Why Hire Me?
As you probably know, there are other consultants out there, with varying levels of experience and rates.
So why choose me?
Firstly, I want you to know that screenwriting has been my PRIMARY FOCUS for years. Other consultants may throw up a quickie website to get the occasional freelance job. I’ve dedicated my career to better writing.
Read a glowing review of my services in SCRIPT MAGAZINE.
I was employed as a Senior Story Analyst for Miramax Films, a major motion picture studio, for over five years on screenplays and novels. I worked for executives who developed and/or produced the films Chicago, Gangs of New York, Chocolat, Confessions of a Dangerous Mind, Spy Kids, The Faculty, and Scream 2 & 3. I have also worked as a Reader for Fox 2000 (a division of Twentieth Century Fox), New Line Cinema and Clinica Estetico (director Jonathan Demme‘s former production company; The Silence of the Lambs), among others.
I guarantee my insight and advice are up to professional Hollywood standards because I worked for companies that released major commercial movies like One Fine Day, Volcano, The Game, Ulee’s Gold, Beloved, The Wedding Singer, Dark City and Blade.
There are a lot of Readers in the film industry but not all are called on to review the “A” material. On the job, I was personally requested by certain executives for their HIGH-PRIORITY reads because they held my opinion in high regard. I was the primary Reader on the first two volumes of the children’s fantasy book series “Artemis Fowl” that was purchased in a multi-million dollar deal and was green-lit as a film. I was the primary Reader on the original source material for the movie Limitless starring Bradley Cooper and Robert DeNiro. I have been given material written by or attached to Johnny Depp, John Grisham, Ethan Hawke, Jennifer Lopez, Elmore Leonard and Pierce Brosnan, to name a few.
Working for various employers, I have written professional story coverage on material that sold in major deals and/or became produced films, such as…
- DRAG ME TO HELL (screenwriters Sam Raimi and Ivan Raimi)
- LIMITLESS (film directed by Neil Burger, written by Leslie Dixon)
- THE BOURNE IDENTITY (novel by Robert Ludlum)
- THE SIXTH SENSE (M. Night Shyamalan)
- COLD MOUNTAIN (novel by Charles Frazier)
- MEMOIRS OF A GEISHA (novel by Arthur Golden)
- THE TRUMAN SHOW (Andrew Niccol)
- THE FACULTY (Kevin Williamson and George Huang; film dir. by Robert Rodriquez)
- ANIMAL HUSBANDRY (Elizabeth Chandler; released as Someone Like You w/ Ashley Judd and Hugh Jackman)
- DESPERATION (screenplay by Stephen King from his novel; released as a miniseries)
- THE CROW 3 (Chip Johannessen; film starring Kirsten Dunst)
- DAIRY QUEENS (Lona Williams; released as Drop Dead Gorgeous w/ Kirsten Dunst)
- TITUS (written & directed by Julie Taymor)
- TEN THINGS I HATE ABOUT YOU (Karen Lutz & Kirsten Smith)
- AN EVERLASTING PIECE (Barry McEvoy; film dir. by Barry Levinson)
- RED WHITE BLACK AND BLUE (Walter Hill and Andrew Kevin Walker)
- HAROLD AND THE PURPLE CRAYON (Michael Tolkin)
- PERSONAL VELOCITY (written and directed by Rebecca Miller)
- TALE OF THE MUMMY (film dir. by Russel Mulcahy)
- THE INVISIBLE CIRCUS (Adam Brooks; film starring Cameron Diaz)
I have consulted on projects attached in various capacities to the likes of Sam Raimi, David Mamet, Leonardo DiCaprio, Bruce Willis, Johnny Depp, Ted Demme, Nick Nolte, Jackie Chan, Icon Pictures, Imagine Entertainment, Wes Craven, Spike Lee, producer Christine Vachon, Jonathan Demme, and all the major agencies including CAA, ICM and WME.
I enjoyed the opportunity to read hot new books by best-selling authors like Pat Conroy, John Grisham, Olivia Goldsmith, James Lee Burke, Neil Gaiman, Alex Garland, and Elmore Leonard, before they were published — to discover new literary talent from the submission pile — and to rediscover classic authors like John LeCarre, Mario Puzo, Isaac Asimov, Raymond Chandler and John Hersey. As a book reader, I covered books that ended up selling to major studios in big deals, like “Cold Mountain,” “Memoirs of a Geisha,” “Ender’s Game,” “The Fountain Society,” “American Gods” and “The Dirty Girls Social Club,” to name a few.
I live in Los Angeles and I communicate with many friends and contacts in the industry. I read produced scripts to keep up on the work of the top pros. I am active online, running my own screenwriters’ network and monitoring the daily trade papers, script sales and box-office reports.
I have taught classes in screenwriting and screenplay analysis at the college level and I know how to assess the ability of a student and work one-on-one with them to achieve the desired results.
I write essays on my passion: dramatic storytelling. I have published articles in Script Magazine in print and online. You can read my articles and analyses on my Blog.
My rates are very reasonable for the amount of work and insight I provide. I often do more than the quoted range of notes as I want to give a client as much feedback as possible.
I have not worked in television, only film. My advice on screenplays is NOT coming from a television MOW perspective, it is coming from my immersion in the craft and business of feature film screenwriting.
I stick to my bread and butter: story notes. I don’t offer extraneous services like editing room consults and query letter mailings.
My mantra is:
Craft = Business
Focus on your craft, first and foremost, and the commercial success will follow.
I promise you that if your script is ready to submit, as is, I will return it to you free of charge with one referral to a contact in the industry.
I promise you I will give you all the notes I feel are necessary to take your script to the next level of quality. I’m excited to work with you!
In Hollywood, nothing will ever be stronger than a great story. Trends come and go, stars rise and fall, studios succeed and fold, but a great story will always be king.