From the Blog

10 Things I learned from American Film Market

Nov. 17, 2014

By Ed Fletcher

Armed with a stack of business cards, some new pink ties and a four-day pass ($500), I recently attended American Film Market in Santa Monica, one of the world’s largest film markets, to develop or sell my screenplay Pink. For more information on Pink, a sexy dramatic comedy based on Sacramento’s 1969 bottomless stripper trial, read my blog or find us on Facebook. What follows is a rundown of things I learned or reconfirmed from attending American Film Market for the first time and as someone new to film.

  1. Hollywood is not about openness or inclusion. It’s a meritocracy based on your ability to make them money. That’s not an indictment, just real talk.

  2. In the film world there are creative types and business types. AFM is more for the business types. It ain’t called a market for nothing.

Time to Say "Geronimo" and Take Film Leap

Nov. 5, 2014

​By Ed Fletcher

When I was a little kid and even into adolescence, I loved to take risks.
In those days of perfect knees, I jumped from roofs, moving trucks and once from one moving speed boat to another. I thought nothing of taking a ski jump within weeks of learning to ski.
Like most people, as the years moved along I found myself taking fewer risks.
I ski with the goal of not falling. I keep the cruise control set at 75 mph as to not get a ticket. And I’ve sought comfort in my work environment.
On one hand, comfort and safety is a beautiful thing in this troubled economic climate. But on the other hand, it can be constricting and confining when your heart wants to soar.

 

Account Supports Ruthless Misterly 

Mach 14, 2014

​By Ed Fletcher

As a journalist solidly into my second decade at the craft, it only made sense that I’d lean on a true story to easy my way into screenwriting.
Writing a historical fiction is like journalism, except you get to color in the details, I figured.
After taking my first weekend screenwriting class three years ago, in February (2014) completed my first feature length script. I’m a admittedly a little stir crazy as I share my baby seeking refinement.

It’s hard to tell how long the road before me is. It’s next to impossible for a Hollywood outsider to sell their script. It’s hard enough to get it read. Should I try to secure the money to produce it myself, it means many long nights juggling my play job and my newspaper job.

So it was with mixed feelings I scheduled a meeting with former Sacramento County Undersheriff Larry Stamm, someone with intimate knowledge of my subject matter and whose recollections might force a major rewrite. 
 

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