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Kim Voynar

By Kim Voynar Voynar@moviecitynews.com

Upcoming Fellowships and Contests for Screenwriters and Directors

If you’re a would-be screenwriter or filmmaker, chances are pretty good you’re either also holding down a day job to pay the bills, or constantly struggling to make ends meet … or both. Everyone’s waiting for that break that makes it easier. Here are some upcoming opportunities that you might want to check out:

FIND Fast Track
Deadline: February 27
Application Fee: $40
What it is: Access to three days of intense meetings with financiers, producers, agents and managers during the Los Angeles Film Festival.
Must have: Completed feature-length script (narratives) or detailed feature-length documentary proposal. No treatment-only for narrative submissions.

Nicholl Fellowships in Screenwriting
Deadline: Early Bird – March 15; Regular – May 1
Application Fee: Early Bird – $35; Regular – $52
What it is: Up to five $35,000 fellowships awarded; fellows are expected to complete a feature-length screenplay during their fellowship year.
Must have: Completed feature-length narrative screenplay.

Sundance Institute Screenwriter’s Lab
Deadline: Open now – May 1
Application Fee: $35
What it is: 12 projects selected for participation in the January Screenwriters Lab (the only open-entry point into the Sundance Labs). First or second feature films only.
Must have: Completed feature-length narrative screenplay.

PAGE International Screenwriting Awards
Deadline: Regular — March 1; Late — April 2
Fee: Regular — $49; Late — $59
What it is: Screenwriting competition with $50,000 in cash and prizes
Must have: Completed feature-length screenplay. Animation and musical scripts are accepted for this contest.

American Zoetrope
Deadline: Early — August 1; Final — September 4
Application Fee: Early — $35; Late — $50
What it is: Francis Ford Coppola’s screenwriting competition. Winner and finalists have access to studios and agents reading their script. Winner gets $5,000.
Must have: Completed feature-length narrative screenplay.

Hammer to Nail Short Film Contest
Deadline: Monthly
Application Fee: $30
What it is: Short film contest judged by a rotating panel of judges. Monthly winner gets fee waivers to a slew of major fests.
Must Have: Completed short film

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon