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The Grand Prize winners will probably be revealed in the 11th Annual Final Draft Awards in February. Click here get in touch with the winners
Click Get Notifed to take delivery of Grand Prize announcements and turn into notified of contest news and then years deadlines. Want to get ready for next years contest? Download our free Guide to Entering and Winning The Big Break Contest.
Big Break Contest by June 30, 2015 and launch your writing career
Eleven winners will share cash, prizes, as well as the New York Film Academy Writing Fellowship using a total value over 80, 000
Join past winners who scored representation with A-list executives and possess seen their scripts optioned, sold, and produced
Enter your feature screenplay within a of seven genre categories including Action, Comedy, Drama, Family, Period, Sci-Fi, and Horror
Take a tour with Big Break winners while they walk the red carpet and receive their awards on-stage for the Final Draft Awards at Paramount Studios.
Since I shouldnt include our information in your body of my script or for the title page, how do I remove or pay off the title page?
After the script is saved, when its next opened in Final Draft, Document Title Page will probably be blank. Dont worry, the entry system captures your title and it towards the reader.
Final Draft 6: Simply remove the title page as directed above. This will cause the title page to get removed through the PDF export.
For home elevators how to generate the title page, just click here.
How can I make sure my script won't be plagiarized?
We suggest that you register your script together with the WGA and/or the Copyright Office. We do not require such registration for entry. We are conscious that we instruct take a look at to include an appliance cover page to ensure readers cannot visit your name knowning that copyright or registration information would normally be on that page. We simply advise that you take one or more of those steps to guard your intellectual property.
Whether you choose to do or not, your script it is still read. At daft in the entry process should we check for registration or copyright. Our contest has become running for 20 years and we are incredibly careful with this entrants scripts. However, those easy ways will help make sure that your work is protected.
How long should my screenplay be?
Suggested length for screenplays is around 80 to 120 pages as well as for teleplays it is roughly 25 to 70 pages. Entries over 150 pages WILL BE DISQUALIFIED.
Submissions a lot less than 20 pages or which are clearly not only a screenplay short stories, comic books, etc. also are disqualified.
What include the criteria for judging, and which genres are accepted?
Action/Adventure - Films with strong action scenes, exotic locales, stories of risk.
Comedy/Rom-Com - Romantic comedies, straight, dark and raunchy comedy, satires, etc.
Drama - More serious, realistic scripts exploring dramatic stories with deep themes.
Family/Animated - Scripts directed on the children/family market, movies which can be enjoyed through the whole family, animated features.
Period/Historical/War - Biopics, scripts based largely within the past, war epics, and scripts featuring historical characters.
Sci-Fi/Fantasy - Space travel, disaster and post-apocalyptic stories, scripts emerge alternate worlds and universes, stories with magical elements.
Thriller/Horror - Scripts who use suspense, fear and/or tension as main story elements, spy and crime thrillers, psychological thrillers, mysteries, ghost, zombie and monster stories.
For TV scripts, we accept entries inside the half-hour and hour-long spec and pilot categories.
Pick the genre that most closely fits your script. You can also type in the same script inside a different genre for further consideration, nevertheless, you will need to submit another complete entry for your script. The readers and judges seek out qualities for instance craft and execution, originality, dialogue, characterization and structure.
The Big Break is usually a rewards-based contest while offering cash, prizes and Hollywood meetings with the winner no feedback or coverage.
Who will likely be reading and judging my screenplay?
Our readers are professional script analysts who carefully evaluate each entry and sign confidentiality agreements to be sure that your work is protected. After screenplays are narrowed to finalists, a panel of notable industry professionals conducts the ultimate judging to look for the winners. These jury members represent award-winning writers, producers, and A-list executives. The 2015 judges is going to be announced because they are confirmed.
Any rule-abiding writer over 18 whose screenplay or teleplay isn't currently optioned.
What could be the deadline to enter in the 2015 Big Break Contest?
40.00 - Early Bird Deadline May 1, 2015
50.00 - Standard Deadline June 16, 2015
65.00 - Extended Deadline June 30, 2015
Dates reflect deadlines for electronic submission of scripts. All entries need to be electronically submitted by their respective deadlines.
Yes, the Big Break Contest does charge an entry fee to hide the costs of administration and reader fees.
Can I get into the same script in than one year on the Big Break Contest?
Yes, many entrants revise their scripts more than once and re-enter. Some have gone through to become finalists after accomplishing this.
Can I submit multiple screenplays and/or teleplays during one contest year?
Yes, chances are you'll enter several different scripts as you desire. Each script has to be submitted being a separate entry.
Can I get into the same revised script over once from the same contest year?
Yes, even so the revised script will likely be counted to be a new entry and has to be submitted separately.
Do that suits you digital or printed scripts?
Were environmentally aware and only accept digital scripts. We accept Final Draft FDX or FDR or Adobe Acrobat PDF files.
Can I submit a paper script?
The Big Break entry system is streamlined for your leisure and by popular demand. Please note that people no longer accept paper submissions.
Do you accept teleplays or stageplays?
We accept hour-long and half-hour original and spec television scripts besides feature screenplays. We do not have a very division for stage plays.
Do I need being a Final Draft user to go into the Big Break Contest?
No, you need to do not have to make use of any Final Draft, Inc. products to enter in the Big Break Contest. Complete home elevators eligibility is usually found from the Big Break rules within the Big Break product page.
In fact, many scripts are submitted in PDF format. The judges do not know which software generated the script.
Can I submit a screenplay that has a writing partner?
Yes, you together with up to three other writing partners will likely be credited as winners all of which will divide the prizes amongst yourselves using the exception of travel for that grand prize feature and grand prize TV winners. Final Draft, Inc. will give travel and hotel for approximately two writers in those categories. It will be the responsibility with the winners to choose who will travel and attend the meetings and the way the cash and prizes will probably be distributed. Winners with the feature and TV finalist prizes may also be responsible for dividing the money and prizes amongst themselves.
Can I send my script in the language in addition to English?
You may get into the contest, even so the script should be written in English to ensure that our readers can understand it. If a script has other languages from it as part with the plot, simply denote that this line are going to be spoken in another language having a parenthetical, Speaking in Spanish.
Can I submit images, audio, or accompanying documents together with my screenplay or teleplay?
Spec scripts are judged both inside industry along with our contest within the merit on the story along with the writing skills. As such, we simply cannot accept any supplemental materials in conjunction with your script.
The exception is original hour-long and half-hour TV entries, which can include standard supplementary materials, including lists of recurring characters and future episodes, as part in the screenplay.
I dont live within the United States. Can I still enter?
Yes, we accept entries from every nation and territory inside world. Weve received submissions from Canada, the UK, Australia, New Zealand, Ireland, Germany, France, Spain, Zimbabwe and China, for example. And if youre one on the top three winners, well fly you wherever you reside to Los Angeles with the contest awards event.
When are definitely the semifinalists, finalists and winners announced?
The quarter-finalists are going to be announced in late September with a Final Draft email blast and listing around the Big Break website. Semifinalists, finalists, and winners will probably be notified through the contest director via phone or email. The semifinalists is going to be announced in October, the highest 10 finalists in features and television at the begining of November, the superior 5 in mid-November, plus the winners within feature and TV during the early December. The Grand Prize winners in features and TV will probably be revealed in the 11th Annual Final Draft Awards in February.
How can I verify that my submission is needed and continues to be received?
You will likely be notified by email right after submitting your script that your particular entry has become received. If you have received a confirmation email, your script was in our system no further action is critical. If you have not received a confirmation email, booking your junk mailbox or junk filter. If the confirmation will not be in either place, email for any copy within your confirmation. We will contact you if you have any technical issue together with the file you submitted.
Do I support the rights to my screenplays after submitting for the Big Break Contest, whether you aren't I win?
Yes, you keep all rights soon you choose to sell or option your screenplay and/or teleplay.
Ive written a screenplay based on the true story. May I use real peoples names within my Big Break submission?
We do accept adaptations of true stories, however, you must ensure that the folks represented inside script have given you permission make use of their names and stories unless those stories are from the public domain along with the rights can be obtained. In order to go into, you have to be able to grant the rights towards the story you wrote with a producer, should he would like to option the script. Securing the rights for the source material may be the responsibility from the screenwriter. If you feel which the rights can be purchased, you could certainly enter. Regrettably, we can't offer any information on whether or you cannot the rights can be obtained. We advice that you consult an attorney at law if you intend to pursue the project, because question regarding rights - even life rights - would eventually appear and need being addressed ahead of anyones optioning or purchasing the script.
Is it possible to submit an adaptation of any novel that will no longer has copyright author deceased over a century ago?
We do accept adaptations. However, the original source material should also have been written with the screenwriter from the adaptation. Therefore we simply cannot accept scripts adapted from works available from the public domain.
Would you accept a screenplay that's an adaptation of any published book, the place that the writer has contractually optioned the movie rights for the book?
No, the original source material for the adaptation should be written through the screenwriter entering the contest.
Can I submit a screenplay or teleplay that's previously under contract even so the contract has elapsed?
Any script that is certainly currently NOT under option or contract is eligible to go into the contest. If a pre-existing option has expired, you're able to go into.
What happens if I offer an opportunity to sell or option my screenplay or teleplay after entering the contest, when the contest ends? Will I still manage to sell or option it?
Yes, you'd probably simply have to inform us that this script was optioned or sold and that we would remove it from your judging.
The Big Break Screenwriting Contest only accepts online entry of feature film and television screenplays pilot and spec television scripts only - miniseries are not accepted.
No printed scripts will likely be accepted.
To enter your script electronically, you need to submit your screenplay in Final Draft FDX or PDF format.
You aren't required make use of Final Draft in order to type in the Contest.
All submissions should include full-length screenplays approximately 80 to 120 pages or teleplays hour-long approximately 40 to 70 pages, half-hour approximately 20 to 35, half-hour multi-camera with double-spaced dialogue approximately 50 to 60. in standard industry format for flick screenplays and teleplays, coded in English. If you are by using a word processing program that automatically formats screenplays, like Final Draft, pick the Screenplay or Teleplay format template.
All important information is captured upon entry of digital submissions, so title pages needs to be removed or contact details must be deleted on the title page. The title on the script is going to be provided to your reader as part in the file name and inside judging form.
Do NOT include personally identifying information name, etc. on ANY page of one's script.
Entry should consist of any screenplay or teleplay only. Do not include resumes, pitches, synopses,
casting suggestions, letters, or any other supporting documentation using your submission. Judges will not likely receive these materials.
Entrants may submit multiple entries. Each submission must include a unique entry and must add a separate file and separate entry fee. Entries will likely be considered with the genre prize in each category as well as the grand prize either in feature film or television.
The Big Break Contest is offered to any individual who's going to be 18 years old or older in the date of entry and has having access to the Internet.
Employees, officers, directors, contractors and agents along with their immediate families and family members regardless of where they live, or members in the same households whether related you aren't of Final Draft, Inc. as well as respective divisions, affiliates, subsidiaries, agents, Big Break Contest sponsors, and advertising agencies collectively, the contest providers, are not permitted participate within the contest or win any prize.
Screenplays under option at period of submission will not be eligible.
Adaptations aren't eligible unless the cause material was written with the screenwriter on the entry showcased. Scripts are certainly not eligible if the foundation material has become sold, produced, or possibly currently under replacement for any alternative party.
Spec scripts for almost any currently airing with new episodes network or cable program in addition to original pilot scripts are accepted with the TV categories. Spec scripts should be for television programs currently about the air with the time from the contest entry. Spec scripts for shows cancelled or ended ahead of receipt on the entry are going to be disqualified.
Grand Prize winners in Features and TV and winners with the Feature Genre Awards and TV Category Awards are not permitted to re-go into the winning script later on Big Break Contests. They are, however, eligible to go in different scripts for consideration. Grand Prize Feature and TV, Genre and Format winners be given a free entry within the 2016 Big Break Contest as part of the 2015 prize package.
Screenplays written by as much as four people can be entered inside contest. Only one entry fee is needed for such entries. All writers names must be listed about the online entry. List the author who are going to be the primary contact first, and can include the address, telephone, and email for the person only. All writers must authorize submission in the entry. By clicking Submit, all writers authorize the submission.
If a screenplay provided by multiple writers is among either in the Grand Prize winners, Final Draft, Inc. can pay airfare and hotel for around two writers, and 2 writers should have the replacement for attend meetings with studio executives and agents. All cash awards will likely be split equally between all writers. If a screenplay compiled by multiple writers is any in the Genre or TV Format finalists, prizes are going to be divided at writers discretion.
In order running a fair contest for all those entrants, revisions or missing pages won't be accepted under any circumstances once an entry has become received.
Once an entry continues to be submitted and payment has become processed no refunds will likely be issued.
If the script is rewritten in the entry submission period, the writers may resubmit a script being a new entry for consideration inside contest. A resubmitted script is treated as being a new entry and requirements an entry fee.
Big Break Contest entrants retain all rights thus to their screenplays.
By entering the Big Break Contest, you represent and affirm that your particular entry is surely an original creative work, and infringe, misappropriate or violate the copyright, trademark or another intellectual rights of any alternative.
By entering the Big Break Contest, you acknowledge and agree that contest Judges receive numerous submissions of ideas, stories and scripts, knowning that your entry, along with the ideas and stories embodied inside it, can be similar or similar to other material already received and/or manufactured by one or more on the Judges.
You also agree that you are certainly not entitled to any compensation or credit to use by contest Judges associated with a such other material.
By agreeing to those Rules and Conditions you agree which you have read the rules with the contest and this you hold the authorization to submit this screenplay to your Big Break Contest. You further agree that a screenplay is owned by you together with co-authors.
VOID WHERE PROHIBITED OR RESTRICTED BY LAW. All federal, state and local legislation apply.
The entrant shall indemnify and hold harmless Final Draft, Inc, its employees, contractors, agents and Big Break Judges from and against any claims, liabilities, losses, damages, and expenses including yet not limited to attorneys fees, and costs from the court which can be incurred by reason of the claim involving copyright, trademark, credits, and/or publicity towards the Screenplay entered.
11 Feature and TV Winners share over 80, 000 in cash and prizes!
7 Feature Winners in each with the following genres: Action/Adventure, Comedy/Rom-Com, Drama, Family/Animated, Period/Historical/War, Sci-Fi/Fantasy, and Thriller/Horror
Four TV Winners inside following formats: Half-Hour Spec, Half-Hour Pilot, Hour-Long Spec, and Hour-Long Pilot
Pitch Your Screenplay Like a Pro Ebook and Bonus Videos on marketing your screenplay plus guidebook How To Capitalize on Your Big Break Win by Melody Jackson, Founder of Smart Girls Productions
Copy of Save The Cat! Strikes Back by screenwriter Blake Snyder
15, 000 cash for Feature Winner, 2500 cash for TV Winner
Breakfast with screenwriter/producer Pen Densham Riding the Alligator, Moll Flanders, Robin Hood: Prince of Thieves, producer of Backdraft
Copy of Save The Cat! Story Structure Software
An Email Query Blast to promote your screenplay and utilize being a Big Break Winner from Melody Jackson, Founder of Smart Girls Productions
Query Letter or One-Sheet analysis along with a personalized, signed copy of
One-hour career consultation with Carole Kirschner of Park within the Lot to generate a step-by-step, personalized idea for leveraging the contest win
Co-sponsored by The New York Film Academy, this original screenwriting fellowship is usually a merit-based scholarship created to raise each writer into a higher level of storytelling craft and still provide intensive real-world training inside the business of Hollywood.
The fellowship begins that has a 12-week master classone for film writers then one for television writersheld around the Burbank campus in the New York Film Academy and taught by top New York Film Academy instructors. Writers will get individualized instruction and mentoring of their chosen medium, and visiting industry VIPs will give you first-hand, practical insights into your entertainment industry Out of town winners are going to be able to participate via virtual classroom.
Once the workshop is completed, each fellow will likely be given a New York Film Academy Mentor to meet up with with once a month with the remainder in the calendar year additional guidance in script and career development.
New York Film Academy is specialized in promoting excellence in screenwriting and that we are proud to partner with Final Draft in co-sponsoring this fellowship.
In the past several years, 50 Big Break semi-finalists, finalists, and winners are actually signed to professional representation. Many have gotten scripts optioned, sold, and produced. Others have realized full-time operate in television. Read regarding successes below!
2014 Half-Hour TV Pilot winner Ty Freer has signed with The Gersh Agency for representation.
2013 Top-10 winner Shovel Buddies by Jason Kellerman tops the Blacklist and his awesome script will likely be produced by AwesomenessTV and Film 360 for day-and-date theatrical and VOD release. Read more.
2013 Half-Hour TV Pilot winner Nicholas Anthony is working from the writers room of CBS new show The Inspectors.
2014 Top-5 finalist James Barclay has signed with Magnet Management.
2014 Half-Hour TV Pilot winner Ty Freer has signed with Echo Lake Management.
2014 One-Hour TV Pilot winner Derek Asaff has signed with Matt Shictman and Peter McHugh of The Gotham Group.
2014 Final Draft Big Break Contest winner within the Drama category Peter Wulff has signed with Big Break judge Jeff Portnoy of Heretic Literary for management.
Rajiv Shahs screenplay Run The Tide, that has been a top 35 finalist within the 2012 Final Draft Big Break Contest, has now wrapped filming with Taylor Lautner Twilight starring. Click here to look at the complete article.
2013 Big Break Action/Adventure winner Mike Scannell sells spec Scarecrow to Screen Gems. Click here to see the complete article.
Jacob Stark and Benjy Kaplan, 2013 TV HalfHour Spec winners, have signed with CAA for representation.
2013 Comedy/RomCom top-3 finalist Stacy Jo Coffeys entry Adult Publishing For Teenaged Girls was optioned by Unstoppable Entertainment.
Nicholas Horwood, 2013 Feature Grand Prize winner, has signed with Magnet Management after meeting Mitch Solomon in the Big Break judges lunch.
2010 third-place winner Larry Brenners script Bethlehem sold to Universal Click here to see the complete article. Big Break judge Mitch Solomon of Magnet Management also has helped Larry secure writing be employed by hire within television and features.
2012 Big Break first instance winner Craig Houchin just signed with agent Joel Millner of Larchmont Literary, and is particularly working with Katonah Pictures producer Chris Salvaterra to package the film of his
winning screenplay, Ludlow.
Since winning the 2011 Big Break, Adam Perlman and Graham Sack have signed with The Gersh Agency for film and television and so are developing a motion picture project with Global Produce. Additionally, Adam can be a writer with the HBO original television series The Newsroom.
Walt Disney Pictures acquired Labyrinth, a pitch by 2010 third-place Big Break winner Larry Brenner.
2012 Big Break Contest Finalists Marco van Belle Kat Wood sign with Zero Gravity Management Click here to look at complete interview.
A couple of finalists scored representation out in the Big Break Contest after they signed with manager Jeff Belkin of Zero Gravity Management. Marco van Belle and Kat Wood made the finals because of their new script, The Burning Room. They gave us details about their experiences as well as their hopes for that future.
Final Draft, Inc.: What attracted you for the Big Break?
Marco and Kat: The Big Break history of getting exposure for writers. Of course we didnt discover how far wed progress, in order to make the ultimate 35 and have representation with Zero Gravity was unexpected and merely fantastic.
FDI: Have you tried other contests? Or entering other scripts? Have you'd any success elsewhere inside screenwriting world?
M K: Weve entered scripts into competitions before and weve always found the feedback from their website encouraging. Our last two features managed to make it through the early rounds of some other big-name competitions, but Big Break this year is our stand-out success story.
FDI: How did you both start writing together?
M K: Marco can be another director, anf the husband first dealt with Kat when he directed and produced a script shed written. The resulting film Mr. Bojagi was obviously a big success. It screened at festivals worldwide including Austin and was acquired for distribution by Shorts International. They really clicked creatively, so they really decided to begin writing together and havent looked back.
M K: Its a horror film in regards to a woman whose life's left in tatters after her husband is brutally murdered and her son taken. Shes enthusiastic about finding her son, when a shadowy number of vigilantes offer to create her face to face with all the man who took him she cant resist. But its a horror, so certainly it turns out that theres a lot more on the kidnapper than she thinks! Hes an extremely, very nasty piece of content.
FDI: Writers usually employ a lot of stories into their heads. What made you decide to write this story?
M K: We just desired to write something which was really true to your genres and films we like watching ourselves. This script has echoes of John Carpenters version of The Thing and Alien/Aliens, and then we had very exciting playing with all the tone and feel these films as well as stamping our personal mark on the great genre.
FDI: Now that youre signed having a rep, just what are your next steps? Both using the script and with the careers?
M K: Signing with Jeff has become a huge component of our careers but it truly is just one of many steps and weve got a good many others ahead of us. So the work really starts now. But the idea that were now operating for a far more serious, professional level than we had arrived before entering Big Break is very exciting. Its making us need to work harder than ever before.
Jeff Belkin was kind enough to discuss some of his insights from his perspective on this new relationship.
FDI: This is just not the first time youve signed a Big Break Finalist. Was there something Marco van Belle Kat Wood been in common with Christopher DeBiasse the person you signed recently?
Jeff Belkin: The genres, concepts and styles of such writers cannot be more different. Except to state that both reads engaged me, entertained me, were professionally composed, and provided me with the confidence for getting involved into their careers.
FDI: Is there a certain something you had been looking for as far to be a brand, style, or possibly a type of writer?
JB: None what-so-ever. Ill comprehend it when I see it can be generally my motto. Ideally, Im angling toward more commercial studio projects. But I never say not to most things. Ive got indies, bio-pics and tentpole stuff. Low-budget horror will not be something Im actively searching for whatsoever - - but I just really loved this and also the voice. Alien is truly one of my favorite films as it's of Marco and theres a lot components of that movie in The Burning Room.
FDI: What do you intend to do next without only the script, but also using your new clients?
JB: We already have producers considering making this like a low-budget film hopefully a theatrical release - - and so are just waiting to see when the financing may be raised. Otherwise, I have another party waiting inside the wings. As for his or her next project, I need to see Marco and Kat take their great characters, dialogue, action et al. into something higher concept and larger.
FDI: While obviously you loved The Burning Room, it didnt make the superior-ten in Big Break. Is this script much better than its finish might imply? What do you think kept it from getting farther inside contest?
JB: Clearly, my way through this companies are subjective and I have no clue what or when the readers/judges were in search of specifically. While I didnt read all 35 finalists, I did read numerous them and - - with great respect to your winners and top-ten - - I do believe this script was merit placing higher and/or winning.
2009 top-20 semi-finalist Gia Milanis script All the Wrong Reasons was funded and shot in 2012. It stars Cory Monteith from Glee, Karine Vanasse from Pan Am and Kevin Zegers from TransAmerica and The Mortal Instruments. Milani directed the feature.
2011 Big Break 4th-Place Winner Signed by Silent R Management and CAA. Click here to look at the complete interview.
Manager Jewerl Ross of Silent R Management and CAA sign fourth-place winner with the 2011 Final Draft, Inc. Big Break Screenwriting Contest, Sasha Isaac-Young, on her script The Prettiest Girl. Ross provides us the details with this exciting story of success with the new screenwriter.
Big Break: How do you discover Sashas script?
Jewerl Ross: As one in the judges in the Final Draft, Inc. Big Break contest, I am sent the very best-five scripts which the Final Draft, Inc. readers determine for being the best. This script was one from the five. I first had my assistant read them and provide me his applying for grants which were the most beneficial. He and I have virtually identical tastes, anf the husband couldnt stop talking about it script. I read it instantly and flipped for this. For me, it absolutely was hands down the most effective script I had read in 6 months.
Jewerl Ross: The teaser I just typed for doing this says, The Prettiest Girl explores the themes and complexity of The Talented Mr. Ripley, but disguises it with all the perceived innocence of any world dominated by teen girls. When three teenage girls enter in the woods then one does not return, our young protagonist Madeline is left to uncover the dark mysteries of her small town once we discover what could possibly be hidden in their heart.
Big Break: What was it in regards to the writing that made you are aware of you had to sign Sasha?
Jewerl Ross: Intelligence. This script has so much to convey and it says it with subtlety and brilliance. It is just not like anything Ive read. I first see the script over a Saturday at 4:00 When I finished at 5:30, I walked to my coffee brewer, poured myself another cup, walked back for the couch and immediately see clearly again, cover to protect. I havent read a script twice a single sitting in ten years. I knew instantly I was inside the hands of your real writer. In the weeks after that first read, there are already times that I are actually so excited regarding the script which it has literally kept me awake during the night. This script provides the quality of the new script I accept: I realize that I are going to be able to send it to 200 people and a lot of of them will probably be dazzled by it. I have only made one submission so far and this was to CAA. They signed her immediately and possess assembled a complete team around her.
Big Break: What was it love to tell Sasha good news? How did she react?
Jewerl Ross: Our first meeting was obviously a two-and-a-half hour love fest. She answered how I see her movie and my plans for this and her career. I answered her great ideas, to her wholeness of character, and her quirky means of seeing the earth.
Big Break: What is it like as being a judge for Big Break?
Jewerl Ross: This one script makes any involvement I experienced with Final Draft worth time. I know brilliance is very, so very difficult to find. When you believe it is, you happen to be blessed and lucky. The indisputable fact that Big Break has turned me through to this new voice, somebody that I can imagine representing to the next twenty years, is amazing. I represent only 20 clients also to sign a replacement is rare. Many of my current success stories are already with clients that I have represented more than eight years. As a result, it's not a volume game to me. Its about producing good choices, long-lasting choices. This is one.
Big Break: How does Big Break get noticed among the others?
Jewerl Ross: I have no idea. I only judge just for this contest. I have browse the winners in the most prestigious contests. Occasionally, I have seen great talent in those contests, too. However, I have never employ a found brilliance for this level from your contest.
Jewerl Ross: CAA and I are pursuing a three-pronged strategy. We will date it being a spec in 2012. We will send it to big-time directors. We will in addition try to put it together inside independent space.
Rob Frisbee, 2007 Big Break winner, is currently making news inside trades along with his third writing assignment within the last year plus a half. He is represented by Brian Spink at Realm.
Screenwriter Christopher DeBaisse, who penned the script We Need Some Space and placed like a top-40 finalist inside the Final Draft, Inc. 2011 Big Break competition, was signed by producer and manager Jeff Belkin of Foremost Films recently. DeBaisses script is often a comedy in regards to a guy who - - once you have dumped by his girlfriend - - goes on the bender and eventually ends up sleeping using an alien invasion. When he wakes up, he is really single-minded about winning his girlfriend back, which he befriends aliens to discover her, says Belkin, who discovered DeBaisse with the Big Break Contest. Christopher is often a great writer. You see his talent immediately for the page. And, even perhaps more impressively, his scripts forced me to laugh aloud. Repeatedly. Thats not easy to try and do and happens rarely, Belkin adds. Big Break can be an important contest for Hollywood, he confirms. For scribes of the level, contests like Big Break prove to get a vital and necessary tool for exposure. DeBaisee, a Los Angeles-based story analyst f
In 2007, Nick Horwood placed second within the Final Draft, Inc. Big Break Contest regarding his medieval buddy-comedy Knight Knight. As part on the contest prize he was flown to, where in conjunction with meeting Oliver Stone and several in the contests distinguished judges, Horwood also met previous Big Break finalist Brendan Foley. Early next year, Foley invited Horwood to visit a workshop for writers and producers in Denmark with him, comedy writer and actress Shelley Goldstein, producer Lars Herman, and Hollywood veteran producer Ned Dowd. Among the 28 European writers and producers was filmmaker Christina Bucher, who persuaded Horwood permit her direct Knight Knight and co-produce the film back with her. Less than sixty days later, shooting was completed within the low-budget medieval epic, shot entirely on location in the genuine medieval castle. Nick Horwood said, Big Break was the 1st contest I entered as well as its fitting that Knight Knight would be the first feature film I have seen alternate from script to screen ea
2010 Big Break winner Tejal Desai a manager with an option for his script Cowboys and Hindus before his three-day holiday to Los Angeles was over. Big Break judge Jewerl Ross of Silent R Management immediately responded to your script and selected Tejal being a client soon there after they first met directly. Synthetic Pictures also has inked a great deal for Tejal to write down and direct his script. Tejal says: What a memorable experience at Final Draft, Inc. in Los Angeles! The hotel, the meetings, the limo ride, red carpet, awards dinner, as well as the party, it turned out all amazing and truly unforgettable. What a fantastic night!! Big Break is obviously one on the premier writing contests and I will recommend it to everyone I know. Mr. Ross had this to convey about Tejals screenplay Cowboys and Hindus, This script epitomizes superior storytelling: characters whose humor and tragedy tug on the heart, and whose fears, desires and deepest emotions become your own, rendering it not an exercise in entertainment, but a c
2010 Big Break second-place winner Mick Connolly of Melbourne, Australia took home honors for his clever, fast-paced heist comedy Crims. On returning, he was contacted by Endeavor co-founder turned manager/producer David Greenblatt the upcoming Battle Los Angeles. Connolly and the two fellow Big Break winners met and pitched to Greenblatt as part in their prize and Greenblatt loved the script. Greenblatt is repping Connolly. Just days later, William Morris Endeavor Agent Danny Greenberg signed Connolly at the same time, and also the team is busy introducing Crims on the industry. Connolly says: The Big Break Contest lived approximately its name personally. I secured a fantastic manager inside a week, met with executives and agents, and now employ a number of producers asking to see my script. Final Draft opens doors!
2009 Big Break winner Wyatt Wakeman was the very first entrant to result in the semi-finals with two different scripts. Judge Brian Spink recognized his talent quickly and signed Wyatt for representation right after his win with Borderland was announced. Wyatt says: Its very easy to forget that you have people out there who make an attempt to honestly support mcdougal, who get genuinely excited for him, and who wish to see him succeed. Final Draft, Inc. has given me back my faith within the process. You know those few elusive, mythical steps available between like a struggling writer all night . representation that believes in your soul, using the moxy for making things happen? Enter and win the Final Draft, Inc. Big Break Contest the ones moments happen prior to your eyes.
2007 Big Break winner Robert Frisbees Cityfall made quite a feeling on industry judges together with industry execs who wanted to satisfy with Rob. Rob says, A writer anywhere inside world can submit his / her script and are aware that it will likely be seen by people will never only see clearly, but who care greatly about cultivating undiscovered talent. In the weeks since winning the contest, doors really are opening.
Rob was purchased by Benderspink management and many agents are considering signing him.
2005 Big Break winner Julia Van Develders The Escape Artist is at pre-production. The Escape Artist was optioned by the production company for award-winning director/writer/producer Helen Grace to direct. Julia says, Theres just not a chance to overstate simply how much easier Final Draft helps to make the writing process. Just add words can be so apt. And the contest? I call Liz Alani the contest director my fairy godmother. Thank you, Final Draft!
2004 Big Break winner, Rylend Grant, quickly signed with CAA. Rylend says, Theyve created a significant fan base to me. We use a lot of people, mostly directors, flirting with my winning screenplay DRIVE at the moment, and Im meeting having a slew of major production companies. than anything though, DRIVE has turned into a calling card. Its created other opportunities. The Big Break Contest set it up a stamps, a large shiny medal hanging from that business card and because of this I just signed a six-figure deal to write for the A-list actress with an Oscar-winning director. I am now writing a remake of the Chabrol film called LENFER for Luc Besson and Penelope Cruz. Im obtaining the time of my entire life. Its not easy to believe Im getting paid to perform this. We are thrilled for Rylend!
2002 Big Break winner Shawn Corridan signed by MBST Management, winning script 8 Track grabbed by Fox 2000 learn more
2002 Big Break winner Shawn Corridan says, Final Draft, Inc.s software and Big Break Screenwriting Contest opened doors that countless query letters, screenwriting how-to books, as well as a thousand thankless hours of writing could hardly. As a result of using Final Draft, Inc. software and ultimately winning the contest, I was offered, literally overnight, representation by numerous agents and entertainment managers and was taking meetings with directors and TV and film producers. Shawn quickly signed with MBST Management. As seen October 2003 in The Hollywood Reporter, Fox 2000 has acquired Shawn Corridans winning screenplay 8 Track with directing team the Malloy brothers onboard to helm and Gil Netter to provide. The project will be envisioned like a gritty coming-of-age surf story, which pulls on Corridans life and surfing experiences. 8 Track represents Shawns first feature sale.
Brendan Foley premiered THE RIDDLE, his produced 2001 Big Break finalist script, in the Austin Film Festival in October 2007. THE RIDDLE is usually a 5 million indie and was Brendans first feature as being a director. It stars Vinnie Jones X-Men: The Last Stand, Derek Jacobi Gladiator, Vanessa Redgrave, and Julie Cox. In September 2007 it made headlines inside trades by becoming the 1st film ever to premiere in conjunction using a national newspaper, The Mail on Sunday, the UKs popular Sunday paper. The paper bought UK DVD rights and distributed 2.6 000 0000 copies, making the film one in the most-watched indie launches ever.
2001 Big Break Finalist TJ Lynchs film A Plumm Summer produced, starring Henry Winkler, William Baldwin, and Peter Scolari. find out more
2001 Big Break Finalist TJ Lynch recently wrapped production on his Big Break top-10 screenplay. Retitled A Plumm Summer, the films cast includes Henry Winkler, William Baldwin, and Peter Scolari. TJ says, Im a huge believer in screenwriting contests. For the unknown writer, winning or placing from the major competitions for instance Final Draft, Inc.s Big Break Contest will be the fastest way to get oneself within the map. Perhaps even furthermore, they may be an efficient and impartial gauge in which to measure your new writing with ones peers. Placing 7th outside of 2, 600 entries provided me with the booster shot of confidence I needed. Now the script is shot and is inside can, Im on top from the world!
The industry judges for your 2016 Big Break Contest are listed below. Final Draft thanks these executives and managers because of their time and adoration for supporting scriptwriters.
Prior to joining Bellevue, Jeff Portnoy worked at Creative Artists Agency, The Gotham Group, Resolution Talent Agency and Heretic Literary Management. At CAA, Jeff worked like a story analyst for six years, writing coverage and story notes for scripts authored by clients and projects setup at major production companies and studios.
Jeffs clients include Josh Golden, whose script Road to Oz landed within the prestigious Black List, was an Academy Nicholl Fellowship Finalist and sold to New Line Cinema; Mark Mavrothalasitis, who's got projects create at Alcon Entertainment and Awesomeness Film and writing team Samuel Franco Evan Kilgore, whose script Mayday 109 is create at Thunder Road Pictures.
Originally from Massachusetts, Jeff received a bachelor of a good arts degree in film production from Point Park University in Pittsburgh and studied film and television writing at UCLA Extension.
John Zaozirny can be a principal at Bellevue Productions, where he oversees a slate of film and television projects and heads their literary management department. These projects include Robin Hood by Will Beall, create at Warner Bros. and produced alongside Lin Pictures; Parallel by Scott Blaszak, setup at Bron Studios; Capsule by Ian Shorr, create at Twentieth Century Fox and produced alongside Hutch Parker; Warden with the Sonntag brothers, setup at New Line Cinema and produced alongside Mosaic; and Cristo by Ian Shorr, which has been set up at Warner Brothers and has become set up at for an audio mini-series. Both Cristo and Capsule made the prestigious annual Black List, the collection in the best unproduced screenplays from the year, as voted on by film industry executives.
John produced Always Watching, that was released by Gravitas Ventures. This film is surely an adaptation of popular web-series Marble Hornets. Always Watching was compiled by Ian Shorr, directed by James Moran, and produced alongside Mosaic and Good Universe.
As a literary manager, John represents on the dozen writers including Ian Shorr Always Watching, Splinter, Rigged and David Chirchirillo Cheap Thrills. Client Matt King recently build his project Boomtown at Focus Features, with Marc Platt producing.
Raised in Vancouver, Canada, John can be a graduate from the Tisch Film and Television program at New York University.
Scott Stoops can be a manager at Benderspink, a production/management company operating out of Los Angeles well known for producing The Hangover franchise, The Ring franchise, A History of Violence, Horrible Bosses 2, Were The Millers, Vacation and several more. The company also represents writers, directors, actors, comic publishers, authors and even more. Hailing from Seattle, Washington go Hawks, Scott started within the industry working at Paradigm, where he was a realtor trainee within the feature literary department. He transitioned to Benderspink in 2014, and was instrumental in signing the comic strip publisher Aspen Comics. Today he represents many different emerging writers and filmmakers, and has now sold both TV and film projects. Passionate about every item and fixture elevated and genre, his favorite films/shows from the last few years include Wild Tales, Coherence, BBCs Black Mirror along with the UK TV series Utopia. He is definitely an avid consumer of horror, science fiction, comic books and comedy.
Circle of Confusion can be a feature film television production and management company with offices in New York and Los Angeles. Originally founded in 1990 to be a New York-based boutique literary management company, Circle expanded into production in 2002 while simultaneously opening a West Coast office. In July 2012, Circle again broadened their scope to add talent management, cementing their reputation to be a premiere destination for exceptional writers, directors, actors, content creators, publishers and journalists.
Circles clients get their fingerprints throughout the modern zeitgeist: In the hit movies John Wick, Still Alice, The Grand Budapest Hotel, The Fault In Our Stars, Annabelle, Insurgent along with the highly anticipated sequels Ride Along 2 along with the third installment with the Star Trek reboot; on tv, Circles industry is writing, directing, starring in and producing some on the biggest shows within the air including The Walking Dead, Gotham, House of Cards, The Goldbergs, Rizzoli inside comics and publishing worlds while using Robert Kirkman and Skybound libraries The Walking Dead, Invincible, Thief of Thieves, Marvel/Icons game-changing writer Brian Michael Bendis Powers, Scarlet, Brilliant, IDWs vast comics library Locke plus just about every other facet on the entertainment industry including on Broadway and theater about the country, in periodicals for instance Wired, GQ, Esquire, The New York Times Magazine, Vanity Fair and Mens Journal, and over the gaming universe, the blogosphere an
The production division is within its sixth season with the hit AMC/Fox International series The Walking Dead, probably the most watched drama series in basic cable history and today airing internationally in over 120 countries. Circle can be behind Sony Playstations first foray into original programming using the cult-hit Powers, a brand new spin within the police procedural based within the ground-breaking comic by Brian Michael Bendis. The company is usually producing The Walking Dead s companion series for AMC and another Robert Kirkman-created series Outcast for Cinemax.
On the feature side, Circle recently celebrated the discharge of Spare Parts, starring George Lopez and Jamie Lee Curtis. This year may also see the release from the independent films American Ultra and Mr. Right the other of Universal Pictures most anticipated releases with the summer Straight Outta Compton, a biopic in regards to the legendary rap group co-created by Ice Cube and Dr. Dre. Circle has a active development arm using more than thirty feature projects on studio slates including: Inherit the Earth at Sony with Michael Bay; Lore at Warner Brothers with Dwayne Johnson starring; Fire at Universal with Zac Effron mounted on star; and Antwerp at Paramount with Abrams.
Circle of Confusion established its identity developing elevated genre material, but has since expanded the customer base to feature writers, directors and actors in all of the formats. The company was designed to self-generate either through a unique library or elsewhere high concept ideas then develop and package the fabric, to ensure success in the studio level. Whether it can be breaking new talent or developing projects, Circle functions bridge the gap between your fringes of pop culture as well as the Hollywood mainstream.
