Randall Wallace is Coming to Austin!

It has been too long since his last appearance and we are thrilled that Randall Wallace will be back at the Conference this year! A champion of storytelling based on the classic values of love, courage, and honor, Wallace wrote the Academy Award winner BRAVEHEART and the blockbuster PEARL HARBOR. He also wrote, directed, and produced the critically acclaimed WE WERE SOLDIERS and THE MAN IN THE IRON MASK. For his work on BRAVEHEART, he received the Writers Guild of America Award for Best Original Screenplay as well as Academy Award and Golden Globe nominations. Wallace is also the New York Times bestselling author of seven novels and the lyricist of the acclaimed hymn Mansions of the Lord, performed as the closing music for President Ronald Reagan’s national funeral. And, in 1999, Wallace founded Wheelhouse Entertainment. The guy works non-stop.

His most recent project was directing SECRETARIAT, the life story of Penny Chenery, owner of the racehorse Secretariat, who won the Triple Crown in 1973. The film stars Diane Lane, John Malkovich and Scott Glen (who will always be URBAN COWBOY's Wes to me) and will be in theaters October 8th, so be sure to check it out!

Check out our interview with Wallace below. Buy your Badge to the Conference now and ask him your own questions in October!


AFF: What recent movies have you liked?
RW: I haven't had time to see many movies while I've been directing Secretariat, but I think that John Lee Hancock did a superb job in designing The Blind Side. The hardest I've laughed at any movie in a long time was at The Hangover. I saw Scott Pilgrim Vs. The World just the other day and thought it was fantastically creative.

AFF: How do you approach adapting a novel like Atlas Shrugged into a screenplay?
RW: It's a challenge. But I don't shrink from a challenge—and neither do the characters of Atlas Shrugged. The studio wasn't sure whether it was going to be two movies or three or maybe even a mini-series. When I signed on to write the screenplay, they already had a script of 169 pages, and it only dealt with the first half of the story! I told them "I don't want to see it or anything else anyone else has written. And it's either one movie or it's nothing." The essence of any great story is lost if it's not focused, and what was required here was my saying, "this is the narrative spine of this story."

AFF: What attracts you to tell specific stories?
RW: People ask me how I choose the stories I want to tell. The answer is simple: I look for something that will cause my heart to pound and my soul to soar. My latest movie, SECRETARIAT, which comes out October 8, has those qualities. And that makes me rejoice.

AFF: Would you please describe your writing schedule?
RW: For years I got up every weekday morning to write at the same time, usually at about 5:30am, sometimes earlier if I couldn't sleep. Now I sleep as long as I can — for 8 hours minimum — before I get up, but I still follow the same routine every morning. I get up, get dressed, and sit down at the computer. I always have a set goal for page count (no more than 5 a day for a screenplay, usually 3 or 4 if I'm not facing a deadline) that I have to hit in order to stop, and I never go over. If I feel like there's more to write once I get my 4 pages, I jot notes to myself on where I'm thinking the story might go, questions I have, etc. For me, after 4 pages I hit the point of diminishing returns, even if I'm full of thoughts. Once I'm done with my pages, then I eat breakfast and start the rest of my day. Early mornings work well for me because it's pretty much the time of day when no one is calling on the phone and there's nowhere else to be. Especially when I'm directing, the only time to write is before the day starts, because once things get rolling, it's non-stop all day long.

And questions from two registrants:

When you got your big break as a writer was it because of your agent or, did do all the foot work of marketing your writing yourself?

RW: Agents are an anomaly in this business in that the people who don't have them need them the most. I did a lot of foot work marketing myself early on — sending my manuscripts out to various publishers and facing the wall of rejection until one finally bit — and at the time I did not have an agent. But I wouldn't necessarily recommend that to someone today. At least in the film business, these days people are so afraid of getting sued that they usually won't read anything sent to them directly unless it's sent via an agency. My company is even more strict — we do not take any submissions, whether represented or not — because we develop everything in-house. My first really big break in writing for TV was because a mutual friend set me up with a meeting.

I am a college student studying the art of film through broadcasting. I have dreams of becoming a film producer/director. The directing and acting in Braveheart was amazing and very inspiring. I look forward to the release of Secretariat. I dream of becoming a film director/producer like yourself.

I do have a few questions for you from a student's standpoint. Where did you go to school? What did you major in? I went to Duke University, and majored in religion, with a minor in Russian How did you get connected into the community of filmmaking?

