What are a few key things filmmakers need to keep in mind right now if they want to [...]]]> Ingrid Hamilton is the Director of GAT PR, a public relations firm that is the wind behind the sails of many Canadian film festivals and independent Canadian films. She spoke with our Raindance writer, Mirella Christou:

What are a few key things filmmakers need to keep in mind right now if they want to stand out above the crowd?

 1.   Now, more than ever, filmmaking is a conversation.  It’s imperative that you know who you’re conversing with. In other words, know your audience. This familiarity can be fostered by direct means, including social media and old-school targeted-publicity. Or, it can take the form of the most intimate of connections: personal contact. Guys in suits call this “networking,” but it is simply the act of arranging to be where like-minded professionals and cinephiles gather, and making an impression.

What is “new publicity” and how can you use it to your advantage?

2.   New publicity is the digital pathway, utilizing the many platforms of social media in every step of production.  It begins even before the film starts shooting, and can consist of flooding your target market with tweets, posts, casting announcements, messages, and thoughts. Once shooting starts, an on-set blog keeps interest and search-engine priority alive. Messages, announcements, anecdotes, on set pictures, actor and crew profiles – it’s all fodder for “followers” and “friends.” Short clips from the dailies can be incorporated in your feeds to help build a social media audience. By the time you’re ready for a traditional PR rollout, the interest will already be generated.

Must documentary filmmakers put into action a different strategy from their feature film?

3.   PR approaches remain constant regardless of genre:  You need to have good bios on your subjects and key crew. You need lots of great high-rez pictures from the film and from the set (and video for media websites), and you need to create buzz. Those are key strategies for any kind of film.  However, there can be different approaches to media targeting. By the sheer nature of so many different “real stories” told through documentaries, it can no doubt attract the interest of so many kinds of media, such as political pundits, world and issue columnists and producers, who wouldn’t normally be interested in movie releases.

If a filmmaker is cash-strapped, what’s the most essential thing they will need to do for their film to get traction, from your perspective?

4.   Knowing your media and the fine folks who report, produce, talk, and write on film, is – as the charge card ad says – priceless.

The great thing about publicity for the “financially challenged” filmmaker is that it’s essentially free advertising. Yes, the services of a professional publicist aren’t free, but an article in a large, urban daily newspaper occupies space that might cost you five figures to purchase. An understanding of publicity and how it works, along with understanding social media and its means, will allow you to reach out in a number of areas, and do it for free. You can actually make noise for very little money.

How can filmmakers best leverage festivals?

5.   Always get to know the PR handling the festival, and get to them early on.  By doing this, you’ve made yourself known, and in many cases could have your film included in their key package going out to media. Don’t ever shy away from offering up materials and anything they may need to best attract media to your film. A film festival is an occasion when media outlets will free up a bit more real estate – print space, airtime, online coverage – for what is considered “event” programming. A large festival like TIFF will attract several hundred members of the press from around the world, including industry press, genre press, and specialty press. A festival is not a festival without social events, and your physical presence can create an impact, so be prepared to be seen and heard in as many places as possible. Socialize with business on the brain. When meeting new people, hand out USB drives with your film, or a trailer with a variety of clips, and be sure to INCLUDE YOUR CONTACT INFO. The most compact and concise little offering with info and visuals can go a long way.

What are some things filmmakers do wrong when it comes to getting the word out? (ie. missed opportunities)

6.   Pictures, pictures, pictures! And video! Every publicist has horror stories about major coverage that was in the bag, and then cancelled because there was no graphic component to sell the story.

Our company recently planned a huge national launch, but the production company didn’t have any good pictures, just a few that were taken from the crew on set. We had a cover story planned and almost lost it (we saved the piece at the 11^th hour with a costly, last-minute photo shoot). Pictures are always key. Sometimes you may not succeed in selling a story, but you’ll get a picture and a cutline, which, depending on the quality of the photo, can be more effective than a full article.  In an age when people vividly photograph everything from restaurant meals to pets on their smart-phones, there is no excuse for having no visual record of your work.

Another “wrong” is that filmmakers will start the PR push much too late in the game. You can get lucky and get quick, “viral” attention, but it is a huge gamble with your career. In most cases you need to begin the buzz fairly early on.

