BACK TO WORK AFTER THE STRIKE

Just a few random items this week on the ol’ blog…

Back to work. It’s been really bizarre going back to work. But ultimately, for me, it’s simply been a matter of exchanging new anxieties for old ones. Instead of thinking about what I can write during the strike — I now obsess on how to take my career to the next level. Ahh, good to be back.

Going back to work, also means going back to Starbucks. This is where I do the bulk of my writing. Starbucks simply allows me one thing – to get out of the house! If I wrote at home every day, I might literally never leave. Hours would blur into days, days into weeks. I’d start losing my capacity to endure bright light. I’d become a mole man.

But going back to Starbucks hasn’t been the treat it once was. It’s been a little strange. I avoided it or the entire strike, not wanting people to think I was crossing any lines. But now that I’ve gone back, my little sanctuary seems soiled. I still don’t feel right typing at my old table. Time to look for office space.

Last, but not least – the Oscars. By the time you guys read this, they will be over. And while my picks count for nothing, here they are…

Actor in a Leading Role - Daniel Day-Lewis
There Will Be Blood

Seeing him in interviews makes his transformation on-screen even more amazing. In real life, the guy’s a freakin’ pixie!

Actor in a Supporting Role - Javier Bardem
No Country for Old Men

** No brainer. For the haircut alone.

Actress in a Leading Role - Ellen Page
Juno

** Perfect actress to pull off that ** cough ** special dialogue.

Actress in a Supporting Role - Amy Ryan
Gone Baby Gone

** Outstanding. Loved to hater her.

Animated Feature Film - Ratatouille

** Brad Bird is one of the best writers in Hollywood.

Cinematography - The Assassination of Jesse James by the Coward Robert Ford

** The film itself put me in a coma, but the cinematography was beautiful.

Directing - No Country for Old Men

** The way they constructed the suspense in this flick was masterful.

Documentary Feature - Sicko

** Shocking, disturbing on a lot of levels.

Film Editing - The Bourne Ultimatum

** My god, there wasn’t a clip that lasted for more than 2 seconds. You gotta give it to these guys on shear volume.

Best Picture - Michael Clayton

** Tough one. Gotta support one of my favorite screenwriters.

Writing (Adapted Screenplay) - No Country for Old Men

** I could punch the Cohen Bros in the balls for what they did with that last act. But the first two acts were so good, I still give them the trophy.

Writing - Michael Clayton

** Again, Gilroy’s a stud.

THE ‘JUNO’ SCRIPT

Okay, for the last week I’ve been going over the “Juno” script like it was the Zapruder film — desperately trying to get up to speed on the appropriate blogging style. Just when I thought I had it – I lost it. But a quick read of “Jennifer’s Body” and I am ready to bring the pain. I’m gonna bump up the snarky and lay down the obscure vernacular to near unprecedented levels. POW! How do ya like me now?

Actually…I’m just kidding.

I thought I’d use this week’s space to take a swipe at all those Diablo Cody haters out there. Those old-school writers calling for her head. Proclaiming that all she’s doing is turning screenplays into blogs. Eschewing any and all substance for style.

And I get it — she’s an easy target. Landing her first screenwriting gig after an exec read her now semi-famous blog. And in the spirit of full disclosure, I must admit, I actually contributed (if only around my apartment) to the Diablo Cody backlash for a split second or two. But I’m here to say, I’ve seen the light. I’m starting a backlash to this backlash.

Why? Because I had two simple revelations. The first…

The more press Diablo gets — the better it is for ALL writers. Yes, she is obnoxious at times. And yes, like everyone else that slaves away at their craft, I was annoyed with her whole, “Gee is writing supposed to be hard? It’s all just so easy for me” routine.

But the truth is, if the media buys into all that, then…well…great! And it’s not just great for her. Because the movie poster for her next movie will have “From the writer of Juno” at the top. Think about that — a writer getting top billing. And that’s good for us all.

