With tensions climaxing, the filmmakers wonder if they can convince the famous actor to quit. 1,649 words. Part One. Part Two. Illustration by Thomas Warming.
Operation Death moved through the studio slowly but surely. Casting proceeded apace. Costume fittings were routine for a contemporary picture. Naturally, Forsyth would be contractually permitted to keep his clothes. Sets went up on schedule and, as expected, Dr. Doherty’s home, seen in only one quick sequence, was decked out with expensive dark brown shag carpeting.
Director-screenwriter Allan Spanner was Overseeing storyboards for the screenplay when his agent ordered him to find some place private to take the call. He chose the men’s room off the office.
“Are you sitting down?” the rep asked. “I just got a call from Pete Trimble, the newspaper columnist for one of the Chicago papers. He said he was letting you know that, under Writers Guild rules, a writer who is hired to write behind another writer has to inform the first writer.”
“What are you getting at?” Spanner asked.
“Pete Trimble is a friend of Brendan Forsyth. It looks like your old buddy has hired his old buddy to rewrite your script.”
“You mean the one we’re starting to shoot on Monday.”
The celebrated actor starts driving the filmmakes crazy. Can they control him? 2,191 words. Part One. Part Three. Illustration by Thomas Warming.
The first phone call started as an innocent inquiry.
“Does he have to drive an SUV?” Brendan Forsyth’s agent asked.
“Why not?” Charlie Greene, one of the two producers on the film Operation Death starring Forsyth, asked back.
“Brendan feels that the character would drive something sporty. Say, a Porsche.”
Don Masaroff was an old-time ten-percenter who brought his client list with him when he’d hopped agencies the year before. He was known as a gentleman, had repped Forsyth since forever and was used to nudging producers rather than playing brinksmanship.
“The man’s a middle-aged surgeon,” Greene said. “Plus, we’ve lined up a promotional tie-in with GM for free vehicles in exchange for an onscreen credit. A Porsche wouldn’t be in character or in the budget.”
“Brendan thinks the character should be more daring,” Masaroff said, ignoring Greene. “That raises the stakes for his encounters. Besides, a lot of middle-aged guys buy a sports car. It’s a rite of passage, you know? I did.”
Short or tall. Blond or brunette. Whoever women are, Hollywood wants someone else. 552 words. Illustration by Mark Fearing.
SEEKING ACTRESSES AND ACTORS WITH TOTALLY ATTAINABLE QUALITIES FOR HIGH PROFILE TOP SECRET FEATURE FILM
OFFICIAL CASTING CALL: UNTITLED FEATURE FILM (MAJOR STUDIO)
*No phone calls. Email pitches ONLY*
FEMALE LEAD: Allison is effortlessly sexy but not intimidating: a true leading lady in every sense. She’s the girl next door to the girl next door; a classic beauty with an edgy quality that we cannot describe in words… but we’ll know it when we see it. Her imperfections make her who she is. Maybe she’s got a quirky birthmark on her thigh, or two different color eyes, or a penchant for wild lipstick. Surprise us!
The executive story editor pitches the script to the studio boss – with consequences. 3,103 words. Part One. Illustration by Thomas Warming.
So here Mike was, past thirty and working in a studio story department, parking at the other end of the lot. The real question was, how did you progress from here? When the people above made enough flops or embarrassed the studio enough they were fired gently and given their own production deals. Few movies ever came out of those kiss-off vanity office suites (more time was spent on cool logos and interior decoration), but it might be possible to wring some authentic opportunity from such a sinecure. Of course, first you’d have to get promoted within the studio system to fail comprehensively. Well, Mike was good at that. He had credentials: he.was a one-man Bermuda Triangle. Let the ordinary losers try and compete with that!
Getting promoted was another issue. Mike knew the way to do it was to socialize with people he didn’t like. It was a daunting prospect, not least of all because there was no clear way to define your progress. In law school you measured your steps toward the bar exam class by class, and year by year. The path was worn down by many feet. There was nothing comparable in this world. Mike had no idea how many nights of poker he’d have to sit through, how many cigarettes he’d have to smoke, how many parties he’d have to endure, before he was eligible to get the job he wanted to lose.
