What’s in the WGA Deal

Craig and John talk with Chris Keyser, one of the co-chairs of the WGA Negotiating Committee, to learn what gains were achieved in the most recent deal, and what work lies ahead.

Warning: it’s a super-wonky episode that presumes you’re familiar with the basics outlined in episode 289.


Email us at ask@johnaugust.com

You can download the episode here.


Jacqueline Bisset Joins Sarah Jessica Parker in Best Day of My Life

Sarah Jessica Parker's Best Day of My Life has just cast Jacqueline Bisset as Parker's mother

Sarah Jessica Parker’s Best Day of My Life has just cast Jacqueline Bisset as Parker’s mother

Emmy-nominated actress Jacqueline Bisset (Joan of ArcDancing On the Edge) has been cast in Sarah Jessica Parker‘s (Sex and the CityI Don’t Know How She Does It) upcoming romantic drama Best Day of My Life, according to Variety. Bisset will reportedly play the role of Parker’s mother. Best Day of My Life also stars Renee Zellweger (Bridget Jones’s DiaryJerry Maguire), Common (Smokin’ AcesNow You See Me), Isabella Rossellini (Blue VelvetDeath Becomes Her), Simon Baker (The MentalistThe Devil Wears Prada), Taylor Kinney (The Other WomanZero Dark Thirty), and Gus Birney (The MistChicago Med).

Best Day of My Life is the story of a jazz vocalist (Parker) in New York City who gets a terrible diagnosis as she is about to begin a world tour. Her mother (Bisset) comes to visit her daughter for the weekend in New York, and mostly speaks French.

The film will be directed by Fabien Constant and the screenplay comes to us from Laura Eason. Parker will serve as a producer along with Ambi Group’s Andrea Ievolino and Monica Bacardi, as well as Alison Benson. Executive producers include Phil Hunt and Compton Ross of Head Gear Films.

Jacqueline Bisset is known for her work in the miniseries Joan of Arc, for which she was nominated for an Emmy Award, as well as Dancing on the Edge, for which she won a Golden Globe Award for Best Supporting Actress. She’s also known for her roles in Day for Night and Murder on the Orient Express.

What do you guys think of the casting of Jacqueline Bisset in Best Day of My Life? Are you interested in the film? Let us know in the comments below or tweet us @ComingSoonnet.

The post Jacqueline Bisset Joins Sarah Jessica Parker in Best Day of My Life appeared first on ComingSoon.net.


First Teaser Trailer for Creepy Indie Thriller Film ‘My Friend Dahmer’

My Friend Dahmer Trailer

«I’m just like anybody else…» FilmRise has debuted an official trailer for a creepy new indie thriller titled My Friend Dahmer, which premiered at the Tribeca Film Festival earlier this year. The film is based on an acclaimed graphic novel and tells the story of serial killer Jeffrey Dahmer, who murdered 17 men and boys in the Midwest United States between 1978 and 1991 before being captured by police. Before he became that killer, though, he was a shy, alcoholic teen who never quite fit in. This is the true, haunting «story before that story» of Dahmer in high school. Ross Lynch plays Dahmer, and the cast includes Anne Heche, Alex Wolff, Dallas Roberts, Vincent Kartheiser, Miles Robbins. This is just a teaser, but but damn does it have some unsettling moments in it, which is the whole point of the film. Lynch’s performance looks superb. ›››

Continue reading First Teaser Trailer for Creepy Indie Thriller Film ‘My Friend Dahmer’


Private Script Workshops

On a limited basis, I work one-on-one with writers on their script project.

In a workshop session at the 2016 Black List Feature Writers Lab in Los Angeles. I’ve been a mentor at every Black List lab.

Imagine having your very own private script workshop. A structured environment with content and a schedule tailored to meet your specific creative needs. Your own unique online course site. And a one-on-one mentor relationship with a professional screenwriter and educator.

You can do this through Screenwriting Master Class.

Perhaps all you need is a 4-week rewrite workshop to add more depth to a couple of characters in your script and polish the overall dialogue.

Maybe you have gotten through a few drafts of your story, but you need to do a page 1 rewrite.

You could have already worked out your story and want guidance during the first draft process.

