Daily Dialogue theme next week: Madness

October 25th, 2014 by

The Daily Dialogue theme for next week: Madness.

Sol Robeson: This is insanity, Max.

Maximillian Cohen: Or maybe it’s genius.

The usual drill:

* Copy/paste dialogue from IMDB Quotes or some other transcript source.

* Copy/paste the URL of an accompanying video from YouTube or some other video source.

I’d also ask you to think about why the dialogue is notable. Is there anything about the dialogue which provides some takeaway re screenwriting?

Here is our lineup for upcoming Daily Dialogue themes:

November 3-November 9: Seduction [Markham Cook]
November 10-November 16: Embarrassing Moment
November 17-November 23: Friendship
November 24-November 30: Proposal [Aamir Mirza]
December 1-December 7: Leadership
December 8-December 14: Quitting
December 15-December 21: Negotiation [Michael Waters]

Check this out: The GITS Daily Dialogue Topic Index! You can read about Liz and Allie, two sisters who are big fans of the blog, and were inspired to create the index. A great resource for writers looking for inspiration for their own dialogue writing. You can be a part of this proud tradition with your ideas for weekly themes and Daily Dialogue suggestions.

Please post your ideas for this week’s theme — Madness — in comments. Thanks!

If you have any ideas for Daily Dialogue themes, feel free to post as well. Thanks for your suggestions!

 

The Signature Gesture: A Workshop in Expressive Writing

October 25th, 2014 by

Here is an experiment in something. At the precise moment this post goes live, I am at the Austin Film Festival co-hosting a workshop with Mary Coleman, head of Pixar’s story department. It’s called “The Signature Gesture: A Workshop in Expressive Writing.” Yes, another attempt at emphasizing the importance of visual writing. So in that spirit, here are 20 hand gestures presented by Italian models!

Like I said: Visual writing! Next year, plan on attending the Austin Film Festival. It’s amazing.

David Milch: “The Writer’s Voice” (Part 5)

October 25th, 2014 by

Back in September 2010, I ran a week-long series featuring key excerpts from a memorable series of presentations by David Milch at the WGA Theater in Beverly Hills. Then this week, I stumbled upon this: An entire series called The Idea of the Writer by Milch now available on YouTube. In recognition of that wonderful news, I will reprise my posts and embed video from each of Milch’s presentations.

David Milch is a talented writer. Check out these credits:

Television credits (as creator)

Awards and recognition

  • 1993 Emmy Award, Outstanding Writing in a Drama Series (Hill Street Blues)
  • 1994 Edgar Award, Best Episode in a Television Series Teleplay (NYPD Blue, “4B or Not 4B”)
  • 1995 Emmy Award, Best Drama Series (NYPD Blue)
  • 1995 Edgar Award, Best Episode in a Television Series Teleplay (NYPD Blue, “Simone Says”) (shared with Steven Bochco and Walon Green)
  • 2006 Austin Film Festival, Outstanding Television Writer Award recipient

Not to mention the 259 episodes of “N.Y.P.D. Blue” he’s credited with writing.

I did this post back in July that featured some great video of Milch sharing his thoughts about writing. At the time, I noted this:

What leaped to mind when I read the news about the new HBO series was a series of presentations Milch gave at the WGA Theater several years ago. They were covered and excerpted in the fine WGA journal “Written By” over the course of several months. I remember reading them, both fascinated and inspired by Milch’s ideas.

I contacted “Written By” and they have kindly offered to create electronic versions of the original hard copies, so I can excerpt them on GITS. Look forward to that sometime soon.

This week each day, I’ll feature some of Milch’s comments from those presentations at the WGA Theater from back in 2001, excerpted from the “Written By” journal. Here is Part 5:

Let me hasten to say I’m not comparing myself to St. Paul. But I know what it is to do what you never dreamed of doing, what you never thought you’d be capable of doing. The utter mystification that you experience. “How did I get here? How did this happen?” Let me read from Paul’s Epistles. He doesn’t seem like a murderer: “We know that the law is spiritual, but I am carnal. Sold under sin. I do not understand my own actions, for I do not do what I want. But I do the very thing I hate. Now if I do what I do not want, I agree that the law is good. So then it is no longer I that do it but sin which dwells within me. For I know that nothing good dwells within me, that is, in my flesh. I can will what is right but I cannot do it. For I do not do the good I want but the evil I don’t want is what I do.”

Let’s think a little bit just for a second about writing, when for any reason you don’t do it, and if you do do it, you don’t do the writing you want to do, and if you do the writing you thought you wanted to do it turns out that you didn’t do it the way you wanted to do it, or you gave it to the wrong person, or the person you gave it to didn’t handle it the way you wanted . . . It’s a mystery. It’s all a mystery to us.

—-

But consider what that was like for him to have his works rejected like that. And when he went out, he said, “All right, so you want me in Rome. You want me working in Rome?” And they said, “Yeah, work in Rome.” And he did. That’s where he died. So all of us can tell our war stories of isolation and humiliation and vacillation in commitment to the faith, which for us is, in this very secular context, the enterprise of fellowship. What I would have you understand is that if you keep coming—you know, Franz Kafka was every bit as crazy as Paul, but he kept coming—and if you sink your roots deep and if you keep coming, you can find an accommodation for anything.

You think you’ve got problems with self-esteem? One day Gregor Samsa woke and discovered he was a bug. So you got problems with self-esteem, now let’s see if you can write. And, ah, that story, The Metamorphosis, is the most beautiful domestic comedy. It’s not about being a bug; it’s about how a family lives with a bug. To paraphrase Yeats, the ladder starts in the foul rag and bone shop of the heart. And that ladder, if you keep climbing, will take you out. Here’s the last that Paul wrote:

“If I speak in the tongues of men and of angels, but have not love, I am a noisy gong or a clanging cymbal. And if I have prophetic powers and understand all mysteries and all knowledge and if I have all faiths so as to move mountains, but have not love, I’m nothing. If I give away all I have but have not love, I gain nothing. Love is patient and kind. Love is not jealous or boastful. It is not arrogant or rude. Love does not insist on its own way. It is not irritable or resentful. It does not rejoice of wrong, but rejoices in the right. Love bears all things, believes all things, hopes all things, endures all things. Love never ends. As per prophecy, it will pass away. As per tongues, they will cease. As per knowledge, it will pass away, for our knowledge is imperfect, and our prophecy is imperfect. But when the perfect comes, the imperfect will pass away. When I was a child, I spoke like a child, I thought like a child, I reasoned like a child. When I became a man, I gave up childish ways. For now we see as in a mirror dimly, but then face to face. Now I know in part, then I shall understand fully, even as I had been fully understood. So faith, hope, and love abide. But the greatest of these is love.”

Now that came to Paul because he kept showing up. After he wrote that, he made a lot of mistakes. And he failed to be fully human a lot of times. But the words abide. And that the words abide perfectly is the little bit of God that we touch, in the same way that when we see our children, you will live outside yourself. As you experience the voices—whether they’re punitive, whether they’re meek, whether they’re shrill, whether they’re placid—understand that love accepts them all. Love redeems them all.

It’s interesting to note how much Milch ties in spirituality to writing. That’s certainly one of the reasons why I remember these articles in “Written By” because I completely agree that there is something about our writing and the words we write that is connected to God / the Universe / the Creative, whatever you choose to call it.

Let’s consider another biblical reference, this from the Gospel of John: “In the beginning was the Word, and the Word was with God, and the Word was God.” In the Christian community, the “Word” in this context refers to Christ. But as writers, we can draw another meaning from the metaphor: the “Word” representing our stories. That in some mysterious, even mystical way they already exist. And it is our challenge to go into our stories to find them. And then the next step, also from John: “And the Word was made flesh.” When we write our stories, we are in effect engaged in a process of incarnation. And it’s all that, I believe, that is connected to God / the Universe / the Creative / Whatever.

Writing and perhaps especially writing for TV and film can be soul-sucking experience. So much effort, so much time, so many other voices mixed into the so-called ‘collaborative effort,’ often diminishing our original vision.

My hope for each one of you is that you never lose touch with the power and beauty of writing-as-incarnation experience. For bringing something into this world from the world of ideas is an awesome thing.

Day 5: David Milch on The Idea of the Writer.

For Part 1, go here.

Part 2, here.

Part 3, here.

Part 4, here.

Do yourself a favor. Check out all five posts. David Milch is a one of a kind seer into writing.

Saturday Hot Links

October 25th, 2014 by

Time for the 157th installment of Saturday Hot Links!

Today: The Jimi Hendrix “Voodoo Child: Slight Return” Edition.

