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Here’s How You Break Into Hollywood…

Over the last several years, I’ve served as a Juror for both the Heartland Film Festival and the 168 Hour Film Project, so I’ve had a chance to screen at least a hundred original short and feature-length narrative films by new or aspiring filmmakers looking to make a big impression.

Some of those projects have been amazingly well-made films on very modest budgets, and have served as terrific calling cards for those filmmakers as they seek to get their first break in Hollywood.

But every once in a blue moon, an original short film explodes onto the scene with such creative ferocity that their young creators have their tickets immediately punched into the Hollywood big leagues.  My friend Scott Derrickson did that with his brilliant short film Love in the Ruins a dozen or so years ago as his USC Cinema School graduate project.  That film was his contemporary adaptation of C.S. Lewis’ Screwtape Letters and it immediately opened doors.  Scott has since gone on to write and direct several big studio features, including Hellraiser: Inferno, Urban Legend: Final Cut, The Exorcism of Emily Rose, a remake of The Day the Earth Stood Still, and his newest “found footage” project Sinister now in pre-production.

Four years ago, South African CG Animator Neill Blomkamp created the stunning short Alive in Joburg which you can see here.  That short so impressed Lord of the Rings director-producer Peter Jackson that he used his influence and Showbiz juice to help Blomkamp turn his idea into the successful international sci-fi hit District 9.  That film went on to earn over $200 million worldwide.

And now, two years later, Uruguayan director Fede Alvarez‘ short sci-fi film Panic Attack has found the same trajectory as Blomkamp’s work.  That film so blew away horror film maven Sam Raimi that he attached Alvarez to write and direct his $14 million remake of The Evil Dead.

I talk to so many young filmmakers who are deeply frustrated because they can’t seem to break through the vast layer of cultural noise wrought on all of us by the digital revolution and by You Tube (just because you can [afford cheap digital gear] make a movie, doesn’t mean you should if you don’t have the gift).  They can’t seem to grab that bottom rung on the ladder to legitimate Hollywood opportunity.

I challenge them (and you) to watch both Alive in Joburg and Panic Attack.  This is how you break into the business. You have to storm your way in with such formidable creative prowess and energy that they can’t turn you away.  Watch these two short films and tell me I’m wrong.

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Gametime… some shameless self-promotion

So it has been far too long since I last posted on this blog, but my analytics reports show that a faithful hundred or so of you check in daily to see if I’m still breathing.  Well, I am, but I’m finding it very difficult to maintain a robust blog while Tweeting and Facebooking and Google-Plussing. Thanks for being patient with me. It’s just tough to drive content onto all these platforms while I’m still trying to make a living creating content for film and TV.

Speaking of which… today’s post is some shameless self-promotion about my latest film endeavor, Gametime: Tackling the Past, airing Saturday, September 3, at 8 p.m. on NBC.

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The film — starring Ryan McPartin from Chuck, Beau Bridges and Catherine Hicks of Seventh Heaven fame — follows the story of pro football star Jake Walker (McPartin) who returns home to his small North Carolina boyhood town he has avoided for 15 years when his father (Bridges) has a heart attack. While there, Jake learns he is being cut by his team. The double-whammy gives Jake an opportunity to reflect on his life and to come to grips with the kind of man he is supposed to be, while healing the broken relationships he left behind.  It’s a family drama appropriate for viewers of all ages, has some nice football action, a little romance, and poses the important question about the difference between looking like a good man… and actually being one.

This project is part of the Walmart and Procter & Gamble Family Movie Night franchise that has aired original movies on both NBC and Fox for the last year or so.  It was a fascinating process to work with the Walmart and P & G folks overseeing this project.  The films are all born as loglines in an “idea lab” and are thoroughly researched in focus-groups to determine which ideas seem to push the most buttons in the research sample.  Then those ideas are given to writers like to me to turn into movies.

I hope you’ll tune in and let me know what you think.

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Faith and Film: An Oxymoron?

Found a great interview online between Adam Holz and my friend Barbara Nicolosi, talented screenwriter and founder and former executive director of the Act One Program: Writing for Hollywood – on whose faculty I have served for more than a decade. I have strong feelings about this topic, as you may have gathered from previous posts.

But I could not have answered these questions any better than Barbara — so I repurpose it here for your benefit.  For those of you who identify yourselves as people of faith, especially those of you who work in (or aspire to work in) Hollywood, I urge you to read carefully.  Your survival in Showbiz depends on it.  If you’re not a person inclined to matters of the spirit, please drill down deeply into this material anyway. It will help explain how crucial an exploration of the soul is to the craft of screenwriting.

