Month: January 2015

It’s a Relationship Business: Sebastian Twardosz

sebastion twardoszLast month I went to what I thought was going to be an hour and a half long lecture on how to sell your screenplay in Hollywood taught by Sebastian Twardosz, which turned out to be a four hour long workshop on the ins and outs of the entire Hollywood film industry. Saying it was an overwhelming amount of information would be the understatement of the semester, but I’m so grateful that I chose to attend the class rather than Pepperdine’s annual tree lighting ceremony.

Sebastian Twardosz is a professor at USC who has been working with leading companies in the film and television industry for over twenty years. His short film, Silent Rain, won the student academy award in 1993, and he then went on to work on the first two Mission Impossible movies with Tom Cruise. More recently Twardosz co-produced an indie film called Small Town Saturday Night and he is also currently hosting a weekly show called The Insiders which aims to shed light on the “behind-the-scenes world of Hollywood” for aspiring filmmakers.

If you want all of my notes I would be glad to scan and send them to you, but for now all I’m going to write is some basic, but crucial information on screenwriting, producing, and a bit about the Hollywood film industry.


There are only two ways to become a writer. To write and to read. Read a script a week  and read scripts you haven’t watched.

Consider writing your screenplay as a play or a novel first. It’s a bit safer and can make you more money.

You have to have an agent. And if you live in LA there are probably only two degrees of separation between you and an agent at CAA or WME. Work it.

Studios read 100 a week and make 12 a year. A lot more scripts get bought but get lost. Hollywood buys a lot of books. So you can write a screenplay or a book—and there’s a lot to be said for this. If you write your own book you’re your own boss. No rules in books. Lots of rules in screenplays. Majority of movies are based on preexisting material. Writing screenplays are important because they’re closer to production and also about voice—screenplays are all about your voice as a writer. You can write really bizarre indie scripts and get plucked to do blockbuster films—Rian Johnson, who’s doing the next two Star Wars movies—did Looper and Brick. They just want to know that you can write—they’re not genre specific. What’s important is that you write in a good voice and have good structure.


Producer Skill Sets:

  • Creative—good notes on scripts etc; came up the ranks at studios
  • Packaging—get directors and actors and attach them to a project; former agents
  • Finance/Money (who knows where they got their money)
  • Nuts and Bolts/Line Producer/UPM—physically know how to actually produce a movie-know what a C Stand is.
  • Power—actors and directors (whoever becomes famous)


Ideally you have two or three.

Who’s the least important?

Nuts and Bolts.


You can hire people to make a movie, but all the other things you can’t hire.

Far more important that you have access to a good script or book or a good relationship with an actor.

The Industry: High School with Money

Be nice to all assistants because they’re the next VP of Paramount.

Hollywood’s the last vocational town. No one cares about your degree in these companies. Having an MFA tells people that you care and are passionate about what you’re doing. An MFA degree isn’t gonna get you a job but it’s building the personal relationships that counts.

Speaking of personal relationships here’s Sebastian’s spiel:

Some of you will be successful and some of you will be less successful—it’s a numbers game, but regardless of the stats, you will likely fail if you don’t help each other. (I’m not sure I agree about it being a numbers game–I think there’s room for everyone at the top if they have the right skill sets and pursue knowing the right people but…I’m not the expert and I’m bound to be optimistic.)

It is all a relationship business and what goes around comes around.

Here’s an example: One of the biggest management companies was started by a USC student who just said, “okay I’m gonna represent everyone in this room.”

“Try never to burn a bridge.” Know about their kids, go see their plays.

It’s High School with money so don’t give the mean girls a chance to direct their hatred toward you. You don’t have to be them but you have to be their friends because it’s all just a relationship business.

Link to The Insiders website:




Rollin’ with Nolan: An Interstellar Interview

InterstellarChristopher Nolan is 44 years old. He was born in London to an advertising copywriter and a flight attendant/English teacher. He started making films when he was seven and decided to make a career out of it when he was eleven. He’s written and/or directed the critically acclaimed and commercially successful films Memento, the Dark Knight Trilogy, Inception, and Interstellar. His films have grossed over 4 billion dollars and have received 21 Academy Award nominations and 6 wins. He has four children.

Just like his films, Christopher Nolan’s interview with Rian Johnson at the Aero Theatre in Santa Monica left me with more questions by the end of the discussion than I originally began with. Regardless, I am so incredibly grateful to have been just a few yards away from Nolan, listening to him talk about the creative process behind Interstellar, and about his views on life and film in general.

Nolan On Set

Nolan is known for the sociological and philosophical themes wound throughout his action and science fiction films. From his interview on Saturday I learned that the foundations of Interstellar lay in the idea of the relationship between father and child. Nolan admitted that while his previous films have left more up in the air, Interstellar is him laying the cards down and saying what he thinks a bit more–about love and the father-child relationship–the responsibility of a parent to his kids. As well as lots of thematic and technical talk, Saturday’s interview was full of fun facts about the creation of Interstellar:

  • Nolan planted 800 acres of corn specifically for the film. “We actually made money on the corn,” Nolan laughed.
  • Nolan didn’t tell Hans Zimmer what Interstellar was about when asking him to compose the music. He doesn’t use temp music so he told Zimmer to take a day and compose around the idea of the father child relationship. The music from the film is what Zimmer composed on that one day.
  • So much detail went into the spacecrafts in an attempt to make them tactile, to make them feel not so foreign and like humans would inhabit that space. Many of them were built full sized and enclosed.
  • Nolan researched the Dust Bowl and agricultural calamities because he felt that Interstellar‘s story was “something people might try and dismiss as improbable” but something he wanted to give a feeling of reality.
  • Matt Damon was cast very specifically as Dr. Mann and not put on any of the posters so that when he popped up in the film, audiences would feel that perhaps everything would be alright from that point forward–it’s Matt Damon after all!

Aero Theater

Christopher Nolan is a big proponent of filming on and projecting with real film stock. On Saturday I got to see Interstellar in 70 mm which was really interesting. Nolan said that when film is projected this way it’s part of the magic of movies and makes them more like a live performance. It’s scientific fact that film gets better resolution than digital and that film movies lack quality only when projected with poor prints and on poor projectors. But the possibility of sub-par distribution of films doesn’t sway Nolan. “I don’t think you should ever make a film for the bad theater.”

Two questions he answered:

What informs his views on metaphysics?

“Fiction. People who explain these things not as straight philosophy.” And also the process of making each film.

What’s the industry like for aspiring filmmakers? Welcoming? Cold?

“It’s a mixture of both.” But it comes down to this: “It’s not the camera, not the film format, it’s the distribution and the advertising. You need tenacity, luck, and a break. “Have a script and be ready to go if you can get that chance.”

Perhaps Nolan isn’t the most optimistic or encouraging person I’ve heard speak on filmmaking, but I appreciate his honesty. Nothing of importance ever comes easy and he sure told it to us straight: Be persistent, be lucky, and be ready when the luck comes.

You have to wonder, are you ready?