Bryce Zabel's FOR WHAT IT'S WORTH

Movie Smackdown presents. . . NEW YEAR'S EVE AT THE MOVIES

That clock is counting down to New Year's Eve but there's still time to watch a film or two to get in the mood. We have two Smackdowns for you over at MOVIE SMACKDOWN! -- that's a whopping four films, all with something to do with New Year's Eve.

Our Oregon-based SmackRef, Mark Sanchez dives into a couple of romantic comedies that both have scenes bringing in the New Year in his Smack, Bridget Jones's Diary (2001) -vs- When Harry Met Sally (1989). Plus, as an added bonus, it's a chance to remember one of the most famous scenes on film, the time when Megan Ryan fakes a, well, you remember...

Meanwhile, down here in Hollywood, Sherry Coben takes us back to New Year's Eve 1959 with her Smack, Diner (1982) -vs- The Apartment (1960). That's right, both of these films go back to a simpler New Year's and it's a trip down memory lane that's not to be missed.

It's been a busy month over at the Smack. We have film-on-film competition with almost all of today's films like Slumdog Millionaire, The Reader, Frost/Nixon, Revolutionary Road, Valkyrie, Milk, Defiance, Marley & Me, The Wrestler, The Curious Case of Benjamin Button, Twilight, Doubt and Gran Torino. It's your last chance to check it out this year!

To see an entire site devoted to Movie Smackdown Comix! like above, go to www.MovieSmackdown.tv.

MOVIE SMACKDOWN! - Two Reviews... One Film... No Holds Barred!

Writing on the Wall?

Fighting Words

The program I write most of my scripts on is "Screenwriter."  It's got a great look and feel.  They have a new program they're marketing now called "Streamline" which, without cheating, gives writers input and tools about changes they might make to shorten their scripts.  This is good news because most methods of making a script shorter also make it look crammed and unreadable and, the truth is, anyone who knows anything about scripts knows it's been cheated anyway, so what's the point?

I digress.  In the mailing today about this new product are some words that could strike fear in the halls of Microsoft.

"Streamline 1.0 is available for Macintosh only.  Streamline for Windows is in development, but no release date has been announced."

That's right.  The program is built for Macs first.  Windows is the afterthought.  Wow.  Maybe that says something about how screenwriters favor Macs, but it struck me as the thought for the day.  "Macintosh only."

Why We Fought

Striking a Blow for Fairness

Aaron is a current member of the Writers Guild of America, west Board of Directors.  FWIW endorses his 2008 re-election and urges WGA members to cast their votes for him.  This is a re-print of his official candidate's statement.  Read more at AaronMendelsohn.com

It should’ve been easy.

On the Negotiating Committee, I’d voted to recommend a strike authorization vote to the Board.  On the Board, I’d voted to send the strike authorization vote to the Membership.  But when the authorization ballot arrived at my desk, and it had come time to check the “yes” box, I was gripped by a sudden spasm of fear and doubt.

You see, I was broke.

The movie I had written – the one that was supposed to go into production before the strike – had pushed.  And the spec script I had rushed to complete before Columbus Day was sitting on the shelf of my agent, who refused to go out with it because of the “de facto thing.”  I was seriously running on fumes, and here I was, with a mortgage, two kids and a sizable debt load, about to advocate for voluntary unemployment.

The Few. The Proud. The Readers.

Are Books Absolutely Necessary?

This essay was originally published in Etude magazine, Spring 2007. 

Here is a statistic that will make you gasp, or wince, or just break down and cry: One-third of Americans with college or graduate school degrees did not read a single (non work-related) book last year.  Not one book.  That’s a sixty percent increase in educated nonreaders in the past twenty years.

It’s no surprise what these non-readers are doing.  They are playing online and video games, watching YouTube, blogging, chatting in cyberspace, channel surfing.  I get it.  I mean, I don’t get why IMing with even the most fascinatingly salacious avatar is more compelling than reading just about any sentence that Joan Didion has ever written, but I get that people are otherwise occupied.

But here’s the disconnect – or the series of disconnects:  As the percentage of people who read books has declined (precipitously) in all categories (young, old and in between, white, Black and Hispanic, men and women, educated and not), the number of book titles published in the U.S. has soared.  Last year, almost 200,000 new books were published, up almost 50,000 from just a few years ago.  And, while readers have declined, retail space devoted to selling the books they aren’t reading has soared (courtesy of the Barnes and Noble, and Borders explosions).  Then, of course, there’s all the online retail space that makes book buying just a click away.

How to Throw a Pitch

You Will Be Creative in the Following Steps or Else! 

This essay was originally published by Lee Goldberg in A Writers Life. 

I'm going in to a major studio next week to pitch a TV series.  In advance of the meeting, the studio wants you to send them a very short log line of the concept, sort of the equivalent of a TV Guide listing. Assuming that they like the log-line, a few days before the meeting they will send you the "Drama Series Pitch" format that they expect you to follow for your verbal presentation. Here it is:

The Amazing Reality of "Reality" TV

Hollywood Sweat Shops

This column originally appeared in The Huffington Post.