Onto the interview…

Christians and Hollywood. It may seem like a paradoxical relationship—maybe even a mutually exclusive one, more like oil and water than toast and jam. But an increasing number of Christians have committed themselves to being a part of what Tinseltown is right now—many of them hoping to influence where it will go tomorrow. Barbara Nicolosi is one of those Christians. For more than a decade, Nicolosi has been working to train Christians screenwriters and executives via a program she helped found called Act One. She’s also a screenwriter and adjunct professor of cinema at Seaver Graduate School at Pepperdine University, as well as the co-editor of the 2006 bookBehind the Screen: Hollywood Insiders on Faith, Film, and Culture. She blogs regularly at Church of the Masses. I spoke with her about the complicated intersection of Hollywood and faith.

Adam R. Holz: Barbara, start us off with a quick recap of what Act One is.

Barbara Nicolosi: Act One goes back to 1999. It was an organic effort started by a group of Hollywood professionals who were all believers. We were grieving together at one point about how many Christians come to Hollywood and really commit suicide, metaphorically speaking, and then they think they’re being martyred because of their faith. The idea was that many Christians were approaching the business without a lot of professionalism. They weren’t approaching it with any real sense of the industry standards. And very little regard for the art form itself. A lot of times Christians come in and they don’t really love the medium of film and television. They’re coming to use it as an agenda-driven thing. So we decided we wanted to create a program that would help Christians make a better start. We also included a lot of ethics and spirituality and spiritual formation content because we saw that many weren’t prepared for the dilemmas that come up for believers in the business. We wanted to give our students a better leg up in those areas.

Holz: Were you already in Hollywood and writing screenplays at that point?

Nicolosi: Yes. I was a writer, and I was working in a production company as a director of project development. Pretty much everybody in the core team of Act One was working in the business. It was kind of the litmus tests we had. We didn’t want anyone guessing at what was involved in being in Hollywood. We wanted people who were speaking from the battlefield. And so we started this thing 11 years ago, and now we’ve trained over 1,000 young people. About five years ago we started training executives and producers, executives who want to work in network studio production companies and on the creative side. Eventually, we would love to start a program for actors and directors. (Anyone who wants to see what we’re up to can go to actoneprogram.com.)

Holz: Right or wrong, many Christians tend to see Hollywood as a godless wasteland that pumps out garbage for the rest of the culture to consume. As a Christian within the industry, though, you have a perspective that very few people have. How would you describe the climate in Hollywood for Christian moviemakers today, and what are some of the ways you see them making a difference?

Nicolosi: I think it’s a really great time to be a Christian in Hollywood. Because with the change in the generations—with the Boomers stepping down and now the Gen Xers and Millennials stepping up—there’s tremendous openness to hear new stories, stories that have some hope. I think we saw the Barack Obama campaign make a lot of hay out of the concept of hope, but he really latched onto something that people are feeling. Namely, the need for some hope. In contrast, the end of the Boomer experience has a lot of cynicism [in the movies they've made]. They’re not very happy with where their lives are and the lives that they’ve lived. But now their kids are wanting some reasons to be heroes. They’re wanting reasons to be committed. They want to be in relationships that last. It seems to me as Christians, if we can master the craft of the art form, there’s an openness now to give meaning to people. To tell stories that would help them to live their lives differently than their parents did. Stories that give them some reasons to be a hero. It’s as if they’re saying, “Give me some reason to make a sacrifice, and convince me that I’m going to be glad at the end of my life that I did that.” So, I think this is a natural thing for Christians. And now that the Christians have been organized in Hollywood for the last 15 years or so, there’s a tremendous network of believers in the business.

Holz: What are some examples that show the contrast between the generations of filmmakers?

Nicolosi: If you look at Martin Scorsese’s Gangs of New York or The Departed orThe Aviator, these movies basically say that life is a cruel joke because everybody is caught up in the system, the system is corrupt and evil, and in the end there’s nothing you can do to change it. At the end of The Departed, for instance, the hero gets killed for his trouble. And it just feels like a total waste. You see similar themes in movies like Mystic River from Clint Eastwood. Several other films of his have also reflected this type of cynicism (though not Gran Torino). What they’re saying is that we haven’t been happy, therefore human happiness is not possible. Now let’s look at some of the new filmmakers, the Gen Xers, who are beginning to make a mark—like Jason Reitman, who made Juno. My college students had two favorite movies in the last year: Up and Juno. Both of these movies are positive. If you’ll remember, Juno is about a 16-year-old girl who gets pregnant and carries her baby to term. She says in the movie, “It might be the greatest thing I can do with my life to give the possibility of parenthood to somebody who wouldn’t have that.” And she’s willing to sacrifice nine months of her life to do that. That makes no sense to the Boomer generation. In this year’s Up in the Air, Jason Reitman’s Academy Award-nominated film, he has a Gen Xer just basically looking in Boomers’ eyes and saying, “I don’t want to be you.”

Holz: How does that play out onscreen?