7. And finally (and yes, it is in my own interest to say so)…hire a publicist.  The worst money-saving idea in the world is to pass on hiring a publicist. Often there are issues throughout the filmmaking process that necessitate cutting the budget from other departments, and sometimes there is nothing left at the end for PR. The work of a good publicist can go a long way. He or she has already networked the media landscape, has personal connections to all branches of the media, and often has built up considerable goodwill that can work to the benefit an otherwise unknown young film talent. Publicity is an integral part of the filmmaking roll out, second only to the act of filmmaking itself. If your movie drops and no one knows about it, did it really happen?

 About Ingrid Hamilton

A former newspaper columnist, Ingrid has been the owner of GAT Productions Inc., since 1992, representing influential people, products, film, and television. She’s handled national publicity at CTV for entertainment programs, specials and documentaries.

Ingrid’s “cred” in the city’s social and entertainment scenes was first established at the Toronto Sun, where she was a columnist from 1982-1992. Her print platforms included: Celebrity Closet (a syndicated weekly celebrity interview column;  People I.D. (a weekly profile of local and international luminaries);  and Scene & Heard, a weekly roundup of local social flashpoints including launches, openings, parties, and gossip. 

And while she has elicited coverage for clients amounting to barrels of ink, the Toronto native was the subject of many articles herself, namely for her annual VIP parties in the ‘80s and ‘90s – the stuff of local legend for two decades.

If You Liked This You’ll really Like…

 Audience-Building for Independent Filmmakers

Book online here or call 416-572-4372

Whether you have already written and even sold a number of screenplays, or you are embarking on your first screenwriting adventure, be wary of the bounty of screenwriting advice available from well-meaning “experts.”

Take any advice, including the following, with a heaping teaspoon of salt. As the Buddha said, “believe nothing, no matter where [...]]]>

Whether you have already written and even sold a number of screenplays, or you are embarking on your first screenwriting adventure, be wary of the bounty of screenwriting advice available from well-meaning “experts.”

Take any advice, including the following, with a heaping teaspoon of salt. As the Buddha said, “believe nothing, no matter where you read it, or who said it…unless it agrees with your own reason and your own common sense.”

1. Your idea will get stolen.

Myth: Execution of a script idea, not the idea itself, makes a movie, so don’t worry about theft of concept.

Also, contrary to popular belief, most producers are perfectly willing to acquire material legally. And if registered script is stolen, you should receive help in court. Don’t be rush to sue, though, because writers who file lawsuit for theft often lose.

2. Write a screenplay to appeal to the four-quadrant demographic: the young, the old, men and women.

Myth: Write a movie you love, not a movie you think the market will like. Don’t add random elements or extra characters solely to broaden a movie’s appeal; all you will do is alienate the target audience. Instead, focus on including “re-watchable moments,” scenes the target audience enjoys so much they return to see the film over and over (these moments sell oft-criticized single quadrant romantic comedies).

Remember also the first people who need to like your film are producers and agents, but don’t waste time playing the guessing game of what their personal tastes may be.

3. Signing a release signs your rights away.

Myth: Often a release form (either provided by the reviewing company or written yourself) is necessary to get screenplays read. Include response expectations, whether you are submitting elsewhere and a clause specifying your retention of copyright.

4. A writer should have complete creative control over the screenplay.

Myth: Neither the writer or director should have full control. Film is collaborative, and writers must be open to making changes in their scripts. However a production company cannot ethically ask a Writers Guild member to change a screenplay without payment.

5. Write what you know.

Half-myth: Writing what you know (or can research and learn) makes for a believable screenplay, but if everyone followed this rule too many movies would portray struggling artists. Imagination is necessary to write fantastical and extraordinary films.

6. You must have industry connections.

Myth: Producers are also interested in new talent, and even first-timers can make big box-office runs. (Think of the strong critical and public reception for writer Diablo Cody’s debut, Juno.)

7. A rejected screenplay can be revised and resubmitted to the same company.

Myth: Most companies will only look at a screenplay once, so tweak carefully before that one-shot pitch.

8. Reading your pitch to the studio executives works.

Myth: Selling a script is one of the most important parts of a writer’s job. First, focus on producers and production companies because they are the real target decision-makers.

As you pitch, maintain eye contact and engage the listener in the presentation. Your script will have a much better shot at being picked up than through a verbatim reading.
Use framing techniques at the beginning to draw the listener in, but don’t waste time telling the listener how you got the story idea.

The written pitch can then be presented in a “leave behind,” a one-page treatment for producers to read after the writer has left. Proper treatments are brief, double-spaced, dialogue-free synopses.

