seat. It is insane. So, go. See a movie there. Have your mind blown. Aspire to having one of your movies shown there someday. Dream.

10. Rinse and Repeat. That’s right, odds are, you’ll return to do it all again the next year. We are. See you in October!

Jennifer and Victoria Westcott both live in Victoria, British Columbia, Canada. We look forward to their submitting LOCKED IN A GARAGE BAND for the 2012 Austin Film Festival Film Competition!

Announcing 2011 Script-to-Screen Panels!

2011-08-08T15:43:00.004-05:00

The 2011 Script-to-Screen conversations will include examinations of FIGHT CLUB with screenwriter Jim Uhls, THE GRADUATE with screenwriter Buck Henry, and “Veronica Mars” with creator Rob Thomas. During the Script-To-Screen section of the Conference lineup, film and television writers go in depth about their triumphs and tragedies as they worked to bring the project from script to screen.

Advance sign up is now open to Weekend, Conference and Producers Badge holders only for THE GRADUATE with Buck Henry and "Veronica Mars" with Rob Thomas. Advance sign up is open to Conference and producers Badge holders only for FIGHT CLUB with Jim Uhls.

If you already have a Producers Badge or Conference Badge, just forward your confirmation e-mail to maya@austinfilmfestival.com with the title/s in the subject line: FIGHT CLUB, THE GRADUATE and/or "Veronica Mars."

If you have not yet purchased your Badge, you may purchase here and then send an e-mail including your name, mailing address and phone number to maya@austinfilmfestival.com with the title/s in the subject line: FIGHT CLUB, THE GRADUATE and/or "Veronica Mars."

If you have a Lone Star or a Weekend Badge, you can call our office at 800.310.3378 to upgrade your Badge and then - you guessed it - send an e-mail including your name, mailing address and phone number to maya@austinfilmfestival.com with the title/s in the subject line: FIGHT CLUB, THE GRADUATE and/or "Veronica Mars."

2011 SCRIPT-TO-SCREEN PANELS

Script-to-Screen: FIGHT CLUB with Jim Uhls

In 1997, Chuck Palahniuk's manuscript for the soon to be published FIGHT CLUB had made the rounds all over town and been rejected by everybody as being "unadaptable." Laura Ziskin, then the executive running Fox 2000, a branch of Fox newly created with the mandate to do more experimental and serious film projects, was convinced the novel could be a film and hired screenwriter Jim Uhls to write the adaptation. David Fincher was brought on to direct and develop the script with Uhls, and FIGHT CLUB, starring Brad Pitt, Edward Norton and Helena Bonham Carter, went on to become one of the most controversial and talked-about films of 1999, turning the book into an instant cult classic.

With script in hand and film clips on the wall, screenwriter Jim Uhls (FIGHT CLUB, SEMPER FI, JUMPER - full bio available here) will dissect his critically acclaimed screenplay FIGHT CLUB, discussing his writing process, what worked, what didn't, what needed to be changed for film production and why. This case study will contain information that screenwriters and filmmakers can apply to their own works.

Attendees will get the most out of this session if they have watched the film and read both the screenplay (coming soon) and Chuck Palahniuk's novel (available in libraries and bookstores.) Date & time TBA.

Script-to-Screen: THE GRADUATE with Buck Henry

"...funniest American comedy of the year." - Roger Ebert, Chicago Sun-Times, 1967

Ranked as the seventh greatest film of all time on AFI's 100 Years... 100 Movies, THE GRADUATE is a 1967 classic comedy-drama directed by Mike Nichols and based on the 1963 novel of the same name by Charles Webb. The screenplay was written by the prolific Buck Henry, Oscar-nominated screenwriter (for his adaptation of THE GRADUATE) and director (for HEAVEN CAN WAIT, along with co-director Warren Beatty), and the film went on to receive Academy Award nominations for Best Cinematography, Best Adapted Screenplay, and Best Picture, as well as acting nominations for Anne Bancroft, Dustin Hoffman, and Katharine Ross. Mike Nichols won the Academy Award for Best Director.

On Saturday afternoon, October 22nd, from 2:15 - 4:15PM, with film clips on the wall, Buck Henry (whose screenwriting credits also include TO DIE FOR, WHAT'S UP, DOC?, THE OWL AND THE PUSSYCAT, CATCH-22, as well as the original television series "Get Smart" - his full bio available here) will dissect his critically acclaimed screenplay THE GRADUATE, discussing his writing process and the film's production, what worked, what didn't, what needed to be changed and why. This case study will contain information that screenwriters and filmmakers can apply to their own works.

Attendees will get the most out of this session if they have re-watched the film and read both the screenplay (coming soon) and Charles Webb's novel (available in libraries and bookstores.)

Script-to-Screen: "Veronica Mars" with Rob Thomas

"Best. Show. Ever. Seriously, I've never gotten more wrapped up in a show I wasn't making, and maybe even more than those... These guys know what they're doing on a level that intimidates me. It's the Harry Potter of shows."
- Joss Whedon

"Nancy Drew meets Philip Marlowe, and the result is pure nitro. Why is Veronica Mars so good? It bears little resemblance to life as I know it, but I can't take my eyes off the damn thing."
- Stephen King

Rob Thomas' critically acclaimed TV series "Veronica Mars," starring Kristen Bell in the title role, premiered on September 22, 2004 during television network UPN's final two years, and ended tragically prematurely on May 22, 2007. During the series' run, it was nominated for two Satellite Awards, four Saturn Awards, five Teen Choice Awards and was featured on AFI's TV Programs of the Year for 2005.

With script in hand and film clips on the wall, television producer, screenwriter, and author Rob Thomas ("Veronica Mars," "Party Down," "Cupid," "90210" '08, DRIVE ME CRAZY - full bio available here) will dissect his pilot episode of "Veronica Mars." Using this episode as a case study for how a TV show comes together, he will discuss how the idea for the show came about, the research and staff writing process, and other aspects of the show's production.

Attendees will get the most out of this session if they have watched the episode - really, all seasons - and read the teleplay (available here.) Please note: this is the very first draft of the pilot, not the shooting teleplay, so attendees will better see the evolution. Date & time TBA.

Please note that all speakers and events are based on permitting schedules and subject to change and/or cancellation without notice.

18 Days of Austin Film Festival Membership

2011-07-25T13:15:00.006-05:00

Do you want to see a bunch of free movies year-round? Do you want discount prices on film related events or to this year's festival? Do you want to look cool? Well, an AFF year-round membership can do all of those for you.

And guess what? If you sign up for a membership from now until August 1st, you could win a daily giveaway from Violet Crown Cinemas, Yoga Yoga, Texas Tribune Festival, Uchi/Uchiko, Pearl Brewery, Fun Fun Fun Fest...the list goes on and on. Free stuff is cool!

You can't get an opportunity like this with any other membership in Austin, so take advantage of it while you have the chance.

Upcoming Member Events:
Fright Night (1985)
How to Eat Fried Worms
Friday Night Lights Membership Happy Hour Event
Friday Night Lights (TV Series)
The Debt - Advance Screening
Piranha (1978)

Interview with "Curb Your Enthusiasm" and "Seinfeld" Writer Alec Berg

2011-07-20T15:29:00.003-05:00

It's shaping up to be a great year for TV and screenwriter Alec Berg, with Larry David, Sacha Cohen and Anna Faris all on his production playlist, and we can't wait to hear all about it this October at the Conference. In the meantime, check out the below brief interview we just did with him. But first, some more info on Alec:

Alec Berg’s television credits include "Seinfeld" where he was a writer and executive producer, and "Curb Your Enthusiasm" where he currently serves as a writer, executive producer and director.

His feature film work includes writing the screenplays for The Cat in the Hat (which was made into a terrible film) and Eurotrip (which he produced and co-directed and is excellent.) He is currently writing and producing The Dictator for Sacha Baron Cohen. He has also done extensive rewriting, having worked on films for Jim Carrey, Will Ferrell, Will Smith, Ivan Reitman and Robert Zemeckis.

Alec has been nominated for numerous Emmy awards, a WGA Award, a DGA award and a Razzie (yes, for The Cat in the Hat, it’s that bad.)

Austin Film Festival: Tell us about your new feature THE DICTATOR. How did this project come about?

Alec Berg: It comes out next May. Sacha Baron Cohen is great in it. The longish, slightly boring story of my involvement: years ago my partners (David Mandel, Jeff Schaffer) and I worked with Larry Charles on Seinfeld. Larry went off to direct Borat, and when they were editing he asked us to come in for a day or two to help them come up with a new ending. In the process we got to know Sacha, who hired us to do a lot of work on Bruno. At that point we had Sacha's ear so we came up with a few ideas and pitched him (among other things)the basic character and story of what became The Dictator. And he said no. To everything we pitched him. Then a few days later he called and said that in spite of his better instincts this Dictator idea had been growing on him, and we started to kick it back and forth and kept getting together and it grew and eventually after several months of working it up we set up a bunch of pitch meetings, took it around and eventually sold it to Paramount, who put it into production.

I don't want to give away too much other than we shot it over the summer in New York and a bit in Spain, it comes out this May and I think it's really really funny and at one point during production I got urinated on by a cow.

AFF: Can you give us some of your background? How you got involved with
the film industry?

AB: I was a comedy nerd growing up. I listened to stand-up records the way other kids listened to music. When I was ten I could do hours of Bill Cosby and Steve Martin bits word perfect. I went to high-school in Pasadena, so I was show-business adjacent, just close enough to see it as a possible future. Actually a bunch of people I grew up with ended up working in show business, Ted Griffin, Mike White and Sean Bailey among them. In college I did a lot of film-making and wrote forthe college humor magazine, which got me more interested in the writing side of things. I decided I wanted to give writing a shot before I caved in and got a real job, so after I graduated college I spent about six months living with my parents (who had moved to Massachusetts at this point) writing like a fiend, generating a bunch of samples. Eventually it became clear that (as is the case today) you really have to move to L.A. to get started. So I scraped together enough money to last for a few months and headed out to L.A.. I spent those few months relentlessly calling and harassing anyone and everyone I could, asking them to read my stuff or give me thoughts on how to break in. Finally one small thing led to another until after three years of patchwork jobs, none lasting longer than thirteen weeks, I finally got a break and got hired at the brand new Late Night with Conan O'Brien. Then I got Seinfeld, and that became a bit of a calling card.

AFF: Even though Hollywood operates in trends i.e., indie, high concepts, etc. Do you see a common thread in the stories you tell?

AB: Are you asking if my stories fit into a specific genre? I hope the common thread, should there be one, is that they are funny. But just as importantly that they are well written. Most of what I learned about screenwriting I learned from Larry David. He taught me the value of structure. We would spend weeks and weeks, sometimes months, outlining a single "Seinfeld" episode to the point where you could take that outline and write a draft from it in a couple of days (we still write the same way on "Curb"). And it's how I continue to work. Structure, structure, structure. Every single thing in a script must advance the plot or define a character more deeply (ideally both, in a hilarious way) or it will die in the edit. If something doesn't HAVE to be in your script then it shouldn't be. Of course, comedy trumps. If it makes you piss yourself laughing then you figure out a way to keep it.

AFF: From a writer's perspective, which is easier to break into and establish yourself as a writer, TV or film?

AB: I think it depends a lot on your personality as a writer. I always liked writing with other people. TV is more conducive to that, especially comedy. Most TV comedies are written in groups. It's a very collaborative process. But impose that process on a lot of solitary feature writers and they blanch at the idea of having other people question their ideas and paw through their work in progress.On the flipside of that coin, a lot of TV writers would hang themselves if they were locked in a room alone and forced to write for any length of time.

The key difference breaking in is that TV is about selling yourself and your value as an ongoing contributor to a show, while features are more about selling this specific thing you've written. I'd buy a great script from an asshole, but I wouldn't want to sit in a room with them for fourteen hours a day. And honestly, in terms of which one's easier to break into, I don't have the foggiest idea. I'm fairly certain if I were starting today I'd fail.

AFF: While "Seinfeld" and "Curb" are their own shows in many ways, they ultimately represent a nearly unbroken, two-decade-long streak of observational humor and socially dysfunctional characters that have remained consistently hilarious. Is a "show about nothing" the best bet for longevity?

AB: I think the best bet for longevity is to somehow trick Larry David into hiring you, con him into thinking you're a valuable member of his team, then work really really hard to keep him happy. I don't use the term genius lightly, but I am a genius and I think Larry David is one of the great comedic minds of our time.

AFF: Will this be your first time to Austin? What are you most looking forward to - are there fellow panelists you already know? Anyone you're looking forward to meeting?

AB: I've been to Austin several times but never for the festival. I'm friendly with a number of the panelists, and mortal enemies with one as well (he knows exactly who he is.) It sounds like a lot of fun. And I'm most excited about meeting Barry Manilow. I was told he'd be coming. Was that wrong?

Season Finale of On Story This Saturday

2011-07-14T22:17:00.003-05:00

The Season Finale of On Story is this Saturday, July 16th. The episode features two shorts, EULOGY MAKER by Leslie Langee and WEIGHT OF THE WORLD by Jenny Goddard.

On Story is a new series which takes a look at the creative process of filmmaking through the eyes of some of the entertainment industry's most prolific writers, directors and producers. Each episode will also showcase short films from the region's most promising filmmakers. Visit the On Story website to view this week's episode and others from the series. http://video.klru.tv/program/1879120997/

ADVANCE SIGN UP FOR "THE REWRITE WITH TERRY ROSSIO"!

2011-07-07T18:02:00.008-05:00

Terry Rossio, Academy Award-nominated writer of SHREK, DÉJÀ VU, THE MASK OF ZORRO, and the PIRATES OF THE CARIBBEAN films, is one of the many new speakers on board for the October Conference. Terry's attended more Conferences than not in our 18 year history, and always comes with tons of advice, lessons learned, and words of inspiration, which he generously shares with registrants. Often until 2am in the morning at the Driskill Bar. This year, he's proposed a unique workshop: "The Rewrite with Terry Rossio."

In "The Rewrite with Terry Rossio," he will focus on the challenges one faces when they sit down to do a rewrite -- whether of their own work, or of someone else's. Attendees of this special workshop are asked to bring a scene from their script in Final Draft, on a Mac-compatible flash drive. Terry will randomly pick someone, and demonstrate, live, how he would rewrite the scene. He will go through as many as possible in the course of the workshop.

This workshop is open to the first 30 Conference or Producers Badge holders to respond. So, how can you take advantage of this incredible learning experience? (Seriously, you're guaranteed to get invaluable nuggets of applicable wisdom from this even if he doesn't get to your scene.)

If you already have a Producers Badge or Conference Badge, just forward your confirmation e-mail to maya@austinfilmfestival.com with the words "The Rewrite with Terry Rossio" in the subject line. Otherwise, you can purchase your Conference/Producers Badge here and then send an e-mail including your name, mailing address and phone number to maya@austinfilmfestival.com with the words "The Rewrite with Terry Rossio" in the subject line. And, if you have a Lone Star or a Weekend Badge, you can call our office at 800.310.3378 to upgrade your Badge and then - you guessed it - send an e-mail including your name, mailing address and phone number to maya@austinfilmfestival.com with the words "The Rewrite with Terry Rossio" in the subject line.