Nicolosi: George Clooney and Vera Farmiga play two people who’ve decided that that the best way to live is to not have any commitment. Just have as much sex as possible and then run. And this 23-year-old character looks at them and says, “I don’t want to be you. I want to be committed.” Those are just a couple examples. But I’m seeing it all over. The movie Preciouswas an indictment of the Boomer welfare state. That film has a Millennial saying, “I don’t want to be you” to her mother and walking away.

Holz: That’s a difficult film to watch. But I don’t think anyone can argue with the fact that it’s inspiring.

Nicolosi: It’s a very hopeful film, which makes no sense because of the harsh, really graphic nature of the brutality that the star, a teenage single mom, suffers. Her mother is the product of the welfare state. She’s the consummate product. And the movie condemns that lifestyle, and she walks away. She’s going to have a tough life. But she hopes for a good life.

Holz: What would you say it looks like to be a biblical and discerning moviegoer?

Nicolosi: I would say that there are two wrong ways to live as a disciple in the 21st century. The first wrong way is to be what I call a “cave-dwelling Christian.” These are literally the ones who are hunkered down, those who proudly say, “We don’t watch television, we don’t ever go to the movies, it’s all garbage. We’re trying to shut out the world.” To that mindset I would say, We’re supposed to be yeast in the world. We’re supposed to be telling all of creation the Good News, not ducking our heads down hoping we don’t get caught in the crossfire. There’s nothing heroic in the vision. In fact if Christians do nothing, it allows the forces of darkness to have free rein. So I believe that’s the wrong way to live. The other wrong way is what I call being “Teflon Christians.” These are the ones who say, “Ahhh, it’s just a movie. It’s just music. It’s just a video game. The kids are just having fun, and I don’t wanna think about it.” These people will let their kids go unaccompanied to see movies like 300 and Watchmen and never trouble themselves to find out what they’re taking in. We live in a very complex moment right now. To be a Christian and a disciple in the 21st century means you have to be adept at learning. You have to walk through the mire and find the good stuff there and point to it and hold it up. In City of God, St. Augustine said, “Evil is taking something complicated and making it simple so it’s easier for you to deal with that way.” We’re living in a time where we have to be alert. Our sanctity is going to be found in this careful process of finding the good, pointing to it and holding it up for other people, patiently watching stuff with our kids, teaching them to look for meaning, teaching them to look at method, unveiling agenda where it’s present. We don’t have the luxury of going to the movies, like maybe our grandparents did in the postwar period, and just munching on the popcorn.

Holz: Christian filmmakers often include an evangelistic or a theological message in their movies, messages that are impossible to miss. Do you think this is an effective way to communicate our faith via film?

Nicolosi: When you want to put a sacred or transcendent message in a movie—let’s say one that’s going to mention God or the life of the soul—I think it has to be so beautifully done that people will feel that you’re sharing something that’s beautiful, not something that’s trying to get them to do something.

Holz: Or to convert them?

Nicolosi: It’s not agenda driven. What you’re doing is sharing a beautiful insight. And even if your audience doesn’t share that insight—or if they haven’t had it themselves—they can say, “Wow, that’s really cool.” So I think that’s the secret for us to talk about these things we’re really burning to talk about. But that takes a tremendous amount of skill and practice. When my students come in and say, “I want to write the next Passion of the Christ,” I tell them, “Why don’t you just write a really good short film right now about a father and a daughter and leave the God stuff out the picture because you don’t have that ability. You shouldn’t take on the life of the Spirit until you’ve kind of mastered the basic stuff.” I think a lot of times Christians are biting off way more than they can chew, and their talent and training just isn’t up to what they’re attempting. It ends up that they make the work look banal. It’s over simplified. It’s badly done. It just ends up making you wince. I wince terribly when I watch us talk about God in our movies because it feels so oversimplified. This is the kind of work that Flannery O’Conner condemned very often.

Holz: She was a Catholic writer?

Nicolosi: Yes. Certainly one of the greatest short story writers of the 20th century … maybe ever. But she also happened to be a very strong Catholic who was committed to her faith. She said that for Christians to place an overemphasis on innocence is inexcusable because we know what’s in the heart of men. This is a very complex thing we’re doing here—living human life—and when Christians reduce it to simple platitudes, it’s kind of disgusting.

Holz: Still, for the sake of argument, isn’t it better to make something that’s nice than nothing at all? Or something that’s not nice?

Nicolosi: Someone once told me that the word nice comes from the same Greek root word that means stupid. I see a lot of Christians trying to create nice movies that would be better left undone.

Holz: What, then, does a beautiful movie look like?

Nicolosi: It involves a mastery of craft in which the artist encounters the world. And because it’s filtered through their talent and their training—they’ve practiced it many times—they’ve actually got something to say. It’s probably going to come out in a metaphor, because that’s what artists do.

Holz: Is it something like what Jesus was doing with His parables?