Zadoc Angell began his career to be a TV literary agent at Paradigm, where he worked for seven years. Transitioning to TV literary management several years ago, Zadoc joined forces with manager Dave Brown and together they grew a team of literary managers, a bunch that would follow Angell and Brown to Echo Lake Entertainment in 2013. Angells journey to Hollywood is not only a conventional one. Growing up on the 400-acre dairy farm in rural upstate New York, Zadoc with the exceptional sister Amy were integral to his parents family-run business. The son of any minister along with a local politician, Angell pursued his academic and inventive endeavors to Harvard University, where he graduated in 2003 which has a bachelors degree in Visual Environmental Studies: Film. In addition to like a full-time manager, Angell teaches classes in pilot writing at UCLA.
Brooklyn Weaver could be the principal of Energy Entertainment, a high lit management/production brand in Hollywood with high-end agency, producer and talent relationships. The company is renowned for discovering/repping elevated voices and selling these with A-list talent and producer packages. Recently, Energy produced the CBS series Extant with Steven Spielberg and Amblin TV, starring Halle Berry, the WB action-thriller film Run All Night, starring Liam Neeson and Ed Harris, as well as the dark indie drama Out with the Furnace, starring Christian Bale.
Markus Goerg came to be and raised in Germany and came to your US in 1997 to go to Art Center College of Design in Pasadena, CA, where he graduated cum laude in 2000 which has a degree in photography and cinematography. After spending years at two major talent and literary agencies, and running development for the film and television director thereafter, Markus partnered in reference to his long-time friends Mikhail Nayfeld and Dick Hillenbrand in November 2007, the trio founding Heroes and Villains Entertainment, setting up a dream becoming reality. Markus primarily is targeted on unique voices inside drama, thriller and action genres in addition to IP creators in those arenas. Hes caused numerous storytellers in film, TV, comic books and novels, and enjoys helping his clients excel within their respective aspects of interest.
When Markus just isn't working on his clients behalf, he enjoys watching many of his favorite tv programs, movies, spinning, doing exercises, making furniture for his house, or creating various, photography-related art projects. He loves staying active and participated inside the Los Angeles marathon in 2014, that they finished in mere under six hours. He became a dual citizen US/Germany inside the fall of 2010.
Jon Karas can be an established entertainment industry entrepreneur. He founded Infinity Management International in 1990, after working to be a literary executive in the William Morris Agency, in film and television packaging. He currently represents top film and television writers and directors. His clients and collaborators include Ted Melfi St. Vincent, Jim Uhls Fight Club, Jumper, Sheldon Lettich Max, Double Impact, Norman Steinberg My Favorite Year, The Cosby Show, Douglas Day Stewart An Officer as well as a Gentleman, The Blue Lagoon, Kenny Golde End of Eternity, Maxwell Atoms Grim Adventures of Billy and Mandy and Roger Towne The Natural, The Recruit, among numerous others. He has packaged and produced content across all media, structured numerous financing agreements and negotiated and drafted complex contracts in this particular capacity.
Mr. Karas formed Institutional Media Investments with Caspar von Winterfeldt this year, raising capital and serving in the advisory capacity with a number of technology companies, media companies and film funds, including Hemisphere Media Capital World War Z, Men in Black III and The Smurfs, etc.
Mr. Karas is often a founding partner of Arkham House Entertainment, a production and licensing company that controls all in the film and television rights on the works of Lovecraft and everything published by Arkham House Publishing. Currently the business has three way partnership deals and/or possibly is developing proud of Radar Pictures, Napalm Films, Pukeko Pictures, Boom Studios comics and graphic novels, Darko Entertainment and Radio Archives audiobooks.
Mr. Karas currently is producing Maxx starring Jason Patric and is post production on Porto Mon Amour, starring Anton Yelchin. He recently produced Hellgate, starring William Hurt and Cary Elwes, that was released theatrically by IFC Films and won the superior prize in the Fantasy Horror Awards televised on Syfy. Mr Karas also produced Bitter/Sweet, starring James Brolin and Kip Pardue, which won the superior prize at WorldFest Houston. He executive produced 2007s Believe in Me starring Bruce Dern, Samantha Mathis and Jeffrey Donovan, that was theatrically released by IFC Films and won numerous festivals. Mr. Karas also produced 2006s Checking Out, based over a Broadway play and starring Peter Falk, Laura San Giacomo and David Paymer, that has been released theatrically by Allumination Entertainment and won WorldFest, the Palm Beach Film Festival and numerous other awards
Mr. Karas practiced corporate and entertainment law in New York at Dreyer Traub 1984-86 and Robinson, Silverman 1986-87, emphasizing capital formation, investment banking and securities transactions. His clients included Donald Trump, Bear Sterns, Drexel, Burnham, Marriott and Integrated Resources. Mr. Karas graduated cum laude on the University of Miami School of Law where he was executive editor with the International Law Review. He then received a masters degree in corporate finance from NYU Law School. Mr. Karas also studied international law and finance at St. Edmunds Hall, Oxford University, and would have been a theater major whilst getting his bachelors degree at Vassar College.
Kailey Marsh is definitely an independent literary manager and producer at Kailey Marsh Management Productions. She represents screenwriters and directors inside feature, television and new media space. Kailey started out work with Steven Schneider as they worked on Paranormal Activity, after which she became an assistant at Circle of Confusion. Kailey created The Blood List in '09, which would be the annual list highlighting the most notable-13 best unproduced, dark genre screenplays on the year. She and her clients have projects create across town, in a variety of stages of development and production.
Lee Stobby is really a graduate in the University of Michigan and contains learned from a few of Hollywoods greatest minds at Misher Films, Double Feature Films, Industry Entertainment, Innovative Artists and Caliber Media, where shortly fater he began representing literary clients next year. A champion of strong, independent voices and quality cinema, Lee just started his personal shingle Lee Stobby Entertainment, with the exceptional clients include: Lindsay Stidham who wrote the Sundance hits Douchebag and Spooner ; Kate Trefry whose script Pure O made the 2013 Black List; Greg Sullivan whose script Erins Voice made the 2014 Black List; Isaac Adamson who authored Tokyo Suckerpunch and also other books inside the Billy Chaka series published by HarperCollins; Rodney Ascher Room 237 whose second feature The Nightmare premiered with the 2015 Sundance Film Festival and was only released by Gravitas Ventures; and Myroslav Slaboshpytskiy whose film The Tribe premiered at Cannes recently and only agreed to be released by Drafthouse Films.
Madhouse Entertainment is really a management and production company which has a long track record of working together with incredible writers and writer/directors both in TV and film.
When Magnet Management formed its production arm, Pull Pictures, the corporation created a partnership with producer Mitch Solomon. Besides producing, Mitch also segued into managing screenwriters and directors at Magnet, where he has represented numerous established filmmakers and writers both in film and TV. In his time at Magnet, Pull Pictures has put in place feature films in development at all the major studios. Among these are The Blacksmith at Sony, Hourglass at Fox and The Creepy Kid at Paramount. There will also be television projects in development including Saint Anne at HBO and The Cornbread Mafia at Paramount TV. On the independent film side, essentially the most recently completed movie is Pacific Standard Time, starring Alex Russell, Willa Holland and Miguel Gomez. Previously Mitch was the development head of The Bubble Factory and president with the feature film division at Film Roman. At Film Roman, he was to blame for creating the 1st feature film division for your company most widely known for i
Founded more than a decade ago, Management 360 is one on the premiere management companies dedicated on the shaping, guiding and creatively developing successful careers inside entertainment industry. In an increasingly competitive marketplace that may be constantly evolving, Management 360 provides its select roster of talent and literary clients with forward-thinking management, use of a robust in-house development and production team, and methods for merchandising, licensing, brand-building, digital media and start up company development. Each artist is approached over a wholly individual basis that has a singular goal under consideration - to distinguish opportunities across all platforms, after which, to improve those the opportunity to enhance the clients public perception, maximize revenue streams and foster personal fulfillment.
Entertainment 360, the producing arm of Management 360, develops and makes a wide variety of film and television projects including HBOs Emmy-winning hit television series Game of Thrones, and Danny Boyles Steve Jobs, starring Michael Fassbender, Seth Rogen and Kate Winslet, which Universal Pictures released. Previous projects include The Gallows, released by New Line and co-produced with Blumhouse; David Frankels Golden-Globe-nominated film Hope Springs, starring Meryl Streep and Tommy Lee Jones; as well as the Bravo reality series Its a Brad, Brad World, starring Brad Goreski. Entertainment 360s upcoming production slate includes the film adaptation of Lifeboat which has a screenplay by Bill Broyles, for being directed by Joe Wright with Anne Hathaway starring, for Working Title and Focus Features in pre-production; the film adaptation of Cowboy Ninja Viking create at Universal with Chris Pratt that come with star; a television series depending on Patricia Highsmiths Tom Ripley books in development; and
Scott Carr was created June 14, 1982, in Ontario, Canada, where he fell crazy about movies and television for a young age. His father, an angler can and small company owner, was one on the first in the neighborhood to acquire a satellite dish, and Scott would spend more time than he rightfully ought to have watching television and learning all he could concerning the craft and business of moviemaking - on the extent at that she made his personal 90-minute original action film with numerous brave friends in senior high school. He collected movies and amassed over 1, 200 titles, having their own veritable video store as part of his college apartment.
He studied film at Queens University in Kingston, Ontario, where younger crowd played football and did competitive amateur bodybuilding. Upon graduating along with his bachelors degree, he immediately relocated from Canada to Los Angeles in 2004. It took some creativity and resourcefulness for Scott to acquire employment opportunities inside USA, as being a Canadian citizen. He eventually got his start inside coveted walls of Hollywood. He landed inside William Morris mailroom in summer 2008, where he worked before the merger with Endeavor. He also worked at UTA for three years, and spent a year like a development executive at Hollywood Gang Productions at Warner Bros. prior to starting the literary management company Management SGC, where he represents writers and directors in film, television, books and digital content.
Marc Manus is really a former award-winning photojournalist who attended USC film school before entering the realm of artist representation. His first job was with manager Cathryn Jaymes, who represented the Academy Award-winning writer/director Quentin Tarantino, a few. After a brief foray into independent producing, Marc held positions at various management companies including Incognito Entertainment, which produced the Warner Bros. comedy Three to Tango. Then he partnered that has a talent manager until venturing out on his very own to form Manus Entertainment. Now Marc includes a well-respected roster of up-and-coming writers and directors who are actually involved in film and television projects at companies for example 20th Century Fox, Columbia Pictures, IFC Films, Lionsgate, Silver Pictures and Syfy. A few of his recent client projects include V/H/S: Viral, your third installment inside the successful horror franchise; Shut In, a thriller on the producer of Insidious ; and, Get the Girl, a dark action
Jewerl Ross spent my childhood years in Los Angeles and left Southern California to check political philosophy at Yale. After graduating in 1997, he returned to to work with entry-level positions at ICM and Paradigm before joining APA being an agent at the beginning of 1999. Three years later, after making a reputable name himself selling spec scripts, Marathon Entertainment hired Ross as being a manager. In January 2006, Ross left to form their own company, Silent R Management. With over 14 years inside business, Ross can boast a hot slate of writer and director clients. Ross reps Matt Aldrich that's currently writing Untitled Pixar Movie about Dia de los Muertos for Pixar Animation Studios and director Lee Unkrich Toy Story 3 ; this film is slated for any 2016 release. In 2011, Aldrich sold one from the biggest specs of their year: Father Daughter Time: A Tale of Armed Robbery and Eskimo Kisses ; Matt Damon is mounted on star and Warner Bros. purchased it inside a bidding war that concluded with sale tariff of 500, 000 against 800, 000. T
Tony Zequeira is often a manager/producer who owns their own LA-based company Super Vision. Tony excels at discovering and developing young writers and writer/directors, and guiding them right into a career from the commercial studio film industry. Tony began his career at Larchmont Literary Agency, where he worked under Joel Millner like a junior agent. While at Larchmont Literary, he worked many successful writer/directors for instance Chuck Pfarrer Red Planet, Hard Target, George Hickenlooper Casino Jack, Peter Gould Breaking Bad, Too Big to Fail, Better Call Saul and Brian Dannelly Saved!, Weeds, Struck By Lighting. Then Tony switched up to management, working at Evolution with Mark Burg and Gregg Hoffman, and was included in acquiring what can become the Saw franchise of films. While Super Vision is in its novice, Tonys clients have already been attached to create and direct an action-adventure book series, direct independent features and adapt a studio-based New York Times Best Seller likewise
After graduating from your University of Arizona, Tom Drumm got his come from Hollywood interning for MTV and The Farrelly Bros. before joining the Brillstein-Grey mailroom. There, Tom worked for Brillstein-Grey Management President Peter Safran, who he credits, in addition to Bernie Brillstein, for teaching him what makes an incredible manager. At the end of 2005, Tom broke off with Peter to form the fabrication/management firm The Safran Company, where he worked as being a talent manager until recently forming his very own company Think Tank Management Production, in 2013.
Tom represents actors, writers, directors and produces projects. On the talent side, Tom represents actors Nick Frost, Nicole Sullivan, Owain Yeoman, Ivana Baquero, Jareb Dauplaise, Emmett Scanlan, Al Shearer and India de Beaufort. On mcdougal/director front, Tom represents Graham Moore The Imitation Game, The Devil inside White City, Mark Hammer Two Night Stand, Tom Shepherd Hey, Stella!, Gabe Ibanez Automata, Lluis Quilez Out from the Dark, Jonas Govaerts Cub and Juan Carlos Medina Painless.
Tom was an affiliate producer about the Ryan Reynolds film Buried, and can be an executive producer within the Studio Canal feature Mindscape, which starred Mark Strong, Taissa Farmiga and Brian Cox.
Tom has a amazing good name for discovering and nurturing talent. He discovered the majority of his actors before we were holding series regulars on TV shows, and the man has had four feature scripts around the highly acclaimed Black List within the past couple of years. Think Tank is operating out of Hollywood.
As president of production at Zero Gravity, Tai Duncan oversees film projects from inception to completion, encompassing every of development, casting, finance and production. Prior to his time at Zero Gravity, Tai was the senior vice chairman at Paul Schiff Productions and was linked to various aspects with the feature films: Mona Lisa Smile Sony Pictures Entertainment, Walking Tall MGM, Hooligans Odd Lot Entertainment Date Movie and Epic Movie New Regency/20th Century Fox. In 2007, Tai produced his first three movies: The Air I Breathe, Numb and Spin. Tai also produced the comedy Tenure and executive produced the ABC Family film Revenge with the Bridesmaids.
Prior to utilizing Paul Schiff, Tai worked like a creative executive at The Donners Company, primarily working on identifying and procuring new projects and contributing towards the creative aspects in the following films: Timeline Paramount, Constantine Warner Brothers, X2 20th Century Fox and Out Cold Buena Vista/Spyglass Entertainment.
Before his time at The Donners Company, Tai was a representative trainee for the United Talent Agency UTA within the feature literary department. While at UTA, Tai contributed on the deal-making process, project procurement and career management for A-list level writers and directors, and in addition focused on transitioning high-level television clients to the feature film world.
EML - Eva Lontscharitsch is usually a literary manager and producer back with her own company, EML Entertainment. She represents writers and directors for film and television, and across all genres. Prior to forming her management company she was a realtor at ICMs flick literary department. Eva was created in Madrid, Spain and raised in Stuttgart, Germany before moving to Los Angeles to get started on her career in entertainment at ICM being an agent trainee.
Heretic Literary Management - Jeff Portnoy Prior to starting Heretic Literary Management, Jeff served just as one agent plus the head with the Story Department at Resolution. Before joining Resolution, Jeff worked at The Gotham Group and Creative Artists Agency respectively. Heretics mission is to use talented Feature and TV writers, develop projects together and guide their careers. Jeff holds a Bachelor of Fine Arts degree in Film and Television Production from Point Park University in Pittsburgh.
Heroes and Villains Entertainment - Markus Goerg Born and raised in Germany, Markus always features a tendency for everything creative. At age eight he made films having a friends Super 8 camera and later on wrote short action and supernatural horror stories in their teens. After completing a rigorous photography apprenticeship using a German advertising photographer in 1997, Markus came on the to attend Art Center College of Design in Pasadena, CA to be a Photography major. There he was exposed to your medium that was his passion all along: Film. He graduated cum laude in 2000 using a BFA in Photography and Cinematography and knew that she wanted being a a part from the entertainment industry.
Infinity Management - Jon Karas is undoubtedly an established entertainment industry entrepreneur. He founded Infinity Management International in 1990, after working as being a literary executive at William Morris Agency included in film and television packaging. He currently represents top film and television writers and directors. His clients and collaborators include Norman Steinberg, Douglas Day Stewart, Jim Uhls, Ted Melfi and Roger Towne. He has structured numerous financing agreements and negotiated and drafted complex contracts in this particular capacity.
Lee Stobby Entertainment - Lee Stobby A graduate in the University of Michigan along with an extensive physical production background in the casting, on set plus post, Lee Stobby can be a literary manager, producer and creative that has learned from several of Hollywoods greatest minds at Misher Films, Double Feature Films, Industry Entertainment, Innovative Artists, and Caliber Media; the lattermost is where he soon started representing literary clients this season. A champion of strong, independent voices and quality cinema, Lee just started his very own literary management and production company, Lee Stobby Entertainment, and the clients include: Lindsay Stidham who wrote Sundance hit Douchebag and Spooner ; Kate Trefry whose script Pure O made The Black List 2013; Isaac Adamson who would be the author of Tokyo Suckerpunch along with books inside the Billy Chaka series published by HarperCollins; and Rodney Ascher whose documentary Room was the talk of Sundance and Cannes and it is currently in post on his second featu
Kailey Marsh Management Productions - Kailey Marsh is surely an independent literary manager producer at Kailey Marsh Management Productions. She represents screenwriters and directors from the feature, television and new media space. Kailey started out help Steven Schneider as he worked on Paranormal Activity, and became and assistant at Circle of Confusion. Kailey created The Blood List in '09, which would be the annual list hilighting the highest-13 best unproduced, dark genre screenplays with the year. She and her clients have projects build across town, in several stages of development and production. kaileymarsh
Magnet Management - Mitch Solomon is often a literary manager and producer who runs your production arm of Magnet Management. Among his clients is Larry Brenner, who has been introduced to Solomon over the 2010 Final Draft Big Break competition. Brenner subsequently sold his spec script Bethlehem to Universal with Joe Roth and Palak Patel producing and adapted Angelology on assignment at Sony for producers Overbrook and director Marc Forsters Apparatus Productions. As a producer, Magnets projects in development range from the family film The Creepy Kid at Paramount and Montecito Pictures, thriller Hourglass at Fox alongside Davis Entertainment and Saint Anne a one-hour at HBO for being produced with Blumhouse and eOne Entertainment. Solomons previous jobs include being the development head of The Bubble Factory and president in the feature film division at Film Roman. Prior to joining Film Roman, Solomon was the senior second in command of manufacturing of FilmColony at Miramax.
Manus Entertainment - Marc Manus is often a former award-winning photojournalist who attended USC film school before entering the realm of artist representation. His first job was with manager Cathryn Jaymes, who represented the Academy Award-winning writer/director Quentin Tarantino, amongst others. After a brief foray into independent producing Marc held positions at various management companies including Incognito Entertainment, which produced the Warner Bros. comedy Three to Tango. He was then partnered that has a talent manager until venturing out on his or her own to form Manus Entertainment. Marc now includes a well-respected roster of up-and-coming writers and directors who are already involved in film and television projects at companies for instance 20th Century Fox, Anchor Bay, IFC Films, Lionsgate, Silver Pictures and Syfy. A few of his recent client projects include V/H/S: VIRAL, another installment from the successful horror franchise, Shut In, a thriller from your producers of Insidious and Orphan, and
Realm Literary - Brian Spink is usually a literary manager/producer at boutique management company REALM that he founded in January 2011. Prior to that, he spent on the decade at Benderspink. He represents screenwriters and directors in film television in addition to comic book writers. Feature projects that Brian is executive producing include Abducted at Paramount, Last Voyage Of The Demeter at Millennium, Shadows of Paris at Telefilm, and Unt. Thriller with Steven Schneider Paranormal Activity. His clients been employed by at every studio with A-list filmmakers including Sam Raimi, Roland Emmerich, Robert Zemeckis, Steven Spielberg, Michael Bay, Ridley Scott, Phillip Noyce, John Woo, Robert Schwentke, David Goyer, Kathleen Kennedy, Mark Gordon, Gale Anne Hurd, Chuck Roven, and Will Smith.