Again, this workshop is only open to the first 30 Conference and Producers Badge holders to respond, so sign up now!

Please note that all speakers and events are based on permitting schedules and subject to change and/or cancellation without notice.

Interview with Ric Roman Waugh, write of FELON and the new Evel Knievel biopic

2011-07-07T14:47:00.004-05:00

Back in March, we received an e-mail from Barry Josephson, AFF board member and producer of such hits as "BONES", ENCHANTED, WILD, WILD WEST, LIKE MIKE and so many more (for the full list, just click on his name.) He wrote that a "brilliant writer/director friend of mine Ric Waugh has moved to your lovely community," and asked if we would make him feel welcome. We invited Ric to our annual spring 'Hair of the Dog Brunch,' where we met him and his beautiful wife Tanya and, as soon as he was comfortable, full and unsuspecting, confirmed him to participate in the coming October Conference. And thank goodness we did it then.

Not two months later he has already signed for no less than three new high profile projects, including a new Evel Knievel biopic and a film with one of our favorite actors ever, Dwayne Johnson. Ric and his wife have become fast friends of the Festival and we are so pleased and fortunate to now have them in Austin year-round.

Please check out his full bio here - he was also one of the youngest stunt coordinators in the world at the age of 18 - and read the below interview he so graciously gave us. And by all means introduce yourself to him when you see him at the Conference this October!

AFF: You have two current projects: SNITCH starring Dwayne Johnson, and BOBBY MARTINEZ. What drew you to these particular projects?

RW: SNITCH is the true story of a father whose 18 year old son was wrongly accused of dealing Ecstasy. The son was sentenced to 10 years in prison under the federal mandatory minimum sentencing laws, and under these harsh guidelines, the only way to reduce your sentence is to "snitch" on other potential drug traffickers. When the son knew no one else to snitch on, the father went to the US Attorney and asked, "What if I go into the drug world and get you a bigger bust? Will you reduce my son's sentence?" And that is what happened to this father.

For me, it was the first story post FELON (the film I wrote and directed in 2009) that had a similar first-person POV where the audience can assimilate and compare their own lives with the characters in the story. With SNITCH, it tackles the tough question we all face as parents: how far would we go to protect our own kids? We are scheduled to starting filming this January 2012.

AFF: I understand you're also undertaking Evel Knievel's biopic. How will you approach this project?

RW: Yes, I just signed to write and direct EVEL; a biopic on the life of Evel Knievel based on Leigh Montville's book, "The High-Flying Life of Evel Knievel: American Showman, Daredevil, and Legend." What I love about this project is I get to do an homage to the action world that I come from, but at the same time, it’s about the relevancy of the price of fame and the life that this guy led. His family suffered for it, he suffered for it physically, and yet he became that iconic person we all admired. Evel’s one of the biggest brand names of the last four decades. But what nobody has ever really captured — and maybe it takes an ex-stuntman to understand this — is the sacrifices he made, and the pain. Everybody’s fearless until they get seriously hurt. Trust me, I
(unfortunately) know this firsthand. And there were so many demons behind the man that nobody every discussed. We’re going to tell the real story of who this guy was and understand why the world fell in love with him.

AFF: You have a really impressive resume as a stuntman. Coming from the crew side of the film business, from a very different place from the directors who come from film school and start making independent movies, can you talk a bit about your process? The challenges or advantages you have with your background?

RW: Yes, I was truly blessed to grow up with a father who is a legend in the stunt world. I've been on film sets since I was a baby, and started working as a professional stuntman as a young teenager. I basically got to go to school working with most of the top directors today and study them; Steven Spielberg, Richard Donner, John McTiernan, James Cameron to name a few and especially Tony Scott who I worked with on numerous films. I was able to not only grasp the knowledge of practical film-making from these people I admired, but form my own point of views creatively. From there, I started directing action sequences for various films and television, then went onto direct dozens of commercials.

But what I lacked was having any experience for story structure and script. I had worked with Bruce Evans and Ray Gideon who wrote STAND BY ME and MADE IN HEAVEN (among others) and became friends with them. I asked if they would give me feedback if I wrote a script, and they were generous enough to say yes. After countless drafts of a script, they would give me real "working writers" feedback. The script never sold, but it was an invaluable process. Off that, I wrote a spec that sold to Dreamworks and ended up writing 16 other studios scripts around town before writing and directing FELON. [See above photo from the set!] Working in the development process from idea to actual shooting scripts absolutely helped round out my abilities as a filmmaker. And that's the key I think: to understand and be a part of the FULL process - even if you only write and don't want to pursue directing like I did. And most importantly, to know and be true to your own voice.

AFF: With the success of action adventure films and the progression of technology, do you see the nature of screenwriting changing where multimedia experience is required? What do you think turns on the average American movie-goer today and why? Do you see the direction changing

RW: Obviously technology has constantly evolved since the very beginning. And if we think we're on the cutting edge now, just wait - a decade from now today's technology will be obsolete again. But what hasn't changed and never will is the need for great storytelling.

I think it's a big mistake to "write" for technology. If anything, it's allowing us to paint in a space with zero boundaries. Even the sky isn't the limit anymore. My main rule for writing is be true to the story and genre you are telling. In other words, don't stray from or enhance your story for the sake of technology. Let technology enhance the story you write.

AFF: What's your writing routine?

RW: My writing routine used to be rigid with the hours I'd set aside. But that was when I was single! Now married, raising twin boys and pushing a development slate forward, I write anytime I can. Anywhere. The most important lesson I received was about discipline. Scripts don't write themselves, so I find time and sit in front of that screen regardless of how busy I am.

AFF: Do you have a dream project that got away? One you wish you'd written, or been asked to do? How would you have done it differently?

RW: Yeah, there are a few stories I'm dying to tell, but someone always seems to beat me to the punch. Example: I'd love to do a film about Camelot and the Knights of the Round Table. And yes, there's been countless versions. But one day, there will be room for another, and hopefully my version. So if your dream project keeps getting bumped by a crowded space? Be patient, because I know I am.

Interview with ZOMBIELAND and DEADPOOL writer Rhett Reese!

2011-07-07T13:57:00.002-05:00

In between writing what seems like a million different projects, Rhett Reese very generously took the time to sit down and answer a few questions for us in advance of his attendance at the October Conference.

First, a little background on Reese:

Rhett Reese and Paul Wernick wrote and executive-produced Zombieland for Columbia Pictures. They first collaborated by creating, writing, and executive-producing The Joe Schmo Show for Spike TV. The series drew Spike’s highest ratings in history. Joe Schmo was named to numerous Best Of lists, including TIME Magazine’s Top 10 TV Shows of 2003 and Entertainment Weekly’s 50 Best TV Shows Ever on DVD. Reese and Wernick followed up with Joe Schmo 2, and then Invasion Iowa, a high-concept comedy hybrid starring William Shatner.

Reese and Wernick currently have projects in development at Twentieth Century Fox (Deadpool), Universal Pictures (Earth vs. Moon), Columbia Pictures (Zombieland 2), Paramount Pictures (G.I. Joe 2), HBO (Watch), and Walt Disney Pictures (Cowboy Ninja Viking).

Reese has written screenplays for Pixar Animation Studios (Monsters, Inc.), Walt Disney Pictures, Walt Disney Feature Animation (Dinosaur), Warner Brothers (Clifford’s Really Big Movie), and Nickelodeon, among others. His first novel, Anxiety, is now available for Kindle and iPad.

AFF: You and Paul Wernick have a load of projects in development currently. What is the process like, juggling all these different projects?

RR: An old friend of mine once called his job a nervous breakdown with a paycheck. Does that apply? In all seriousness, we do our best to schedule our jobs to minimize overlap between projects. Occasionally you'll have to do a quick rewrite while you're working on a first draft of something else, but we take pains to make sure we're not writing two first drafts at once. There's a real danger in spreading yourself too thin.

AFF: Ryan Reynold's has been the keeper of the DEADPOOL flame for many
years. What is it like working with him on this project? With his knowledge
and passion for Deadpool, is it a blessing or a hindrance?

RR: Ryan is a joy to work with. He's my favorite famous person because you would never, ever, ever know it by how he acts. He's thoughtful and selfless and responsive and kind. He makes me want to cut myself. With regard to Deadpool, he's the perfect keeper of the flame, because the tone and sense of humor of the comic are in his DNA. He just knows WWDD (what would Deadpool do) in any given situation, which is invaluable. We trust his story instincts completely.

AFF: What do you do with a character who's beloved for being "in the now"
- in that you don't care how he came to be, or where he goes after this, you
just love following him around. How do you create an arc for that character,
given that his chief lure is his total shallowness?

RR: Our script actually is an origin story. We were adamant that it not be your father's origin story, however, so it jumps back and forth between past and present. We spent hours upon hours trying to find interesting ways to jump from the present, which feels very much 'in the now,' to the past and back again. Deadpool seems shallow, but in fact, he's pretty deep. His trauma is visible in the scars on his skin, but it also comes through less obviously in the way he talks, the way he acts, the relationships he has. Shallowness can be a defense against depth, does that make sense?

AFF: You originally wrote Zombieland as a TV series. Following the success of the movie, would you like to return to that idea, and if so, how would it differ from the movies?

RR: We would love for Zombieland to be a TV series someday! There are vestiges of the serialized nature of the planned television show on display in the movie (the Rules for Surviving Zombieland , the Zombie Kill of the Week, etc.). The movie doesn't really 'end' as much as it does suggest new adventures on the way. We'd love to go to those new places!

AFF: With the success of action adventure films and the progression of technology, do you see the nature of screenwriting changing where multimedia experience is required?

RR: I don't think screenwriting will change much at all due to advances in technology. Back in the late nineties, I was told not to worry about technology - to write big and let the VFX guys sort it all out. That would still be good advice today.

AFF: Will this be your first time to Austin? What are you most looking forward to - are there fellow panelists you already know? Anyone you're looking forward to meeting?

RR: I have never been to Austin, but I've heard many terrific things. This should be a blast! I've been friends with Rita Hsiao and Glenn Berger for years... hope to be able to spend a lot of time with them. I don't know many others in attendance. Feature writers tend to be solitary beasts. You can go years and years hearing the name of another writer and never come across him/her. So this is a tremendous opportunity to place faces and personalities with names. And find whole new reasons to be jealous of others!

How to do the AFF Conference by the Austin Cats!

2011-06-29T17:18:00.005-05:00

Every fall the Austin Film Festival and Conference transforms the Texas capital into the equivalent of a screenwriter’s One Hundred Acre Wood. The elegant ballrooms of the historic downtown venues add ambiance to the learning experience like ivy adds to an eastern university’s mystique.

Enjoy your visit to the lair of local writing group, the Austin Cats! Established June 2008 from a Beat Sheet Workshop, their late mentor, Blake Snyder, believed, “A well written screenplay will sell itself!” The Austin Cats! believe what is learned during this conference may help writers improve their chance at such a success.

Fortunate to have this conference held in their backyard, the Austin Cats! welcome you to share in their experience by considering the following tips when attending.

ON ATTENDING PANELS

Billy Malamon says: If you aren’t sure who the speakers are, make friends at the conference and ask whom they recommend. Pick someone who inspires you. Pick to see someone who has written a film you haven’t seen. You may find it interesting to hear the process of how a film is written, and then see it for the first time.

Alan Barber adds: Ask specific questions so everyone listening can learn from the answer. Do not preface your question with who you are and whatever brilliant project you are working on, a sure-fire audience turn off, and time suck. The panels are not about you. Stay focused, listen, take notes, and thank the panelists for being there.

ON BEING A PANELIST

Alvaro Rodriguez affirms: Say yes. Get ready for some great conversation but don't forget to bring it back to the writing. Doors you didn't even know were there will open for you. Take advantage of the opportunity.

ON ATTENDING ROUNDTABLES

Wendy Wheeler forewarns: The Producers' roundtables get filled up fast. Find the roundtable sign up early in the a.m. and get on the list. It is set up so that you + your table get 20 minutes with each pro, then a bell rings, and you get a new person to chat up and network with!

If waiting outside the roundtable room to do stand-by, do NOT loudly complain about what presentation you're missing elsewhere -- you gambles and you takes what you gets.

Alan Barber joins: The roundtables are fantastic. Even if the person who lands at your table is not your area of focus, listen carefully and BELIEVE the answer. They are very busy professionals in the business and will shoot straight. The information you gain will be invaluable. And you will have a chance to ask a (brief and focused) question about YOUR project.

ON ATTENDING FILMS

Tamara Field cautions: People starting lining up pretty early for the movies at each theatre, especially for the popular ones, be ready to stand in line!

Alan Barber opines: The big Paramount Premieres are fun and you should go at least once. But they have distribution and you can watch them later. While you are in line, ask about the audience buzz, what films are everyone talking about? Ask people of all ages. In those little films you will find a gem and make the festival experience much more memorable.

ON MEETING FAMOUS PEOPLE

Stephanie Harrison shares: Be gracious when you meet famous attendees. Photo ops and autographs are possible. Be sincere with your intention. For example, Ron Howard signed a fan’s photo of a cast of “Happy Days.” His signature nearly completed the set. Assured that the fan would keep the picture, Mr. Howard offered to help him get the one missing signature.

ON PREPARING FOR THE PITCH CONTEST

Melody Lopez suggests: To help alleviate nerves, practice your pitch with anyone who’ll listen. Incorporate their suggestions to improve how and what you pitch. When at the conference, practice some more with fellow writers. You might be given some clever enhancements or a more snappy title. Add to your Karma by sharing your talents too. Good Luck!

Badge Discounts for Screenwriting/Filmmaking Groups and Students!

2011-06-29T11:16:00.003-05:00

WRITERS/FILMMAKING GROUP DISCOUNTS
Our discount prices for Writers Group members are as follows. Members will need to call the office (512-478-4795) and speak with Marcie Mayhorn, Maya Perez, or Matt Dy in order to register with the discounts. Group organizer must call and register the group with the Austin Film Festival first!

*Writers Group discounts for 2011
*Writers Group discounts are not valid with any other discount or promotional price offered by the Austin Film Festival

Film Pass- $42 before Sept. 30/ $50 after (no discount)
Lonestar Badge- $95 before Sept. 30/ $110 after (no discount)
Weekend Badge- $225 (regularly $250)

Conference Badge-
Through September 30th: $300 (regularly $375)
After September 30th: $350 (regularly $375)

Producers Badge-
Through September 30th: $525 (regularly $650)
After September 30th: $585 (regularly $650)

If there are 10 or more registrants from one Writers Group, the group organizer will receive a complimentary Conference Badge which may be upgraded to a Producers Badge for $225 (by September 30th) or $235 (after September 30th).

STUDENT/SCHOOL DISCOUNTS FOR CONFERENCE REGISTRATION
For 10 students or more – the cost of a Conference Badge is $150 each.

For 15 students or more – the cost of a Conference Badge is $125 each.

Please be aware that ALL of AFF parties are 21 and up. Any students that are of age may upgrade to a Producers Badge for $235 (by September 30th) or $275 (after September 30th). The organizing faculty member will receive a complimentary Producers Badge.

