5 AM call time.

Have you ever considered being an AD?

Fucking great.

Alright my dear followers, I need help.

In my Art of Editing class, I’ve been given an assignment to break down a certain scene from a movie taken from a mandatory list of movies. However, I’m running into a huge difficulty trying to select which movie I want to write about.

Do I write about:

1. The Cropduster Attack from “North By Northwest”, starring Cary Grant (one of the original contenders for James Bond), Directed by Hitchcock, and by George Tomasini
2. The Ambush and Massacre from “Bonnie and Clyde” starring Warren Beatty and Faye Dunaway, Directed by Arthur Penn and Edited by Dede Allen
3. The Baptism/Murders from the end of “The Godfather”, starring Marlon Brando, directed by Francis Ford Coppola, and edited by William H. Reynolds

The Cropduster attack is nice because it only deals with one character and the eminent danger he faces. The cutting is very sharp. Plus, it’s Hitchcock, and you can’t go wrong with Hitch. And there’s a plane attack. And Cary Grant. and I already own North by Northwest on iTunes.

I can say a ton about the Ambush and Massacre from Bonnie and Clyde, where the two rebellious, murderous young lovers are gunned down by the figures of authority. I can talk about how the cutting and editing of the piece shows that message to the audience. Plus it’s a very spectacular, bloody scene. And I like spectacular bloody scenes in my movies. I mean, there are a ton of shots to talk about and how the editors move about the shots to show the audience the grisly end of the “protagonists”

The Godfather. Oh god, the Godfather is amazing. First off, I love what Breaking Bad did in the finale of season 5-1/2 with the homage to this scene. Second, it’s a badass scene. You have religious sanctity intercut with the murder of the Corleone’s enemies. It’s the culmination of Michael’s growth as a character. He has come full circle from being the white sheep of the family to being the empiric don his father was. Plus Francis Ford Coppola is a UCLA alum, and how cool is it to talk about a film that a UCLA alum made in a UCLA film class?

Halp.

All my jeeps are film jeeps.

Seeking a professional screenwriter willing to collaborate on a WWII period thriller feature film script with an up and coming foreign director.
Must be non-WGA or if you are in the WGA, be willing to work for less than the WGA minimum.
Qualifications for consideration are as follows:

WRITING EDUCATION
Must have BA/BS from a top 3 University or Liberal Arts College- for example Harvard, Princeton, Yale, or Williams, Swarthmore, Pomona
Must also have completed graduate work at one of the nations top screenwriting programs- USC, UCLA, AFI, NYU, COLUMBIA
Must have read McKee’s “Story,” All books in the “Save the Cat” series, Voeglers “Writers Journey” or Campbells “Hero with a Thousand Faces,” and preferably at least a dozen other books on screenwriting, also prefer someone who has attended as many screenwriting seminars as possible- for instance the “Story” seminar and the 5 genre scminars McKee offers (Comedy, Horror, Thriller, Masterpiece, Love Story).
Must have read and analyzed 300+ high quality produced/award winning/or “black listed” scripts
Must have reverse-outlined at least 50 movies by watching them on screen and listing scenes chronologically

INTELLIGENCE
Must have proof of standardized test scores (SAT/LSAT/GMAT/GRE) in the 95th percentile or higher.
Must have proof of I.Q. in the 130+ range.

CREDITS
Must have at least one produced feature credit that has won at least a few superlative awards on the festival circuit (audience award/best film/best screenplay/etc).
Must also have at least one unproduced feature screenplay that has attracted significant buzz and led to A-list actors attaching themselves to the project.
If you don’t have either of the above, this requirement can substituted with a minimum of 3 produced short film credits.

EXPERTISE
Must be very analytical, knowledgeable, and generally gifted with structure.
Must be able to write visually with fantastic economy and a distinct voice.
Must have an amazing ear for dialogue and inherent understanding of pacing.
Must have an excellent grasp of grammar/mechanics/usage/style.

TRAINING OUTSIDE OF WRITING
Must have at least a few years of previous dramatic acting experience to better understand subtext and emotional arcs- prefer someone with experience taking on a major role in a serious WWII/Nazi play, for instance Martin Sherman’s “Bent” (about homosexual persecution during the holocaust)
Must have previous theater directing experience in order to be prepared to discuss specific blocking ideas with proficiency as we write the script. The script will be written for a single location- so again having experience with a play like “Bent” would let me know you understand how to make blocking interesting in confined locations- since the whole second act takes place in one location with 2 characters moving rocks back and forth across the stage.
Also prefer improv/sketch/standup experience to demonstrate you have developed an intuitive understanding of how material will play in front of a live audience.

COLLABORATION EXPERIENCE
Although you should be a highly capable solo wrier- you must have experience writing successfully on other projects with directors or other writers who prefer to mostly talk out their vision and bounce ideas off of you, while you sit in front of the computer to sift, organize, and smooth out the verbal exchanges- while also adding and enhancing their ideas with your own insight, and ultimately be responsible for polishing and proofing the screenplay before we send it out.
Must be willing be credited as the second writer- potentially out of alphabetical order.
Must be able to remain calm in the face of temperamental outbursts and be ok with occasional substance abuse by writing partner.

• Location: Hollywood
• Compensation: $30,000 for 4 month contract with possibility to be considered for more projects
• Telecommuting is ok.
• This is a contract job.
• OK to highlight this job opening for persons with disabilities
• OK for recruiters to contact this job poster.
• Phone calls about this job are ok.
• Please do not contact job poster about other services, products or commercial interests.

Chris Rock everyone.

I’m a part of the Film and Photography Society at UCLA. We recently went on our retreat where we filmed several shorts  that we made in 5 hours. The theme was to emulate the style of great directors. This was my favorite, and it was from the group who covered Wes Anderson.

For this essay I’m writing for science fiction literature, I get to write about both the “Tears in Rain” scene and Deckard and the Unicorn.

IT’S CHRISTMAS!

Our horror short, “Slip Chain” that won Best Picture, Best Actress and Best Cinematography at the UCLA Campus Movie Fest.

That’s right, I helped make a movie in Los Angeles that got awards. :D

Our film for CMF at UCLA won best picture, best cinematography, and best actress!

I participated as the Casting Director for our horror short, “Slip Chain”