Silent R management - Jewerl Ross was raised in Los Angeles and left Southern California to analyze political philosophy at Yale. After graduating in 1997, he returned to to be employed in entry-level positions at ICM and Paradigm before joining APA just as one agent at the beginning of 1999. Three years later, after making a good name for himself selling spec scripts, Marathon Entertainment hired Ross as being a manager. In January 2006, Ross left to form his or her own company, Silent R Management.
SUPER VISION - Tony Zequeira is often a manager/producer who owns his or her own LA-based company, SUPER VISION. Tony excels at discovering and developing young writers and writer/directors and guiding them right into a career inside commercial studio film industry. Tony began his career at Larchmont Literary Agency where he worked under Joel Millner being a junior agent. While at Larchmont Literary, he dealt with many successful writer/directors including Chuck Pfarrer Red Planet, Hard Target George Hickenlooper Casino Jack, Peter Gould Breaking Bad, Too Big to Fail, Better Call Saul, and Brian Dannelly Saved!, Weeds, Struck by Lighting Tony then switched to the site management, working at Evolution with Mark Burg and Gregg Hoffman and was associated with acquiring what might become the Saw franchise of films. While SUPER VISION is just in its novice, Tonys clients are actually attached to write down and direct an action/adventure book series, direct independent features, and adapt a studio based New York Times Best Se
William Morris Endeavor - Adam Novak Head from the Story Department of William Morris Endeavor for almost 2 decades, a champion on the written word, Novak was named by FADE IN: magazine as one on the Top 100 People You Need to Know.
Adam Novak is often a graduate of USCs Filmic Writing Program, Adam Novak played a ruthless drug dealer inside the 1990 senior thesis video of Boyz N the Hood by classmate John Singleton, which prepared him with the motion picture industry.
Benderspink is definitely an innovative IP, production and management company.
Brian Spink is often a literary manager/producer at boutique management company Realm that she founded in January 2011. Prior to that, he spent spanning a decade at Benderspink. He represents screenwriters and directors in film and television and also comic book writers. Feature projects that Brian is executive producing include Abducted at Paramount, Last Voyage of The Demeter at Millennium, Webcam at Company3, and upcoming The Estranged. His clients been employed by at every studio is actually A-list filmmakers including Sam Raimi, Roland Emmerich, Robert Zemeckis, Steven Spielberg, Michael Bay, Ridley Scott, Phillip Noyce, John Woo, Robert Schwentke, David Goyer, Kathleen Kennedy, Mark Gordon, Gale Anne Hurd, Chuck Roven, and Will Smith.
Chris Cook is usually a literary manager and producer at Madhouse Entertainment in Los Angeles. He represents screenwriters and filmmakers in the film and TV. Among the talent he represents are Justin Kremer McCarthy, Russell Sommer and Dan Frey Bleeding Kansas, and Roberto Bentivegna The Eel have been on last years Blacklist. His clients Christian Magalhaes and Robert Snow are in production on their own 2010 Blacklist script Murder of an Cat. He was highly involved inside development on the upcoming film, compiled by Aaron Guzikowski, Prisoners, and contains several projects create at different studios.
Eric Williams is now a Partner at Zero Gravity Management. He began his career at Paradigm after which moved to Writers Artists Agency like a Literary Agent. Eric transitioned to management in 2004, where he soon started growing the management division of Zero Gravity. Specializing in representing screenwriters and directors, Eric features a passion and good name for discovering and breaking new talent, and represents exciting up-and-coming artists together with well-established industry professionals. Erics diverse client list has included writers and/or directors linked to recent Hollywood studio blockbusters from Underworld Awakening, Harry Potter, Sherlock Holmes, and The A-Team. In addition, the upcoming Frozen at Disney Animation, The Judge at Warner Bros., as well as the creators with the acclaimed television series The Bridge. Eric is a featured panelist at prominent screenwriting conferences everywhere in the country, and it has judged numerous screenplay contests.
Marc Hartogsohn comes from South Florida and went along to Syracuse University where he studied TRF Television, Radio, Film and History. He began his career in New York at Good Morning America where he won a Daytime Emmy Award for coverage for the 2008 presidential election. He also worked in feature film development for independent producer Michael Gunther. In Los Angeles he first worked at Renegade 83 in unscripted tv show development before joining The Gersh Agency just as one assistant to your feature film below-the-line agent. He is actually a junior agent at Gersh inside feature literary department.
Jennifer Au can be a literary manager at Caliber Media representing writers and directors for film and television, and across all genres. Prior to starting at Caliber, she spent four years at Untitled Entertainment, first as a possible assistant and then like a junior literary manager. Jennifer began her career working with an independent production company then time at a high agency. She is really a graduate from the USC School of Cinematic Arts.
Jewerl Ross was raised in Los Angeles and left Southern California to examine political philosophy at Yale. After graduating in 1997, he returned to to be employed in entry-level positions at ICM and Paradigm before joining APA just as one agent during the early 1999. Three years later, after making a reputation for himself selling spec scripts, Marathon Entertainment hired Ross being a manager. In January 2006, Ross left to form his personal company, Silent R Management.
Kailey Marsh can be an independent literary manager Productions. She represents screenwriters and directors inside the feature, television and new media space. Kailey started out help Steven Schneider as they worked on Paranormal Activity, after which became and assistant at Circle of Confusion. Kailey created The Blood List during 2009, which could be the annual list hilighting the highest-13 best unproduced, dark genre screenplays on the year. She and her clients have projects create across town, in a variety of stages of development and production. kaileymarsh/
Marc Manus is really a former award-winning photojournalist who attended USC film school before entering the realm of artist representation. His first job was with manager Cathryn Jaymes, who represented the Academy Award-winning writer-director Quentin Tarantino, a few. After a brief foray into independent producing, Marc held positions at various management companies including Incognito Entertainment, which produced the Warner Bros. comedy Three to Tango. He then partnered with talent manager Jamie Gold for any couple of years, until he ventured out on his or her own to form Manus Entertainment. Marc now carries a well-respected roster of up-and-coming writers and directors who are actually involved in film and television projects at companies for example 20th Century Fox, Anchor Bay, Escape Artists, IFC Films, and Syfy. A few of his recent client projects add the original spec screenplay Cornered, in active development with 1821 Pictures, a remake of Phasma Ex Machina put in place at Universal Pictures a
Mike De Trana worked numerous aspects with the entertainment industry before founding his management/production company, Anvil Entertainment. During his time at Kadokawa Pictures USA, De Trana honed his development skills working about the The Masters of Horror series for Showtime, the film One Missed Call for Warner Bros. and developing adaptations of Japanese horror films with the American Market. Next, at The Gersh Agency De Trana quickly advanced from your Production and Literary departments, to working to the head with the production department and finally the head from the agency. This afforded De Trana the chance to fully immerse himself within the below the cloths line and literary sides from the company, using the services of clients for example producers Ian Bryce and Larry Franco, and filmmakers including Marc Webb, Diablo Cody, Bruce Beresford, Joe Dante and John Landis.
Mitch Solomon is usually a literary manager and producer who runs the fabrication arm of Magnet Management. Among his clients is Larry Brenner, who had previously been introduced to Solomon over the 2010 Final Draft, Inc. Big Break competition. Brenner subsequently sold his spec script Bethlehem to Universal with Joe Roth and Palak Patel producing and adapted Angelology on assignment at Sony for producers Overbrook and director Marc Forsters Apparatus Productions. As a producer, Magnets projects in development add some family film The Creepy Kid at Paramount and Montecito Pictures, thriller Hourglass at Fox alongside Davis Entertainment, and Saint Anne a one-hour at HBO to become produced with Blumhouse and eOne Entertainment. Solomons previous jobs include being the development head of The Bubble Factory and president on the feature film division at Film Roman. Prior to joining Film Roman, Solomon was the senior v . p . of manufacture of FilmColony at Miramax.
Todd Garner, the top of Broken Road Productions, is really a veteran producer and Hollywood creative executive using a unique gift for creating and nurturing mainstream, commercial movies. He is very active in a number of charities like the Learning Garden and Doheny Eye Institute and is around the board in the Environmental Media Association plus the MISS Foundation. In various capacities throughout his career, Garner is promoting, overseen, executive produced or produced around 170 movies, many of those major hits because of their respective studios. Formerly a founding partner of Revolution Studios and before that co-head of production at Disney, Garner founded Broken Road Productions in summer 2005. In the last seven years, Broken Road has produced twelve movies and counting.
After graduating from The University of Arizona, Tom Drumm got his begin in Hollywood interning for MTV and The Farrelly Bros. before joining the Brillstein-Grey mailroom. There Tom worked for Brillstein-Grey Management President Peter Safran, who he credits, in addition to Bernie Brillstein, for teaching him what makes a fantastic manager. At the end of 2005, Tom broke off with Peter to form the fabrication/management firm The Safran Company where we worked as being a talent manager until recently forming his very own company, Think Tank Management Production, in 2013.
Tony Zequeira is usually a manager/producer attached to Larchmont Literary Agency. His management company excels at developing young writers and preparing them for any career from the entertainment business. He has worked many successful young writer/directors like George Hickenlooper Casino Jack, Peter Gould Breaking Bad, Too Big to Fail, Better Call Saul, and Brian Dannelly Saved, Weeds. Prior to switching to manager/producer he worked at Evolution Management with Mark Burg, Oren Koules, and Gregg Hoffman and was included in acquiring the Saw number of films.