All group school registrations must go through the Screenplay Competition Director, Matt Dy or the Conference Director, Maya Perez. Call 800-310-3378 to register now.

FILM COMPETITION GROUP DISCOUNT (For students and/or filmmaking groups)
4 film competition entries for $100.

Each group of 4 films must be submitted in the same package and addressed to Stephen Belyeu. This discount is valid for mail in submissions only (Cannot submit through Withoutabox). A separate entry form needs to accompany each film submitted. Students are asked to send in a copy of their school ID as well.

Call us at 1-800-310-FEST(3378) to find out about discounted hotels and airfare. For information about the events included in each registration level please visit our website at: www.austinfilmfestival.com

Refund requests for the Festival & Conference must be in writing, postmarked by July 5, 2011. All refunds will incur a $75 processing fee. After July 5, 2011, all payments are non-refundable for any reason, including, but not limited to illness, acts of God, or travel related problems. Badges are non-transferable and are the property of the Austin Film Festival, Inc. Unused registrations cannot be credited for future year’s attendance.

Confirmed 2011 Speakers! (And it's only June!)

2011-06-20T14:56:00.005-05:00

It's only June 20th and we've already got an incredible list of screenwriters, producers, television writers, agents, development executives, directors, managers, and more on board for the 18th Annual Austin Film Festival & Conference, October 20-27.

CONFIRMED PANELISTS FOR 2011 AFF & CONFERENCE*

Award Recipients:

JOHN LASSETER – Extraordinary Contribution to Filmmaking
Chief Creative Officer, Walt Disney and Pixar Animation Studios; Academy Award®-winning director and executive-producer of MONSTERS, INC., FINDING NEMO, THE INCREDIBLES, RATATOUILLE, WALL-E, BOLT, UP, THE PRINCESS AND THE FROG, TANGLED, and TOY STORY 3

CAROLINE THOMPSON - Distinguished Screenwriter
Screenwriter of EDWARD SCISSORHANDS, THE NIGHTMARE BEFORE CHRISTMAS, CORPSE BRIDE, THE ADDAMS FAMILY, THE SECRET GARDEN, BLACK BEAUTY, and more

HART HANSON - Outstanding Television Writer
Creator “BONES”, writer/producer on the television shows “Joan of Arcadia,” “Judging Amy,” “Snoops,” “Cupid,” “Stargate SG-1,” and “The Outer Limits”

Panelists:

Jonathan Aibel & Glenn Berger, writer KUNG FU PANDA 1 & 2, ALVIN & THE CHIPMUNKS 2 & 3, MONSTERS VS. ALIENS, “King of the Hill”
Sterling Anderson, writer “Medium,” “The Unit”
Alec Berg, “Curb Your Enthusiasm,” “Late Night with Conan O’Brien,” EUROTRIP, “Seinfeld”
Richard Bever, Chill Entertainment
Shane Black, KISS KISS, BANG BANG, LETHAL WEAPON, THE LONG KISS GOODNIGHT
Katherine Brown, Blue Dog Pictures
Joseph Chianese, Senior Vice President of Taxes, Business Development, and Production Planning at Entertainment Partners
Mark Coffey, Editor
Lindsay Doran, producer STRANGER THAN FICTION, NANNY MCPHEE, NANNY MCPHEE RETURNS, SENSE AND SENSIBILITY
Allison Doyle, manager, Oasis Media Group
Jason Eaton, ICE AGE 3, SPARTACUS LOBSTER, THE FACTTRACKER
Rebecca Ewing, United Talent Agency
Edward Fee, Director of Development, di Bonaventura Pictures
Lisa Fragner, Head of Feature Film Development, 20th Century Fox Animation/Blue Sky Studios, Inc.
Rodrigo Garcia, “In Treatment,” MOTHER AND CHILD
Chet Garner, “The Daytripper”
Greg Garrett, Professor of English, Baylor University
Josh Gloer, “Lockup: Extended Stay,” “Yo Momma”
Pamela Gray, writer CONVICTION, A WALK ON THE MOON, “Once and Again”
Ted Griffin, OCEAN’S ELEVEN, RUMOR HAS IT…, KILLERS, MATCHSTICK MEN
Noah Hawley, creator/writer/executive producer “My Generation,” writer/executive producer “The Unusuals,” writer/co-producer “BONES”
Buck Henry, writer THE GRADUATE, TO DIE FOR, CATCH-22
Jim Herzfeld, writer MEET THE FOCKERS, MEET THE PARENTS, TAPEHEADS, writer/producer “Married… With Children”
Rita Hsiao, TOY STORY 2, MULAN
Chris Holland, author of Film Festival Secrets: A Handbook for Independent Filmmakers, Director of Festival Relations for Slated, Inc.
Elizabeth Hunter, BEAUTY SHOP, THE FIGHTING TEMPTATIONS, “ER”
Barry Josephson, Josephson Entertainment
Laeta Kalogridis, executive producer AVATAR, writer SHUTTER ISLAND, ALEXANDER, NIGHT WATCH
Lawrence Kasdan, RAIDERS OF THE LOST ARK, THE EMPIRE STRIKES BACK, RETURN OF THE JEDI, WYATT EARP, SILVERADO, BODY HEAT, THE BIG CHILL, GRAND CANYON, THE ACCIDENTAL TOURIST
Winnie Kemp, CBS Films
Kyle Killen, THE BEAVER, creator/producer “Lonestar”
Franklin Leonard, Overbrook Entertainment
Jeff Lowell, HOTEL FOR DOGS, OVER HER DEAD BODY, JOHN TUCKER MUST DIE,"Just Shoot Me," "Spin City," "The Drew Carey Show"
Maggie Malone, Director of Creative Development, Disney Animation Studios
Reeva Hunter Mandelbaum, Inspired By Productions
Craig Mazin, THE HANGOVER PART II, SCARY MOVIE 3 & 4
Tim McCanlies, director ALABAMA MOON, writer SECONDHAND LIONS, THE IRON GIANT
Brian McGreevy & Lee Shipman, screenwriter HARKER, PENDRAGON (both in development)
Mike Mitchell, director ALVIN AND THE CHIPMUNKS: CHIP-WRECKED ’11, SHREK FOREVER AFTER, SURVIVING CHRISTMAS
Peter Murrieta, showrunner and Emmy Award-winning creator of "Wizards of Waverly Place,” "Hope and Faith," "Greetings from Tucson"
Linda O. Olszewski, Co-Head Global Acquisitions, Shorts International
Noreen O’Toole, associate producer “Castle,” “Lost”
Daniel Petrie, Jr., BEVERLY HILLS COP, THE BIG EASY, SHOOT TO KILL, writer/director “Framed”, former WGAw President
Nancy Pimental, writer “Shameless,” “South Park”, THE SWEETEST THING
Anne Rapp, writer DR. T & THE WOMEN, COOKIE’S FORTUNE
Rhett Reese, writer ZOMBIELAND, GI JOE2, DEADPOOL
Pamela Ribon, writer “Samantha Who,” “Romantically Challenged,” “Mind of Mencia”, 2001 AFF Finalist for the Sitcom Category
Scott Robbe, producer/director Feed Your Head TV
Howard A. Rodman, writer AUGUST, SAVAGE GRACE, JOE GOULD’S SECRET, Chair of the Independent Film Writers Committee and a WGAW Board Member
Alvaro Rodriguez, writer MACHETE, SHORTS, FROM DUSK TILL DAWN 3: THE HANGMAN’S DAUGHTER, ALLIED FORCES
Terry Rossio, co-writer SHREK, DÉJÀ VU, THE MASK OF ZORRO, PIRATES OF THE CARIBBEAN franchise
Joyce San Pedro, Creative Executive for Alex Siskin and with Escape Artists at Sony
Alex Smith, producer DANCE WITH THE ONE, co-writer/director THE SLAUGHTER RULER, SON OF THE GUN
Malcolm Spellman, writer FAMILY WEDDING, SOUL TRAIN, JOHNSON FAMILY VACATION 2, BALLS OUT (as The Robotard 8000 with Tim Talbott - 2009 Black List)
Dana Stevens, writer “What About Brian,” LIFE OR SOMETHING LIKE IT, FOR LOVE OF THE GAME, CITY OF ANGELS, BLINK
Fred Strype, producer/co-director web series "Socially Active", Professor / Chair, Screenwriting, Filmmaking/New Media Arts Program, Sarah Lawrence College
Matt Summers, Vice President of Film Development & Production, 821 Entertainment
Amy Talkington, VALLEY GIRL ‘12, PRIVATE BENJAMIN ‘12, NIGHT OF THE WHITE PANTS
Tim Talbott, writer “South Park”, BALLS OUT (as The Robotard 8000 with Malcolm Spellman - 2009 Black List)
Beau Thorne, writer MAX PAYNE
Donald Todd, writer/producer “Samantha Who?,” “Brother’s Keeper,” “Caroline in the City,” “Dave’s World,” “ALF”
John Turman, writer/producer HULK, FANTASTIC FOUR II: RISE OF THE SILVER SURFER, BEN 10: ALIEN SWARM
Jim Uhls, writer FIGHT CLUB, SEMPER FI, JUMPER
Oren Uziel, writer SHIMMER LAKE, THE KITCHEN SINK
Mark Vahradian, President of Production, di Bonaventura Pictures
Marcus van Bavel, DVFilm
Ric Roman Waugh, writer FELON
Herschel Weingrod, writer TRADING PLACES, BREWSTER’S MILLIONS, producer FALLING DOWN
Dawn Wiercinski, independent producer
Kay Schaber Wolf, WGAW Independent Film Executive
Bill Zotti, CAA

*Schedules permitting.

Interview with MISS CONGENIALITY Director Donald Petrie

2011-06-06T12:59:00.005-05:00

Just in time for our 9th Annual Summer Film Camp, Donald Petrie (MISS CONGENIALITY, HOW TO LOSE A GUY IN 10 DAYS, MYSTIC PIZZA, GRUMPY OLD MEN) discusses his childhood and what motivated him to become a filmmaker. Donald will be speaking to AFF’s summer film camp registrants this Wednesday, June 8th, before our screening of MISS CONGENIALITY. Register for a Camp today to hear him speak!

AUSTIN FILM FESTIVAL: What inspired you to become a filmmaker? Specifically, was there something in your childhood that motivated you?
DONALD PETRIE: Actually, I wanted to be an actor... we moved a lot when we were kids and I could make friends fast by being in drama... that progressed on to acting and I studied with all the great teachers, Lee Strasberg, Stella Adler, Harry Mastrogeorge and Uta Hagen among them... I worked as an actor but then started teaching acting... and then started directing plays... until after seeing one of those plays, my father encouraged me to check out the American Film Institute... I started directing film there, called my agent and told her that I wasn't an actor anymore.

AFF: Was there anything like our summer film camp that you could attend when you were around the age of 9-18 (the age group of our film camp registrants)? If not, do you wish there had been?
DP: I went EVERY summer to WMAC - Westchester Music and Arts Camp in New York... but that was for acting and I loved it!!! Remember, in those days we did not have the technology you have today. If you made a short film it had to be on FILM! And that was SILENT and VERY EXPENSIVE! We didn't even have video tape then! Now you can shoot a feature on your cell phone!!! You are SO LUCKY!

AFF: As an aspiring young filmmaker and coming from a talented filmmaking family, how did you creatively set yourself apart from your father and older brother?
DP: Again.. I was an Actor first... I really didn't even understand what my dad did... Eventually at the AFI, I realized how much I knew from just growing up around it. My brother (the WRITER) and I had very different personalities. He was the more introverted intellectual. I was the more extroverted goof ball... Dan was off reading ALL the great novels. I was off jumping in leaf piles and playing cowboys and Indians...

AFF: With all of the technology out there, what methods (if any) would you suggest to young filmmakers to utilize rather than the ones that are currently available?
DP: Remember that technology is just one part of it. Yes you want to understand and know technology... but you also have to know how to tell a story... in the language (yes it is a language) of cinema. And most important... you have to have stories you want to tell. Hopefully that are original and new and fresh - and not just a re-hash of what we have already seen. Once you decide to become a filmmaker you become a student for the rest of your life. Because the world and people and stories are ever changing and evolving. Look at the difference from movies made even 20 years ago to today... very different.. As to answering the question... learn SOUND... It is the SOUND that is usually the difference between a professional film and amateur.

AFF: Who are some of the filmmakers that inspired you when you were young?
DP: Growing up I loved everything Frank Capra did.. and Billy Wilder... those formed my tastes in movies... Then I learned a lot from my Dad and wanted to be like Spielberg.

AFF: What are some of the experiences you have had in the business which made you realize you made the right career choice?
DP: Did I make the right choice? Who knows? I could have been a star! Actually, on a film set, the actors have to sit around and wait a lot... it's part of the challenge of being an actor... "energy management"... saving your energy for when the camera is rolling. The "magic time" as Jack Lemon would say. For a director there is very little "down" time. You are always busy, and for very long hours. That to me means I'm never bored... It means that every shot is my close up! How many Directors does it take to screw in a light bulb? One... But He / She merely holds the bulb, and the world turns around him...

Newsletter Archives

2011-06-06T10:55:00.004-05:00

Do you know you can access all of our old newsletters? Okay, not ALL, but at least back through January 21st, of this year. So, if you're new to our mailing list or think you may have missed some announcements, or you want to look busy on your iPhone while you wait for your friend at the coffee shop, you can find them all here.

2011 AFF Speakers are HOT!

2011-06-01T11:56:00.003-05:00

We knew we had an awesome group of screenwriters and filmmakers coming in, but damn. Just about every industry site I go to has an article or interview with one of our incoming panelists. Check 'em out and start thinking about your own questions to ask them at the Conference in October. You'll have plenty of opportunities to chat them up when you're right next to them standing in line at the movies, piling up your plate at the Friday night BBQ, or closing down the Driskill Bar.

Kung Fu Panda 2 Writers on Future Sequels, and Their Pixar Rivals
Jonathan Aibel & Glenn Berger talk with Movieline here.

And, here, Jon and Glenn talk about their plans for CANDYLAND. Sweet! ;)

Evel Knievel Biopic Revs Up With Director Ric Roman Waugh
Check out the exclusive report from Jay Fernandez with THR here.

Craig Mazin Back On Board to Write 'Hangover 3'
Here's the report from The Wrap. One of our favorite panelists from last year and a new AFF staple is gonna be riding this high for a long time!

Caroline Thompson Adapted Bestselling Teen Fantasy WICKED LOVELY
Thompson wrote the script and THR now reports that Mary Harron (AMERICAN PSYCHO) is in negotiations to direct Universal’s teen fantasy project being produced by Vince Vaughn's Wild West Picture Show Productions.

Ted Griffin adapting PANIC ATTACK for David Fincher
Ted Griffin's signed up to write the script for David Fincher's new film! Here's the story in New York Magazine.

Dana Stevens has written the script for the adaptation of the Nicholas Sparks novel Safe Haven. Fingers crossed that Lasse Halstrom signs on to direct! Read about it here.

And, be sure to check out Elizabeth Hunter's new movie JUMPING THE BROOM. It's getting great reviews and I can't wait to see it!