First, a familiar story from America's past.

Around the previous turn of the century, the nation was plagued by sweatshops raking in outlandish earnings while their employees struggled under inhumane conditions. In one infamous example, a factory reported profits of $200 million, one proprietor taking in $50 million himself, yet its employees were discovered to be working loathsome 18-hour days, seven days a week. Lunch breaks weren't allowed, or rest breaks. No basic healthcare, and, obviously, no protective pensions were provided. The conditions of work mills were such a national embarrassment, the outcry so loud that the creation of government protections and unions were understood, even demanded by most of the compassionate nation. Today, we cringe at the memory, yet are proud for the basic protection America has long-since provided its workforce.

Okay, I have to admit that I wasn't totally honest there.

The Book Is Dead. Not!

Rumors of Death...

This essay was originally published in Etude magazine.

The Book Is Dead.

That’s the title of the book I’m currently reading.  Of course the fact that this book was written and published, that I bought it and am reading it would seem a powerful argument against its main premise.

In fact, 172,000 books were published in the U.S. last year.  If you count vanity press and print-on-demand, a new book of fiction is right now being published every 30 minutes in America.  How can the book be dead?

There are several good answers to this.  First of all, most of those hundred thousand-plus books are essentially moribund, gathering dust on the acres of bookcases installed in megastores to lend them gravitas.  Actually, as a Viking publisher remarked a while ago, “everyone is reading the same 20 books.”  The miles of aisles at B&N and Borders are just, in the words of a B&N honcho, “wallpaper” – background decoration so that the place feels literary. The people coming in to buy one of those 20 anointed books want to browse for a while, sit in an armchair, sip a latte and feel ensconced in the world of books – of which eight out of ten flop in the marketplace. They die – mostly swiftly – moved from the front of the store “new” table to back shelf in three weeks, from shelf to return carton in two months and from there to $1.95 online sellers and Costco remainder bins.

The Drama Behind Drama

Global Meandering 

This essay was originally published in A Writers Life. 

Recently I attended a three-day "International Drama Summit" conference that MediaXChange, in cooperation with CBS, NATPE and Fox, put together here in Los Angeles.  A sobering fact came out of a panel discussion with Jeff Wachtel, head of USA Network, and David Stapf, head of programming for CBS and Paramount. They were asked point-blank by David Zucker (who heads Ridley Scott's TV production company) if they would ever buy a contemporary TV series set in Europe or South America, written and produced by Americans and starring American actors...and they both answered with a flat-out NO.

The only exceptions Stapf and Wachtel said they would consider would be shows set in the past (ala ROME, THE TUDORS or ROBINSON CRUSOE) or that are science fiction (which are likely to be set on other planets, regardless of what country they are shot in).  They believe that America audiences simply won't accept a contemporary series set in Europe, no matter how big the stars are. They said there hasn't been a successful network show set in Europe since the days of THE AVENGERS, THE SAINT and I SPY thirty five years ago...and they were unwilling to be the ones to try to break that record.

West Wing Redux?

For a while now, I've been thinking that the upcoming Barack Obama-John McCain smackdown looked awfully familiar. As an avid West Wing TV series fan, it sure seems like that show's Matt Santos-Arnold Vinick earlier smackdown. You remember that one: aging Republican, viewed as too liberal by his own party, goes up against minority Democrat who refuses to wait his turn and defeats the establishment candidate within his own party. Like this:

And, now, it seems I'm not the only one who saw it that way. Slate magazine laid it all out recently. Check it out:

WGA Makes Deal - Gives Awards - We're Celebrating!

Talk about everything happening at once...

On the same night that the WGA leadership presented to the membership the details of a tentative deal that looks almost certain to end the strike this week, the Guild also announced the winners of the "Writers Guild Awards '08" and PANDEMIC, a screenplay I co-wrote with my wife, Jackie, actually won the "Long Form Original" category! 

This odd merging of events happened because, pre-strike, the Writers Guild Awards were scheduled for February 9.  Once the strike was on, all attention had to go to that, so the black-tie and gown festivities were sacrificed.  A simple posting of the winners on the web-site was substituted. Then, as fate would have it, the tentative deal came together this past week, and the membership meeting got scheduled for -- you guessed it -- February 9!

Who cares?  Jackie and I are thrilled that the long nightmare of a strike is almost over and with a deal that seems to be reasonable, if not everything we'd want.

"Pandemic" was a Hallmark miniseries, four hours, that was, as the award states, "original," meaning that it was not based on any pre-existing material. It's a number of interlocking stories about an unexpected strain of Avian flu and how an outbreak in Los Angeles leads the military quarantine of the entire area. In its struture, it's a bit like "Crash" with microbes.

On a personal level, Jackie and I are so honored because this award comes from a panel of writers who actually read the scripts instead of watch the movies.  We think it's humbling to be among the honored screenwriters who demonstrate why the work of writers is valuable and worth fighting for at this critical moment in the WGA's history.  Here's to everyone going back to work in the days ahead!

WGA coverage
Daily Variety coverage
Los Angeles Times coverage

Download a PDF of the PANDEMIC screenplay - Click Here