You commit to working on some writing (or other) project that is important to you for up to 8 hours, with short breaks every hour. You plan it so you know what you’ll be doing (for instance, nobody will actually write for 8 hours, but it could be a combination: some research, some writing, some getting organized, etc.) You don’t have to participate for the full 8 hours–even four or six hours of focused effort will give you a big boost.
After exploring all the wonderful filmmaking information here at Filmmaking Stuff, you may benefit from putting some other blogs on your reading list. So to that end, I’d like to point out a few of my filmmaking favorites:
“If you want to make a living making movies, you need to realize that your library and the subsequent audience you source (over your career) are your major assets. And, as a result, your most important filmmaking focus (aside from doing good work) is to acquire and keep a customer,” he emphasizes.
Since starting Filmmaking Stuff, many screenwriters have written me, asking if I could provide advice on how they can protect their screenplay from theft. I usually tell screenwriters that most producers will not go through the process of raising a gazillion dollars without compensating the screenwriter fairly.
Or it may be that in the middle of my script things drag along too slowly–a common problem of first drafts. In that case, reminding myself that the traditional story model calls for escalating conflict can lead to better consideration of how I can add incidents that ramp up the tension and drama.
For filmmakers and screenwriters alike, one of the great things about Jurgen is his ability to make things happen. As you will read in this week’s Filmmaking Stuff guest article – When Jurgen was starting out, he quickly learned to stop asking permission and as a result, he carved his screenwriting career.
Earlier this week, veteran Hollywood screenwriter Jurgen Wolff stopped by Filmmaking Stuff to offer three valuable screeenwriting tips and also, tell you about his upcoming writing workshop in Las Vegas.
As a filmmaker, establishing a mentor is invaluable. Without my mentor, I would have never gone to NYC, would have never made a movie and would have never fell on my financial face—and recovered. Consequently, I would have never made the move to California, produced features or written these words.