2010 Extraordinary Contribution to Filmmaking Awardee Robert Rodriguez's Writing Process

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Click on the title to watch!

SCREENPLAY COMPETITION UPDATE

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Special Consultations for Screenplay Winners!

As an added bonus, we are excited to announce that Pen Densham, award-winning screenwriter, producer, and director will provide special consultations for the winners of the Screenplay Competition (Drama, Comedy, Dark Hero Studios Award, and Latitude Productions Award categories). Pen is responsible for writing and producing some of Hollywood’s biggest blockbusters, such as ROBIN HOOD: PRINCE OF THIEVES, along with some of its longest-running television series including “The Outer Limits” He has also written the book, Riding the Alligator which explores specific screenwriting techniques and reveals his emotional philosophies and professional secrets. Visit his website for more information on him and his book at www.ridingthealligator.com.

New judges!

We are also proud to announce the following new additions to our panel of industry judges:
• Edward Fee | Director of Development, di Bonaventura Pictures
• Peter Murrieta | Showrunner, “Wizards of Waverly Place”, “Hope and Faith”
• Channing Dungey | Senior VP of Drama Development, ABC Studios

Click here for a complete list of this year’s judges.

Also, don’t forget, you have until 11:59PM (PST) Wednesday, June 1st to submit your screenplay or teleplay. This is the final deadline so don’t wait!

For questions, contact Matt Dy, Screenplay & Teleplay Competition Director at 1-800-310-3378 or matt@austinfilmfestival.com.

The Wolf Pack is back! (and the guy who wrote it)

2011-05-25T15:45:00.003-05:00

Check out our exclusive interview with Craig Mazin, screenwriter of THE HANGOVER: Part II and 2011 AFF panelist. Craig Mazin is the co-writer of the hit comedies SCARY MOVIE 3 and 4. Most recently, he wrote THE HANGOVER: Part II with director Todd Phillips. Craig served on the Board of Directors of the Writers Guild of America, West from 2004 to 2006. He also runs The Artful Writer—a website for professional and aspiring screenwriters.

The sequel to 2009's smash hit comedy hits theaters this weekend, May 26th! Grab your friends and extended family members and check it out. Repeat.

AUSTIN FILM FESTIVAL: How did your 'audition' process for THE HANGOVER: Part II go? Were you up against a ton of other writers, lobbying like crazy, knocking people in the knee caps?

CRAIG MAZIN: There wasn't really an audition. I've known Todd Phillips for years, and we've always made each other laugh as friends. So if there was any kind of audition, that was probably it. He was in a tough spot in terms of schedule, because he was editing DUE DATE while having to immediately get a draft going on THE HANGOVER: Part II, so he brought me in along with Scot Armstrong so that we could triple team it.

I wish there were more of a violent, bare-knuckles brawl story to tell about that, but it came down to this: "Hey Mazin, you wanna come write Hangover 2?" "Uhhhhh, YES."

AFF: Did you have table reads with the cast? Was there a lot of improvisation by the actors that made it into the final cut, or did everyone go straight from the script?

CM: We did have a table read shortly before we began shooting, which was really about helping us refine the script. Screenwriting is a big guess. Once you hear the cast perform the script, you can start to see where things might seem a bit too slow, or where a joke might not work. That said, I think the table read we had with the actors gave us a ton of confidence that we were in a good place with the script.

Most of the cast's improv and scene enhancement happened on the shooting days themselves. Todd and the guys would get the scene up on its feet in rehearsal, and then everyone would take a beat to figure out how to make the scene work as best as it could. At least in comedy, there's really no substitute for finding the right moment in the moment.

AFF: You went to Thailand during shooting and working on set isn't something screenwriters are always welcome to do. What was it like? Did you get to enjoy any of Thailand, or were you glued to your laptop the whole time?

CM: It was an incredible experience. Todd is great-- and smart-- in that he really appreciates having another storyteller with him on set to help get the most out of the pages. He's an excellent writer himself, so the funny thing is that he actually doesn't need another writer with him the way that many directors do... and yet he put a real premium on me being there, which is a testament to his confidence and sense of creative security.

Being on set is a job. I take that job seriously. There's nothing worse than being "that guy" on a set who isn't working. It's like being a non-combatant on a battlefield. Everyone else just stares at you like, "C'mon... do something or get lost." So yeah, I was glued to a monitor or glued to my laptop or standing with Todd and the cast while the guys got a scene up on its feet. I knew my role, and that was to watch and wait and be available for those moments here and there where I could help. The great thing about working with Todd is that he's the total package as a director. It's his set, he's the ultimate creative authority, but most importantly, he's really good at it. I trust him, the cast trusts him... and everything works as a function of that trust.

AFF: What are you working on now?

CM: I'm writing and producing an animated feature film called "Turkeys," starring Owen Wilson, Woody Harrelson and Steve Martin. I just finished an original screenplay that I did for producers Michael & Carla Shamberg and Stacey Sher. But as for what's next? You know, whatever Phillips wants to do. If he wants me there, I'm there. I don't care what it is. I just love writing for him.

AFF: You're a repeat offender at AFF. What's your advice for the uninitiated?

CM: If you don't like cigar smoke, avoid the balcony at the Driskill. That's our spot.

Have your own questions for Craig? Ask him at the 18th Annual Austin Film Festival, October 20 - 27, 2011!

A Letter from Michael Brandt and Derek Haas

2011-05-23T12:48:00.003-05:00

Over the last ten years, each October means a trip to Austin for the Austin Film Festival, the no-bullshit best screenwriting conference in the world.

What makes it great? For one thing, it’s the style of the conference: laid back yet well organized. Topics are based on what participants actually care about and the list of screenwriters looks like someone stole Warner Brother’s secret rolodex. Best of all is an atmosphere that doesn’t allow for any of the typical Hollywood crap.

Over the years at AFF we’ve met: [Ted] Elliott & [Terry] Rossio, Shane Black, John August, John Lee Hancock, Randall Wallace, Robert Rodriguez, Craig Mazin, Rita Hsiao, [Jon] Lucas & [Scott] Moore, Matt Olmstead, Jessica Bendinger, Nancy Pimental, Jeff Lowell, [Phil] Hay & [Matt] Manfredi, the Weitz Brothers [Paul & Chris]… and the list goes on and on. And that’s just the screenwriters who attend… there are a host of huge executives and producers and agents who come in each year to talk about the craft as well.

There is a genuine love of the writing process in Austin, probably because Austin is such a great music town where the writer is still king! And here’s the kicker: everyone is excited to be there. We’ve always called it a spring break for writers… a week long party where all the participants and the speakers mingle all night long, talking movies.

We can’t recommend it enough. Look for us late at night at the Driskill… we’ll be the ones on the deck, smoking cigars, drinking whiskey, telling lies and maybe a few truths about screenwriting. Come pull up a chair…

Michael Brandt and Derek Haas
Screenwriters of THE DOUBLE ‘11 (Brandt's directorial debut!), WANTED, 3:10 TO YUMA, 2 FAST 2 FURIOUS
Derek Haas is also the author of the bestselling novels The Silver Bear and Columbus

Interview with screenwriters Jon Aibel & Glenn Berger about the upcoming blockbuster KUNG FU PANDA 2 starring Jack Black!

2011-05-20T14:50:00.003-05:00

Jonathan Aibel and Glenn Berger are the writing team behind some of today’s most beloved and popular family films. To date, their movies have grossed nearly $1.5 billion dollars in worldwide box office. Aibel and Berger met right out of college while working as management consultants in Boston. It was there they both discovered their passion for comedy writing and lack of passion for management consulting. So they threw away their suits and briefcases and moved to Los Angeles. Since then, Aibel and Berger have written some of the most successful family films of the past decade, and have positioned themselves as two of the most talented and respected comedy writers in the industry. They pride themselves on scripting films that appeal to audiences of all ages, with a combination of character-based comedy, action, and emotion.

The pair recently finished writing and co-producing Kung Fu Panda 2, the sequel to their blockbuster film Kung Fu Panda, set for release on May 26, 2011 by Dreamworks. Their script for the third installment of the highly successful “Alvin and the Chipmunks” franchise, Alvin and the Chipmunks: Chip-Wrecked, is currently in production and set for release by 20th Century Fox on December 16, 2011. Other family film credits include Alvin and the Chipmunks: The Squeakquel, and Dreamworks’ first 3D film, Monsters vs. Aliens.

In addition to their work in film, Aibel and Berger were part of the original staff of the animated Fox hit "King of the Hill." They remained at the show for six seasons, and rose to become executive producers, garnering four Emmy® nominations and one win.

Interview with Jon Aibel & Glenn Berger

Q: According to producer Melissa Cobb, KUNG FU PANDA 2 will be more serious and dramatic than some might expect. Can you elaborate?

A: There’s a tendency to assume that an animated movie about a kung fu fighting panda is going to be just for kids, and we think audiences were somewhat surprised that the first movie actually took itself and its characters seriously. We wanted to push that even further on the sequel, to put Po on a journey in which he has to confront some of his deepest fears about himself and his identity. That being said, we also made sure we preserved the humor and heart of the first one.

Q: How did the process of writing KUNG FU PANDA 2 differ from the original? Did you find it easier to write for characters you already knew well? Did you have more or less creative control over the sequel?

A: When we started work on the first movie, it had already been in development for over three years. The characters had been designed, and the basic elements of the story were more or less in place. So we were working with a fair number of limitations. For the sequel, however, we were the first on the crew (in addition to our producer, Melissa Cobb.) So we really had an incredible amount of freedom to put Po in just about any story we could imagine. We probably spent a year outlining, just trying to key in on what would be the best story to tell. Then Jen Yu Nelson came aboard as director, and we really began refining the story before we finally sat down to write the first draft. It’s hard to overemphasize how collaborative these movies are. The script is really just the first step. Getting a scene from script to screen involves hundreds of people, which means you have to be able to explain and defend your ideas to the storyboard artists, the voice actors, the editor, the animators, the production designer, plus Jeffrey Katzenberg and the Dreamworks executives. I’m not sure anyone can ever have “creative control” over that many people. But Dreamworks gave us the chance to make our voices heard, to be there at recording sessions, in the edit bay, at test screenings. It was an amazing, if exhausting, experience.

Q: You began your career writing for television and were part of the original staff of the animated FOX hit “King of the Hill.” Please discuss the transition from TV to feature film.

A: What we loved most about “King of the Hill” was the way it offered us a chance to write three-act, character-based stories that were more like mini-movies than traditional sitcom episodes. When we left the show, we realized there weren’t many places on TV where you could still do that sort of thing. But a really good place to write movie-style stories was, well, in the movies. We found it a really comfortable transition and discovered that the things we learned at “King of the Hill” – how to write quickly, how to surgically address notes, how to work with actors – were invaluable in writing movies, particularly animated ones.

Q: Walk us through your process as writing partners. How do you approach the project? The drafting process? Rewrites?

A: We do almost everything together. We know a lot of teams will split up scenes but we’ve found that doesn’t really work for us. Maybe we’ll initially divide stuff up just so we can get a really rough don’t-show-this-to-anyone draft of the script together, but it’s really just so we have something other than the blank page to face when we really start getting to work. Outlining, writing drafts, rewriting, we approach it all the same way.

Q: Your experience is primarily in writing for animation. Do you prefer animation? Do you have any interest in live action feature films or TV? If so, are there any projects in development?

A: Actually, although most of our produced credits are in animation, we’ve written a number of live action movies. We currently have an action comedy starring Jack Black in development, and we’re writing “Candy Land” for Universal. We like to write big budget, family movies, and many of them just happen to be animated or contain animated elements. It’s usually our interest in the story and the characters that attracts us to a project. The means by which the story is told (animation vs. live action) is secondary for us.

Q: Working on “King of the Hill” with Austin’s own Mike Judge (and AFF’s 2005 Outstanding Television Writer Award recipient), you’ve been to Austin before, but this will be your first time to the Conference. What are some of your favorite places to go? What are you looking forward to at Austin Film Festival?

A: Austin was like a second home to the King of the Hill staff. We would take annual research trips to town. Favorite places? Lockhart, where we hit the BBQ troika of Blacks, Kreuz, and Chisholm Trail all in one afternoon. Plus County Line BBQ and Stubbs. (Hank Hill sold propane, so eating BBQ counted as research.) Other highlights? Hearing live music at the Continental Club, and hanging out at the Driskill. Do they still make those little peanut butter and jelly sandwiches in the shape of Texas?

What are we looking forward to at the Austin Film Festival? Aside from the numerous BBQ eating opportunities it will provide, the AFF is one of the few festivals that celebrates the craft of screenwriting. And it takes place in one of our favorite cities.

2010 Austin Film Festival Commercial

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Everybody's Working for the Weekend Badge!

2010-10-14T10:38:00.002-05:00

FRIDAY, 10/22

Yes! You get in to both of the below with your Weekend Badge!

3:15pm-4:30pm
Script Reading of Matthew Cook’s 2009 Top Black List Script, BY WAY OF HELENA
Introduction by Black List Creator, Franklin Leonard
Driskill Hotel, Maximilian Room

Film Critics and the Industry
Alamo Ritz
Print film critics have recently been in the spotlight, criticized for being out of touch with the majority of filmgoers. What purpose are film reviews serving now? Who's reading them and how are they using them? And with more movie critics driven to the internet, what does this change for the audience? More importantly, what is the impact on the film and the filmmakers? Film critics from print and blogs address these questions and others.
David Denby, The New Yorker; Neil Miller, filmschoolrejects.com; Kenneth Turan, Los Angeles Times; Scott Weinberg, Cinematical/Moviefone and FEARnet; Chase Whale, gordonandthewhale.com
Moderated by Charles Ealy, Austin American-Statesman

SATURDAY, 10/23

9:00am-10:15am
Austin Pitch #6
The Hideout
It’s the eighth annual Austin Film Festival Pitch Competition! Give your best pitch in 90 seconds and secure your spot in the finals at the Pitch Finale Party on Saturday evening.
Adrienne Biddle, Grant Nieporte

Pixar Story Development Process
Driskill Hotel, Citadel Room
Pixar Animation Studio's development process is unique in the industry. Michael Arndt will talk about the rewards of this approach from a writer's perspective, and Development Execs Mary Coleman and Emily Zulauf will show examples of how support for original ideas, inspiring field trips, and the intense "brain trust" feedback process combine to create memorable stories.

How to Take a Meeting
Driskill Hotel, Hogg Room
Don’t wait until after you’ve booked a meeting to panic. From honing your pitch to following up, learn now what to expect and how you – and your script – can best be prepared.
William Akers, Matthew Cook, Maggie Malone
Moderated by Aadip Desai

Creating a TV Bible & Pilot to Get You in the Room
Driskill Hotel, Ballroom
Top show creators and producers discuss what goes into creating a TV bible that will get you in the door. How much information should you include? Writing the pilot, character breakdowns, establishing worlds and how many episodes, if any, to include.
Sterling Anderson, Kyle Killen, Jorge Zamacona
Moderated by Monte Williams

Agents
Driskill Hotel, Maximilian Room
This is the panel to get the answers to all of your questions about finding and working with an agent. At one point do you need one? What if your co-writer has a different agent? If agents don’t accept unsolicited material, how can you get them to solicit your script?
Rebecca Ewing, Jeff Gorin
Moderated by Barry Josephson

A Conversation with David Peoples
Stephen F. Austin, Ballroom
Join a conversation with Distinguished Screenwriter Awardee David Peoples, whose screenwriting credits include the visionary “Blade Runner,” Academy Award© winner “Unforgiven,” “Twelve Monkeys,” “Hero,” “Soldier,” “The Blood of Heroes,” and the Academy Award©-nominated documentary “The Day After Trinity,” among others.
Moderated by Kenneth Turan

Independent Productions: The Proposal
Stephen F. Austin, Assembly Room
Talk with the pros about how to put together a proposal that will secure backing for your film.
Curtis Burch, Michael Katchman, Brent Lilley, Meta Valentic
Moderated by Dawn Wiercinksi

10:45am-12:00pm
Austin Pitch #7
The Hideout
It’s the eighth annual Austin Film Festival Pitch Competition! Give your best pitch in 90 seconds and secure your spot in the finals at the Pitch Finale Party on Saturday evening.
Warren Etheredge, Rebecca Ewing

Roundtable: Comedy Writers
St. David’s Episcopal Church, Sumners Hall
Get in-depth answers to your questions about the craft and business of screenwriting and film making. This session offers registrants exclusive access to comedy writers in an informal setting.
William Akers, Kat Candler, Greg DePaul, Larry Doyle, Jay Wade Edwards, Owen Egerton, Dan French, Mike Fry, Pat Hazell, Jeff Lowell, Jon Lucas, Chris Mass, Craig Mazin, Scott Moore, Nancy Pimental, Chuck Sklar, Malcolm Spellman, Tim Talbott

“Toy Story 3”: How 4 Years of Creative Agony Became 93 Minutes of Movie Fun
Driskill Hotel, Citadel Room
Screenwriter Michael Arndt traces the evolution of “Toy Story 3”'s script, from the first treatment in 2006 to the final film of 2010. Using clips from the film's early reels, he details all the blunders, missteps, blind alleys, and mistakes he and his fellow writers made in the course of the script's development, and presents clips from the finished film to show how those missteps were eventually overcome and corrected.

The Business of Writing for Television
Driskill Hotel, Ballroom
A conversation on the changing landscape of television. How do spec pilots become successful primetime TV shows? Discuss with an agent, manager, producer and the writers the business of television. And how to get your foot in the door.
Bryan Brucks, Noah Hawley, Pamela Ribon, Tiffany Ward
Moderated by Stuart Kelban

LUNA Panel: Telling Women’s Stories through Film
Driskill Hotel, Maximilian Room
Women filmmakers who choose to tell women’s stories through film. This panel is sponsored by LUNA.
Maggie Biggar, Diane Drake, Jennifer Salt
Moderated by Alison Macor

Independent Productions: The Team
Stephen F. Austin, Assembly Room
Assembling and working with your crew on a limited budget. How to face the challenges of putting together a team that you can afford without compromising your project or ending up in a screaming match.
Marjorie Eber, Travis Fine, PJ Raval, Ezra Venetos
Moderated by Dawn Wiercinksi

2:15pm-3:30pm
Austin Pitch #8
The Hideout
It’s the eighth annual Austin Film Festival Pitch Competition! Give your best pitch in 90 seconds and secure your spot in the finals at the Pitch Finale Party on Saturday evening.
Nancy Pimental, Pamela Ribon

Writing for Documentaries
Driskill Hotel, Citadel Room
Nonfiction requires as compelling a narrative as fiction. Join a conversation on how to craft strong, character-driven stories documenting the real world.
Barry Blaustein, Henry Corra, PJ Raval, Paul Stekler
Moderated by Robert Draper

Managers
Driskill Hotel, Hogg Room
This is the panel to get the answers to all of your questions about finding and working with a manager. At one point do you need one? What is their role as opposed to an agent?
Melissa Breaux, Brent Lilley
Moderated by Steven Arvanites

A Conversation with Allan Loeb
Driskill Hotel, Victorian Balcony
Join a conversation with Allan Loeb, whose screenwriting credits include “Things We Lost in the Fire,” “21,” “The Switch,” “Wall Street 2: Money Never Sleeps,” the upcoming Adam Sandler comedy Just Go With It and the Ron Howard-directed “The Dilemma.” He is also in pre-preproduction on the remake of “Escape from New York,” the Adam Shankman directed musical “Rock of Ages,” and the Ryan Reynolds comedy “Boy Named Sue.”
Moderated by Warren Etheredge

The Craft of Screenwriting: Popcorn Movies
Stephen F. Austin, Ballroom
For all the entertainment, adrenaline and box office receipts they deliver, popcorn movies rarely get the respect they deserve. A discussion with the pros on how to craft a solid story that delivers both explosions and laughs.
Michael Brandt, Derek Haas, Jeff Lowell, Alvaro Rodriguez, John Turman

The $2 or the $200,000 Film: What You Need to Know
Stephen F. Austin, Assembly Room
Anyone can get their hands on a video camera these days, but that doesn’t mean you won’t still need a budget, story boards, a schedule, and an overall plan. Not to mention a great script. Regardless of your budget, there are basics you want to make sure you have covered to insure that your film is not only a success, but that it gets completed at all.
Greg Carter, Tom Copeland, Victor Moyers, Mark Potts
Moderated by Dawn Wiercinksi

3:45pm-5:00pm
Austin Pitch #9
The Hideout
It’s the seventh annual Austin Film Festival Pitch Competition! Give your best pitch in 90 seconds and secure your spot in the finals at the Pitch Finale Party on Saturday.
Angela Lee, Chuck Sklar

Roundtable: Screenwriters
St. David’s Episcopal Church, Sumners Hall
Get in-depth answers to your questions about the craft and business of screenwriting and filmmaking. This session offers registrants exclusive access to professional writers in an informal setting.
Sterling Anderson, Barry Blaustein, Michael Brandt, Kat Candler, Greg DePaul, Jason Eaton, Travis Fine, Derek Haas, Rita Hsiao, Simon Kinberg, Allan Loeb, Grant Nieporte, Daniel Petrie, Jr., Herschel Weingrod

The Craft of Screenwriting: Comedy
Driskill Hotel, Citadel Room
Getting one person to laugh is tough. Getting a whole theater of people of different ages and from different backgrounds to laugh is near impossible. A conversation on writing comedy, from the pratfalls, to the one-liners, to the more subtle, character-driven laughs.
Maggie Carey, Larry Doyle, Jon Lucas, Scott Moore, Nancy Pimental
Moderated by John Merriman

The Showrunners
Driskill Hotel, Ballroom
A discussion on the role of the showrunner, their effect on the direction of a show, and how they put together and work with their writing team.
Noah Hawley, Peter Murrieta
Moderated by Andy Langer

Short Films, Webisodes and Other Outlets to Launch Your Career
Driskill Hotel, Maximilian Room
The popularity of short films has exploded thanks to dwindling attention spans, YouTube, and the omnipresence of mobile, small screen broadcast outlets, like cell phones. How do shorts and features differ in concept and execution? Will the cinema of the future be a hybrid of both? How can you use your short film or web series as a calling card and use it to launch your filmmaking career?
Tom Copeland, Mike Fry, Mark Potts
Moderated by Dano Johnson

A Conversation with David Simon
Stephen F. Austin, Ballroom
Join a conversation with Outstanding Television Writer Awardee David Simon, creator of HBO’s “The Wire” and “Treme”, whose credits also include “Homicide: Life on the Street”, the mini-series “The Corner” and “Generation Kill”.
Moderated by Robert Draper

SUNDAY, 10/24

11:30am-12:45pm
Roundtable: The Film Team
Driskill Hotel, Citadel Room
Get in-depth answers to your questions about the business of screenwriting and filmmaking. This session offers registrants exclusive access to filmmakers and crew in an informal setting.
Greg Carter, Marjorie Eber, Travis Fine, Andrew Halbreich, Michael Katchman, Victor Moyers, Mark Potts, Dominique Preyer, PJ Raval, Bob Schultz, Alma Kuttruff, Frank Reynolds, Ezra Venetos

Writing for Kids
Driskill Hotel, Hogg Room
Whether writing for young children, teens, or the whole family, conceiving a quality script is a challenge. It has to be (somewhat) innocent, topical, entertaining and interesting. Writing for teens or the whole family can also be a great and lucrative way to start – or re-start – your career.
Todd Berger, Rita Hsiao, Pamela Ribon
Moderated by Alison Macor

Making the Deal: “The Matarese Circle”
Driskill Hotel, Ballroom
Making the deal, the development process and how all the elements work together. A case study of the relationship between the writers, the agent, and the producer.
Michael Brandt, Derek Haas, Jeff Gorin, Mark Vahradian
Moderated by Steven Arvanites

The Art of Storytelling with the 2010 Awardees
Stephen F. Austin, Ballroom
A conversation with the 2010 AFF Award recipients Robert Rodriguez, David Peoples, and David Simon about their experiences in bringing rich characters and great stories to the screen.
Moderated by Jake Silverstein

1:15pm-2:30pm
Roundtable: Executives & Producers
Driskill Hotel, Citadel Room
Get in-depth answers to your questions about the craft and business of screenwriting and film making. This session offers registrants exclusive access to executives and producers in an informal setting.
Joyce San Pedro, Matt Summers, Richard Bever, Rick Dugdale, Lisa Fragner, Angela Lee, Maggie Biggar, Franklin Leonard

Music and Sound in Film
Driskill Hotel, Hogg Room
A conversation on how to direct story and guide emotion in film through the use of music and sound. The panel will include examples and discuss how music has been effectively used in film and talk about its potential in the future, with new digital technology becoming more easily accessible and affordable.
Tom Hammond, Graham Reynolds, Neil Truglio

A Conversation with Jon Lucas and Scott Moore
Driskill Hotel, Ballroom
Join a conversation with writers Jon Lucas and Scott Moore, screenwriters of “The Hangover,” “Four Christmases,” and “Ghosts of Girlfriends Past.”
Moderated by Daniel Petrie, Jr.

A Conversation with Jennifer Salt
Driskill Hotel, Victorian Balcony
Join a conversation with actress/screenwriter Jennifer Salt, co-creator of “Eat Pray Love” and currently developing a script based on Rachel DeWoskin’s book, “Foreign Babes in Beijing,” as well as adapting Laura Moriarty’s novel “While I’m Falling” as a motion picture.
Moderated by Warren Etheredge

Acquisitions & Distribution
Driskill Hotel, Maximilian Room
Join a conversation on film acquisitions and distribution with Kelly Sanders, Executive Director of Truly Indie; Sarah Harris, Senior Programmer for the Dallas Film Society; journalist Anthony Kaufman, a regular contributor to Variety, the Wall Street Journal Online, indieWIRE.com, the Village Voice, and a contributing editor to Filmmaker Magazine;distributor Michael Katchman, president of Rivercoast Film Distribution; and Tim League, founder of Drafthouse Films.

Heroes and Villains
Stephen F. Austin, Ballroom
A discussion on crafting sympathetic, engaging, and memorable heroes and villains.
Shane Black, Simon Kinberg, John Turman
Moderated by Fred Strype

ENDINGS: The Good, the Bad, and the Insanely Great with Michael Arndt Extended length panel: 1:15pm-2:45pm
Stephen F. Austin Hotel, Assembly Room
Some movies leave you indifferent, some leave you satisfied, and some leave you feeling euphoric -- walking on air and seeing the world through new eyes. What, then, is the difference between a bad ending, a good ending, and an insanely great ending? Screenwriter Michael Arndt attempts to answer that question with a close analysis of the climaxes of “Star Wars,” “The Graduate,” and his own screenplay, “Little Miss Sunshine.”
*Also included: A preview screening of "What I Learned at Pixar: How to Write a Good Beginning", a nine-minute featurette from the “Toy Story 3” Blu-ray and DVD, releasing on November 2, 2010. Screenwriter Michael Arndt examines the first acts of “Toy Story,” “Finding Nemo,” and “The Incredibles,” focusing on the common elements these Pixar films use to set their stories in motion.

1:30pm
“Lone Star”
Alamo Ritz
Screening of the short-lived 20th Century Fox Television pilot followed by a discussion with Kyle Killen, show creator/writer/executive producer, about the TV industry, how it works, and how a show with so much promise - great press coverage (the cover of the NYT, no less!), great reviews, great writing, great cast - got cancelled after only 2 episodes.

3:00pm-4:15pm
Independent Productions: Editing and Post-Production
Driskill Hotel, Hogg Room
Get tips, tricks of the trade, insight into new technology and what do the pros wish someone had told them before their first film? Learn about keeping an eye on the budget, staying on schedule, and what blind-sided our panelists when they were starting out.
Marcus van Bavel, Parke Gregg, Ron Pippin, Frank Reynolds

Inside the Writers Room
Driskill Hotel, Ballroom
What goes on inside a television shows’ writers room? What’s the schedule, the writing process as a team, and most important, how do you get break in?
Jen Grisanti, Jennifer Salt, Jorge Zamacona
Moderated by Monte Williams

A Conversation with Simon Kinberg
Driskill Hotel, Victorian Balcony
Join a conversation with writer/director Simon Kinberg, creator of “Mr. and Mrs. Smith,” “X-Men: The Last Stand,” “Jumper” and “Sherlock Holmes.” Currently, Kinberg is writing/producing “This Means War,” writing “Spy vs Spy,” co-writing a script for J.J. Abrams and producing “X-Men: First Class.”
Moderated by Fred Strype

Music Licensing for Film
Driskill Hotel, Maximilian Room
Since copyright terms keep getting extended, now is a good time to figure out what is legal and what is not. A discussion on licensing music for your film, including how to keep costs down - cost of the song against its value for your film, and checking out what’s in public domain - and figuring out who to contact for that perfect song.
Andrew Halbreich, Dominique Preyer
Moderated by Aadip Desai

4:30pm
Script Reading of Maggie Carey’s 2009 Black List Script, THE HAND JOB
Starring Bill Hader, Colin Hanks and Aubrey Plaza
Introduction by Black List Creator, Franklin Leonard
Rollins Theatre, The Long Center for the Performing Arts

Damnit, I Need Work!

2010-10-14T10:15:00.002-05:00

Have you already got a drawer full of scripts? Are you ready to just get out there and sell something, option something, develop something... ANYTHING. You're ready to work and get paid now. Ready to finally become a professional screenwriter or filmmaker.

Well, then, here's the schedule for you.

THURSDAY, 10/21

12:00pm-12:30pm
Opening Remarks
Driskill Hotel, Ballroom
The Austin Film Festival welcomes you to its 17th year of panels, films, parties and conversation. Find out about this year’s special events, last-minute additions and special guests.

1:00pm-2:15pm
AFF Conference: How to Work it
Driskill Hotel, Ballroom
Join these writers who have attended the AFF Conference over the years and made the most of their time here – from networking to the competitions. They have made countless industry contacts, optioned and sold their scripts, and launched their film careers. Find out how to maximize your Badge and your time here at the AFF.
Martina Broner, Jimmy Miller, Pamela Ribon
Moderated by Fred Strype

The Business of Screenwriting
Stephen F. Austin, Ballroom
The ins and outs (and ups and downs) of sustaining a screenwriting career.
John August, Edward Burns, Franklin Leonard, Craig Mazin

2:45pm-4:00pm
How to Take a Meeting
(Semi-Finalists and Above)
Driskill Hotel, Citadel Club
Don’t wait until after you’ve booked a meeting to panic. From honing your pitch to following up, learn now what to expect and how you – and your script – can best be prepared.
Richard Bever, Mary Coleman, Craig Mazin

Breaking In and Staying In
Stephen F. Austin, Ballroom
Live outside LA/NY with no plans to move anytime soon? Don’t yet have close friends at the studios? How to get a foothold in the industry – and stay there.
Gayla Nethercott, Dan Petrie, Jr., PJ Raval, Alex Smith
Moderated by Fred Strype

FRIDAY, 10/22

9:00am-10:15am
Writing RX
Driskill Hotel, Ballroom
Have you lost momentum with your story? Are you spending more time re-writing and thinking of character names and titles than writing? Is the structure dictating your story to the extent that it’s lost its heart? Struggling to remember that you're a writer while holding down your day job? How to get your story and script back on track.
Jeff Lowell, Malcolm Spellman, Tim Talbott, John Turman

How to Take a Meeting
(2nd Rounders and Above Only)
Driskill Hotel, Maximilian Room
Don’t wait until after you’ve booked a meeting to panic. From honing your pitch to following up, learn now what to expect and how you – and your script – can best be prepared.
Melissa Breaux, Larry Doyle, Lisa Fragner
Moderated by Steven Arvanites

Using Improv to Improve Your Script
Stephen F. Austin, Ballroom
Improv and table reads can be incredibly useful for hearing your dialogue spoken aloud and punching up the comedy quotient. How to invigorate your script through improvisation.
Amanda Austin, Owen Egerton, Dan French, Peter Murrieta, Chuck Sklar

10:45am-12:00pm
Roundtable: Agents & Managers
St. David’s Episcopal Church, Sumners Hall
Get in-depth answers to your questions about the craft and business of screenwriting and film making. This session offers registrants exclusive access to agents and managers in an informal setting.
Melissa Breaux, Bryan Brucks, Rebecca Ewing, Jeff Gorin, Brent Lilley, Gayla Nethercott, Tiffany Ward

The Film Festival: How to Work it
Driskill Hotel, Ballroom
The camera stopped rolling and the editor finished cutting but your job as a filmmaker is far from over. Get insider secrets on how to work the festival circuit, develop a marketing strategy and corresponding press kit, and what to consider when determining your best distribution options.
Todd Berger, Matt Dentler, Sarah Harris, Kelly Williams
Moderated by John Merriman

Demystifying the Development Process
Stephen F. Austin, Assembly Room
We frequently read about scripts being ‘in development’, but what does that mean for the writer? What goes on in the development process? And how can you maintain the integrity of your story and characters while meeting the demands of the producer?
Diane Drake, Joyce San Pedro, Matt Summers, Herschel Weingrod
Moderated by Aadip Desai

1:45pm-3:00pm
Roundtable: Screenwriters
St. David’s Episcopal Church, Sumners Hall
Get in-depth answers to your questions about the craft and business of screenwriting and film making. This session offers registrants exclusive access to professional writers in an informal setting.
Todd Berger, Greg Carter, Diane Drake, Jason Eaton, Dan French, Phil Hay, Jimmy Miller, Chris Mass, Craig Mazin, Pamela Ribon, Alex Smith, Herschel Weingrod, Jorge Zamacona

Make it Legal: What You Need to Know about Entertainment Rights
Driskill Hotel, Hogg Room
A discussion on issues dealing with libel, privacy, right of publicity, copyright and trademark, and how to become more aware when writing and creating films. Can you say disparaging things about real products or people? Can you use paintings, posters and photographs to decorate the sets? If you're making a documentary, what news clips can you use without paying for them? Questions like these and more will be answered. In a nutshell, what can you get sued for and how to avoid it.
Kathleen Conkey, Esq., Deena Kalai, Esq.

The Black List
Driskill Hotel, Ballroom
The Black List: what is it, how to get on it, and what it can mean for your career.
Matthew Cook, Kyle Killen, Franklin Leonard, Malcolm Spellman, Tim Talbott
Moderated by Andy Langer

Writing for Animation
Stephen F. Austin, Ballroom
Where do the ideas for animated features come from? How do animation studios find writers? How do they work with them? Take a look inside the process with Development Execs from Blue Sky Studios, Disney Animation, and Pixar Animation Studios. They will step through the elements of their creative process (pitching, research, treatment, outline, script, and reels) using examples from great animated movies.
Mary Coleman, Lisa Fragner, Maggie Malone

Breaking into the Business
(2nd Rounders and Above)
Stephen F. Austin, Assembly Room
While seeing your work produced is the ultimate goal, optioning or selling the script is a great first step. Many scripts are bought and never produced. But your script can serve as a sample to secure other work. Much of a professional screenwriters’ income lies in script doctoring and assignments, not movies produced from their spec scripts. A discussion on how to break into the business.
Bryan Brucks, Jen Grisanti, Nancy Pimental, Dawn Wolfrom
Moderated by Drew Yanno

3:15pm-4:30pm
Roundtable: Executives & Producers
St. David’s Episcopal Church, Sumners Hall
Get in-depth answers to your questions about the craft and business of screenwriting and film making. This session offers registrants exclusive access to executives and producers in an informal setting.
Adrienne Biddle, Martina Broner, Curtis Burch, Mary Coleman, Rick Dugdale, Lisa Fragner, Barry Josephson, Signe Olynyk, Joyce San Pedro, Matt Summers, Dawn Wolfrom

The Teleplay
(2nd Rounders and Above)
Driskill Hotel, Citadel Club
Get in-depth answers to all of your questions about writing a teleplay - from writing specs of existing shows, to writing original pilots, and what to do with it once you have it.
Sterling Anderson, Jen Grisanti
Moderated by Stuart Kelban

The Creative Career: What You Need to Know
Driskill Hotel, Ballroom
A panel of successful professional writers will discuss what you need to know when setting out on your career as a writer; common pitfalls to avoid and what the Writers Guilds East and West can do for you.
Shane Black, Michael Elliot, Rita Hsiao, Jennifer Salt
Moderated by James V. Hart

SATURDAY, 10/23

9:00am-10:15am
How to Take a Meeting
Driskill Hotel, Hogg Room
Don’t wait until after you’ve booked a meeting to panic. From honing your pitch to following up, learn now what to expect and how you – and your script – can best be prepared.
William Akers, Matthew Cook, Maggie Malone
Moderated by Aadip Desai

Creating a TV Bible & Pilot to Get You in the Room
Driskill Hotel, Ballroom
Top show creators and producers discuss what goes into creating a TV bible that will get you in the door. How much information should you include? Writing the pilot, character breakdowns, establishing worlds and how many episodes, if any, to include.
Sterling Anderson, Kyle Killen, Jorge Zamacona
Moderated by Monte Williams

Agents
Driskill Hotel, Maximilian Room
This is the panel to get the answers to all of your questions about finding and working with an agent. At one point do you need one? What if your co-writer has a different agent? If agents don’t accept unsolicited material, how can you get them to solicit your script?
Rebecca Ewing, Jeff Gorin
Moderated by Barry Josephson

10:45am-12:00pm
Outlines, Treatments and Log Lines
(Semi-Finalists and Above Only)
Driskill Hotel, Hogg Room
How do you write a succinct and effective outline? How much information do potential buyers want in the treatment? A discussion on writing strong and engaging pitches for your story that will guarantee producers asking to read your script.
Martina Broner, Michael Elliot, Chris Huntley
Moderated by Drew Yanno

The Business of Writing for Television
Driskill Hotel, Ballroom
A conversation on the changing landscape of television. How do spec pilots become successful primetime TV shows? Discuss with an agent, manager, producer and the writers the business of television. And how to get your foot in the door.
Bryan Brucks, Noah Hawley, Pamela Ribon, Tiffany Ward
Moderated by Stuart Kelban

2:15pm-3:30pm
Managers
Driskill Hotel, Hogg Room
This is the panel to get the answers to all of your questions about finding and working with a manager. At one point do you need one? What is their role as opposed to an agent?
Melissa Breaux, Brent Lilley
Moderated by Steven Arvanites

3:45pm-5:00pm
Short Films, Webisodes and Other Outlets to Launch Your Career
Driskill Hotel, Maximilian Room
The popularity of short films has exploded thanks to dwindling attention spans, YouTube, and the omnipresence of mobile, small screen broadcast outlets, like cell phones. How do shorts and features differ in concept and execution? Will the cinema of the future be a hybrid of both? How can you use your short film or web series as a calling card and use it to launch your filmmaking career?
Tom Copeland, Mike Fry, Mark Potts
Moderated by Dano Johnson

SUNDAY, 10/24

11:30am-12:45pm
Making the Deal: “Slugger”
(Semi-Finalists and Above Only)
Driskill Hotel, Citadel Club
Making the deal, the development process and how all the elements work together. A case study of the relationship between the writer, the agent and the producer on “Slugger,” winner of the Adult/Family Screenplay Competition category of the 2007 AFF.
Richard Bever, Jimmy Miller, Gayla Nethercott
Moderated by Warren Etheredge

Writing for Kids
Driskill Hotel, Hogg Room
Whether writing for young children, teens, or the whole family, conceiving a quality script is a challenge. It has to be (somewhat) innocent, topical, entertaining and interesting. Writing for teens or the whole family can also be a great and lucrative way to start – or re-start – your career.
Todd Berger, Rita Hsiao, Pamela Ribon
Moderated by Alison Macor

Making the Deal: “The Matarese Circle”
Driskill Hotel, Ballroom
Making the deal, the development process and how all the elements work together. A case study of the relationship between the writers, the agent, and the producer.
Michael Brandt, Derek Haas, Jeff Gorin, Mark Vahradian
Moderated by Steven Arvanites

Writers Agreements: What to Keep In, What to Take Out
(Second Rounders and Above Only)
Driskill Hotel, Maximilian Room
Attorneys working in entertainment provide an overview of screenwriters’ agreements - advice on securing the best deal, avoiding common mistakes, and what a Writers Guild agreement has to offer.
Lise Anderson, Esq., Deena Kalai, Esq.

1:15pm-2:30pm
Roundtable: Executives & Producers
Driskill Hotel, Citadel Room
Get in-depth answers to your questions about the craft and business of screenwriting and film making. This session offers registrants exclusive access to executives and producers in an informal setting.
Joyce San Pedro, Matt Summers, Richard Bever, Rick Dugdale, Lisa Fragner, Angela Lee, Maggie Biggar, Franklin Leonard

3:00pm-4:15pm
Inside the Writers Room
Driskill Hotel, Ballroom
What goes on inside a television shows’ writers room? What’s the schedule, the writing process as a team, and most important, how do you get break in?
Jen Grisanti, Jennifer Salt, Jorge Zamacona
Moderated by Monte Williams

Seeking Inspiration and Conversations on the Creative Process?

2010-10-14T10:00:00.004-05:00

Okay, so maybe you don't have aspirations of one day writing or directing your film. Perhaps you aren't trying to navigate the relationship between agent, manager and attorney. Aren't feeling hobbled by your second act or trying to find a distributor for your film.

Just love the creative process? Love to be inspired by people - artists, in particular - talking about how they do what they do?

Well, we've got the perfect Conference schedule for you. Bring a note pad and pen or just listen to the passionate conversations that unfold.

THURSDAY, 10/21

12:00pm-12:30pm
Opening Remarks
Driskill Hotel, Ballroom
The Austin Film Festival welcomes you to its 17th year of panels, films, parties and conversation. Find out about this year’s special events, last-minute additions and special guests.

1:00pm-2:15pm
A Conversation with Randall Wallace
Driskill Hotel, Victorian Balcony
Join a conversation with Academy Award©-nominated writer/director Randall Wallace, whose credits include “Pearl Harbor,” “We Were Soldiers,” “The Man in the Iron Mask,” and the Academy Award©-winner “Braveheart.”

2:45pm-4:00pm
Visual Storytelling
Driskill Hotel, Ballroom
A discussion on conveying character, conflict and tension in your script without dialogue or voice over.
John August, John Lee Hancock, Randall Wallace
Moderated by H.W. Brands

A Conversation with Edward Burns
Driskill Hotel, Maximilian Room
Join a conversation with actor/writer/director Edward Burns. Burns’ filmmaking credits include “The Brothers McMullen,” “She’s the One,” “Sidewalks of New York,” “The Lynch Pin,” and his most recent project, “Nice Guy Johnny.”
Moderated by James Faust

FRIDAY, 10/22

8:30am-10:15am
Script-to-Screen: “Big Fish” with John August
Extended length panel: 8:30am-10:15am
Driskill Hotel, Citadel Room
With script in hand and film clips on the wall, prolific screenwriter John August will dissect his critically acclaimed screenplay “Big Fish,” discussing what worked, what didn't, what needed to be changed for film production and why. This case study of the script-to-screen process for a celebrated film will contain information that screenwriters and filmmakers can apply to their own works.

9:00am-10:15am
Writing RX
Driskill Hotel, Ballroom
Have you lost momentum with your story? Are you spending more time re-writing and thinking of character names and titles than writing? Is the structure dictating your story to the extent that it’s lost its heart? Struggling to remember that you're a writer while holding down your day job? How to get your story and script back on track.
Jeff Lowell, Malcolm Spellman, Tim Talbott, John Turman

A Conversation with John Lee Hancock
Driskill Hotel, Victorian Balcony
Join a conversation with writer/director John Lee Hancock, who scripted the Clint Eastwood-directed “A Perfect World,” and re-teamed with Eastwood for the screen version of “Midnight in the Garden of Good and Evil,” adapting the best-selling book by John Berendt. Hancock wrote and directed “The Alamo” and directed “The Rookie,” produced the film “My Dog Skip” with Mark Johnson and, most recently, wrote and directed “The Blindside.”

10:45am-12:00pm
A Conversation with James V. Hart
Driskill Hotel, Victorian Balcony
Join a conversation with writer James V. Hart, creator of “Hook,” “Bram Stoker’s Dracula,” “Contact,” “Tuck Everlasting,” “Muppets Treasure Island,” and “Sahara.” Most recently, Hart has received screenwriting credit for “The Last Mimzy” and “August Rush.”

Writers/Directors
Stephen F. Austin, Ballroom
The professionally hyphened play a challenging game: one has twice as much responsibility and twice as much at stake. A discussion on the pros and cons of doing it all: how to make your dream film without losing your perspective.
Shane Black, John Lee Hancock, Alex Smith, Randall Wallace
Moderated by Drew Yanno

1:45pm-3:00pm
Script-to-Screen: “The Big Easy” with Daniel Petrie, Jr.
Extended length panel: 1:45pm-3:45pm
Driskill Hotel, Citadel Room
With script in hand and film clips on the wall, screenwriter Daniel Petrie, Jr., will dissect his lauded crime noir thriller about police corruption and New Orleans violence. And how many of us wish we had the chance for do-overs? Dan was granted that once in a lifetime opportunity to write the script for the upcoming remake of “The Big Easy” and he’ll also talk about changes he made and the remaking/updating process.