Nicolosi: Yes. That’s where this idea comes from. Having said that, I do think there are some values we have as Christians that need to be articulated in the mainstream marketplace, values that flow out of the theological truths of our faith. If Christians went missing tomorrow from the marketplace of ideas, for example, what would be missing? I think we can nail down some of these values that we bring to the table. For example, one of them would be the sacramental quality of life. For Christians, everything we see is a sign of everything we don’t see. There is order and meaning behind all of material life. … That is a Christian value that would be missing.

Holz: It seems like that value is especially important in a postmodern age in which people say, “There is no truth. It’s all up for grabs. Pick and choose what you want.” Because of that view of reality, our minds have ultimately become pretty chaotic.

Nicolosi: There are absolutely no absolutes in postmodernism. In contrast, another important Christian value is our conviction that good and evil are not equal. We believe good is much better than evil is bad, even though it doesn’t always look like that on the surface. Our movies, our stories, need to reflect that truth. Another value would be the ironic juxtaposition of joy and suffering, of hope and suffering. Christians can hold in their hands hope and suffering simultaneously with no sense of contradiction. The cross is the greatest sign of that. And so we can talk about how grace is always being offered. These are Christian values that should infuse our stories.

Holz: If you could say anything to Christians who see only a few films a year and who are generally cautious when it comes to the world of movies, what would it be?

Nicolosi: What you need to do is find critics whose sensibilities you trust and then regularly listen to them. Because the truth is, God is sending the Holy Spirit and He is inspiring artists and storytellers today to tell stories that we need to hear as people of this moment. I think Christians need to see themselves as people of this time and moment and stop thinking that we’re standing outside the culture. We aren’t. We’re in it.

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A eulogy for my Dad – Bob Bird, “The Music Man”

My Dad, Robert Vincent Bird, was born on April 28, 1933, in Sterling, Colorado. He passed away of congestive heart failure, in his sleep, on July 20, 2010, at home in Riverside, California.  He was a son, brother, husband, father, uncle, grandfather and a friend during his 77-plus years.

Those two dates, April 28, 1933 and July 20, 2010, now represent the bookends of the life he lived.  But the dash in between those two events is a novel full of stories, sights, sounds, music, highs, lows, joys and pain, accomplishments and a few failures, profound breakthroughs, dramatic plot turns, epiphanies, lots of laughter and above all, love.

As a boy growing up in the midwest, little “Bobby” as folks back then knew him, had an abundant mop-head of curly white blond hair.  (By the way, the hair stayed blond for nearly eight decades without the help of Grecian Formula – something at least one of his three sons can’t claim).

As the oldest of four children of Vince and Connie Bird who were career Foursquare pastor co-pilots in ministry, Bobby was both held to high standards and perhaps just a little spoiled as the apple of his father’s eye.  He had all the interests of a typical boy growing up during the waning years of the Great Depression. He built a crystal radio set and loved tuning in radio broadcasts from places near and far under his covers at night. He had a paper route, sold flower seeds, had a love for debating people and a fascination about the world around him.  Pastors’ kids have a peculiar set of pressures they live with.  For the most part, he towed the line and didn’t get caught doing anything his Dad would have to apologize for from the pulpit.  But he admitted later in life, that he occassionally donned a hooded jacket and snuck out to smoke a cigar, or to play cards, or to commit the worst of all infractions for pastor’s kid in those days – go to the movies.  The first movie he snuck into:  “Lassie.”

As Grandpa Bird moved around from church assignment to church assignment during those years – mostly in the state of Kansas – Dad and his younger siblings, Patricia, Dan and Connie, grew up in towns with names like Parsons, Burlington and Topeka where Dad finished his Junior year of high school before one more church assignment took the Bird family to Kenosha, Wisconsin.  It was a tough move for Dad.  He had really found himself at Topeka High where he played football and fell in love for the first time.

But in Kenosha, at Mary D. Bradford High School, his senior year was full.  He was a clasmaate of Alan “The Horse” Ameche who later went onto win the Heisman trophy.  And Dad’s singing and oratory skills blossomed as a member of the choir, drama club and debate team and he actually won a Wisconsin State debating title – an honor which earned him a trip to California and a national debate competition at Pepperdine University.

Not much later, he returned to Los Angeles to attend Life Bible College, where both of his parents had been members of the first graduating class.  It was during his four years there that his interest and drama and debate resurfaced and he flirted with another idea. What if after Life Bible College he could attend USC’s film school?  But that idea soon gave way to the call of following his father into the pastorate.  And it also paled in comparison to a pretty, perky, confident young lady who sang in the Angeles Temple choir.  Rachel Marian Benson was her name and she stole his heart.  He proposed to her one month after they met following a date to the opera.  She made him wait three terrifying days before saying “yes” and they were married three months later in a wedding extravaganza that could have rivaled any Hollywood nuptials.