9. Material trumps formatting.

Myth: As with many things, improper formatting can be a weeding out tool. Use proper spelling, punctuation and script guidelines to ensure your script is read. Always include scene headings, action, character names and dialogue, and keep a feature script between 90 and 100 double-spaced pages.

10. More money is available to independent films now than ever before.

True: With many burgeoning independent film festivals, from Sundance to Raindance, the time is ripe for indies.

As a final note, consider the oft-discussed concept of turnaround. When a screenplay is abandoned by one company another production company may pick it up. While both E.T. and Forrest Gump rebounded well after a turnaround, the high fees required to repay development costs often mean a movie in turnaround will never get produced. Be wary.

So go forth, then, and write, and rewrite, keeping this advice in mind—but only so long as it agrees with your own reason and your own common sense.

Send your comments, please: click here

Karlanna Lewis, whose dreams include becoming a bird, completed her honors B.A. in Russian and Creative Writing at Florida State University in spring 2011, with an honors thesis in poetry and minor in computer science.

At Florida State Ms. Lewis was selected as an Outstanding Senior Scholar. As a graduate student at Florida State Ms. Lewis was a 2011-12 Rhodes Scholar Finalist.

She has also presented a research project on Russian literature and dance at various conferences. Ms. Lewis is a published writer and galleried artist, and in August 2011 she published her first book, Cante de Gitanas con Nombres de Luz / Songs of the Gypsies with Names of Light.

A native of Tallahassee, Florida, Ms. Lewis is a principal dancer for the Pas de Vie Ballet and has led an honors service project teaching dance to local schoolchildren. Ms. Lewis has worked multiple jobs as a cashier, teacher, and journalist her entire collegiate career and volunteered as a DJ and the continuity director for the V89 radio station.

Now as an intern at Raindance Film Festival in London, Ms. Lewis is writing articles about film, assisting with Web building projects and translating the Web site into Russian. When she leaves Raindance at the end of April she will spend a month in France as a writer-in-residence at Camac Art Centre.

In the future she plans to pursue her M.F.A. in creative writing and to eventually become a university professor. Serving as an art director for a production team is her ideal film job. Passionate about the arts and the environment, in 2011 she founded the non-profit Dancearth, an arts for social change initiative celebrating movement and the earth in which we move.

Check out her website: karlannalewis.com

Watch independent shorts, features and documentaries on www.raindance.tv
Submission details to Raindance Film Festival
Visit us on Twitter for daily tips and updates

Writer’s Foundation Certificate

Many people intend to write a screenplay “someday.” For most of them, someday never comes. You’ll never not be busy (well, not while you’re breathing and after that writing becomes even more difficult). You’ll never be all caught up. Therefore…

The best day to start is today. Don’t have time to sit down [...]]]>

Many people intend to write a screenplay “someday.” For most of them, someday never comes. You’ll never not be busy (well, not while you’re breathing and after that writing becomes even more difficult). You’ll never be all caught up. Therefore…

The best day to start is today. Don’t have time to sit down and have a writing session? Then do one of these:

• Carry a notebook and jot down ideas about your story or characters
• Create a mind map of what happens in the scene, to write from later (if you don’t know how to make mind maps, see the Wikipedia article on Mind Maps
• Use your camera phone to take pictures that might help you when you write (possible settings, pictures of people, even snaps of menus, for instance)

No more excuses! If you want to write a screenplay, start now.

(Jurgen Wolff’s screenwriting blog is at www.ScreenwritingSuccess.com, where you can sign up for his free monthly Brainstorm creativity e-bulletin. His most recent books are Your Creative Writing Masterclass and Your Writing Coach, both published by Nicholas Brealey and available from Amazon and other booksellers.)

If you would like to comment on this article, please click here

Jurgen Wolff is a writer, teacher, and creativity consultant. In the United States, he wrote for sitcoms including “Benson” and “Family Ties.” He wrote the feature film, “The Real Howard Spitz,” starring Kelsey Grammer and directed by Vadim Jean. He was a script doctor on the hit film, “Mannequin” and others starring Michael Caine, Walter Matthau, and Eddie Murphy. For Germany, he co-created the comedy series, “Lukas,” which ran for 65 episodes, and an original comedy series called “Krista.” He also wrote nine episodes of the series,” Relic Hunter.” He wrote two TV movies for the Olsen Twins, and several the German TV movies including, “On Top of the Volcano,” starring Maria Schrader and Sebastian Koch (2007). His play, “Killing Mother,” was produced at the Gorky Theatre in Berlin, and he’s also had plays produced in New York, Los Angeles, and London.