The second revelation was…

The girl has talent. Yes, it is (by her own admission) a tad underdeveloped, but it’s there. And let’s not forget, people leveled the same sort of style over substance accusations at Tarantino back in ’94 and he turned out okay (“Deathproof” not withstanding).

So let’s give Diablo her props. The girl came up with a preposterously cool name and has a back-story as a stripper. I would be more shocked if the media didn’t come running. And now that they have…let us all bask in the glow and subsequent benefits.

I, Joe Gazzam, am here to officially pledge my support for Diablo Cody.

There. I’ve said it.

CUE FLASHBACK

POW!!! Or rather…BANG! Why either you ask? Well, hell, because it’s my debut blog. I’ve never, ever blogged and if not for my love of the two creators of this site – probably never would. But, truth be told, I think this site is a really great idea. It’s definitely something I would have loved back in Atlanta as I pondered what life as a screenwriter might entail.

– Cue Flashback –

I was mid-way through a long stream of the shittiest jobs, well…EVER. I was a retail men’s store manager. And not even at a cool store — at Sears. In fact, it was in the middle of getting SCREAMED at by my district manager for not having the underwear rack organized to spec (yes, there are detailed plans for the order in which underwear is displayed) when the revelation hit me…

“What in God’s name am I doing with my life? Is this really it? Really? Retail management? Really?”

It was at that very moment that I decided to actively pursue my nagging love of writing. And frankly, given the alternative (hanging myself), this seemed the better route.

So I literally walked upstairs to the computer department, maxed out my Sears card and bought my first laptop. I then proceeded to lock myself in a tiny, storage room office and pound out my first screenplay as my well-oiled men’s department disintegrated around me.

Upon completion and flush with finally doing something I loved — I did what any person would do without properly thinking things through…

…I quit my job. I screamed, “Day jobs are for chumps,” stuffed everything into my truck, and headed West where I promptly was forced to get an even crappier job — claims adjusting.

But hey, I was here – La La land. I remember reading a quote from John Singleton where he said if you’re serious about being a screenwriter, then you better “Get your ass out to Hollywood!” And I did, John. Where ever you are.

Everything was moonbeams and unicorns, until I attempted use my Oscar-worthy screenplay to land an agent. It took me almost 2 years to get ANYONE at an agency to even read my script. Why two years? Well, the big problem is that I didn’t know anyone when I got out here. In fact, I had never even been to California before. Ever.

And one thing you should know before you embark on this career — EVERYONE on the planet thinks they can write. I’m really not kidding – everyone. So agents out here are bombarded. Constantly.

The best way to get at these guys is to find one of their clients and have them vouch for your script. This is part of the reason Singleton’s advice makes so much sense. It helps to be out here to meet these people. To shamelessly ingratiate yourself and beg them to forward your script to their agent. The internet helps, but nothing beats actually being here. Meeting people face to face.

Sooooo…after almost two years, the first agent that read my script signed me up. From here, we’ll fast forward. This agent didn’t do a lot for me, I fired him, picked up a manager and then wrote a script called “Scared Straight.” Off the strength of this spec, I got a couple agents at ICM who then went off and sold the script.

The studio immediately attached a star and A-list director. But, before I could pop the Crystal and begin stalking Jessica Alba in earnest – they promptly kicked me off the project and brought in a writer with a bigger name. Standard fare out here for all first-timers.

Undeterred, I then wrote a spec called “Straight & Narrow” which sold and is in development now. Off this momentum I was put up for an assignment to write the movie version of “21 Jump Street.” I went in, pitched the producer, then pitched the creator of the show and POW, I mean BANG – my first assignment.

Then, one day before the strike commenced — I sold my first TV show called “Deputized.” This takes us up to present day. Now, as all members of the guild, I wait patiently for the strike to end. I miss working and most of all, I miss all the cool people I got to work with. Hopefully we’re near the end. I’m waiting, fingers poised over keys.

Till next time…