Or you’re starting with a concept and want to do prep and page-writing.

Maybe you are a beginner looking to learn the essentials of screenwriting and end up with a finished screenplay.

At Screenwriting Master Class, we can create private script workshops to match up with your individual goals as a writer.

Since launching SMC in 2010, Tom Benedek and I have worked with writers of all backgrounds and interests in the context of numerous private script workshops. Here are testimonials from two:

“Working with Scott in SMC’s private workshop was an invaluable experience. The private workshop gave me the attention I needed to address my script’s problem. I was so impressed with the quality of his teaching, the way the course was structured and the interactive process. In the end, not only did Scott help me solve my character problem, he elevated my script as a whole. He is a wonderful mentor and I learned a lot about the craft of screenwriting.” — Gladys Stone, screenwriter of “Tulio” (Semifinalist, Austin Film Festival Screenplay Competition)

“Working with Scott in a private workshop arrangement through SMC greatly accelerated my screenwriting knowledge and craftsmanship. Scott is a most dynamic, gifted and generous educator. He offered a holistic, character-driven approach to story that helped bring out my best as a writer. The flexible syllabus of the mentorship invites exploration of creative impulses without fear of losing direction or purpose. The script on which Scott consulted placed in the top one percent of the 2011 AFF screenwriting competition and has opened industry doors. Most importantly the SMC has cemented lasting self confidence in my abilities as a writer.” — Gyan Alexander, screenwriter of “Convinced” (Semifinalist, Austin Film Festival Screenplay Competition)

People who have done private script workshops through Screenwriting Master Class include professional screenwriters, actors, directors, best-selling non-fiction authors, playwrights, and novelists, as well as beginning, intermediate and advanced writers.

We offer one-on-one sessions with any of our popular group workshops:

Prep: From Concept to Outline

Pages I: The First Draft

Pages II: Rewriting Your Script

For those who want a comprehensive approach to learning the craft — immersing yourself in screenwriting theory, then putting that to use in developing an original story and writing a complete draft — there is The Quest, a unique 20 week program.

The Quest changed my life. It gave me the structure to be immersed in screenwriting and the flexibility needed to write and accommodate work and family life. Not only did I come out with a quality screenplay, but a practical approach that I can apply to each script I write.

Scott’s instincts as a mentor are spot on. He can tell the difference between when you need encouragement and when you need a good kick in the pants. Under his guidance, you become the kind of writer you want to be, the kind that doesn’t need to wait for inspiration.

You can spend your time reading through screenwriting inspiration, tips or shortcuts, thinking it will help more than actually doing the work, or you can take the leap and do The Quest.

— Taylor Gordon

Here are three big reasons to consider an SMC private script workshop:

  • Writing a screenplay involves making thousands of choices about characters, plot, theme and so forth. Wouldn’t it be helpful to have feedback from a professional to help steer you through the process enabling you to avoid huge story pitfalls that could derail your scripting process?
  • Writing a screenplay is a thankless, lonely job. Wouldn’t it be great to have the ongoing support of a professional to enable you to overcome inevitable story problems and emotional downswings?
  • Writing a screenplay is a mystery. Wouldn’t it be wonderful to learn proven principles and practices from a professional with years of experience working in the entertainment industry, an approach to writing you can use again and again on your future stories?

For more information, contact us here.

Private Script Workshops was originally published in Go Into The Story on Medium, where people are continuing the conversation by highlighting and responding to this story.

Go Into The Story — Medium

Monday, July 24 Filming Locations for NCIS, Chicago Fire, Bull, Crashing, & more!