In fact, he didn’t even know how to begin. He and Emma hardly went out at all. He remembered high school and desperately trying to figure out how to get into the cool group when nothing else had seemed to matter. He’d crashed parties, staged elaborate ones of his own. He even went out for the football team. But nothing worked. A geek was a geek; the social structure was absolute. It had been a grotesque ordeal and he had no desire to initiate some new version of it now.
He put the problem aside until a few hours later, when his old friend Roscoe Henderson called with the first hint of a solution.
A narcissistic actress meets the one man she can’t have. 2,546 words. Illustration by John David Carlucci.
When Jacqui decides to rent a house, the most important item on her wish list is the position of the pool. The wrong exposure, too much shade – deal breaker. No tanning beds or crfeams, Jacqui enjoys the sun. She has zero interest in people who obsess about skin cancer. God created sun, didn’t he? But did he create dihydroxyacetone, the creepy stinky chemical in self-tanners that does who knows what to your immune system? She visits her dermatologist once a year to get checked out and she’s doing just fine, thanks. SPF? Not for Jacqui.
Jacqui never wanted to be an actress. She moved to L.A. with a high school girlfriend who had the acting bug. Jacqui figured she’d get a job, then marry a nice man. Enough of a reason to leave Fresno. The girlfriend took acting classes and one night, after a showcase, Jacqui was approached in the lobby by an agent who said he admired her performance.
“I wasn’t in the show,” Jacqui told him.
“You should’ve been,” the agent told her, not missing a beat.
Jacqui married the agent, did some guest spots on TV shows. Dr. Quinn, Medicine Woman. Quantum Leap. She learned her lines, got along with everybody, became known for her pretty face and nice body. But L.A. was filled with actresses like Jacqui. Fortunately, there also were plenty of men who admired them. Divorce, alimony. Another marriage, another divorce. Alimony again. Star Trek: Voyager, NCIS, a couple Lifetime movies. She was aware of getting older, of losing roles to younger women. But Jacqui didn’t care. She had money – not a huge amount, but enough. She still worked. Other actresses talked about their plastic surgeons and line fillers and boob lifts, but Jacqui was oblivious. Because, no matter what, Jacqui always had the best tan.
An ex-studio boss tries to cast a crazy music superstar in the first film he’s producing. 3,704 words. Illustration by Thomas Warming.
Ben had been working on Art Manning, hard, for almost a week now.
They had done business together in past, since Manning was a powerful lawyer whose roster of A-list clients could set a deal in motion and often helped close it. He was regarded as a combative litigator, but also as a top-notch negotiator – something not always said about powerful entertainment attorneys.
When Manning came in to negotiate a deal, he never inadvertently killed it. He was not one of those lawyers whose art collections were more celebrated than their legal skills.
Ben knew that many industry lawyers were only too happy to have Manning in on a negotiation. It was one way of assuring that they would get the best possible pay-out for their client – as long as they were on the same side of the table as Manning.
Now Ben needed help for the new independent production company he was starting. He didn’t want to admit it, but he’d been unnerved by his most recent industry party. He had never thought that roughly a third of his guests would leave once he was no longer head of a studio. Was this something he needed to worry about now? Should he prepare for a life of slights? His name falling off an important agent’s call list? Never making it to the top of the queue to buy a Gursky? Ben cut off this line of thought. It was a waste of time. He had built his many relationships over years of doing business. Relationships were what mattered in Hollywood. People would always take his calls.
This picture was a good starting point. It would grab that attention of everyone in town. Over the years, many different directors and producers had tried to set up this script. But it had eluded, even stumped, them all.
Ben was certain that he had the key. Howard would make it work. Ben decided that it was going to take longer than he had planned to assemble a deal. A slog, not a quick march. But he had the skills – and patience – required to win. And winning was all that mattered.
A showrunner’s fired assistant looks for a new job as a writer. Good luck with that. 3,027 words. Illustrations by John Donald Carlucci.
Caleb was glad when the show was canceled. He felt guilty about his schadenfreude for about five minutes. Now he wouldn’t have to make up a lie about why he wasn’t returning or, worse, tell the truth: that he “hadn’t been invited back,” which was code for being fired.
He had done his best to make amends for his wrap party meltdown – going off on his boss for sleeping with a young female staff writer and not promoting Caleb, dissing the TV community’s push for diversity which meant young white wannabes like himself had a tougher time getting hired. After a few weeks, he’d asked the showrunner Bryan to lunch so they could bury the hatchet. Bryan downgraded the lunch to coffee.
Caleb had worked for Bryan for four years, and that hopefully counted for something now. The showrunner came through. He gave Caleb a signed letter of recommendation and a business card with the number of an agent at CAA. “I sent your writing samples to Terri at the agency. She used to be my agent Bob’s assistant. She just got promoted and she’s hungry for clients. I told her to make you a priority read. And she will. Lord knows I’ve made that company enough money.”
It was a whole lot more than most showrunners in town would have done for an ex-assistant, and Caleb felt pretty grateful.
Caleb didn’t even wait until he got home to call Terri. He texted her from his car. Surprisingly, he got an immediate reply: Will call in 45.
That was at 11 a.m. For the rest of the day, Caleb’s heart skipped a beat every time his cell vibrated.
The director makes the hottest film of his life – at the expense of everyone else’s. 2,157 words. Part One. Illustration by Thomas Warming.
If the goal was to keep film director Frank O’Leary intrigued, then Abigor Productions & Effects had already succeeded. Apparently, Seth Abigor was rolling the dice to impress him. Not that he would let Abigor know that. As a company with no track record, the helmer figured he should be able to get its services for a song. Fair is fair. The effects house would cash in after Firebug was released and everyone was blown away by its work. O’Leary simply had no reason to pay top dollar for it.
Abigor removed a gold cigarette case from his jacket and offered O’Leary one of its contents. The helmer passed but examined the case. He’d only seen such things in old movies. Placing a non-filtered cigarette between his lips, Abigor snapped the thumb and forefinger of his right hand together and lit it with his fingertip.
O’Leary responded with a nervous laugh. “You’re quite the magician.”
“Nothing magical about it, Frank. Haven’t you guessed who I am?”
The director glanced at the door to make sure he had a direct exit in case the situation got any stranger. “Why no, Seth, who do you think you are?”
The TV writer feels like Benedict Cumberbatch has forsaken her. Or has he? 1,974 words. Part One. Illustration by John Donald Carlucci.
“Kaylee wants you to come back,” Alex tells Melanie.
“Come back and do what?” Melanie is pleased. But suspicious.
“Pitch the pilot for Creepy.”
“So they’re giving me the job?”
Silence on the phone. her agent clears his throat. “Not yet.”
“I have a bad feeling about this,” Melanie says.
“Kaylee likes you. She says you have a feel for the characters. And she was very impressed with your vision.”
“So why don’t they give me the job?”
“Because she has to meet with other people.”
“She doesn’t have to. Alex. Maybe we should move on.”
“I think you’re going to get it, Melanie. She told me the two of you had a connection.”
A TV writer facing a career crisis finds Benedict Cumberbatch in her kitchen. 2,152 words. Part Two. Illustration by John Donald Carlucci.
Melanie forces herself not to be bitter at lunch with her pal Paul when he’s talking about his new job on Mind Your Manners.
“It’s the most amazing staff. Everybody is super nice,” Paul says. “The showrunner, Betsy, is famous for the way she treats writers. No long hours. Catered lunches. She’s already had two parties at her house so we can ‘come together as a team.’”
Melanie loves Paul. She tries to remember how much she loves Paul as he goes on and on about Betsy and the room. The actual room. Sofas and comfy chairs and windows with views of trees and mountains. When is the last time Melanie worked in a room with windows?
Melanie’s agent Alex put her up for Mind Your Manners. She didn’t even get an interview. When she complained to Alex, he told her she should write a new spec.
“But I don’t want to write a new spec.”
A screenwriter is frustrated at the Cannes Film Festival – until he stops caring about it. 3,283 words. Illustrations by John Donald Carlucci.
Ira, pleased with Bender’s free rewrite of his script, arranged a meeting with Tarik Azziz, a Moroccan film producer and financier, who would also house Bender for a couple of nights in his villa in Cap d’Antibes. Bender arrived at the Cannes Film Festival well armed. He had a script, an interested producer, and a room. It was now up to Bender to find a way to fuck it up.
As he wandered the Croisette, Bender wondered where he got his policy of walking out of waiting rooms after thirty minutes? What was the purpose, what was the result? From his seat on the Ikea couch of the office suite he could see the Moroccan producer talking on the phone in his office, ignoring Bender. Not a wave, not even a raised hand: Sorry, give me a minute.
Bender allowed himself one more pleading glance at the receptionist, who returned a minimal shrug. The ten minutes flew, he added another five, then five more and got up and left. No one pursued him down the hallway. No one flew after him begging forgiveness, clutching his sleeves, and begging him to return. As he stepped in the elevator it occurred to him that they might have thought he had gone to the bathroom.
Two first-time film producers get schooled by the reality of teaming up together. 2,909 words. Illustration by Mark Fearing.
In other parts of the country, networking is largely structured, taking place predominantly through civic organizations, professional groups, and charitable institutions. In Los Angeles, where showbiz is king, the phenomenon is far more random yet ubiquitous. Business ties are often formed at parties, screenings, and social gatherings. Others begin at gyms, yoga and Pilates classes. Even pre-schools and Little League games provide opportunities, as do weddings and funerals, plus Bar and Bat Mitzvahs. Also never to be overlooked are meetings of Alcoholics Anonymous.
It was thanks to AA that Russo and Adler became acquainted. Initially, it was little more than the kind of brief acknowledgments exchanged by regulars. But one Monday evening, instead of heading directly home in the aftermath, Russo agreed to join a group headed for late night coffee. As six "Friends Of Bill W" grabbed a booth away from other denizens of the night at a 24-hour diner, Adler nodded at Russo. "Nick, right?"
Russo nodded. "And you’re Jerry?"
"Guilty as charged."
Once orders were taken, group talk superseded individual conversations; it was only when the two men were strolling toward their cars afterwards that Adler rekindled their brief chat. "So what do you do?" he asked Russo.
She wants to make it in showbiz. But not by temping for the powers-that-be. 3,386 words. Illustration by Thomas Warming.
I sit at a desk in a poolside cabana at a fairytale Spanish style estate in Bel Air. Platinum record plaques litter the walls, bragging. This cabana is the home office of the assistant to veteran record producer Matthew Vaughn. I am an undercover rock star (like Hannah Montana, only a little longer in the tooth) or so I’d like to believe, but I’m dripping with passionate stage fright. If only I could get on that stage. I could be somebody. Meanwhile, I’m a temporary assistant to the powers-that-be in the entertainment industry, while I “develop my writing and artistry.” That’s my pitch, but it’s getting old. My life is a dichotomy. A nightmarish fantasy. A fantastic nightmare.
This is the second consecutive Monday I am on this particular assignment — a two-day gig that terminates at 6:30 pm. It’s 11:23 am. I wonder what will come out if I write all day as a way to pass the hours. Oh, the hours. Springtime sun rays filter through lush tree foliage over the Spanish tile pool, through French doors, across the desk and glare off my laptop screen. It’s pretty. This place would be heaven if only it were mine. If only I were more than a temporary assistant living a temporary life.
I have been assisting entertainment types for twelve years now. I’ve also written a novel, multiple TV pilots, a feature, endless songs. I’ve come close to success. I’ve tasted it. But it’s never more than a taste on the tip of my tongue. None of my dreams have come true and the only bankable skill I have developed since college is the skill of assisting the powers-that-be in Hollywood. I know how to get them exactly what they want, no matter how ridiculous or seemingly impossible, on the triple. It’s a skill I’ve honed to near perfection, one many people around the world might think they would kill for. But it isn’t feeding my soul anymore.
The Hollywood therapist needs money quickly. A book? TV talk show? Gossip? 2,050 words. Part Five. Part Seven. Illustration by Thomas Warming.
“So I made some calls.” It’s my college buddy, entertainment attorney Barry, over the car speaker. We haven’t talked in a few days about my book idea
“And?” I say into the hands-free. Looking around for a place to eat.
“There’s qualified interest — Audrey, will you send this to Frank Matteson for signatures? Then you can go home. Sorry, Dennis.”
“What are the qualifications?”
“You said qualified interest.”
I turn off Venice into a random mini-mall.
“The market is saturated,” he says. I park, facing a crimson neon martini glass: the Hi-Lite Lounge, next to an army surplus. “They’ve got self-help books up the wazoo. And since they’re all the same book, you need a hook…”
“Do I have a hook?” I rummage in the console for an Altoid. Starved.
“A great hook, the Hollywood hook. But you need a title they can promote: Tales Of A Hollywood Shrink… Psychoses Of The Stars… How To Get Laid Like DiCaprio… So they can book you on Ellen and the morning shows.”
OSCAR FICTION PACKAGE: At Oscars time in Hollywood there are only winners and losers. 2,884 words. Part One. Illustration by Mark Fearing.
When I came back from New York a week later, Rebecca insisted on picking me up at the airport. The Los Angeles weather looked good on her. She was wearing a simple shift and sandals. Her muscular arms were tanned. Very obviously, her Oscars’ makeover had changed her.
"I have something to tell you," she said, as soon as I got into the car. She could have asked me how my business trip went, but no — she couldn’t wait to tell me what was going on with her. I waited. I could always tell her later about my boss and love interest Billy Ward finally asking me to join him for lunch on my second to last day at The W in Times Square. We ran into each other in the lobby. Billy had just checked in. I didn’t see him after that lunch, but I was sure I had made an impression.
“Shoot,” I said.
"Jaxson and I got married in Vegas." I was too flabbergasted to respond. "I know it’s a shock, but we drove out there and got a little tipsy, and before I knew it I was a married woman again." She held up her left hand to show me a slim gold band.
"You can get it annulled," I finally said.
“I don’t want to get it annulled."
"Are you in love with him?"
"Of course not." She moved her rental car into traffic carefully.
OSCAR FICTION PACKAGE: You don’t have to win an Academy Award to have your life transform. 2,476 words. Part Two. Illustration by Mark Fearing.
By the time my cousin Rebecca called to ask if she could spend February with me, I’d already planned a business trip right after the Oscars. She said she’d be fine staying in my house by herself. And who wouldn’t be? I have a condo in Venice with a view of the Pacific. It would be a great place to visit if I didn’t already live there and, since Rebecca lives in Vermont, I can see how it would appeal to her.
We are first cousins and were born only one month apart which is a problem when it comes to her visiting because I’ve been cutting seven years off my age since I arrived out here and Rebecca is likely to blow my cover. She doesn’t even dye her hair; that’s the least a woman can do. I went trophy-wife red five years ago. I’m a regular Rita Hayworth in a business suit.
I didn’t have the heart to refuse Rebecca who, at forty-three, was a widow. Five years ago, her husband, Harold Braddock III, was lost while climbing Annapurna. Rebecca has still not forgiven him even though he left her his enormous fortune.
Rebecca would be here for my boss’s Oscar Party. Billy Ward, the fearless leader at Spectacular Talent Agency, was holding it in the The Theatre at the Ace Hotel. Digging up a date each year for the Oscar party was a chore, especially this year since my sights were set on Billy Ward who was between wives. I’d been in love with Billy since my first day at STA. He had buckets of charisma and charm enough to land the whole entertainment industry at his feet.