producer's notes

This morning, I received a notice in my inbox through infolist.com that some L.A. theatre company is looking for one-act plays. The theatre company boasts board members like Steven Spielberg and Neil Simon (famous playwright- not Paul's brother), so I'm uneasy about sending in my play about the amateur phone sex actresses, but whatever. Hopefully, Spielberg will just reject it and not sic animatronic dinosaurs on me.

So, last night I turned in my rewrite on the short. This morning, I had the notes in my inbox. The producer first off thanked me for all the hard work, and then proceeded to verbally ass rape the script. My feelings are hurt, but this business isn't about feelings; it's about product. Anyway, the script felt "rushed and one-note" and I was "telling, not showing". Ouch. The comments sting, but I've got no choice but to get stuck in. I keep telling myself that this is only a short and when I start receiving studio comments, the same thing is going to happen. Except it'll be in person and instead of one page, it'll be a novella of shit that doesn't work. It's kinda like giving birth to a big headed baby. It's over now, so swallow the Big Girl pill, massage your stretched asshole and get back to work.

Still no job. Still no word about my full manuscripts. I'm a little more than nervous about my scripts floating around out there. I mean, they're copyrighted and registered, but there's still the off chance that they could get ripped off, you know? Ahem...CAMERON CROWE and his "original" script for "Elizabethtown".

Ah, but bitterness is a dish to be enjoyed alone, so I'll sign off. Gotta go find the comedic timing in this movie. Comedic timing? Come out, come out, wherever you are...