RW: I'd written several screenplays before I got paying work writing for TV, working for Stephen J. Cannell productions, but in all honesty, it took a long time before I felt connected to the community. I'd written and sold several screenplays before one of them was green-lit, shot, and released. Through all of that, I got to know a lot of the people in the community, and it was one of those people I met early on who ended up giving me a chance to direct.

Check out the full list of panelists here. See you in October!

Zamacona and Simon Under the Same Roof in Austin!

Several weeks ago, my friend Gary Bond with the Austin Convention & Visitors Bureau called and asked if we were still looking for panelists.

"Well, we're pretty set, but who did you have in mind?" "Oh, my buddy Jorge Zamacona. He lives in New York, but he loves Austin." Are you kidding me? Jorge Zamacona? Creator of “Wanted” and staff writer on “Homicide: Life on the Street”? Did Gary know that we had just announced as our Outstanding TV Writer Award recipient David Simon who, in addition to creating "The Wire" and "Treme", had also brought "Homicide: A Year on the Killing Streets" to the screen from the book, which he also wrote?

Yes, please. We would very much like to have Jorge Zamacona join us as a panelist.

A little bit more about Jorge: After graduating from California State University-Northridge Magna Cum Laude in 1983 with a degree in TV/Film Writing and Production, Jorge was hired by Mary Tyler Moore (MTM) Enterprises and began his writing career on the NBC series "St. Elsewhere." Since then Jorge has built his career and become a successful Showrunner/Executive Producer of many respected and well known television series. Please check out all his impressive and lengthy credits here. Jorge is creator/writer of “Wanted” and “10-8: Officers on Duty”, was a staff writer on “Homicide: Life on the Street” (22 episodes!), consulting producer/writer on ABC’s “The Unusuals”, and is currently a Consulting Producer on the NBC-UNIVERSAL Television produced series "Outlaw" airing this fall on NBC.

He generously agreed to answer a few questions for us below. We know you'll have many more, so be sure and check out his panels this October 21-24!

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AFF: You did a lot of work on "Homicide: Life on the Street" – the series based on David Simon’s non-fiction novel Homicide: A Year on the Killing Streets. How important was the source material to your contribution to the series?

JZ: The source material was critical to understanding the rhythm, texture, language and attitudes of not only the homicide detectives we were fictionalizing, but also the city of Baltimore itself. David's book set the entire template of how to tell the stories. In fact I was in Baltimore for part of the shooting of the pilot and did some "cocktail" research with one of the detectives in the book. The book was our treasure map for the series.


AFF: How much research did you need to conduct in order to stay true to the reality of life on the streets in terms police procedures and mandates?

JZ: As I said, I/we/ the other writers spent some time in the company of Baltimore Homicide Detectives. They would keep us from writing "TV" versions of detectives. Authenticity was very important to us. We also had an active Baltimore Detective working as a tech advisor on series. He would read our drafts and then give us notes on procedure and language, etc.


AFF: You’ve written for many crime-based television shows. What attracts you to that particular genre?

JZ: I love the visceral nature of crime storytelling. I love the moral and legal ambiguities of the decisions that police, attorneys and judges have to make in order to achieve some measure of justice. But I like writing other genres as well and am developing action-comedy and character-based non-procedurals as well.


AFF: What initially attracted you to television writing? How did you break in?

JZ: My mother was a Madison, Wisconsin Public Librarian. So, from a very early age she was drowning me in books. I loved reading and then began writing - stories, songs, bad plays and short films - in my teens. I worked on a movie of the week that MTM came to Madison to shoot during my freshman year at the University of Wisconsin. The producers told me that if I wanted to pursue this career, I should write and I should move. I moved to Los Angeles to finish film school and then interned at MTM my senior year. I was hired as production assistant on "St. Elsewhere" and there I met Tom Fontana and Bruce Paltrow...and started my career in earnest.


AFF: How and when does one get to make the jump to being a showrunner?

JZ: Experience. I was lucky enough to be tutored by Tom Fontana who was himself tutored by Bruce Paltrow. I did my time as a story editor, a producer and as an Co-Executive Producer (on "Millenium")... when I left "Millennium" I sold my own show ideas, shot them, got them picked-up for series and summarily "show ran" them. It takes some time and experience to effectively run a show. The job involves hiring the staff, the directors, casting, scripts, editing, budgeting, dealing with the studio and network, etc. Some writers who sell an idea and have it advance to series will get the title of Executive Producer but they will lack the showrunning experience. In those cases seasoned Executive Producers will be hired to partner that person in order to get the show up and running.