As a writing and creativity teacher, his courses include “Beyond Brainstorming,” “Create Your Future,” and “The Creative Breakthrough Workshop.” He has presented his courses at the University of Southern California, the University of Barcelona, the Skyros Institute, many films schools, and groups and organisations including The Academy for Chief Executives, Egmont, Grundy-UFA, and Columbia-Tri-Star. For eight years he was a visiting lecturer for the Pilots Program in Sitges.

His books include “Your Writing Coach” and “Your Creative Writing Masterclass” (Nicholas Brealey Publishing), “Creativity Now” (Pearson),“Do Something Different” (Virgin Business Books), “Successful Scriptwriting” (Writers Digest Press), “Top Secrets: Screenwriting” (Lone Eagle Press), and “Successful Sitcom Writing” (St. Martin’s Press). He has written for many publications including the Los Angeles Times, the San Francisco Chronicle, Broadcast Magazine, and he is the editor of “Brainstorm,” the creativity ebulletin.

His writing blogs are at www.TimeToWrite.blogs.com and www.SuccessfulScreenwriting.com. He runs the Writing Breakthrough Strategy Program, an online group coaching program. He is based in London but spends part of each year in Los Angeles. He can be contacted at jurgenwolff@gmail.com.

Watch independent shorts, features and documentaries on www.raindance.tv
Submission details to Raindance Film Festival
Visit us on Twitter for daily tips and updates

Writer’s Foundation Certificate

In an article in Wired magazine, Dan Ariely mentions a study that shows online daters restrict themselves to safe topics, resulting in boring conversations. Hmm, that reminds me of a lot of movie dialogue, especially in scripts from newer writers.

When I bring this up in workshops, the usual reply is, “Yes, but [...]]]>

In an article in Wired magazine, Dan Ariely mentions a study that shows online daters restrict themselves to safe topics, resulting in boring conversations. Hmm, that reminds me of a lot of movie dialogue, especially in scripts from newer writers.

When I bring this up in workshops, the usual reply is, “Yes, but that’s how people talk.” Maybe so, but if I want to hear normal (boring) conversations I’ll go sit at a Starbucks and eavesdrop. When I go to the movies, I want something better than ordinary life.

One solution: put your characters into situations outside of their normal comfort zone. Then they’ll talk in a more interesting way, too. For instance:

When there’s time pressure of some kind. I’m currently writing a script about a man who is dying. That makes him more willing to say things he normally wouldn’t say and it makes the people around him uncertain about what they should or shouldn’t say to him, which makes them blurt out some interesting things.

When they’re in an unfamiliar setting–the ‘fish out of water’ effect. When people aren’t sure what’s appropriate, often they do and say inappropriate things. Inappropriate is interesting.

When they’re trying too hard. Have you ever been around somebody who is trying too hard to sound hip or interesting? Rich dialogue possibilities.

When they have something to hide. Trying to keep a secret often leads to Freudian slips, lies that don’t match up and other disasters for the speaker.

Of course these work only when they’re consistent with the story you want to tell, but at least one of those fits just about any kind of story. Put your people under pressure and what they say and how they say it should get a lot more interesting.

(Jurgen Wolff’s screenwriting blog is at www.ScreenwritingSuccess.com, where you can sign up for his free monthly Brainstorm creativity e-bulletin. His most recent books are Your Creative Writing Masterclass and Your Writing Coach, both published by Nicholas Brealey and available from Amazon and other booksellers.)

If you would like to comment on this article, please click here

Jurgen Wolff is a writer, teacher, and creativity consultant. In the United States, he wrote for sitcoms including “Benson” and “Family Ties.” He wrote the feature film, “The Real Howard Spitz,” starring Kelsey Grammer and directed by Vadim Jean. He was a script doctor on the hit film, “Mannequin” and others starring Michael Caine, Walter Matthau, and Eddie Murphy. For Germany, he co-created the comedy series, “Lukas,” which ran for 65 episodes, and an original comedy series called “Krista.” He also wrote nine episodes of the series,” Relic Hunter.” He wrote two TV movies for the Olsen Twins, and several the German TV movies including, “On Top of the Volcano,” starring Maria Schrader and Sebastian Koch (2007). His play, “Killing Mother,” was produced at the Gorky Theatre in Berlin, and he’s also had plays produced in New York, Los Angeles, and London.