The 50 best movie beauty moments of all time.

Science working to give us is 1,000 year-old lifespans and how that could affect the economy.

Screenwriter Bob Saenz’s latest blog entry: Hack, Like Me.

Why do car speedometers list speeds way over the legal limit.

Why technology is the friend, not the enemy, of Hollywood.

John Oliver reenacts Supreme Court cases using dogs [video].

Specialty Box Office: Birdman spectacular, Dear White People strong.

Related: How did Dear White People find an audience.

Where did last names come from [video].

‘Late Show with David Letterman’ cue card holder fired after assaulting a staff writer.

15 tales of female ghosts.

Lionsgate and Tribeca to debut online service in 2015.

Tom Hanks has a short story in the New Yorker.

Gone Girl‘s cool girl: Hero or villain?

What is cloud nine.

Adam McKay on his rewrites of Ant-Man: Bigger, more aggressive, funnier.

8 lifehacks for roommate living.

George Lucas rips Hollywood studios: They’ve “always been the problem”.

Scientists do virtual autopsy of King Tut and find shocking surprises.

London Film Festival draws record audience.

The Earth just had its warmest year on record.

Mom petitions Toys R Us to stop selling “Breaking Bad” toys.

Hoverboard!

10 of Hollywood’s creepiest demon dolls [photos].

Hey, novelists! 6 visual storytelling techniques to borrow from TV and movies.

How about $542M for a start-up outfit developing an enhanced “cinematic” visual computing experience.

Harvard says the best thinkers have these 7 ‘dispositions’.

Chicks Who Script podcast: Nicole Perlman, co-writer, Guardians of the Galaxy.

Former Washington Post editor Ben Bradlee has died at the age of 93.

IFC expands original programming team.

10 sticky facts about maple syrup.

Matthew McConaughey says he understood every word Rust Cohle was saying.

6 creepy Victorian ghost stories to read right now.

Which iconic horror movie villain is the deadliest.

Related: An oral history of Nightmare on Elm Street.

Related: 30 things you didn’t know about the 5 Exorcist movies.

Related: Why we need horror movies now more than ever.

Presenting Vulture’s Taylor Swift glossary.

Warner Bros. unveils first slate from digital production unit.

Why is the Pentagon stuffing tanks into Norwegian caves.

‘John Carter’ movie rights regained by Edgar Rice Burroughs estate.

Why do we carve pumpkins.

Celebrate the 15th anniversary of Fight Club with audio commentary [video].

IMG strikes deal with MLS and U.S. soccer for global media rights.

You can stream “The Simpsons” now and here are the 100 best episodes to watch.

Ancient Scotland: Home of the first ever sex.

Related: Goodfellas actor suing Fox for $250M claiming “Simpsons” character is based on him.

Rob Reiner in war to keep chain stores out of Malibu.

5 plot holes you’ve never noticed in Star Wars.

George Harrison’s childhood home sold for $250K at auction.

Top 10 TED Talks on storytelling and filmmaking.

10 essential comedies from the early days of cinema [videos].

Here’s how you sell a haunted house.

The notorious history of drunken Hollywood.

15 lesser-known Halloween songs to put you in a spooky mood.

How Fandor’s ‘Filmmaker’s Initiative’ will help get your movie made.

Lost John Cleese TV sketches found after 47 years

50 must-see horror films directed by women.

8 films that make fascinating use of flashbacks [videos].

Related: Photographer pays homage to childhood by inserting Star Wars into real world snapshots.

Screenwriter Max Landis wrote a 436 page “Super Mario Bros.” script and you can read it here.

Finally L.M. Kit Carson, co-writer of the movie Paris, Texas, dies at the age of 73.

Screenwriting Master Class tip of the week: You have until October 31st to save $95 when you sign up for the upcoming Quest Writing Workshop.

Where: Santa Monica, California

When: December 10-13, 2014

Hours: 10AM-5PM

Plus a 16 week online site where you will work up an outline, then pound out a first draft of an original script.

I have led three of these workshops and each has been amazing. This is a chance for you to learn the foundations of Character Based Screenwriting and an approach to prep-writing that works.

For more information, go here.

I look forward to the opportunity to work with you.

Great Scene: “King of Hearts”

October 25th, 2014 by

October is Great Scene month at Go Into The Story whereby we put a spotlight on notable movie scenes, then analyze and discuss them. Their structure, themes, character dynamics. Why do they work? What are their narrative elements that elevate them to greatness? Let’s face it: In a fundamental way, screenwriting is scene-writing, so the more we learn about this aspect of the craft, the better.

Today: The 1966 movie King of Hearts, Daniel Boulanger (scenario and dialogue), Maurice Bessy (idea). IMDB plot summary:

An ornithologist mistaken for an explosives expert is sent alone into a small French town during WWI to investigate a garbled report from the resistance about a bomb which the departing Germans have set to blow up a weapons cache. He arrives to find a very eccentric group of townspeople, inmates of the local insane asylum, as it turns out, who have stepped into the characters of the fleeing villagers.

After rival forces have slaughtered each other in the town’s square, Plumpick (Alan Bates) watches as his new-found friends decide what to do… leading to his own decision.

This is a little gem of a movie, definitely of the 60s era, but well worth the watch. It poses a fundamental question about humanity: Which is crazier… war or insanity?

The images of the asylum inmates rejecting the insanity of real life, shedding their trappings of that world, then locking themselves inside the safety of their shelter are profound and beautiful. And Plumpick’s ultimate decision is a lovely touch.

Has anyone seen King of Hearts? You can screen it online free here.

To read all of the entries in the Great Scene archive, go here.If you have an idea for this Great Scene series, check out the responses people have made so far here. If you have a different scene in mind you think would be worthy of analysis, please post it there or in comments for this post. Thanks!

Interview (Written): Theodore Melfi

October 25th, 2014 by

A WGA.org interview with Theodore Melfi, screenwriter-director of the movie St. Vincent.

This film has personal origins for you, yes?

In a nutshell, when my brother passed away, which was just completely out of the blue as you can imagine at 38, he left behind Taylor at 11. Her mom was in jail for selling crystal meth, so there was no mom. Coming from a mob family, I ended up being kind of the only sane one in my family, and that was from 10 years of studying psychology. So my brother died – he was a gun nut and into drugs and everything – and my other brother was in jail at the time. So my wife and I adopted [Taylor]. We ripped her out of Tennessee and brought her to California. We put her in Notre Dame High School. She’s not Catholic, but we just put her there ‘cause we thought, Gosh, she’s gotta have some sense that the world is worth something, bigger than her, and good or kind.

So four years ago we put her in Notre Dame, and she goes to a world religion class, and gets a homework assignment – find a Catholic saint that inspires you, and find someone in your real life…

Just like in the film.

Yes, exactly. The film is partially based on a true story. She picked Saint William of Rochester – the patron saint of adopted children – and in real life, she picked me. So it was very touching, and, you know, Hallmark-y.

Vincent seems like he’s a projection of you, your father, and your brother?

He’s a projection of partly me, partly my father, but mostly my wife’s father, who was a Vietnam vet and a complete asshole. Abandoned all of his children. Abandoned my wife at nine. Never talked to her again. Drank, cursed, just did everything you could possibly imagine that was wrong. Then 10 years before he passed away, my wife went to one of these [self-help] seminars…and one of the assignments is to write a letter and get complete with everyone whoever did you wrong, or you did wrong to in your life, clear it up. She writes a dear dad letter, and mails it to this address she finds in the white pages back in East Hampton, Long Meadow, Massachusetts. Two weeks later the phone rings, “Kim, it’s your dad.” And she starts crying. And then she spent the next 10 years of her life with her father, having a love affair with this guy, as a father-daughter, they just became father-daughter, instantly. It changed both of their lives forever, for the best.

Here is a trailer for St. Vincent:

For the rest of the interview, go here.

Daily Dialogue — October 25, 2014

October 25th, 2014 by

“I hope that when the world comes to an end, I can breathe a sigh of relief because there will be so much to look forward to.”

Donnie Darko (2001), written by Richard Kelly

The Daily Dialogue theme for the week: Dying Words.

Trivia: The song that plays as Donnie is riding his bike home in the theatrical version is “The Killing Moon” by Echo & The Bunnymen. As Gretchen waits for the school bus, a Volkswagen Rabbit vehicle quickly passes in front of her. When Elizabeth Darko is sleeping on the recliner, there is a stuffed rabbit next to her. As Donnie reaches for the car keys, there is a Polaroid picture of him and his sister in Halloween costumes on the desk. Donnie is dressed as a rabbit. When Donnie is talking to his sister after his mom leaves near the end, a “jack o lantern” bunny is seen on the table. Frank, the rabbit, often appears near a water source (sprinklers, water main, faucet).