AFF: What are you working on now?

JZ: I am currently a Consulting Producer on "Outlaw." Consulting means I am part-time (sort of) in order that I may continue to develop my own projects. A latitude that I would not be afforded if I were full-time. The show will air this fall on Friday nights at 10:00 pm on NBC (the old "Homicide" time slot) and stars Jimmy Smits as a former Supreme Court Justice who retires the bench in order to become a defense attorney.


AFF: Anyone in particular you're looking forward to meeting or seeing at the Austin Film Festival this October?

JZ: It will be great to see David ... and any and all bartenders.

Austin Cats! Brings Will Akers to Austin Film Festival

A few weeks ago, Melody Lopez, Group Lead for Austin Cats!, contacted us with an idea. Were we interested in partnering this year? They would sponsor the attendance of one Will Akers at our Conference and we would offer a discount to not just Austin Cats! members, but all Save the Cat! subscribers. To take advantage of the discount, please contact maya@austinfilmfestival.com or matt@austinfilmfestival.com.

The Austin Cats! is a supportive community of writers who follow the story structure principles of the late Blake Snyder, author of the Save the Cat! series of screenwriting books. Informal monthly meetings encourage the educational development of storytellers of all levels. The Austin Cats! is a chapter within Cat! Nation, aka blakesnyder.com

For those few folks unfamiliar with Will Akers, he's the author of the bestselling book Your Screenplay Sucks!, 100 Ways To Make It Great, is a Lifetime Member of the WGA and has had three feature films produced from his screenplays. Will has written for studios, independent producers, and television networks. He currently teaches screenwriting at Vanderbilt University, does story consulting, and gives writing workshops and seminars around the world.

Blake Snyder had recommended Will Akers' book to Melody during a coaching session and it had a tremendous impact on Melody and her writing. She believes believe in her heart that Blake must be proud that his "Austin Cats!" are contributing to the writing community and keeping his positive, supportive and generous spirit alive!

Blake is quoted inside the cover of the book: "William M. Akers is a renaissance man of film who is at once a big studio screenwriter, independent writer/director, and caring, insightful teacher. He also knows every trick in the book when it comes to fixing a script. And this is that book! A must for any writer facing the 'dark night of the script.'"

Melody Lopez recently chatted with Mr. Akers and the text of their conversation is below. We are delighted to be working with both Austin Cats! and Save the Cat! and look forward to hosting Will in October.

We hope you'll join us, as well!

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Austin Cats!: In your book you share that you sold your first screenplay. How did you manage to achieve this?

Akers: It’s exactly what they tell you-- “it’s who you know.” Well, in my case it was two different “who you knows.” I arrived at film school already wanting to make a movie out of a book that had been read to me as a child. The Wolves of Willoughby Chase, about two young girls whose evil governess drowns their parents so she can inherit their fortune. I did the research and found who controlled the rights. Alan Pakula. As it turned out, a guy I went to college with, his attorney also represented Pakula. They worked a deal for me to option the book from Pakula. It took me nine months to write the script. Then, I gave it to lots and lots of people. A woman I’d attended graduate school with, gave it to a friend, who knew a friend, who knew another friend who wanted to direct it. That person found the producer in England who made the film but, in the end, with a different director. Who knows what would have happened were it not for my two friends. Most likely, I wouldn’t own this house...

Austin Cats!: Of the 100 tips you offer in your book, which do you think is the most important and why?

Akers: The last chapter. It’s more philosophical than the rest of the book. It says, “If you’re not happy when you are a failure, you’re not going to be happy when you’re a success.” It’s best, when you’re writing not to spend all your time thinking about selling. You have to enjoy the process. If you don’t enjoy the process, and then it doesn’t sell, what have you got? I wrote a children’s adventure novel that may never sell. If it doesn’t, too bad. But, at least I enjoyed writing it.

Austin Cats!: You share more advice and have direct communication with readers of your blog: www.yourscreenplaysucks.wordpress.com What has surprised you the most by the comments people make?

Akers: How many good writers there are and who have something wonderful to add. I’ve been writing for 20 years and, perhaps foolishly, think good writing is important. It’s great to know there are others who to take it as seriously as I do. The main purpose of the blog is to help people improve their writing and help them not make the mistakes I’ve made. I point out the quicksand so other people can steer clear.