As a writing and creativity teacher, his courses include “Beyond Brainstorming,” “Create Your Future,” and “The Creative Breakthrough Workshop.” He has presented his courses at the University of Southern California, the University of Barcelona, the Skyros Institute, many films schools, and groups and organisations including The Academy for Chief Executives, Egmont, Grundy-UFA, and Columbia-Tri-Star. For eight years he was a visiting lecturer for the Pilots Program in Sitges.

His books include “Your Writing Coach” and “Your Creative Writing Masterclass” (Nicholas Brealey Publishing), “Creativity Now” (Pearson),“Do Something Different” (Virgin Business Books), “Successful Scriptwriting” (Writers Digest Press), “Top Secrets: Screenwriting” (Lone Eagle Press), and “Successful Sitcom Writing” (St. Martin’s Press). He has written for many publications including the Los Angeles Times, the San Francisco Chronicle, Broadcast Magazine, and he is the editor of “Brainstorm,” the creativity ebulletin.

His writing blogs are at www.TimeToWrite.blogs.com and www.SuccessfulScreenwriting.com. He runs the Writing Breakthrough Strategy Program, an online group coaching program. He is based in London but spends part of each year in Los Angeles. He can be contacted at jurgenwolff@gmail.com.

Watch independent shorts, features and documentaries on www.raindance.tv
Submission details to Raindance Film Festival
Visit us on Twitter for daily tips and updates

Writer’s Foundation Certificate

Do you remember the bit in the Odyssey where Odysseus lashes himself to the mast? He knew that the Sirens (two seductive bird women) could lure sailors with their enchanting music and songs to shipwreck on the rocky coast of the island where they lived.

He instructed his men to stuff their ears [...]]]>

Do you remember the bit in the Odyssey where Odysseus lashes himself to the mast? He knew that the Sirens (two seductive bird women) could lure sailors with their enchanting music and songs to shipwreck on the rocky coast of the island where they lived.

He instructed his men to stuff their ears with wax so they couldn’t hear the enticing sounds, and to tie him to the mast so he could hear them but not steer his ship toward them.

When he heard them, he ordered his men to untie him but they refused.

You’re Odysseus. You’re on a journey–writing your screenplay.

The Sirens are…new ideas. Beautiful, fresh, uncorrupted, seductive new ideas. They sing, ”We are better! We are more beautiful! We promise more! You’ll enjoy writing us…not like that hard work you’re stuck in at the moment! Leave that old idea, push it overboard, steer over here!”

Tie yourself to the mast!

By all means listen, even take notes (if your hands aren’t tied…) but don’t go there. Not now. Those Sirens will age quickly. They’ll turn into the same (temporarily) unbeautiful hags you’re struggling with (sometimes they’re called Act II).

If you stay on course, a miraculous thing will happen. You’ll write and rewrite. Then you’ll rewrite some more. And pretty soon, that thing you’re working on will start to look a lot more attractive.

And it won’t crash on the rocks.

(Jurgen Wolff’s screenwriting blog is at www.ScreenwritingSuccess.com, where you can sign up for his free monthly Brainstorm creativity e-bulletin. His most recent books are Your Creative Writing Masterclass and Your Writing Coach, both published by Nicholas Brealey and available from Amazon and other booksellers.)

If you would like to comment on this article, please click here

Jurgen Wolff is a writer, teacher, and creativity consultant. In the United States, he wrote for sitcoms including “Benson” and “Family Ties.” He wrote the feature film, “The Real Howard Spitz,” starring Kelsey Grammer and directed by Vadim Jean. He was a script doctor on the hit film, “Mannequin” and others starring Michael Caine, Walter Matthau, and Eddie Murphy. For Germany, he co-created the comedy series, “Lukas,” which ran for 65 episodes, and an original comedy series called “Krista.” He also wrote nine episodes of the series,” Relic Hunter.” He wrote two TV movies for the Olsen Twins, and several the German TV movies including, “On Top of the Volcano,” starring Maria Schrader and Sebastian Koch (2007). His play, “Killing Mother,” was produced at the Gorky Theatre in Berlin, and he’s also had plays produced in New York, Los Angeles, and London.

As a writing and creativity teacher, his courses include “Beyond Brainstorming,” “Create Your Future,” and “The Creative Breakthrough Workshop.” He has presented his courses at the University of Southern California, the University of Barcelona, the Skyros Institute, many films schools, and groups and organisations including The Academy for Chief Executives, Egmont, Grundy-UFA, and Columbia-Tri-Star. For eight years he was a visiting lecturer for the Pilots Program in Sitges.

His books include “Your Writing Coach” and “Your Creative Writing Masterclass” (Nicholas Brealey Publishing), “Creativity Now” (Pearson),“Do Something Different” (Virgin Business Books), “Successful Scriptwriting” (Writers Digest Press), “Top Secrets: Screenwriting” (Lone Eagle Press), and “Successful Sitcom Writing” (St. Martin’s Press). He has written for many publications including the Los Angeles Times, the San Francisco Chronicle, Broadcast Magazine, and he is the editor of “Brainstorm,” the creativity ebulletin.

His writing blogs are at www.TimeToWrite.blogs.com and www.SuccessfulScreenwriting.com. He runs the Writing Breakthrough Strategy Program, an online group coaching program. He is based in London but spends part of each year in Los Angeles. He can be contacted at jurgenwolff@gmail.com.

Watch independent shorts, features and documentaries on www.raindance.tv
Submission details to Raindance Film Festival
Visit us on Twitter for daily tips and updates

 Writer’s Foundation Certificate

Watch once for enjoyment, then once or twice more for analysis. Here are some of the questions to answer:

If you already know the topic of a screenplay that you intend to write, start your research ahead of time. A great way to do this is to set up a Google Alert for relevant topics.

Once a day (or another frequency you choose), Google will email you a list of [...]]]> By Jurgen Wolff

If you already know the topic of a screenplay that you intend to write, start your research ahead of time. A great way to do this is to set up a Google Alert for relevant topics.

Once a day (or another frequency you choose), Google will email you a list of sources of information on that topic. These will be links to news articles, blog posts, press releases, and more. Don’t read them now, just put that notification into a folder on your email system.

For instance, let’s say that you are going to write a script about somebody who is humiliated on a talent show and the effect it has on his or her life. You could set up Google Alerts for “X Factor” or “America’s Got Talent” or “Britain’s Got Talent,” and “musical auditions,” and “rejection” and probably a few more.

When you get ready to devote more time to that project you can go through all these notices. Even just the titles might give you some good ideas for scenes or characters.

You can read the information that seems most relevant and add that to your research, and use those leads to dig up more. Instead of being the usual source of distraction, Google does  the legwork for you while you’re doing something else.

(Jurgen Wolff’s screenwriting blog is at www.ScreenwritingSuccess.com, where you can sign up for his free monthly Brainstorm creativity e-bulletin. His most recent books are Your Creative Writing Masterclass and Your Writing Coach, both published by Nicholas Brealey and available from Amazon and other booksellers.)

If You Liked This, You’ll Really Like…
Watch independent shorts, features and documentaries on www.raindance.tv
Submission details to Raindance Film Festival
Visit us on Twitter for daily tips and updates

 Writer’s Foundation Certificate

So on December 10th Tiska asked Elli and I if we could make a trailer for Raindance.

“It needs to be shot this month.”

“Yeah, we can do that.”

“And it needs to be good.”

“Of course it’ll be good.”

“No but really, it needs to be good quality.”

This Aoril 2012 programme is an episode of Gwen Elliot’s Start Something Big.

Upon graduating from Toronto’s Ryerson, Gwen found herself where many Millennials do: moving back home with the parents while trying to find that elusive ‘dream job.’

While trying to find it, she studied hundreds of successful people to find out how [...]]]>

This Aoril 2012 programme is an episode of Gwen Elliot’s Start Something Big.

Upon graduating from Toronto’s Ryerson, Gwen found herself where many Millennials do: moving back home with the parents while trying to find that elusive ‘dream job.’

While trying to find it, she studied hundreds of successful people to find out how they started their big careers.

And so Gwen’s obsession with what it takes to ‘start’ was born.

She shares her research on a blog, which evolved into a website, and eventually a television show which she created and hosts on Rogers TV Toronto called, ‘Start Something Big!’

Along the way she’s interned in Series Development at MTV in Santa Monica, CA, worked behind the scenes for Project Runway Canada, Canadian Idol, the Gemini Awards, George Stroumboulopoulos Tonight etc., and on-air hosting segments for MuchMusic, VJiam.tv, Toronto Fashion Week, and RUtv (Ryerson’s Television network) before coming to Rogers TV.

Gwen’s vision for Start Something Big! is to expand the concept into a global platform to encourage people to take action today to work on their dreams.

This is the episode she made with Raindance founder Elliot Grove in April 2012 in Toronto.

If You Liked This, You’ll Really Like…

Saturday Film School with Elliot Grove

Want to know how to write a superhero movie?

Critic Roger Ebert revealed the five steps in a paragraph of his review of The Avengers.*

Below you will see his simple 5 step formula in red, with my observations added.

Ebert’s # 1. There must be a threat.

Usually [...]]]> With Jurgen Wolff

Want to know how to write a superhero movie?

Critic Roger Ebert revealed the five steps in a paragraph of his review of The Avengers.*

Below you will see his simple 5 step formula in red, with my observations added.

Ebert’s # 1. There must be a threat.

Usually there’s what I call a macro threat and a micro threat. The macro threat is big, really big. The earth could tilt on its axis. The ice age could return in an instant. All the vacuum cleaners in existence could turn on their owners. That last one hasn’t been done yet. If you sell it it, cut me in and make it cash, not a percentage of the back end. You and I know that no matter how many superhero dolls they sell we’ll never see a penny of the back end.

Sorry, I got distracted.

The macro threat can take many forms but the upshot is that it would mean the end of mankind. Some days that seems like a pretty good idea to me, but maybe I’m just grumpy.

The micro threat is something the audience can relate to. If the world ends, Jenny won’t be able to go to the junior high school prom, or Timmy’s parents, who were just starting to speak again after a bitter divorce, definitely won’t get back together.

We have to see some examples of what could happen to the whole world. Usually this entails the destruction of capital cities like London, Paris and Rome. In the US it tends to be New York or Los Angeles, the only cities screenwriters can imagine living in, although once in a while Seattle takes a hit. Screenwriters could live in Seattle if it didn’t rain so much.

In older movies, a lot of this destruction was seen on a TV screen where it wasn’t so apparent that New York was actually made of Legos. If the movie was really low budget, you’d just see a radar screen. “General, it looks like…” “Yes, Private, I’m sorry, I know your grandmother lived in Seattle….but…there is no more Seattle.” Nowadays, though, we want to see cities falling into craters or being hurled into space or being consumed by vacuum cleaners, ideally in 3D.

Ebert’s # 2. The heroes must be enlisted.

Film Courses In LondonYou can’t just call the superheroes and expect them to come. They’re in a sulk somewhere and you have to coax them to save the world.

Maybe they went into seclusion because the press painted an ugly picture of what they’re really like, just to sell papers. (I wouldn’t rely on this one much longer because soon the kids who are expected to make up the bulk of the audience will not know what “newspapers” are unless they’ve heard grandma and grandpa mention them.)

Maybe the superheroes did go over to the dark side for a while but only because some kind of Kryptonitey substance or force field or something made them do it.

Or maybe something happened to make them cynical and not sure mankind is worth saving. They could just be grumpy like me.

Sometimes they’ll be really reclusive and you have to send somebody to one of the poles or to another planet because the superheroes are not answering their phone. I’d suggest you have a cute child do the talking. Superheroes are suckers for kids with big mooney eyes. Give the kid some kind of not too unattractive handicap, it couldn’t hurt. A plea from a kid in a wheelchair will shake even a moody superhero out of his or her lethargy.

Ebert’s #3. The villain must be dramatized.

It’s kind of hard to boo climate change. But make it Dr Emil Klimatechange or Dr Basil Climatechange and stick an eye patch on him, and you’re in business. Villain roles are the only thing keeping German and British actors working. How come the super-villains are never French or Italian? Because halfway through the movie they’d give up and pretend they were on the good side all along.

I use that cultural stereotype only to motivate young readers to look up 20th Century history on Wikipedia. I intend no offense to my French and Italian friends. If I had any.

Of course we don’t have time for actual three-dimensional characters other than in the most literal sense, involving special glasses, but we do want a hint of what made the villain turn bad. Maybe they were made fun of when they were kids for having to wear an eye patch, or they got a taste of power and now they’re addicted. Admit it, you wouldn’t mind controlling the entire universe. You’d never be late for anything again, because the meeting starts when you show up.