Dialogue On Dialogue: Like so much of this movie, Donnie’s last line is enigmatic and laced with different meanings.

Twitter Rant: Craig Mazin on the Working Relationship between Studio Execs and Writers

October 24th, 2014 by

On Wednesday, @MysteryBritExec went on an informative Twitter ‘rant’ about life as a feature development executive, which I posted here. Inspired by her rant, Craig went off on one of his own. Reprinted in its entirety here by permission.

First, make sure you are primarily motivated by fear. This will be easy, as it’s that thing you’re soaking in at work.

You’ll likely be working at a studio or production company in which everyone is frightened to death. And of what?

They’re frightened of everything. There is no formula for success. Movies succeed because they magically connect with millions of people.

Sometimes they do not magically connect with millions of people. The “magic” part isn’t actually magic. It’s substance, but here’s the catch.

It’s not substance that you, the development exec, provides. It’s substance the writer provides, at least initially. So you have a choice.

Believe in their ability, and guide and help them to do the best they can, or attempt to mitigate your fear through CONTROL.

It’s likely the people you work for are big believers in the CONTROL method. Because this is what the fear tells you:

1. Writers don’t have the answer. The only answer is to repeat a past success, because that’s controllable.

2. Writing isn’t a proper job like “put in x hours to assemble y widgets of measurable in z units of quality.” So writers are suspect.

3. The harder you beat a writer, the more work you get out of them, and quantity is quantifiable, ergo CONTROLLABLE.

4. Your job and your livelihood are unfairly tied to the output of this self-important non-real-job artiste, so you must CONTROL them, or…

5. …the will control YOU. Then you will be seen as weak by your coworkers and bosses. You will be the wounded gazelle.

It also requires you to downgrade the importance of the quality of the script. A script is just a script anyway. Who knows?

By the time the movie comes out and flops, you’ll be developing THE NEXT BIG THING and you won’t be fire-able.

Remember, the CONTROL method is about making your emotional state Job #1. Risk is for idiots. It rarely pays off. In fact, you’ve noticed—

–almost NOTHING pays off in development. Go ahead. Try and be good. Congrats. Your movie didn’t get greenlit. Or did and flopped.

Meanwhile, the sociopath in the office next door just got promoted, and their output is no different than yours. So why bother?

You were told that there was the promise of great power in development. You could be the Big Shot with the Green Button.

And THEN… on THAT day… you could finally do some good and make some terrific movies. At last! Ah, but even now, you know that’s a lie.

You’ve been trained by those people, and you can see there’s only fear and desperation for control in their hearts. That’s all there is.

And the higher you climb the ladder, the worse it gets. You’re not just afraid for your job. Now you’re afraid for EVERYONE’S job.

There are some development executives who seem to have succeeded by caring for writers and putting the movie above all other concerns.

But they’re the rare ones. Keep telling yourself that. There’s far more people doing your job worrying about what you’re told to worry about

So keep worrying. Hold on tightly. Show no faith. Control. Compromise to mitigate risk. Chase past success. Aim for quick, easy approval.

If you can do all that, there’s a .001% chance you’ll run a studio one day. But there’s a 99% chance you keep your job today.

There’s also a 99% chance you’ll burn out and move on in ten years, because one morning, you wake up and think “Wait. What am I doing?”

“What’s the point?”

Maybe then you will remember why you cared in the first place. Maybe then you will understand the true nature of risk and reward.

It’s easy to be the wrong kind of development executive. It’s hard to be the right kind. But there is no reward for being the wrong kind.

If you want to make money, you’re in the wrong business. Go work in finance. If you want power, you’re in the wrong business. Go to D.C.

You do not make movies. You love and support and guide and challenge the people who do. That’s the heart of it. And I promise you this:

If you can truly love us, we will love you back in a way you can’t even imagine. Because we are desperate for people like you.

End.

Addendum: WHO is as important to me as WHAT. I love the people I’m working with these days. I won’t work for anyone I don’t.

Final addendum: when dev execs truly put the writer first and control of the writer second, they invariably get more control of the writer.

There you have it, straight from the front lines from a writer who knows both the craft and the business. Insight into what it’s like to work on both sides of the desk and a plea to aim for our higher angels when it comes to actual act of developing and making movies.