Austin Cats!: What lessons have you taken from your produced features that helped in the writing of 105° AND RISING, your screenplay about the fall of Saigon?

Akers: I wrote it long, long ago, while THE WOLVES OF WILLOUGHBY CHASE was being shot. At that point, I didn’t know anything about making features. The Saigon script was good, but lay fallow for 15 years. It almost got made once, then went back on the shelf. Finally, Jon Amiel found it and wanted to direct it. For the producers and the studio, Jon and I did eleven drafts over two years during pre-production. And the screenplay only got better.

I know you got the information about 105° AND RISING from my book. Unfortunately, that screenplay is now mostly on life support. Has been for a while. It went into a coma because five other movies came out with political themes and didn’t do well. The studio lost its nerve. It’s too bad because it’s a killer story with amazing characters.

Austin Cats!: You co-wrote the screenplay, ERNEST RIDES AGAIN. What were the challenges and benefits of writing for an established franchise?

Akers: Four movies with Ernest had already been made. It was easy to look at them and write for “that guy.” He was existing character, who spoke in a certain way. All we had to do was create a new story. What was great about Ernest is that any kind of dialogue you wanted to write, Jim Varney could say, beautifully. My co-writer was the director. [John R. Cherry III] It was a lot of fun! While we were writing it, we knew the movie was going to get made. I’d come up with an idea and the team had so much experience, they knew if it was good for the story. Nothing went into the script that wasn’t gonna work.

Austin Cats!: This is your first time to the Austin Film Festival. What are you looking forward to? Are there any panelists you’re looking forward to seeing or meeting?

Akers: I’m happy to be coming. The Festival has got a stellar reputation. I just hope I’m not on a panel at the same time as John Lee Hancock’s panel. Anything he says is worth hearing. I want to hear Derek Haas, Craig Mazin, and Michael Brandt. They’re terrific. Of Course, I'm just like everyone else who'll be there. I'll hope to meet producers and executives too. Plus, I’ve never been to Austin. I like to eat, so I won’t be content until I find some top-drawer Texas barbecue!

For the full list of panelists and to buy your Badge now, click here!

Pixar's Coming to Austin!

Michael Arndt, screenwriter of the awesome summer hit Toy Story 3 (and Little Miss Sunshine)! Mary Coleman, Senior Development Executive for Pixar Animation Studios! Emily Zulauf, Creative Development Associate for Pixar Animation Studios! All gathered together under the roof of the 2010 AFF and Conference, October 21-24!

We've got some terrific panels in the works, including one on Pixar's Story Development Process and another on Writing for Animation. Where do the ideas for animated features come from? How do animation studios find writers? How do they work with them?

To hold us over until October, we've got a few more viewings of Toy Story 3 and the below interview with Emily Zulauf.


AFF: How did you get involved in development at Pixar? What's been your career path?
EZ: It's been a little random! I was in LA right after college, but northern California always felt more like home. I worked for an agency in LA, small production companies in Chicago and San Francisco and finally got in at Pixar as a temp.

AFF: What is your day-to-day work like at Pixar?
EZ: I do a bunch of reading for writer/director matches and research for our in-development projects. Our department handles a lot of stuff, including short films, so there is always something going on.

AFF: What projects are you currently working on?
EZ: I can't talk about any of them! I'd like to keep my job!

AFF: Will there ever be a Monsters, Inc. 2?
EZ: There will be! And they have a great team working on that. I'm definitely looking forward to it.

AFF: Photographs online make Pixar Studios in Emeryville, CA look like some magical office dream. Does that place really exist?
EZ: Yes. I have a chocolate river in my office. It makes it very hard to concentrate.

AFF: Advice for up-and-coming screenwriters?
EZ: We give a LOT of feedback at Pixar, which is hard for some writers. For a work environment like ours, I'd say learn to love that process - if you can embrace it, it will only make your writing better.

AFF: Does Pixar develop all of their story ideas and scripts in-house, or do they ever accept submissions from agents? If yes to the latter, have there been any films produced thus far that came from 'outside' Pixar?
EZ: Everything here is director driven, including the ideas. So, nope, we don't take ideas from outside. That said, we do hire writers from the outside and once they are on board, they are instrumental in helping the director achieve his or her vision.