A Conversation with Phil Rosenthal
Driskill Hotel, Maximilian Room
A handful of writers have created an enduring cultural experience through story telling. We are all the lucky recipients of their work. How does one manage the path once a little success is achieved. What is it like to develop and maintain a popular show for 9 years? Was it a smooth ride? Join a conversation with writer/producer Phil Rosenthal, creator of the hit TV series “Everybody Loves Raymond." Phil is a published author ("You're Lucky You're Funny: How Life Becomes a Sitcom"), a film writer/director, an actor, an acknowledged "foodie" and a lover of stories. We are hosting the World Premier of his feature film directorial debut, “Exporting Raymond,” which is the incredibly funny true story of the attempt to convert “Everybody Loves Raymond” into a Russian sitcom.
Moderated by James Faust

3:15pm-4:30pm
Film Critics and the Industry
Alamo Ritz
Print film critics have recently been in the spotlight, criticized for being out of touch with the majority of filmgoers. What purpose are film reviews serving now? Who's reading them and how are they using them? And with more movie critics driven to the internet, what does this change for the audience? More importantly, what is the impact on the film and the filmmakers? Film critics from print and blogs address these questions and others.
David Denby, The New Yorker; Neil Miller, filmschoolrejects.com; Kenneth Turan, Los Angeles Times; Scott Weinberg, Cinematical/Moviefone and FEARnet; Chase Whale, gordonandthewhale.com
Moderated by Charles Ealy, Austin American-Statesman

SATURDAY, 10/23

9:00am-10:15am
Pixar Story Development Process
Driskill Hotel, Citadel Room
Pixar Animation Studio's development process is unique in the industry. Michael Arndt will talk about the rewards of this approach from a writer's perspective, and Development Execs Mary Coleman and Emily Zulauf will show examples of how support for original ideas, inspiring field trips, and the intense "brain trust" feedback process combine to create memorable stories.

A Conversation with David Peoples
Stephen F. Austin, Ballroom
Join a conversation with Distinguished Screenwriter Awardee David Peoples, whose screenwriting credits include the visionary “Blade Runner,” Academy Award© winner “Unforgiven,” “Twelve Monkeys,” “Hero,” “Soldier,” “The Blood of Heroes,” and the Academy Award©-nominated documentary “The Day After Trinity,” among others.
Moderated by Kenneth Turan

10:45am-12:00pm
“Toy Story 3”: How 4 Years of Creative Agony Became 93 Minutes of Movie Fun
Driskill Hotel, Citadel Room
Screenwriter Michael Arndt traces the evolution of “Toy Story 3”'s script, from the first treatment in 2006 to the final film of 2010. Using clips from the film's early reels, he details all the blunders, missteps, blind alleys, and mistakes he and his fellow writers made in the course of the script's development, and presents clips from the finished film to show how those missteps were eventually overcome and corrected.

LUNA Panel: Telling Women’s Stories through Film
Driskill Hotel, Maximilian Room
Women filmmakers who choose to tell women’s stories through film. This panel is sponsored by LUNA.
Maggie Biggar, Diane Drake, Jennifer Salt
Moderated by Alison Macor

2:15pm-3:30pm
A Conversation with Allan Loeb
Driskill Hotel, Victorian Balcony
Join a conversation with Allan Loeb, whose screenwriting credits include “Things We Lost in the Fire,” “21,” “The Switch,” “Wall Street 2: Money Never Sleeps,” the upcoming Adam Sandler comedy Just Go With It and the Ron Howard-directed “The Dilemma.” He is also in pre-preproduction on the remake of “Escape from New York,” the Adam Shankman directed musical “Rock of Ages,” and the Ryan Reynolds comedy “Boy Named Sue.”
Moderated by Warren Etheredge

3:45pm-5:00pm
A Conversation with David Simon
Stephen F. Austin, Ballroom
Join a conversation with Outstanding Television Writer Awardee David Simon, creator of HBO’s “The Wire” and “Treme”, whose credits also include “Homicide: Life on the Street”, the mini-series “The Corner” and “Generation Kill”.
Moderated by Robert Draper

SUNDAY, 10/24

11:30am-12:45pm
The Art of Storytelling with the 2010 Awardees
Stephen F. Austin, Ballroom
A conversation with the 2010 AFF Award recipients Robert Rodriguez, David Peoples, and David Simon about their experiences in bringing rich characters and great stories to the screen.
Moderated by Jake Silverstein

1:15pm-2:30pm
Music and Sound in Film
Driskill Hotel, Hogg Room
A conversation on how to direct story and guide emotion in film through the use of music and sound. The panel will include examples and discuss how music has been effectively used in film and talk about its potential in the future, with new digital technology becoming more easily accessible and affordable.
Tom Hammond, Graham Reynolds, Neil Truglio

A Conversation with Jon Lucas and Scott Moore
Driskill Hotel, Ballroom
Join a conversation with writers Jon Lucas and Scott Moore, screenwriters of “The Hangover,” “Four Christmases,” and “Ghosts of Girlfriends Past.”
Moderated by Daniel Petrie, Jr.

A Conversation with Jennifer Salt
Driskill Hotel, Victorian Balcony
Join a conversation with actress/screenwriter Jennifer Salt, co-creator of “Eat Pray Love” and currently developing a script based on Rachel DeWoskin’s book, “Foreign Babes in Beijing,” as well as adapting Laura Moriarty’s novel “While I’m Falling” as a motion picture.
Moderated by Warren Etheredge

3:00pm-4:15pm
A Conversation with Simon Kinberg
Driskill Hotel, Victorian Balcony
Join a conversation with writer/director Simon Kinberg, creator of “Mr. and Mrs. Smith,” “X-Men: The Last Stand,” “Jumper” and “Sherlock Holmes.” Currently, Kinberg is writing/producing “This Means War,” writing “Spy vs Spy,” co-writing a script for J.J. Abrams and producing “X-Men: First Class.”
Moderated by Fred Strype

Don't Just Look Like a Filmmaker, Be One!

2010-10-13T10:55:00.002-05:00

Talk with the pros about how to put together a proposal that will secure backing for your film. Learn how to face the challenges of putting together a crew that you can afford without compromising your project or ending up in a screaming match. Regardless of your budget, there are basics you want to make sure you have covered to insure that your film is not only a success, but that it gets completed at all.

No matter how far along you are in your filmmaking career, we've got a wealth of filmmaking-related panels in store for you. (Not to mention networking opportunities galore to meet distributors, agents, editors, writer/directors, music supervisors, and more.)

We've made your schedule for you. Now, all you have to do is buy your Badge and show up! Check it out:

THURSDAY, 10/21

12:00pm-12:30pm
Opening Remarks
Driskill Hotel, Ballroom
The Austin Film Festival welcomes you to its 17th year of panels, films, parties and conversation. Find out about this year’s special events, last-minute additions and special guests.

1:00pm-2:15pm
A Conversation with Randall Wallace
Driskill Hotel, Victorian Balcony
Join a conversation with Academy Award©-nominated writer/director Randall Wallace, whose credits include “Pearl Harbor,” “We Were Soldiers,” “The Man in the Iron Mask,” and the Academy Award©-winner “Braveheart.”

2:45pm-4:00pm
A Conversation with Edward Burns
Driskill Hotel, Maximilian Room
Join a conversation with actor/writer/director Edward Burns. Burns’ filmmaking credits include “The Brothers McMullen,” “She’s the One,” “Sidewalks of New York,” “The Lynch Pin,” and his most recent project, “Nice Guy Johnny.”
Moderated by James Faust

Breaking In and Staying In
Stephen F. Austin, Ballroom
Live outside LA/NY with no plans to move anytime soon? Don’t yet have close friends at the studios? How to get a foothold in the industry – and stay there.
Gayla Nethercott, Dan Petrie, Jr., PJ Raval, Alex Smith
Moderated by Fred Strype

FRIDAY, 10/22

8:30am-10:15am
Script-to-Screen: “Big Fish” with John August
Extended length panel: 8:30am-10:15am
Driskill Hotel, Citadel Room
With script in hand and film clips on the wall, prolific screenwriter John August will dissect his critically acclaimed screenplay “Big Fish,” discussing what worked, what didn't, what needed to be changed for film production and why. This case study of the script-to-screen process for a celebrated film will contain information that screenwriters and filmmakers can apply to their own works.

9:00am-10:15am
A Conversation with John Lee Hancock
Driskill Hotel, Victorian Balcony
Join a conversation with writer/director John Lee Hancock, who scripted the Clint Eastwood-directed “A Perfect World,” and re-teamed with Eastwood for the screen version of “Midnight in the Garden of Good and Evil,” adapting the best-selling book by John Berendt. Hancock wrote and directed “The Alamo” and directed “The Rookie,” produced the film “My Dog Skip” with Mark Johnson and, most recently, wrote and directed “The Blindside.”

10:45am-12:00pm
The Film Festival: How to Work it
Driskill Hotel, Ballroom
The camera stopped rolling and the editor finished cutting but your job as a filmmaker is far from over. Get insider secrets on how to work the festival circuit, develop a marketing strategy and corresponding press kit, and what to consider when determining your best distribution options.
Todd Berger, Matt Dentler, Sarah Harris, Kelly Williams
Moderated by John Merriman

Writers/Directors
Stephen F. Austin, Ballroom
The professionally hyphened play a challenging game: one has twice as much responsibility and twice as much at stake. A discussion on the pros and cons of doing it all: how to make your dream film without losing your perspective.
Shane Black, John Lee Hancock, Alex Smith, Randall Wallace
Moderated by Drew Yanno

1:45pm-3:00pm
Make it Legal: What You Need to Know about Entertainment Rights
Driskill Hotel, Hogg Room
A discussion on issues dealing with libel, privacy, right of publicity, copyright and trademark, and how to become more aware when writing and creating films. Can you say disparaging things about real products or people? Can you use paintings, posters and photographs to decorate the sets? If you're making a documentary, what news clips can you use without paying for them? Questions like these and more will be answered. In a nutshell, what can you get sued for and how to avoid it.
Kathleen Conkey, Esq., Deena Kalai, Esq.

3:15pm-4:30pm
Film Critics and the Industry
Alamo Ritz
Print film critics have recently been in the spotlight, criticized for being out of touch with the majority of filmgoers. What purpose are film reviews serving now? Who's reading them and how are they using them? And with more movie critics driven to the internet, what does this change for the audience? More importantly, what is the impact on the film and the filmmakers? Film critics from print and blogs address these questions and others.
David Denby, The New Yorker; Neil Miller, filmschoolrejects.com; Kenneth Turan, Los Angeles Times; Scott Weinberg, Cinematical/Moviefone and FEARnet; Chase Whale, gordonandthewhale.com; Moderated by Charles Ealy, Austin American-Statesman
**Film Pass grants entry!!**

SATURDAY, 10/23

9:00am-10:15am
Independent Productions: The Proposal
Stephen F. Austin, Assembly Room
Talk with the pros about how to put together a proposal that will secure backing for your film.
Curtis Burch, Michael Katchman, Brent Lilley, Meta Valentic
Moderated by Dawn Wiercinksi

10:45am-12:00pm
Independent Productions: The Team
Stephen F. Austin, Assembly Room
Assembling and working with your crew on a limited budget. How to face the challenges of putting together a team that you can afford without compromising your project or ending up in a screaming match.
Marjorie Eber, Travis Fine, PJ Raval, Ezra Venetos
Moderated by Dawn Wiercinksi

2:15pm-3:30pm
The $2 or the $200,000 Film: What You Need to Know
Stephen F. Austin, Assembly Room
Anyone can get their hands on a video camera these days, but that doesn’t mean you won’t still need a budget, story boards, a schedule, and an overall plan. Not to mention a great script. Regardless of your budget, there are basics you want to make sure you have covered to insure that your film is not only a success, but that it gets completed at all.
Greg Carter, Tom Copeland, Victor Moyers, Mark Potts
Moderated by Dawn Wiercinksi

3:45pm-5:00pm
Short Films, Webisodes and Other Outlets to Launch Your Career
Driskill Hotel, Maximilian Room
The popularity of short films has exploded thanks to dwindling attention spans, YouTube, and the omnipresence of mobile, small screen broadcast outlets, like cell phones. How do shorts and features differ in concept and execution? Will the cinema of the future be a hybrid of both? How can you use your short film or web series as a calling card and use it to launch your filmmaking career?
Tom Copeland, Mike Fry, Mark Potts
Moderated by Dano Johnson

SUNDAY, 10/24

11:30am-12:45pm
Roundtable: The Film Team
Driskill Hotel, Citadel Room
Get in-depth answers to your questions about the business of screenwriting and filmmaking. This session offers registrants exclusive access to filmmakers and crew in an informal setting.
Greg Carter, Marjorie Eber, Travis Fine, Andrew Halbreich, Michael Katchman, Victor Moyers, Mark Potts, Dominique Preyer, PJ Raval, Bob Schultz, Alma Kuttruff, Frank Reynolds, Ezra Venetos

The Art of Storytelling with the 2010 Awardees
Stephen F. Austin, Ballroom
A conversation with the 2010 AFF Award recipients Robert Rodriguez, David Peoples, and David Simon about their experiences in bringing rich characters and great stories to the screen.
Moderated by Jake Silverstein

1:15pm-2:30pm
Music and Sound in Film
Driskill Hotel, Hogg Room
A conversation on how to direct story and guide emotion in film through the use of music and sound. The panel will include examples and discuss how music has been effectively used in film and talk about its potential in the future, with new digital technology becoming more easily accessible and affordable.
Tom Hammond, Graham Reynolds, Neil Truglio

Acquisitions & Distribution
Driskill Hotel, Maximilian Room
Join a conversation on film acquisitions and distribution with Kelly Sanders, Executive Director of Truly Indie; Sarah Harris, Senior Programmer for the Dallas Film Society; journalist Anthony Kaufman, a regular contributor to Variety, the Wall Street Journal Online, indieWIRE.com, the Village Voice, and a contributing editor to Filmmaker Magazine;distributor Michael Katchman, president of Rivercoast Film Distribution; and Tim League, founder of Drafthouse Films.

3:00pm-4:15pm
Independent Productions: Editing and Post-Production
Driskill Hotel, Hogg Room
Get tips, tricks of the trade, insight into new technology and what do the pros wish someone had told them before their first film? Learn about keeping an eye on the budget, staying on schedule, and what blind-sided our panelists when they were starting out.
Marcus van Bavel, Parke Gregg, Ron Pippin, Frank Reynolds

Music Licensing for Film
Driskill Hotel, Maximilian Room
Since copyright terms keep getting extended, now is a good time to figure out what is legal and what is not. A discussion on licensing music for your film, including how to keep costs down - cost of the song against its value for your film, and checking out what’s in public domain - and figuring out who to contact for that perfect song.
Andrew Halbreich, Dominique Preyer
Moderated by Aadip Desai

Want to Write for TV?