The reason for the rush?  Somebody had the bright idea that Bob and Rachel should piggyback their wedding along with the previously scheduled wedding of Dad’s younger sister, Pat, and her fiance, Dave Risser.  And on January 29, 1956, the two couples tied the knot at Angeles Temple in a double ceremony.  Because of the strong family connections of both the Bird and Risser clans to Foursquare, it was estimated that over 2,500 people attended the wedding.  Countless thousands more witnessed the event by hearing it on radio.  That’s right, their wedding was the Sunday night broadcast on KFSG.

After graduating from Life, Dad and Mom returned to the midwest where Dad received his first church assignment at the Foursquare Church of Galva, Illinois.  The 30 members of the congregation gave him a warm welcome, and it was during his six months there that his first son was born.  That would be me.  But Dad struggled as a young pastor of a tiny church barely able to afford his salary.  He said later that he felt perhaps he had misread his calling to be a pastor.  And he soon resigned – a decision his own father struggled to accept at first, but later grew to understand.

Dad and Mom moved back to Kenosha, Wisconsin, where their second son, Patrick, was born, and Dad worked at American Motors and attended the University of Wisconsin for a few years.  But once again, Dad felt an urging to go west.

During his debate and drama years, he had been told many times that he had a voice for radio. And in 1960, Dad and Mom moved back to Los Angeles with their two young sons.  Dad enrolled at the Columbia School of Broadcasting, and by 1961 he had his first job in radio as an announcer for the Christian radio station, KHOF-FM (which you might now know as KKLA).  And during the next dozen years, Dad served as a radio announcer and engineer at several other California radio stations, including back at the station that broadcast his wedding, KFSG, and then at KSBW in Salinas, and finally KRKD back in Los Angeles which eventually turned into KIIS-AM.  During his time at KIIS, he spun soft rock, easy-listening records and was known by his on-air name, “Bob Bird, The Music Man.”  He did voice-over work for numerous TV and radio commercials and even recorded his oldest son narrating Public Service Announcements for Smokey the Bear and US Savings Bonds that he then aired on the radio – bragging rights which won me many a bet from disbelieving neighborhood friends when they heard my voice come over the radio.

It was during that period that third son, Dennis, was born in 1965.  And so was Dad’s love for the outdoors, and especially sailing.  Some of his three sons’ best childhood memories were spent on the little 14-foot Lido sailboat Dad bought and captained in Los Angeles Harbor and every summer for two weeks on the pristine waters of Huntington Lake in the Sierra Nevadas.  Combine that with camping and hiking and then later also sailing on three wheels on a dry lakebed, and you have the makings of some very cool vacations and weekend outings – which became magnets for all our boyhood pals, as well.

But by the early-1970s, Dad was growing restless in his work in radio. The constant turnover of personnel and the ratings-driven nature of the business began to eat at him.  But he was also feeling a familiar tug on his soul that he needed to do something more meaningful with his life.  And in 1977, he completed a B.A. degree in religious studies at Azusa Pacific University, followed by graduate work at Fuller Seminary and a M.A. in theology, also from APU.  That training led him for the next two decades to dedicate his time and talents to hospital chaplaincy work, first at Whittier Hospital, then Kaiser Hospital of Los Angeles, and then finally for a dozen years at St. Joseph Hospital of Orange. He was certified in Clinical Pastoral Education, Mediation and grief counseling, and ordained as a deacon in the Episcopal Church – skills that aided and comforted thousands of hospital patients, their families and even the doctors and medical staff at each of the hospitals where he served.

The last time I checked, the mortality rate in America is… 100 percent.  And we’re all headed for the hospital, Lord-willing later rather than sooner. And that was something Dad knew well, both personally in his own physical struggles, and on behalf of those he served.  Providing comfort and care, a listening ear, and shoulders to cry on was work that brought him deep joy, standing alongside people and their loved ones at the most vulnerable time of their lives.

Dad continued to serve at St. Joseph’s until physically he was unable to keep up the demanding schedule at what he called “the building that never sleeps,” and he officially retired in 1999.  But Dad was a lifelong learner.  In fact, he really never left college.  During his entire adult life, he read and studied and contemplated as if his life depended on it.  He consumed knowledge and savored learning.  His library was full of the books he read and the college courses he continued taking on video tape.  Theology, psychology, autobiographies, historical fiction, thrillers – pretty much anything that would contribute to his understanding of himself, of others, of the world, of the human condition. He was reading a book reccommended to him by one of his grandsons the week of his death.

None of us would deny that his physical struggles defined a large part of Dad’s last decade.  He was a man who survived speedbumps, dodged bullets and cheated death many times.  He suffered from Diabetes from the age of 35 on.  He survived a heart attack and a stroke, and not one, but two heart bypass operations. He was beating two types of cancer, and for the last year, life-saving dialysis served as his kidneys. He was described by one of his doctors as “the most complicated patient” he ever treated.  And he faced the daily grind of his various maladies with grace and patience, without complaining.

Sure he had a few regrets.  Don’t we all?  And he had a bucket list… you know, those things you hope to accomplish before you “kick the bucket.”  He would have loved to ride a motorcycle again.  Mom made him promise never to ride again after he laid one down in the road early in their marriage and had a pin that held his ankle together.  He would have loved to get out in a sailboat one more time.  He would have loved to take a cross-country train trip.  He would have loved to reach his 60th wedding anniversary with Mom.  He would have loved to live to see his sons accomplish all their goals in life. He would have loved to live to see his grandkids get married and have children of their own.

You’ve heard the phrase, “don’t miss the forest for the trees.”  But sometimes the opposite is also true.  When you’re looking at the whole forest of a man’s life, it’s also easy to forget some of the trees.  There are probably a few things you didn’t know about Robert Bird.  For instance, how in 1968, he was on duty at KRKD when his colleague, reporter Andrew West, captured the now-famous audio tape of the assasination of Robert F. Kennedy at the Ambassador Hotel

Or how in the mid-1970s, he took a rag-tag group of boys, some of them troubled teens, and started an Explorer Scout troop to rehabilitate a 35-foot wooden sloop sailboat, and a delapidated 40-foot catamaran that were stored in a junkyard at the Alameda Naval Station.  He led the troop in a rehab project that got the boats ocean-worthy again and in the process taught them how to sail.

Or how in the early 1980s, he was one of the first Chaplains to minister directly to AIDS patients, and how he ended up baptizing one young AIDS sufferer in the pool at USC County Medical Center because no church the area would allow him to use their baptismal for fear of spreading the virus – a story captured in the Los Angeles Times and Christianity Today magazine.

Or how in 2000, as an expert in grief counseling, he was recruited to be part of the Red Cross emergency team that ministered to the families of the 83 people who died in the Alaska Airlines Flight 261 that crashed into the Pacific Ocean.

Or how exposure to his work in radio provided the inspiration and nurture for my career in journalism and then film and television writing and production.

Or how in the last year, as a patient himself at the St. Joseph’s Dialisys Center, he continued working his hospital chaplain’s muscles with the nurses and patients there, and reached out to one man in particular who had just lost his wife and was struggling with his will to go on living himself.

They tell us in mathematics, that two-plus-two always equals four.  But I believe when it comes to the math of human accomplishment, the total is always greater than the sum of its parts because the legacy of a life well-lived goes on forever.  Dad’s legacy will keep growing, spreading, mushrooming in a geometric pattern for generations to come because he leaves behind a wife of 54 years who (I’m biased) could still be president of the United States.  He leaves behind three sons who love their wives and are raising their children to love God and love others. He leaves behind 11 grandchildren who are not afraid to dream big dreams. And he leaves behind siblings, family members and friends who are better for having known him.  And he leaves behind thousands of people we may never know whose lives he intersected at a time when they needed the comfort of a savior and Dad did his best to be that comfort for them.

And I’m pretty sure, in the early morning hours of July 20, when he passed through that veil between here and eternity, he got the “attaboy” that we all hope to get one day. Well done, good and faithful servant. Well done.

Delivered at Robert Bird’s memorial service on August 14, 2010, at Florence Avenue Foursquare Church in Santa Fe Springs, CA

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Not Easily Broken… your backstage pass

I don’t know about any other working film or TV writers, but there have never been any writer groupies waiting outside the soundstage for me. Honestly, I’m okay with that, for three reasons. First, I look like Larry Bird’s ugly older brother, so I know it would never happen. Second, even if in some strange alternate universe, it ever did happen, I would have no idea where to go with the opportunity. And third, I’ve been happily wed to my wife for 29 years, and I totally married out of my league, so I’m not looking to mess that up.

But the one area of my life where I know some young aspiring writer thing might actually throw herself at me is the area of what’s stored on my hard drive. That is, those file folders full of documents related to the various film and television projects I’ve worked on. Treatments, outlines, drafts of scripts, notes from the studio. The good, bad and ugly. The juicy details of the development process.

So, here at Brianbird.net, I intend to open up the .pdf vault from time to time for the few of you desperate for inside knowledge. I do so for your reading and educational enlightenment, and I hope in some cases… your pleasure. (These resource posts will also end up in the READING ROOM section of the site).

Not Easily Broken

First up is an array of .pdfs from my film, Not Easily Broken, a relationship drama released in 2009 by Sony/TriStar.  The film was directed by Bill Duke and starred Morris Chestnut and Taraji P. Henson, fresh off her Academy Award-nominated role in The Curious Case of Benjamin Button.

I was approached in 2006 by Sony and Bishop TD Jakes who wrote the novel on which the script was to be to based. Below are some of the written stepping stones along the way, including additional documents so you can travel the development process with me.

After I turned in my first draft of the treatment, the studio felt we needed “more testosterone,” so that’s when I pitched a story element not in the novel that allowed us to get our main male characters, played by Chestnut, Eddie Cibrian, comedian Kevin Hart and Wood Harris, strutting around without their shirts on: street basketball. (You’re welcome, Ladies).