Here’s a look at various filming locations for Monday, July 24: Filming in California TV Series: NCIS Stars: Mark Harmon Location: Jesse St., Imperial St. — Mateo St., Los Angeles (7:00 AM — 7:00 PM) TV Series: Criminal Minds Stars: Matthew Gray Gubler Location: Quixote Studios, Electronics Pl, Los Angeles Filming in Illinois TV Series: Chicago Fire Stars: Taylor Kinney Location: 317 N Francisco Ave, Chicago TV Series: The Chi Stars: Jason Mitchell Location: 1843 S Kedzie Ave, Chicago Filming in New York‏ TV Series: Sneaky Pete Stars: Giovanni Ribisi Location: Cortlandt Ave and Rockland Ave, Mamaroneck Credit: @ftantillo Movie: The Papers (working title Nor Easter) Stars: Tom Hanks Location: 55 Church St, White Plains Credit: @JonUPS_ TV Movie: Happy Valley Stars: Al Pacino Location: Queens Museum, Flushing, Queens Movie: The Week Of Stars: Adam Sandler Location: 4th St and Cedar Swamp Rd, Glen Cove TV Series: Red Oaks Stars: Craig Roberts Location: Willow Ridge Country Club in Harrison Movie: Pursuit of Unhappiness Location: Flatbush Ave and Tillary St, Brooklyn Credit: @blackburnmanor TV Series: Mozart in the Jungle Stars: Gael García Bernal Location: 83rd St and Central Park West, NYC Credit: @logexlyf Movie: MAPP Location: 75th and Madison Ave, NYC TV Series: Crashing..

The post Monday, July 24 Filming Locations for NCIS, Chicago Fire, Bull, Crashing, & more! appeared first on On Location Vacations.

On Location Vacations

‘Justice League’ Reshoots Cost $25 Million, Joss Whedon Reportedly Won’t Receive Directing Credit

Joss Whedon Justice League directing credit

When director Zack Snyder stepped away from Warner Bros.’ and DC Films’ mega-anticipated superhero team-up film Justice League in the wake of a family tragedy, the man who directed The Avengers stepped in to take his place. But will Joss Whedon receive directing credit for his work on the movie? A new report claims he won’t, and also sheds some light on the film’s extensive (and expensive) reshoots.

Over the weekend, Warner Bros. unveiled a new trailer for Justice League at Hall H, and released it online immediately afterward. One of the channels they released it through was their official Warner Bros. UK YouTube channel, where ScreenRant noticed an interesting bit of text in the description:

A film by Zack Snyder and Joss Whedon starring Ben Affleck, Gal Gadot, Henry Cavill, Jason Momoa, Ezra Miller and Ray Fisher.

That’s the first time we’d seen Whedon’s name alongside Snyder’s in any sort of official capacity like that, and the studio swiftly removed the credit from the video’s description. To be clear, it isn’t studio executives who decide if there’s a Joss Whedon Justice League directing credit. That decision lies with the Director’s Guild of America. But it’s an interesting thing to think about, and something I’ve been wondering about ever since Whedon officially boarded the project.

We know that even before he stepped into the director’s chair, Whedon did some work on the film’s script. By the time the movie is released, he’ll have been shepherding it toward the screen in a directing capacity for just under six months. And while Ray Fisher (Cyborg) indicated at SDCC that the movie’s reshoots were “brief, if anything,” we have it on good authority that Whedon has overhauled a significant amount of the movie.

A new report from Variety confirms our intel, revealing that the studio is spending $ 25 million on reshoots that have lasted roughly two months, which is far longer than the average time that’s normally built in for films of this size. The report also says that the reshoots are problems for the in-demand cast, and it hilariously uses Henry Cavill as an example: his character in Mission: Impossible 6 has a mustache, and Paramount refuses to let him shave it off when he heads across town to film his Superman scenes, so it’ll have to be digitally removed from the Justice League pick-ups.

Variety’s report also quotes an inside source as telling them that Whedon won’t be receiving directing credit on the movie. But unless their source is from the DGA, I’m not sure about the accuracy of that claim.

Directors Guild of America logo

A Brief Trip Through DGA History

The guild was created, at least in part, to preserve the creative rights of film directors, but it was in existence for decades before the studios agreed, after contract negotiations in 1978, that there would only be one director credited for a film at any given time. According to the DGA’s website:

Director Elliot Silverstein, chair of the 1978 Creative Rights Negotiating Committee, recalled that “Our concern was that the use of more than one director (and if two why not three or four, etc.?) would lead to the producer becoming an über director and the director(s) becoming messengers. We did not want the Guild’s members to be involved in a ‘piece goods’ profession, blurring individual vision, authority and credit.”

While not quite going as far as to embrace the auteur theory entirely, the guild recognized the practicality of having one person in charge of a production:

“A single director is an organizational imperative,” DGA Secretary-Treasurer and Western Directors Council member Gil Cates explained. “A film is a complex form involving the integration of many elements. It’s a composite from many people — the writer, the actor, the director of photography. I’m sure that what is going on in the world at the time is also thrown in as part of the composite. So I’m not saying the vision has to be generated by one person, but, the best way to have that integration be successful is to have it articulated by a single person.”

One of the reasons the DGA has been so strict about only crediting a single director is because of what was happening elsewhere in Hollywood. They saw the complicated arbitration process in the Writers Guild, for example, when multiple writers contributed to a screenplay and credit needed to be determined. They were also looking to avoid the proliferation of producer credits being handed out to anyone with a passing involvement with the film. While actual producers are extraordinarily important to making a movie, sometimes people receive producer credit for questionable reasons. I’ve heard stories of people being awarded producer credits who aren’t even as involved in the creation of the film as craft service personnel.

Sin City sf

There Are Exceptions to Every Rule

But the idea of a single director being credited is not a hard-and-fast rule. The reason you’ve seen filmmakers like the Coen brothers or the Russo brothers receive co-credit is because they qualify as a “bona fide team” in the guild’s eyes:

There were exceptions built into the single-director clause of the 1978 agreement — there could be more than one director for different segments of a multi-storied or multi-lingual film (e.g., New York Stories and Tora! Tora! Tora!), for different segments of a multi-part closed-end television series (e.g., Roots or Band of Brothers), assignment of a second unit director or any especially skilled director (e.g., underwater or aerial work) and for a “bona fide team.”

Robert Rodriguez (Desperado) famously quit the Directors Guild when they wouldn’t allow Rodriguez and first-time filmmaker Frank Miller to both receive credit for directing 2005’s Sin City (Quentin Tarantino also directed a section of that film), and George Lucas split from the guild after a disagreement over The Empire Strikes Back.

The guild clearly won’t see Snyder and Whedon as a “bona fide team” since they didn’t make the movie together, and I’m wondering if this decision will provide guidance for a similarly-thorny crediting issue that popped up recently: the Ron Howard/Lord and Miller fiasco over at Lucasfilm. I’ll be keeping a sharp eye on how this turns out, and I’m sure Star Wars fans will be, too.

Justice League hits theaters on November 17, 2017.

The post ‘Justice League’ Reshoots Cost $ 25 Million, Joss Whedon Reportedly Won’t Receive Directing Credit appeared first on /Film.


Nicholas Hoult Stars as Salinger in First Trailer for ‘Rebel in the Rye’

Rebel in the Rye Trailer

«Are you willing to devote your life to telling stories?» IFC Films has debuted an official trailer for the film Rebel in the Rye, an indie drama which first premiered at the Sundance Film Festival earlier this year. The film stars Nicholas Hoult as famed author J.D. Salinger, telling the story of his early years, his time fighting in WWII, and his pursuit of a love interest. It also shows how the success of his novel, Catcher in the Rye, turned him into a recluse, staying out of the public for the rest of his life after it was published in 1951. The cast includes Zoey Deutch as Oona O’Neill, Kevin Spacey, Lucy Boynton, Sarah Paulson, Victor Garber, Hope Davis, Amy Rutberg, James Urbaniak, Celeste Arias, and Eric Bogosian. This received dismal reviews at Sundance, and not so surprisingly the trailer doesn’t look that great either. ›››

Continue reading Nicholas Hoult Stars as Salinger in First Trailer for ‘Rebel in the Rye’


Meet The Filmmakers Lending Their Equipment For Cash

As previously discussed, independent filmmakers are never too far from budgeting problems. Whether it’s forking out for music rights, travel or casting, one can quickly feel squeezed by what may have originally seemed a generous budget. However, a new wave of filmmakers are turning to stuff-sharing in order to make significant savings on projects and generate serious passive income from their own gear whilst not using it. Fat Lama is a stuff-sharing website which insures users to lend out their own equipment for cash. After launching late last year, the platform has quickly made a huge impact on the film and photography communities. Many creatives are now able to pay their monthly rent from their lender income, which for some is as high as £3000/month. On the borrowing side, many have made significant savings by avoiding unnecessary purchases or the deposits and premiums of traditional rental shops. We got in touch with three Fat Lama users and asked each of them their favourite films, their regular rig of choice, and why each of them are using Fat Lama to lend and borrow gear locally.

Name: Radu Stefan

Three Favourite Films: Amelie, Forrest Gump, Mr Nobody

Usually Operates: Red Scarlet MX

Radu on Fat Lama:
I believe it’s the best thing ever. And that instant live chat customer support never fails to solve any problem or answer any question. All film makers invest in equipment and we all have days when our equipment sits around. Hiring it can be an alternative way of generating income and being able to hire gear from other film-maker is very useful: cheaper most of the time and less complicated than hiring it from a hiring company. In a way it’s sort of helping or being helped by your competition but I think this just allows all of us freelance film-makers in London to compete over our skills and talent rather than over who has more equipment than the other. But I’m still waiting for people with good cinematic lenses to join and share. Overall, it’s opened new doors for me, new possibilities in approaching a shoot.

  • “It’s opened new doors for me, new possibilities in approaching a shoot.”

Name: Tom Bryan

Three Favourite Films: Die Hard, Drive, Tootsie

Usually Operates: My favourite set up at the moment is the Ronin with a Remote Follow Focus System and SmallHD monitor. It’s a great set-up for roaming and making everything look super smooth. In my recent short films I’ve been making the most of a home-made dolly track system.

Tom on Fat Lama:
Over the years I’ve collected a lot of film equipment and recently it’s been sitting there gathering dust. I’ve been more than willing to hire it out but never known how to reach out to people outside my network of friends. Websites like Fat Lama are a great platform to get connected with local creatives who have a demand for the kit that I own. From hiring out through Fat Lama, I’ve met great people in the industry. Some of which I will be working with in the future. As a lazy networker, Fat Lama has brought many interesting people to my front door, and considering that filmmaking is a collaborative industry, this is an incredible thing.

  • “From hiring out through Fat Lama, I’ve met great people in the industry.”

Name: Duncan Leigh 

Three Favourite Films: Kubo and the Two Strings, Good Kill, Goodbye Lenin

Usually Operates: For our last two projects we’ve shot on a Sony A7S II. Rig wise, we improvise mostly hand held with shoulder rigs. Gimbals are nice but an over reliance on them seems to be damaging the art of the properly composed shot – and besides we can get the majority of the classic, controlled, dolly-like movements with a slider. Audio wise I’ve relied for years now on an excellent (and relatively cheap) ME 66 mic by Sennheiser. I supplement it with a couple of Lavaliers where necessary.

Duncan on Fat Lama:
The equipment we needed was a drone to get a POV falling shot for a short film I’ve been working on through my production outfit, StrayLeft. I’d spent weeks on the shot and tried everything. From projection mapping layered photos at different focal lengths, to building an elaborate rig to safely throw a GoPro off the roof – nothing was giving us the result we wanted. I’d looked into hiring this type of equipment before but it went far beyond my self funded budget. Then my friend told me about Fat Lama and less than 12 hours later, I’d had my ID approved and got my first rental – at a price I’d never seen from traditional equipment rental companies.

Tomorrow I’ll be using a high end shoulder rig worth just shy of £1,000 for a commercial client job. It’s costing me just £22 for the day. They say it’s the operator, not the equipment that counts, and that’s generally true – but when it comes to commercial work, how you appear to the client can have an equally big impact on how they perceive you and your level of professionalism. In the commercial sphere, Fat Lama is enabling me to secure more work at a higher level, and do a better job with higher end equipment. In my personal work, it’s giving me access to the tools I need to boost production values and tell my story the way I envisioned it. I’m excited to see how things develop from here for the service.

  • “Tomorrow I’ll be using a high end shoulder rig worth just shy of £1,000 for a commercial client job. It’s costing me just £22 for the day.”
  • “Fat Lama is enabling me to secure more work at a higher level.”

Curious? Why not hire a camera near you? Alternatively, click here to start listing your own gear and earning a passive income today.

The post Meet The Filmmakers Lending Their Equipment For Cash appeared first on Raindance.


