Foreword | p. ix |
Introduction | p. xi |
Selling Your Movie | |
Getting Started in Hollywood | p. 3 |
Why Isn't Anyone Buying My Brilliant Script? | p. 11 |
How to Pitch Your Movie | p. 18 |
Joining the Writers Guild of America, West | p. 24 |
I Sold It! Now What Happens? | p. 29 |
Idiot Check | p. 38 |
Coverage! or How a Kid Getting College Credit Can Make or Break Your Movie! | p. 51 |
Have I Made It Yet? | p. 55 |
They Love My Script! ... and I Got Fired? | p. 59 |
Why Does Almost Every Studio Movie Suck Donkey Balls? | p. 62 |
The Art of Nodding or How to Take Notes | p. 71 |
Directors | p. 82 |
Producers | p. 89 |
Herbie: Fully Loaded | p. 92 |
Redlighting or How to Get Your Movie Un-Greenlit! | p. 101 |
Turnaround | p. 108 |
How to Pimp Your Movie | p. 110 |
Naysayers | p. 114 |
The Silver Lining | p. 116 |
Our Lunch with Jackie Chan | p. 120 |
Credit$ | p. 124 |
Living in Los Angeles | p. 130 |
Writing a Screenplay | |
If Your Screenplay Doesn't Have This Structure, It Won't Sell, or Robert McKee Can Suck It | p. 147 |
In a Few Pages, We'll Teach You How to Formulate Characters in a Script | p. 154 |
How to Write a Screenplay | p. 166 |
Writing Action and Description | p. 170 |
Advice for Writing with a Partner | p. 175 |
Rewrites: You Want It When? And I'm Getting Paid What?!?!?!!? | p. 180 |
Martin Lawrence Has a Few Thoughts or How to Take Notes from a Movie Star | p. 188 |
Arbitration or Who Wrote This Crap? | p. 193 |
Sequels! | p. 198 |
Getting the Book Rights | p. 201 |
I'm Drinking Too Much. Is That a Problem? | p. 204 |
Final Thoughts | p. 208 |
Sample Outlines | p. 211 |
Glossary | p. 295 |
Acknowledgments | p. 313 |
Index | p. 315 |
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