A Royal Bout of Nerviness Bagged Rush

Screenwriter David Seidler, whose latest film, “The King’s Speech,” is being eyed as an Oscar contender, said the script first came to Oscar-winning actor Geoffrey Rush’s attention through unconventional—and perhaps unethical—means.
After Seidler failed to make contact with the Australian actor’s Melbourne office—The reception was “icy”—a Seidler associate took it upon himself to pop a synopsis of the script through Rush’s home mail slot. Seidler recounted being horrified to learn that the associate had broken protocol by approaching the actor directly. But six months later Rush was attached to the project.
Seidler made his remarks during a question and answer session following a screening of “The King’s Speech” last week at Los Angeles Film School. His film and TV writing credits include the Francis Ford Coppola directed feature, “Tucker: The Man and his Dream,” as well as animated films, “Quest For Camelot” and “The King and I.”
“The King’s Speech” tells the story of King George VI (Colin Firth), who is afflicted with a dreadful stutter. The King, known to family members as “Bertie,” gets help from unconventional speech therapist Lionel Logue (Geoffrey Rush).
Seidler himself developed a stutter at a young age, and as a child in England was directed to listen to the king’s radio addresses as therapy. The screenwriter developed a great admiration for Bertie. Through speech therapy Seidler overcame his stammer, but his soft spot for the king remained.
He first told the “King’s Speech” story in an unproduced play that he later rewrote as a screenplay. Tom Hooper (“John Adams” TV mini-series) directed the film.
Seidler says he always takes longer to write the treatment—up to three months—than the script, although it’s a common misperception that the treatment is quick and the script takes much longer.
When it comes time to write the script the treatment can fly out the window.“The characters start talking to you,” he said. “You’d better listen, because they’re smarter than you.”

You Deserve to be on the Hit List

The Black List is dead--the Hit List is where it's at.
Well, the Black List isn't exactly dead--it's still quite well read and influential. But following in its path, the Hit List provides a rundown of spec screenplays by promising unrepped writers.
That was the Black List's mission originally. But while most of the Black List scripts are in productions or are being flogged by major agencies, Hit List scripts don't have agents pushing them nor production deals in place. It's a list of some of the year's best undiscovered scripts that perhaps gives a wider perspective on fresh talent than does the Black List. In short, if you're an unrepresented screenwriter it's a list you'd want to see your name on.

Off With Their Heads at 'The Walking Dead'

 The entire writing staff of "The Walking Dead," AMC's series based on the post-apocalyptic comic book of the same title, has been given the heave-ho.
Word has it that they'll be replaced with freelancers. That's cause for both outrage and celebration, according to writer Ken Levine.
It's obviously bad news for the canned staff scribes, however it opens the possibility that some fresh talent will get a crack at the big time. And as Levine recalls, way back in ancient times (the 1970s), writers had to prove themselves by creating a spec script of a given series to get hired onto its staff. Maybe this house cleaning thing isn't such a bad idea.

To Move or Not Move to LA-LA Land

A question many screenwriters ask themselves is whether or not they should relocate to Los Angeles. While leaving Boise may initially sound like a sensational idea, the actual act of pulling up stakes and moving west may make you jittery.
Among the possible issues to examine are your ties to family and friends, the expense of moving and whether or not you're really committed to the craft of screenwriting. 
If you've completed a couple of polished scripts, have the financial means to start anew in a strange city and possess the overriding urge to get into the business, the answer is probably yes.
Some folks at Script magazine have tackled the question. They've covered some of the pros and cons, but as a whole, all signs appear to point toward an answer in the affirmative. If you want to make industry contacts and be taken seriously, you're better off facing the long odds in L.A. vs. the nearly impossible odds anywhere else, with the possible exception of New York City. However, bear in mind that New York's film industry is but a fraction of Southern California's.

A Quote Worth Thinking About ...

"I have two tricks. One is that I write every day, regardless of whether I want to or not because as I just said, in a way I never want to write. It's not even an issue. I just write four pages a day when I'm working. I have a quota. A sub-set of that system is that I am a firm believer that bad ideas lead to good ones. When I am not inspired and I don't know the solution I will just type out the most banal solution and know that at least it's on the page and it gets me to the next story beat."
--Wesley Strick
("Cape Fear," "Wolf," "True Believers," "Arachnophobia") 

Amazon Studios: It's a Jungle Out There

One entertainment lawyer says that screenwriters should think twice before signing on with Amazon's production company: http://tinyurl.com/2bsschh

Actors Unions OK New Deal

The boards of the Screen Actors Guild and American Federation of Television and Radio Artists have approved a new three-year contract. The agreement must still be approved by a majority of the unions' members.