Breaking Into Hollywood Updates

Kick Ass 2 writer director Jeff Wadlow podcast… don’t ask permission, ask forgiveness

As I followed Hit Girl and The Mother F****r down a corridor at the absurdly opulent Claridges Hotel in London, I had to smile to myself at the surreality of this moment...


I had been granted a short audience during a break in their non stop press junket, to chat with Jeff Wadlow, writer director of Kick Ass 2.

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How to get an 01 Visa to work in Hollywood (Podcast)

Earlier this week I recorded a podcast with attorney Joe Adams and Brit TV presenter (now US based) James McCourt about how Brits can make the leap to LA LA Land and launch a successful career in California.


If you are considering Hollywood as a destination for your career, this is a MUST listen podcast. Among many other things, you will learn…

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12 ways to rewrite your British written spec script so it sells in Hollywood

If you’re thinking about writing for the American market, one thing that can trip you up is sounding too British. Confusing the reader with a British or European sounding ‘voice’, when they are expecting American (as they will in Hollywood) will pull them out of the story and reduce your chances.


1. There are many English / American word changes such as lifts=elevators; lorries=Trucks; mobile phones=cell phones, torches = flashlights, full stop = period, trousers=pants, etc. Getting an American to proof read your script and flag up those changes will be hugely helpful.  And don’t forget the ‘fanny-pack’!  ;0)

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Breaking Into Hollywood: The Guerilla Pocketbooks arrive!

After a few weeks longer production time than expected, the new Hollywood Pocketbooks books have finally arrived. Those of you who pre-ordered, THANK YOU, the books will go out today.


If you don’t know about this book, it’s our first self published pocketbook in the Guerilla Filmmakers Handbook series – and one of many hyper-targeted pocketbooks we hope (read tiny but mighty).

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Create a ‘moment’ in your story or film to get people talking

Last night I caught Tarantino’s  ‘Inglorious Basterds’ on TV, the second time I have seen it. Whatever you think of Tarantino as a filmmaker and screenwriter, there is no denying he is a master of the individual dramatic ‘set piece’ – a single scene that in of its self-contained-self, is absolutely electrifying.


Like Hitchcock, he sets up a simple and terrifying problem – in the opening of ‘Basterds’ it’s ‘will the jews hiding under the floor be discovered by the Nazi commander Hans Landa?’ – and then he takes that setup stretches it out with mundane conversation, bombast, wit, menace, even utter silence… and of course explosive violence. I am not a huge fan of Tarantino films, but blimey Charlie, he sure can create ‘a moment’.

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