Buy this book.
I really mean it. I’ve read it but can’t quantify it. No “Good,” “Not So Good,” cute snarking can cut it when it comes to reviewing this “behind-the-scenes story of the making of the movie Network, which transformed the way we think about television and the way television thinks about us.”
Of course, I’d be remiss if I didn’t point out the ultimate irony of the Amazon listing of a book titled Mad as Hell: The Making of Network and the Fateful Vision of the Angriest Man in Movies.
Today’s question comes from JR in – well, in Mexico City, what do you know? But his question is relevant to everyone – everywhere – who wants to write for TV or, for that matter, film. So:
Hey LB,
I’m an American living in Mexico City, and what I want more than anything is to write for TV. Insofar as I’m pretty darn far from Hollywood and have absolutely no show business contacts of my own, I wonder if you could tell me what’s your take on the online services that send out and otherwise make available your resume, logline, synopsis, script, etc. to various agents, studios, and producers? Can they help me get discovered?
Yep, in these troubled time it’s checks like these that keep the Brodys solvent:
Not just for one show but for two, count ’em two – POLICE WOMAN and THE ROOKIES. Good times, kids, good times.
Oh, in case you’re wondering, I’ve had smaller….
This just in from M.R.,
Hello, I am a screenwriter who recently registered a TV pilot spec script with the WGA. I was wondering is prudent for me to pitch and to send is TV pilot script to screenwriters, agents, and managers, if I am attending graduate school in fall?Does being a full-time grad or college student, limits networking, for example, to pitch, to correspond, and to meet with screenwriters, agents, and managers until he finished college?Thank you for your time, and have a nice day,M.R.
Thanks for writing, M.R. I love it when people send in questions I actually have answers for. So here’s my take:
Dear M.R.,
by LBFrom right to left: