You don't have to play ball like a man to make a great play in Hollywood. That's the unspoken motto of Ava Jamshidi, literary agent at ICM. She embraces her love of classic cinema with a bit of feminine instinct to go after great stories and bring writers home with the sale. In this interview, Script sits down with Jamshidi to learn what makes her stand out, apart from her gender. Continue reading ...
Panel Podcast: Your Screenwriting Career in Today's Market, Part 3
Panelists and Script readers convened at Writers Boot Camp in Santa Monica, to discuss the function of representation and the opportunities available in today’s changing market. WBC moderator Jeff Gordon posed questions to panelists Ava Jamshidi of ICM, Mitch Solomon of Magnet Management, Mike Goldberg of Abstract Entertainment, Jewerl Ross of Silent R Management, Marvin Acuna of The Business of Show Institute, and Jake Wagner of Energy Entertainment. Part 3 of 3. Some explicit language. [30:51]
Jeffrey Berman's The Write Environment DVD series features (thus far) interviews with Joss Whedon, Damon Lindelof, Tim Kring, Phil Rosenthal, Sam Simon, and Doug Ellin. Berman questions from the writer perspective, eliciting valuable insight and advice on the craft from the pros. In the following clip, Rosenthal discusses the roots of good comedy, and paying your dues.
For the rest of Rosenthal's interview, or clips from other interviewees, visit TheWriteEnvironment.com. DVDs are also available through Amazon.com.
Panel Podcast: Your Screenwriting Career in Today's Market, Part 2
Panelists and Script readers convened at Writers Boot Camp in Santa Monica, to discuss the function of representation and the opportunities available in today’s changing market. WBC moderator Jeff Gordon posed questions to panelists Ava Jamshidi of ICM, Mitch Solomon of Magnet Management, Mike Goldberg of Abstract Entertainment, Jewerl Ross of Silent R Management, Marvin Acuna of The Business of Show Institute, and Jake Wagner of Energy Entertainment. Part 1 of 3. Some explicit language. [28:18]
Screenwriter Robert Mark Kamen is a true Hollywood veteran. He earned his first onscreen credit in 1981 for his work on Taps, wrote the three Karate Kid films, and authored or co-authored the screenplays for Gladiator (1992), The Power of One, A Walk in the Clouds, and Lethal Weapon 3. He also spent time as what he humorously calls a “script assassin” at Warner Bros., doing uncredited rewrites on all of their biggest films (he calls himself an assassin because “I’d rewrite all the stuff going into production and I’d just destroy everybody’s work”). Continue reading ...
Panel Podcast: Your Screenwriting Career in Today's Market
Panelists and Script readers convened at Writers Boot Camp in Santa Monica to discuss the function of representation and the opportunities available in today’s changing market. WBC moderator Jeff Gordon posed questions to panelists Ava Jamshidi of ICM, Mitch Solomon of Magnet Management, Mike Goldberg of Abstract Entertainment, Jewerl Ross of Silent R Management, Marvin Acuna of The Business of Show Institute, and Jake Wagner of Energy Entertainment. Part 1 of 3. Some explicit language. [27:00]
E-ARTICLES 
You don't have to play ball like a man to make a great play in Hollywood. That's the unspoken motto of Ava Jamshidi, literary agent at ICM. She embraces her love of classic cinema with a bit of feminine instinct to go after great stories and bring writers home with the sale. In this interview, Script sits down with Jamshidi to learn what makes her stand out, apart from her gender. 
Screenwriter Robert Mark Kamen is a true Hollywood veteran. He earned his first onscreen credit in 1981 for his work on Taps, wrote the three Karate Kid films, and authored or co-authored the screenplays for Gladiator (1992), The Power of One, A Walk in the Clouds, and Lethal Weapon 3. He also spent time as what he humorously calls a “script assassin” at Warner Bros., doing uncredited rewrites on all of their biggest films (he calls himself an assassin because “I’d rewrite all the stuff going into production and I’d just destroy everybody’s work”). 