During a particularly enlightening notes session with Bishop Jakes and Director Bill Duke, we determined that we still needed more “man-stuff” in the script and it came to me that what they were really asking for was a male version of “Waiting to Exhale.”  When I pitched that archetype to them, the lights went on for all of us. The Bishop, who had written another book called He-Motions, said he believed that the stereotype of strong, silent males never telling each other their emotional business was completely inaccurate. So I went back to work and came up with a bunch of new material in the script where, in fact, our guys did confide their deepest fears, feelings and burdens with each other. And the scenes became some of my favorite, and funniest, in the film.

There were a few additional scenes I wrote on set during production. Here is one Bill Duke asked me to write because we needed some comic relief in what was clearly a relentlessly dramatic third act. I wrote this in about an hour and Kevin Hart, playing the character of “Tree,” used it as a jumping off point.

And finally, during the marketing wind-up to the release of the film, here is a post I was asked to write for the Bishop’s blog.

In conclusion, perhaps it goes without saying, but please don’t try to sell or stage your own version of Not Easily Broken. The powers-that-be might frown on that, and lawyers would send me and you annoying, nasty letters.

Happy reading… I hope.

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In remembrance of a young filmmaker

This is a post that I shared with the Facebook Universe back on July 15 of 2009, before I had this forum available to me.  I repurpose it here mostly as a reminder to myself of an important life lesson. I hope it hits the spot emotionally for you, as well.

When I received the email Sunday morning, July 12, 2009, I felt a little tear in the universe.  Just two weeks earlier, I had spent hours on the phone with my friend, Kerry Brown, going scene by scene through his director’s cut of his first independent film, “Leaders.”  We talked about pacing and how to cut around some not insignificant sound and continuity problems and moments where his actors felt they knew better than him how to play those moments — which clearly they didn’t.  But mostly I told him how proud of him for not giving up on his 9-year dream to direct a film he first conceived in Act One as a member of the Class of 2000.  It was a script I mentored him through way back then, and then again a year ago when he found an angel to put up enough money for him to make it more than a student film.

Kerry was a frail young man physically. He had suffered from a relentless pulmonary condition and congestive heart failure for a long time. But he was not frail of spirit or optimism. He was a spiritual lion. A devourer of scripture. Conan the Interceder. Because of his physical condition, he was not always able to work, so during his sick days and all those midnight oil hours, he wrote scripts. Several completed screenplays. Epics like his script about the rise and fall of Atlantis, and another battle royale between heaven and hell after the fall of Lucifer to earth. He learned the challenges of trying break through the iron gates of Hollywood from a Chicago vantage point. Sometimes his dream dimmed during his post-Act One years because nothing seemed to be working for him. He experienced what we all experience no matter what our level of achievement. That Hollywood is not called “Show Friendship,” it’s called “Show Business.” That it is junior high with money. That you have to start out with the understanding that getting a film made is nearly always impossible. And that the only way anybody ever gets one made is by chipping away little by little at the impossibility until one day they wake up and they are saying, “Action.”

“Leaders” is not a perfect film. Kerry was beset by all the problems any filmmaker is hit with, no matter what the budget. Production issues. Location issues. Weather issues. Actor issues. But there is a raw power to this little film because it bubbled up out of his heart as a young African-American man raised in marginal circumstances in a big American city. He had an unmistakably good eye for composing his shots and moving the camera. And there is an autobiographical thread here as his hero, “Hope,” tries to survive the tides of sex, drugs and violence of life in the projects while clinging precariously to his faith in God. He did not shy away from the profane, or the sacred, so this is not a vanilla film. It’s red. Red on white.

I told Kerry I wasn’t sure if there would be a buyer for his film because it’s a little too raw for a faith-based church marketing campaign. And it’s a little too faithful for the schizophrenic home video distributors who can’t decide whether they are in or out of the faith business. But I told him I would try to help him find somebody to take “Leaders” to market when it was ready for prime time. He didn’t flinch at my long list of notes or that there was still a lot of impossibility at which we would have to chip away.

However, he did tell me that he might have to work with his editor, Joel Kapity, from a hospital bed. He was never quite sure when the lungs would fill or the fluid would build up around his heart. He said it with such a gleam in his voice, I thought he was joking. And then I received the email from his mother, Jayne Johnson, on Sunday, with the very sad news that Kerry had passed away on Thursday. His heart had finally given out at just days after his 29th birthday.

I don’t know now how to compute why God takes some, and leaves others who don’t deserve to stick around. Or exactly how to resolve the idea of a young man who fought great odds in his life to reach a dream that at least by the world’s measure of success he didn’t live to see finished. Or what becomes of his very personal little film. Perhaps the digital age will preserve Kerry Brown’s eye in democratic cyberspace for a thousand years. But I do know this. He blessed my life more than I’m sure I blessed his. And I’ll always be thankful for the way he signed off all our calls or emails: “I love you, Mentor.”

Perhaps it is Show Friendship after all.

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Copying the masters…

I’m often asked by new writers how I learned how to write for film and television.  I have to admit that for me it didn’t happen by going to film school — although I wouldn’t discourage anybody from doing that.

I first learned how to write in journalism school, and then as a working journalist for 10 years or so before I morphed into writing for film and TV.  So for me one of the big answers to the question is I learned how write scripts from READING OTHER PEOPLE’S SCRIPTS.  Especially produced scripts.

It is one of the best screenwriting classrooms I know.  Scripts, scripts and more scripts.  It’s actually a concept that dates back to an accepted form of learning how to “do art” for  thousands of years.

It’s called “Copy the Master.”  It doesn’t mean literally to “copy,” but to draw inspiration, style, technique from the experts in the field of art you aspire to.  If you can picture a painting class, all the students are sitting at their canvasses while the Master, or teacher, is at the front of the class doing what?  Painting on his/her canvass. What are the students doing?  They are “copying the master,” mimicking his style and technique. Since the beginning of time, the idea is for the student to copy the master, but bring himself to the canvass (or script page) in order to surpass the master. Even Michelangelo was in his Master’s class in the Medici School.  Make sense?

Before I write any new project, I prime the pump creatively for myself by reading five great screenplays by “master” screenwriters.  That is, the Greats.  The Horton Footes, Robert Bolts and Robert Townes of this world, just to name a few.  I read them to see how they nail scenes, how they escalate the action, how they introduce characters, how they weave character and plot together at act breaks.  And then I try to go and do likewise on the project I am writing.

If you’ll navigate to my READING ROOM page under RESOURCES, you’ll find I have included sub-pages with .pdf files of some of the FILMS and TELEVISION projects I have written over the years.  They are there for your benefit.  I don’t in any way put my own scripts in the category of the above greats. I include them because I hope they will be helpful in some measure, and many of them were in fact produced, so somebody saw merit in them and spend a lot of money on them.  I consider myself a fellow student in art class, so feel free to look over my shoulder and read whatever you like.

I’m also including pages for projects I’m still working on and which are in various stages of COMING to fruition.  And another page for busted projects, a page I’m calling DEVELOPMENT H*LL.  That is, projects I got paid to write, but that ended up not being produced. Every produced writer has some of those in his career quiver.

Just a quick disclaimer.  Maybe it goes without saying, but please don’t try to sell or stage any of these scripts. The networks or studios or production companies that hired me to work on them might frown on that, and their lawyers would send me and you some creepy, annoying letters.

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Welcome to BRIANBIRD.NET

The art of Story, the craft of screenwriting and more

My name is Brian Bird, hence the eponymous name of my blog and website. And for the last 25 years, I have been a film and television writer and producer in Hollywood.  I have written and/or produced a dozen films and nearly 250 episodes of network television. You can see my credits here.

I am also the husband of one wife (29 years) and the father of five children, which makes me sort of an oddball in Hollywood — a business which can be particularly harsh on marriage and family. I believe in God and I believe in the power of Story to affirm life, faith and the dignity of all people.

I offer all these professional and personal credentials not out of hubris, but to show you that even an average schmuck like me can rise out of obscurity and actually find success in one of the most competitive businesses in the world.  And live to talk about it.

When I began contemplating joining the online revolution, I asked myself two hard questions:

  1. Am I really committed enough to keep this website fresh and meaningful?
  2. Will there be anybody out there listening?

Well, to the first, I guess you’ll ultimately have to be the judge of that.  I will absolutely do my best to make this site the most helpful, hopeful journey through the screenwriting and filmmaking trade as I can.  I pledge to bring you tools, tips, training, resources, shortcuts, insider knowledge, battlefield strategies and answers to your questions. I will blog about my own creative and not-so-creative experiences, and offer my opinions about life, art, religion, politics and culture.  I will speak out of school if I have to and tweak noses when they are out of joint. And I will be generous with my praise because God loves a cheerful giver.  And I hope that all of this will encourage you if you’re floundering in the middle of this very capricious business, or open some doors for you if you’re standing on the outside with your heart on fire.

To my second question, I can only point to a recent experience that was very humbling for me.  A young writer I’ll simply call “Pete” found my number somewhere and called to ask if he could have 30 minutes of time.  It’s not something I do very often because frankly I could spend 40 hours a week meeting with new writers hungry for advice.  However, in this case I said yes.  So we met and had coffee and some nice meaningful conversation, and I could tell that this young man was going places with his talents.  I later found out that he drove all the way from Northern California for 30 minutes of my time.

So, it is for the Petes of this world that I offer this website.  I hope somehow it enlightens you, helps you hone your skills, makes you laugh once in awhile…  and blesses your socks off.

And I look forward to hearing from you often in the comment box, or at info@brianbird.net.


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