I’ve always felt that if I were ever in a position to destroy humankind I’d blame it on the fact that my parents ate my pet rabbits. Don’t use that one, I’m saving it in case I figure out how to tilt the world on its axis and need to justify it afterward. I’d start by destroying a city in the name of my tragic bunnies. Not Seattle. I’m going for Tulsa, Oklahoma, where I once spent an unbearably humid summer. Yes, I would be edgy and unpredictable, as so many villains are.

Ebert’s #4. Some personality defects are probed.

It’s not only the villains who have issues, so do the superheroes, although much smaller ones. In the process of saving humankind, they have to face up to their own little vulnerabilities so they have the semblance of a character arc.

Perhaps they have trust issues, caused by an ill-fated love affair with some kind of alien or by being aliens themselves. It’s not easy being green. But the love shining in the eyes of that differently-abled little child can heal almost everything.

Maybe their superpowers have made them a touch arrogant and overly competitive and they have to learn to be humble and to work together. Or they have to learn to go to sleep without leaving a light on. That last one hasn’t been used yet, I’m trying to give you some fresh ideas as we go along.

Whatever their foibles, they will overcome them and be better superheroes when what remains of the earth is saved. Which brings us to…

Ebert’s #5. And then the last hour or so consists of special effects in which large mechanical objects engage in combat that results in deafening crashes and explosions and great balls of fire.

Exactly.

When the smoke clears, some proportion of the earth has been saved, and Jenny gets to go to a makeshift version of the prom held in the smoking ruins of what once was, and will again be, a great junior high school.

The battle to save the earth has brought Timmy’s parents together again and despite suffering the pain of a large decorative smudge on her cheek his Mom takes the hand of his father who suffered a flesh wound to his shoulder and we just know they’re going to make it work.

And like the Lone Ranger and countless selfless heroes before them, the superheroes go off into the sunset and wait for the sequel.

(Jurgen Wolff’s screenwriting blog is at www.ScreenwritingSuccess.com, where you can sign up for his free monthly Brainstorm creativity e-bulletin. His most recent books are Your Creative Writing Masterclass and Your Writing Coach, both published by Nicholas Brealey and available from Amazon and other booksellers.)

* Ebert’s review is here

About Jurgen Wolff

Jurgen WolffJurgen Wolff is a writer, teacher, and creativity consultant. In the United States, he wrote for sitcoms including “Benson” and “Family Ties.” He wrote the feature film, “The Real Howard Spitz,” starring Kelsey Grammer and directed by Vadim Jean. He was a script doctor on the hit film, “Mannequin” and others starring Michael Caine, Walter Matthau, and Eddie Murphy. For Germany, he co-created the comedy series, “Lukas,” which ran for 65 episodes, and an original comedy series called “Krista.” He also wrote nine episodes of the series,” Relic Hunter.” He wrote two TV movies for the Olsen Twins, and several the German TV movies including, “On Top of the Volcano,” starring Maria Schrader and Sebastian Koch (2007). His play, “Killing Mother,” was produced at the Gorky Theatre in Berlin, and he’s also had plays produced in New York, Los Angeles, and London.

As a writing and creativity teacher, his courses include “Beyond Brainstorming,” “Create Your Future,” and “The Creative Breakthrough Workshop.” He has presented his courses at the University of Southern California, the University of Barcelona, the Skyros Institute, many films schools, and groups and organisations including The Academy for Chief Executives, Egmont, Grundy-UFA, and Columbia-Tri-Star. For eight years he was a visiting lecturer for the Pilots Program in Sitges.

His books include “Your Writing Coach” and “Your Creative Writing Masterclass” (Nicholas Brealey Publishing), “Creativity Now” (Pearson),“Do Something Different” (Virgin Business Books), “Successful Scriptwriting” (Writers Digest Press), “Top Secrets: Screenwriting” (Lone Eagle Press), and “Successful Sitcom Writing” (St. Martin’s Press). He has written for many publications including the Los Angeles Times, the San Francisco Chronicle, Broadcast Magazine, and he is the editor of “Brainstorm,” the creativity ebulletin.

His writing blogs are at www.TimeToWrite.blogs.com and www.SuccessfulScreenwriting.com. He runs the Writing Breakthrough Strategy Program, an online group coaching program. He is based in London but spends part of each year in Los Angeles. He can be contacted at jurgenwolff@gmail.com.