Brian Spink can be a literary manager/producer at boutique management company Realm that he founded in January 2011. Prior to that, he spent spanning a decade at Benderspink. He represents screenwriters and directors in film and television along with comic book writers. Feature projects that Brian is executive producing include Abducted at Paramount, Last Voyage of The Demeter at Millennium, Shadows of Paris at Telefilm, and Untitled Thriller with Steven Schneider Paranormal Activity.
Brooklyn Weaver owns Energy Entertainment, a literary management and production company operating out of Beverly Hills and is often a producer on several film projects. As a literary manager, Weaver is well known throughout Hollywood for having high-caliber taste in clients and projects and as being a top dealmaker. As a producer, in 2012 Weaver executive produced revenge/drama Out from the Furnace starring Christian Bale, directed by Oscar - nominated Scott Cooper with Leonardo DiCaprio, Ridley Scott and Ryan Kavanaugh producing, Relativity Media financed and is particularly distributing.
Irene Yeung is really a VP dealing with Roy Lee at Vertigo Entertainment The Grudge, The Departed, The Strangers. She graduated from USCs School of Cinema-Television and began her career being an intern at Vertigo, where she worked her way throughout the ranks to her current position. She was a part producer around the Screen Gems thriller The Roommate and also a co-producer about the upcoming supernatural thriller 7500 at CBS Films. Vertigo happens to be in production around the WB thriller Hidden and taking care of an adaptation of Stephen Kings The Stand and It, a remake of OldBoy, and Godzilla.
Julian Rosenberg came to be and raised inside the community of Kitsilano in Vancouver, Canada. His career began at 18 as a possible actor, before segueing into producing. By age 21, his films had won multiple awards and screened at a large number of festivals internationally. This early success led him to go to Los Angeles in 2005, and very soon thereafter he joined the United Talent Agencys prestigious Agent Trainee Program. In 2008, he left the business to become a talent manager, before joining Caliber Media where he may be a Manager since 2011.
Mitch Solomon is often a literary manager and producer who runs the fabrication arm of Magnet Management. Among his clients is Larry Brenner, who had been introduced to Solomon over the 2010 Final Draft, Inc. Big Break competition. Brenner subsequently sold his spec script Bethlehem to Universal with Joe Roth and Palak Patel producing and adapted Angelology on assignment at Sony for producers Overbrook and director Marc Forsters Apparatus Productions.
Palak Patel runs the film division for Joe Roths company, Roth Films. Roth Films recently produced Alice in Wonderland directed by Tim Burton. They also produced Knight Day starring Tom Cruise and Cameron Diaz. Patel was an Executive Producer on Snow White And The Huntsman. He currently is in post production on Oz: The Great and Powerful starring James Franco, Mila Kunis, Rachel Weisz, and Michelle Williams, directed by Sam Raimi, scheduled to get released in March 2013.
Trevor Engelson is usually a manager and producer at Underground, a corporation that manages the careers of your number of film and television writers, directors, comedians, and actors. The companys clients include John Singleton, Jon Lajoie, Jim Field Smith, Joel David Moore, Dito Montiel and Irvine Welsh. Trevor was named in The Hollywood Reporters Next Generation 35 Under 35 for his work like a manager.
Jewerl Ross spent my youth in Los Angeles and left Southern California to analyze political philosophy at Yale. After graduating in 1997, he returned to to are employed in entry-level positions at ICM and Paradigm before joining APA just as one agent noisy . 1999. Three years later, after Ross made a good name for himself selling spec scripts, Marathon Entertainment hired him being a manager. In January 2006, Ross left to form their own company, Silent R Management.
Palak Patel is president of output of Joe Roths company, Roth Films, which recently produced Alice In Wonderland for Disney and Knight And Day for Fox starring Tom Cruise. They are in preproduction on XXX3 for Paramount starring Vin Diesel. Patel was formerly president of production at Paula Weinsteins Spring Creek Productions which experienced a first-look deal at Warner Bros.
Jon Mora can be a Development Executive at Doug Davisons The Ring, The Departed new production company, Quadrant Pictures. Prior to Quadrant, Jon worked from the motion-picture literary department at ICM, a serious talent and literary agency representing clients in publishing, film, television, music and theatre. He received a in International Business in the University of San Francisco and studied at Sophia University in Tokyo, Japan.
Rudy Scalese could be the VP of Development Production for NALA films, where he helps identify and develop material in order to meet the companys production slate of four years old to five mid-level budgeted films annually. Scalese recently oversaw the assembly of House of My Father, provided by Andrew Steele, directed by Matt Piedmont, and starring Will Ferrell. Rudy also co-produced the companys film Ceremony, written and directed by Max Winkler and starring Uma Thurman, Michael Angarano, Reece Thompson, and Lee Pace.
Joyce San Pedro is often a Creative Executive utilizing Alex Siskin of Zhiv Productions and Escape Artists at Sony. She began her career in development after having worked inside the publishing industry in numerous capacities - Foreign Rights, International Sales Director, and like a Managing Editor. The entry into that is a was through dealing with worked for talent manager JC Robbins, after which moved onto covering talent and literary agents at Metropolitan Talent Agency.
Tony Zequeira is really a manager/producer associated with Larchmont Literary Agency. He currently blends with Joel Millner locating talented young writer-directors and helping them build a career from the Hollywood studio system. Tony has caused talents like Peter Gould Breaking Bad, Too Big to Fail, George Hickenlooper Casino Jack, Brian Dannelly Saved!, Weeds, and Chuck Pfarrer Red Planet, Arlington Road.
Drew Vinton has headed up development for Pearl Street Productions, Matt Damon and Ben Afflecks production company, since 2008. Among most of Drews responsibilities is finding written material - - maybe it's a screenplay, book, or article - - that provides the potential for being turned into some type of cinematic bliss. He is at his most content when soaking in front of any fresh, original, and well-crafted story. It takes plenty of work to produce and hone this sort of work, and Drew gets the utmost respect for people writers who seek to accomplish the feat.
Gugenheim were raised in New York, Israel and Florida. At 16, he gone to live in by himself to pursue a woman and acting. Despite his itinerant lifestyle, he was admitted to UCLA annually early and studied theatre and business. There he won the Gilbert Cates Award for outstanding production it became a multimedia/multiplatform version of Fahrenheit 451. After graduating, he worked on the Woodrow Wilson Center a think tank in Washington, in addition to on Capitol Hill.
Molly Mayock is often a screenwriter, film critic and television reporter/writer/producer. Her screenplay China Girl was a premier-10 finalist within the Ben Affleck/Matt Damon Project Greenlight. She has become an entertainment reporter for Philadelphias WTXF-TV, a video critic for E! Entertainment Television, an Emmy-nominated producer for Good Day L.A, and it has written and produced greater than 50 hours of television for networks that add some Discovery Channel, A E, National Geographic Channel, Lifetime and History Channel. She currently is the showrunner for your hit National Geographic Channel series, Wild Justice.
Jennifer Merin, besides covering nonfiction film for, may be the film critic for Womens eNews and it is president on the Alliance of Women Film Journalists, a nonprofit organization of leading women film journalists within the, Canada and also the UK, where she helms AWFJ Women On Film, the organizations online journal.
Daniel Gutierrez, when working to be a producer with an FM talk station, he developed The Directors Cut Radio Program, a two-hour radio show about movies. The show was acquired on other stations - - FM, HD and Internet stations. Eventually they grew to more than 16 stations along the country carrying the two-hour program. Other stations that cant carry this program, due towards the length of program along with their lack of airspace, began make use of our short form reviews because of their programming.
Mitch Solomon runs the development arm of Magnet Management. Magnet Pictures films in development range from the family films The Creepy Kid at Paramount and Montecito Pictures, Hours of Fun at Disney, and horror-thriller The Tingler at Sony Pictures. Solomons previous jobs include being the development head of The Bubble Factory and president on the feature film division at Film Roman. Prior to joining Film Roman, Solomon was the senior vice chairman of manufacturing of Film Colony at Miramax.
Brian Spink can be a literary manager at BenderSpink, a production/management company situated in Los Angeles. Hes been with all the firm since its humble beginnings inside a three-bedroom house in West Hollywood. His clients have dealt with A-list filmmakers including Sam Raimi, Roland Emmerich, Robert Zemeckis, Michael Bay, Ridley Scott, and Phillip Noyce.
Todd Garner can be a veteran producer and Hollywood creative executive that has a unique gift for creating and nurturing mainstream, commercial movies. Garners Broken Road Productions recently produced the 20th Century Fox action/comedy Knight Day, The Sorcerers Apprentice. Recent credits include Ice Cube starrer Are We Done Yet? and Next with Nicolas Cage, Julianne Moore and Jessica Biel.
Jewerl Ross could be the principal of Silent R Management. Ross clients include comedy writer David H. Steinberg American Pie 2, Slackers, The Anubis Tapestry, sci-fi writer Trevor Sands Electric Church, Hyperion Cantos, Matthew Aldrich Counterfeit Son, The Trap, thriller writer David Logan Sebastian Knight, Once Were Cops, English thriller writers Dominic Morgan Mathew Harvey Into Hell, television writer Brad Buecker Glee. And those are simply just some highlights of Ross 18 clients.
Jeff Graup could be the CEO of Graup Entertainment. He has represented Academy Award-winning writers and directors of major studio releases, and has now had as numerous as 15 studio films released inside a single year or so. Jeff has focused his career on nurturing talent to all stages in their development. His experience dealing with writers and writer-directors makes him an excellent asset for the industry. Today, Jeffs chance to spot young and talented writers and directors has allowed him to destroy into the company some in the most distinctive voices inside the movies.
Kirsten Smith is one with the most prolific female screenwriters in Hollywood. Her credits include Legally Blonde, 10 Things I Hate About You, Ella Enchanted, Shes The Man, and quite a few recently, The Ugly Truth and The House Bunny, each of which she executive produced.
Laura Perez is lawyer, producer and principal of Converge Entertainment, LLC, a video financing and production company.
Brian Spink is really a principal of Benderspink, Management Production whose credits include A History of Violence, The Ring;, and Red Eye.