Thanks, Craig!

Follow him on Twitter: @clmazin.

David Milch: “The Writer’s Voice” (Part 4)

October 24th, 2014 by

Back in September 2010, I ran a week-long series featuring key excerpts from a memorable series of presentations by David Milch at the WGA Theater in Beverly Hills. Then this week, I stumbled upon this: An entire series called The Idea of the Writer by Milch now available on YouTube. In recognition of that wonderful news, I will reprise my posts and embed video from each of Milch’s presentations.

David Milch is a talented writer. Check out these credits:

Television credits (as creator)

Awards and recognition

  • 1993 Emmy Award, Outstanding Writing in a Drama Series (Hill Street Blues)
  • 1994 Edgar Award, Best Episode in a Television Series Teleplay (NYPD Blue, “4B or Not 4B”)
  • 1995 Emmy Award, Best Drama Series (NYPD Blue)
  • 1995 Edgar Award, Best Episode in a Television Series Teleplay (NYPD Blue, “Simone Says”) (shared with Steven Bochco and Walon Green)
  • 2006 Austin Film Festival, Outstanding Television Writer Award recipient

Not to mention the 259 episodes of “N.Y.P.D. Blue” he’s credited with writing.

I did this post back in July that featured some great video of Milch sharing his thoughts about writing. At the time, I noted this:

What leaped to mind when I read the news about the new HBO series was a series of presentations Milch gave at the WGA Theater several years ago. They were covered and excerpted in the fine WGA journal “Written By” over the course of several months. I remember reading them, both fascinated and inspired by Milch’s ideas.

I contacted “Written By” and they have kindly offered to create electronic versions of the original hard copies, so I can excerpt them on GITS. Look forward to that sometime soon.

This week each day, I’ll feature some of Milch’s comments from those presentations at the WGA Theater from back in 2001, excerpted from the “Written By” journal. Here is Part 4:

I’m sure that a lot of you want to know what gets you “in” [the entertainment industry]. And the answer is this: If you generate a passionate, humble connection with your work, you’re in. And the paradox is that you don’t need whatever you thought you needed, and when you don’t need it, that’s when they want you. But them wanting you is, by that time, an utter irrelevancy. When I said, “The price sometimes is terrible,” of trusting in the world, of turning over our manuscripts, of offering up our child—a sustained commitment to the enterprise that you’ve begun sometimes has a terrible, terrible price. There are all sorts of distractions and accommodations made available to us in our journey, to take a lesser path rather than absolute loyalty and devotion to the separate life of our work.

The extraordinary thing for me as a parent was that every day my child taught me more. When we had another child, it was geometrically more. You think that your heart will burst if there’s any more love. And it just keeps growing, and that’s what will happen with your engagement with material, to the extent you are able to sustain a selfless connection with it.

The process will be variable, and there will be days when it’s not so good, and there’s deep instruction in that as well. If you keep coming back in humility—without wanting to belabor the analogy—as a parent, then you can’t ever say, “Okay, that’s it.” Even if you say it, it doesn’t stop. Even if you blow town, it doesn’t stop. If you say it’s over, that’s okay, but the child still lives.

As much as one aspires to selflessness in connection with the work—and selflessness does not mean the denial of the self—whatever our heads are telling us is ultimately irrelevant to the living thing, the living breathing thing with which you have entered into a kind of parental responsibility for a little while. And then, at a certain point, it [the thing] gets up and runs away from you.

I remember the first time that happened to me. At first I was terrified, and then I thought I could fly. You’ve entered into a connection with something else, which is not limited by your selfhood.

Day 4: David Milch on The Idea of the Writer.

For Part 1, go here.

Part 2, here.

Part 3, here.

Tomorrow Part 5 of “The Idea of the Writer” with David Milch.

Spec Script Sale: “Plus One”

October 24th, 2014 by

The Weinstein Company acquires spec script “Plus One” written by April Prosser. From Deadline:

The script is about a woman who emerges from a long-term relationship only to realize all her friends have married off and there’s no one single left to go out with…except Summer, the loud, sexually-oversharing wild card who is now Rachel’s only option for a wing woman.

Prosser is repped by UTA and Kaplan/Perrone Entertainment.

By my count, this is the 51st spec script sale in 2014.

There were 83 scripts sold year-to-date in 2013.