2010-10-12T13:07:00.004-05:00

The 2010 Austin Film Festival & Conference offers an impressive program of TV-centric films and TV-focused panels, featuring a full list of television writers, directors, producers and showrunners.

Check them out!

THE FILMS!

Thursday, 10/21

EXPORTING RAYMOND - Opening Night World Premiere!
Writers often form a strange relationship with their own work and sometimes it can be hard to let it go. Follow Phil Rosenthal, creator of the hit TV series “Everybody Loves Raymond," in this incredibly funny true story of the attempt to translate “Raymond” into a Russian sitcom. A hilarious, warm and intimate journey of one man, considered an expert in his country, who travels to a land to help people that don’t seem to want his help. Lost in Moscow, lost in his mission, lost in translation, Phil tries to connect with his Russian colleagues but runs into unique characters and situations that conspire to drive him insane. The movie is a true international adventure, a genuine, “fish out of water” comedy that could only exist in real life. Director Phil Rosenthal in attendance.
Paramount Theatre, 7:00pm

Saturday, 10/23
DAVID SIMON PRESENTS… “TREME”
Outstanding Television Writer award recipient David Simon (“The Wire”) presents the uncut pilot episode of his phenomenal HBO series. Catch this one of a kind screening of Simon’s Emmy©-nominated show that follows an eclectic group of New Orleans residents as they try to rebuild their lives and city in the aftermath of Hurricane Katrina. In the episode, titled “Do You Know What it Means?,” the neighborhood celebrates its first second-line "parade" since Katrina, reuniting many of its musicians and residents, though many more have yet to return. Simon with discuss the creation and development of the show following the screening. Creator/writer David Simon in attendance.
Alamo Ritz, 6:00pm
(Requires Film Pass or above)

EVERY DAY
Written/directed by Richard Levine
Writer Richard Levine takes inspiration from his life a television writer (Levine was a writer and producer on Nip/Tuck, among other shows) for his feature directing debut. The story of a family’s struggle to survive life’s curve-balls that ultimately bring out the best and the worst in us. Ned (played by Schreiber) is a television writer on a seedy drama created by an overbearing show runner (played perfectly by Izzard). Already struggling at work, his life is turned upside down when his wife’s sick and estranged father moves in with their family. Taking from his own life, Levine has created a very honest look at a modern American family making it through life’s everyday and sometimes unwanted challenges.
Texas Spirit Theater, 7:00pm

Sunday, 10/24
KYLE KILLEN PRESENTS… “LONE STAR”
Screening of the short-lived 20th Century Fox Television pilot followed by a discussion with Kyle Killen, show creator/writer/executive producer, about the TV industry, how it works, and how a show with so much promise - great press coverage (the cover of the NYT, no less!), great reviews, great writing, great cast - got cancelled after only 2 episodes. Creator/writer Kyle Killen in attendance.
Alamo Ritz, 1:30pm

THE PANELS!

THURSDAY, 10/21
12:00pm-12:30pm
Opening Remarks
Driskill Hotel, Ballroom
The Austin Film Festival welcomes you to its 17th year of panels, films, parties and conversation. Find out about this year’s special events, last-minute additions and special guests.

1:00pm-2:15pm
2010 Nickelodeon Writer’s Symposium
(Participants have been pre-selected for this event)
Extended length panel: 1:00pm-3:00pm
Stephen F. Austin Hotel, Assembly Room
A 2-hour invitational designed to prepare applicants for submission to the Nickelodeon Writing Fellowship. Participants will hear from Writing Fellowship Executive Director, Karen Kirkland on “How to Tell a Story” and will subsequently be invited to participate in an exclusive one-on-one Script Review with Nickelodeon executives.

FRIDAY, 10/22
9:00am-10:15am
Using Improv to Improve Your Script
Stephen F. Austin, Ballroom
Improv and table reads can be incredibly useful for hearing your dialogue spoken aloud and punching up the comedy quotient. How to invigorate your script through improvisation.
Amanda Austin, Owen Egerton, Dan French, Peter Murrieta, Chuck Sklar

1:45pm-3:00pm
A Conversation with Phil Rosenthal
Driskill Hotel, Maximilian Room
A handful of writers have created an enduring cultural experience through story telling. We are all the lucky recipients of their work. How does one manage the path once a little success is achieved. What is it like to develop and maintain a popular show for 9 years? Was it a smooth ride? Join a conversation with writer/producer Phil Rosenthal, creator of the hit TV series “Everybody Loves Raymond." Phil is a published author ("You're Lucky You're Funny: How Life Becomes a Sitcom"), a film writer/director, an actor, an acknowledged "foodie" and a lover of stories. We are hosting the World Premier of his feature film directorial debut, “Exporting Raymond,” which is the incredibly funny true story of the attempt to convert “Everybody Loves Raymond” into a Russian sitcom.
Moderated by James Faust

3:15pm-4:30pm
The Teleplay
(2nd Rounders and Above)
Driskill Hotel, Citadel Club
Get in-depth answers to all of your questions about writing a teleplay - from writing specs of existing shows, to writing original pilots, and what to do with it once you have it.
Sterling Anderson, Jen Grisanti
Moderated by Stuart Kelban

SATURDAY, 10/23
9:00am-10:15am
Creating a TV Bible & Pilot to Get You in the Room
Driskill Hotel, Ballroom
Top show creators and producers discuss what goes into creating a TV bible that will get you in the door. How much information should you include? Writing the pilot, character breakdowns, establishing worlds and how many episodes, if any, to include.
Sterling Anderson, Kyle Killen, Jorge Zamacona
Moderated by Monte Williams

10:45am-12:00pm
The Business of Writing for Television
Driskill Hotel, Ballroom
A conversation on the changing landscape of television. How do spec pilots become successful primetime TV shows? Discuss with an agent, manager, producer and the writers the business of television. And how to get your foot in the door.
Bryan Brucks, Noah Hawley, Pamela Ribon, Tiffany Ward
Moderated by Stuart Kelban

3:45pm-5:00pm
The Showrunners
Driskill Hotel, Ballroom
A discussion on the role of the showrunner, their effect on the direction of a show, and how they put together and work with their writing team.
David Boxerbaum, Noah Hawley, Peter Murrieta
Moderated by Andy Langer

A Conversation with David Simon
Stephen F. Austin, Ballroom
Join a conversation with Outstanding Television Writer Awardee David Simon, creator of HBO’s “The Wire” and “Treme”, whose credits also include “Homicide: Life on the Street”, the mini-series “The Corner” and “Generation Kill”.
Moderated by Robert Draper

SUNDAY, 10/24
3:00pm-4:15pm
Inside the Writers Room
Driskill Hotel, Ballroom
What goes on inside a television shows’ writers room? What’s the schedule, the writing process as a team, and most important, how do you get break in?
Jen Grisanti, Jennifer Salt, Jorge Zamacona
Moderated by Monte Williams

Television Writers, Directors, Producers and Showrunners at AFF 2010

Sterling Anderson – writer “Medium,” “The Unit”
Barry Blaustein – director Peep World, writer “Saturday Night Live”
Larry Doyle – screenwriter “The Simpsons,” “Beavis and Butt-Head,” author Go, Mutants
Jay Wade Edwards – television producer and editor “Aqua Teen Hunger Force”
Dan French – screenwriter “The Late, Late Show with Craig Ferguson,” “Dennis Miller,” “The Best Damn Sports Show Period,” “Wanda Sykes”
Jen Grisanti – writing instructor for NBC’s Writers on the Verge, author, Story Line: Finding Gold In Your Life Story
Noah Hawley – creator/writer/executive producer “My Generation,” writer/executive producer “The Unusuals,” writer/co-producer “Bones”
Pat Hazell – writer “Lois and Clark: The New Adventures of Superman,” “My Life In 3D,” “Showtime’s Aspen Comedy Special,” “Seinfeld”
Barry Josephson – Josephson Entertainment, AFF board member, producer of "Bones"
Jeff Lowell – screenwriter "Just Shoot Me," "Spin City," "The Drew Carey Show"
Peter Murrieta – showrunner and Emmy Award-winning creator of "Wizards of Waverly Place,” "Hope and Faith," "Greetings from Tucson"
Nancy Pimental – writer “South Park”
Pamela Ribon – writer “Samantha Who,” “Romantically Challenged,” “Mind of Mencia,” 2001 AFF Finalist for the Sitcom Category
Philip Rosenthal – writer/director Exporting Raymond, creator/executive producer “Everybody Loves Raymond,” “Coach,” “Down the Shore”
Jennifer Salt – “Nip/Tuck”
Chuck Sklar – screenwriter “The Late Late Show with Craig Kilborn,” “Late Night with Conan O’Brien,” “Politically Incorrect,” “The Chris Rock Show”
Tim Talbott – writer “South Park”
Tiffany Ward – TV Agent, Creative Artists Agency
Jorge Zamacona – creator/writer “Wanted,” “10-8: Officers on Duty,” writer “Homicide: Life on the Street,” consulting producer/writer on ABC’s “The Unusuals,” writing/ producing “Outlaw”

Conference Interns' Festival Picks!

2010-10-11T11:38:00.004-05:00

We asked the Conference interns, Ben and Caitlin, to each put together a "how would you do the Festival (if you weren't going to be run ragged working the whole time) schedule." Here they are!

BEN
I’m a student at University of Texas, majoring in Radio-Television-Film. In my spare time I intern at Austin Film Festival and play bass in a band. In preparation for the upcoming Austin Film Festival, I have been mulling over which events would be the most fascinating to me. I’ve decided if I were to invest in anything, it would be a Conference Badge, which gets you into all panels and film screenings, and a handful of parties.

As far as panels go, on the top of my list would be Script-to-Screen: “Big Fish” with John August, where you get to analyze film clips from the movie with the screenwriter himself. The panel on Pixar Story Development Process should also be intriguing, considering their stellar reputation. The Craft of Screenwriting panels on both Comedy and Horror, which feature screenwriters who have written classics in their respective genres, seems interesting. Heroes and Villains, a panel on memorable characters from both sides of the moral spectrum, will be a great analysis of what makes characters stand the test of time.

Of course this is a film festival, and there are some films I am extremely interested in viewing. “Make Believe,” is a documentary following six junior magicians, which was produced by the same team as “King of Kong.” As a musician, I am intrigued by “Echotone,” a film that follows rising Austin musicians and how they make their living in the ‘Live Music Capital of the World.’ “Sons of Perdition” is a documentary on young people, who were raised within the walls of a cult, venturing out into the real world. I’ve heard good things about it and intend to investigate.

While the Conference badge does not get me into all the parties, the ones it does get me into are supposed to be well worth my time. The Pitch Finale Party, the Conference Wrap Party, and The Paramount Film Party are supposed to be great, and screenwriter Shane Black (Lethal Weapon, Kiss Kiss Bang Bang) will host the Conference Wrap Party. It should be a busy week.

CAITLIN
I am currently a fifth year, senior majoring in public relations at The University of Texas. I transferred from Emerson College in Boston where I played basketball and started my college career with musical theatre. I am an avid football and sports fan, ride horses competitively and love all film and music related topics (except horror films!)

If I had disposable income for the Festival and were to buy a badge, I’d say I’d most likely buy the Conference or Weekend badges. If I had a need to network and socialize more, there’s no doubt I’d buy the Producers badge, but as a mere student, this time may come later.

As a person with friends devoted to the film industry, I’ve grown to appreciate the process and work that goes into every detail. Based on that and my general love for film like any normal theatre-goer, I’d attend the following screenings: Brother’s Justice, New Low, Echotone, It’s Whatever, 127 Hours, Black Swan, Blue Valentine, I Love You, Phillip Morris, Peep World, and some compiled shorts.

And the following panels: “Script-to-Screen: Big Fish,” “The Black List,” “Film Critics and The Industry,” “Pixar Story Development Process,” and “Toy Story 3”: How 4 Years of Creative Agony Became 93 Minutes of Movie Fun.”

If you see Ben or Caitlin during the Conference, please be sure to thank them - they've done a tremendous amount of work to help put this together.

AFF Film Program Director Kelly Williams' Panel Picks

2010-10-09T11:01:00.002-05:00

Here are my top five conference panel picks. These are the panels I would attend if I didn’t work here...

Using Improv to Improve Your Script
Stephen F. Austin, Ballroom
Friday, 10/22
Improv and table reads can be incredibly useful for hearing your dialogue spoken aloud and punching up the comedy quotient. How to invigorate your script through improvisation.
Amanda Austin, Owen Egerton, Dan French, Peter Murrieta, Chuck Sklar

Script-to-Screen: THE BIG EASY with Daniel Petrie, Jr.
Friday, 10/22
Extended length panel: 1:45pm-3:45pm
Driskill Hotel, Citadel Room
With script in hand and film clips on the wall, screenwriter Daniel Petrie, Jr., will dissect his lauded crime noir thriller about police corruption and New Orleans violence. And how many of us wish we had the chance for do-overs? Dan was granted that once in a lifetime opportunity to write the script for the upcoming remake of THE BIG EASY and he’ll also talk about changes he made and the remaking/updating process.

Film Critics and the Industry
Alamo Ritz - Friday, 10/22
Print film critics have recently been in the spotlight, criticized for being out of touch with the majority of filmgoers. What purpose are film reviews serving now? Who's reading them and how are they using them? And with more movie critics driven to the internet, what does this change for the audience? More importantly, what is the impact on the film and the filmmakers? Film critics from print and blogs address these questions and others.
David Denby, The New Yorker; Neil Miller, filmschoolrejects.com; Kenneth Turan, Los Angeles Times; Scott Weinberg, Cinematical/Moviefone and FEARnet; Chase Whale, gordonandthewhale.com
Moderated by Charles Ealy, Austin American-Statesman

The $2 or the $200,000 Film: What You Need to Know
Stephen F. Austin, Assembly Room – Saturday, 10/23
Anyone can get their hands on a video camera these days, but that doesn’t mean you won’t still need a budget, story boards, a schedule, and an overall plan. Not to mention a great script. Regardless of your budget, there are basics you want to make sure you have covered to insure that your film is not only a success, but that it gets completed at all.
Greg Carter, Tom Copeland, Victor Moyers, Mark Potts
Moderated by Dawn Wiercinksi

A Conversation with Jon Lucas and Scott Moore
Driskill Hotel, Ballroom – Sunday, 10/24
Join a conversation with writers Jon Lucas and Scott Moore, screenwriters of THE HANGOVER, FOUR CHRISTMASES, and GHOSTS OF GIRLFRIENDS PAST
Moderated by Daniel Petrie, Jr.

What's on your schedule? The full line-up is here.

Kelly Williams has been involved with the Austin Film Festival since 2001. In 2004, he became the Film Program Director at the Austin Film Festival where he programs features and shorts as well as oversees the full scope of the festival’s programming. He was awarded the International Film Festival Summit Excellence Award for his "significant contribution to the success of the festival" in 2007. He has produced numerous award-winning short films, including the Student Academy Award nominee Perils in Nude Modeling, and also wrote and directed the short film Richard and the doc short Sid Smith for Congress. He is an active member of the Austin Media Arts Council. Williams attended the writing program at the Second City in Chicago and is also a graduate of the film program at the University of Texas at Austin.