Official Trailer for Eliza Hittman’s Drama ‘Beach Rats’ Set in Brooklyn

Beach Rats Trailer

«I don’t really know what I like…» Neon has unveiled the official full-length trailer for indie drama Beach Rats, the second feature from filmmaker Eliza Hittman, following up her debut It Felt Like Love. This originally premiered at the 2017 Sundance Film Festival in January, where it won the Best Director award. Newcomer Harris Dickinson plays Frankie, an aimless youth on the outer edges of Brooklyn, struggling to escape his bleak home life. He spends his summer balancing time between his delinquent group of friends, a potential new girlfriend, and older men he meets online. The cast includes Nicole Flyus, Frank Hakaj, Kate Hodge and Neal Huff. Despite some good reviews, this looks like pretentious art house drivel to me. ›››

Continue reading Official Trailer for Eliza Hittman’s Drama ‘Beach Rats’ Set in Brooklyn


Steven Soderbergh Has Already Shot Another Movie – Using an iPhone

steven soderbergh iphone movie

Next month, after a four-year absence from filmmaking, it’s time to praise the heavens because Steven Soderbergh has another movie coming to theaters, Logan Lucky. It looks like we might not have to wait long for his follow-up to the new heist movie, either. Soderbergh has already shot another movie, titled Unsane, on an iPhone.

Below, learn more about the Steven Soderbergh iPhone movie.

According to VarietyUnsane stars Juno Temple (Vinyl) and Claire Foy (The Crown). Zero is known about the plot. Only his two stars and the fact he shot the movie on an iPhone have come to light. The director has always gravitated towards trying new things and new genres, so making a movie on an iPhone almost seems like a logical step for him. Soderbergh recently gave this advice to aspiring filmmakers in a reddit Q & A: “get a script and an iPhone and start shooting. Seriously.” He knows from experience that this works, and it also worked great for Sean Baker’s 2015 movie Tangerine, which was famously shot using that technology.

The Tracking Board‘s insiders tell them Soderbergh plans to self-distribute through his banner, Fingerprint Releasing, which is handling the wide release of Logan Lucky. Soderbergh, who was frustrated by the cost of releasing a studio movie, explained how he’s found a cheaper way to do it: “sell the foreign [rights] to cover the cost of the [film] negative” and “sell the non-theatrical rights to cover the cost of the [prints and advertising], and that’s it.” It’s a simple model, as he explained to EW, and a way for filmmakers like himself to get different movies out in the world without costing an arm and a leg to market.

He also told EW how the experience of his recently canceled (and excellent) Cinemax series, The Knick, inspired him to keep working behind the camera:

First, I was not going to be directing at all and just really take a sabbatical. Right as we were going to Cannes with Behind the Candelabra, which was in my mind going to be the official start of my enforced vacation, I got the script for The Knick. So I went from not doing anything and exploring my future as a painter to starting to shoot a ten-hour television show in four months. The Knick scared me. We had to shoot 600 pages in 73 days. I’ve worked on some films with pretty aggressive schedules. This was on another order of magnitude, and I was terrified. This was something that was keeping me up at nights, wondering if this was really too big a reach. About a week in, I realized that there was a rhythm that was actually really exhilarating to be had and we were going to make it. I was sitting there on set, realizing that this is the job that I should be doing. This is my job. I should be directing stuff. Nobody’s waiting around for my paintings. So I kind of flipped a switch. I got reconnected with what I like about the job. For a while, I was just very, very happy to be working in that form. I loved working with a ten-hour canvas. It was really fun, and I wasn’t really thinking about movies… until this script came in over the transom. If it hadn’t, I think everything would be TV oriented.

Soderbergh has a few TV projects in the works at the moment. He’s producing Scott Frank‘s Netflix series, Godless, and Starz’s The Girlfriend Experience. Soderbergh also worked with HBO again on a TV movie, Mosaic, which he directed; that stars Sharon Stone. Like Unsane, few details have been shared about the project, but all we really need to know to get excited is it’s from Steven Soderbergh.

The post Steven Soderbergh Has Already Shot Another Movie – Using an iPhone appeared first on /Film.


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