Every
writer knows what simple joy the graceful waltz of fingers across the lettered keyboard can bring. For
the screenwriter, when words flow like milk and honey, the creative process is
a joy. It spills forth new worlds, parallel realities, and characters as
comfortable as good neighbors — all with the intention of someday realizing
the flickering light of immortality.
Well, good intentions pave the road to hell, and unless a production’s budget
allows for such hot extremes, shooting will probably not go as scheduled.
Often, the writer’s biggest stumbling block is not a lack of talent and
resources, but rather, the lack of contacts and knowledge about what to do with
a script once it is completed.
One Austin film organization, the Austin Heart of Film Festival (AHFF), has
taken the lead in providing, if not a venue, at least a launching pad for these
opportunities, matching seasoned film industry veterans with an audience of
hopeful screenwriters and future professionals. AHFF kicks off its third year,
Thursday, October 10 to Sunday, October 13 at the Driskill Hotel.
The conference and competition attracts the attention and participation of
screenwriters from across the United States. Each year, AHFF holds a
screenwriting competition (for which over 2,200 entries have been submitted
this year). Excess Baggage, the screenplay by 1994’s competition winner,
Mikhaila “Max” Adams, was optioned by Columbia Pictures and is currently in
production with stars Alicia Silverstone and Christopher Walken. Ron Peer, 1995
semi-finalist, sees his screenplay Good-bye, Lover in preparation with
Gotham Entertainment, starring Patricia Arquette and Ellen DeGeneres with
Roland Joffee directing.
This year’s festival also premieres a number of films (see schedule sidebar),
including the world premiere of The War at Home, written and directed by
Emilio Estevez, who also stars in the movie along with his father Martin Sheen.
Estevez is back in Austin, where the film was shot, to present the screening.
The heart of this festival, however, is the conference itself, at which
industry insiders share knowledge and hard knocks with up-and-comers. And this
focus, primarily on screenwriting, may very well be what distinguishes AHFF
from other industry conferences across the country. This year, AHFF counts
among the confirmed close to 50 distinguished panelists from all ends of the
film spectrum. Over the four-day conference, they will preside over almost as
many panels geared to address specific issues faced by writers in the film
industry.
The most impressive aspect of this list of Hollywood luminaries is the range
and breadth within the business it covers. Writer-directors such as Wes Craven
(A Nightmare on Elm Street, The People Under the Stairs), David
O. Russell (Flirting With Disaster, Spanking the Monkey), Peter
Masterson (A Trip to Bountiful — dir., The Best Little Whorehouse in
Texas — co-scr.), Robert Townsend (Hollywood Shuffle, The Parent
‘Hood), and Tobe Hooper (The Texas Chainsaw Massacre), appear along
with screenwriters Norman Stiles (head writer, Sesame Street), Pen
Densham (Moll Flanders), Christopher McQuarrie (The Usual
Suspects), John Lee Hancock (A Perfect World), Sarah Bird (The
Boyfriend School, Virgin of the Rodeo), Bill Broyles & Al
Reinert (Apollo 13), Patrick Sheane Duncan (Courage Under Fire,
Mr. Holland’s Opus), and AHFF board members Bill Wittliff (Lonesome
Dove, Legends of the Fall) and Whit Stillman (Barcelona,
Metropolitan), and share stages with producers Karen Murphy
(Drugstore Cowboy, This Is Spinal Tap) and Polly Platt
(Broadcast News, Bottle Rocket, Big), as well as industry
kingpins Barry Josephson (president, Columbia Pictures) and Stu Smiley (HBO).
Television talent is represented, as well, with Kim Friedman (Frasier,
Star Trek: Voyager, Star Trek: Deep Space Nine), David Mills
(NYPD Blue), Rick Duffield (Wishbone), Michael Pillar (Star
Trek: The Next Generation) among others.
Panel topics cover issues faced by writers — both experienced and green
alike. From the beginnings of the process: “Hitting the Books: The Research
Panel,” “A Novel Idea: The Art of Adapting Novels,” “People Who Need People:
Character Development Panel”; through the nuances of self-improvement: “Delayed
Reaction: Will Studying Screenwriting in School Really Help My Cause?”, “Near
Perfection: Re-Writing Your Screenplay”; on surviving the industry: “Do I
Really Need an Agent?,” “25 Words or Less: How to Pitch Your Script,” “Writing
for a Budget”; to encouraging the disenfranchised: “What Am I… Nuts!? A
Writer’s Support Group,” the range of topics is thorough, if not overwhelming
in scope.
For the screenwriter whose keyboard beckons like searchlights heralding a
Hollywood premiere, the worst kind of writer’s block may indeed be lack of
opportunity. The sessions available at Austin Heart of Film Screenwriter’s
Conference may provide a peek at that elusive break. n Walk-up registration for the entire conference is $375 at the door. Student
registration (with proof of current college or university enrollment) is $175.
Registration includes the Screenwriter’s Conference, access to the
Screenwriter’s Exhibition Hall, admittance to all film events (listed in
sidebar), and invitations to the AHFF happy hour reception and closing night
party.
Separate film festival passes go on sale (today) Thursday, October 3 at
Waterloo Records. These $20 passes grant admission to all film events listed
below.
This article appears in October 4 • 1996 and October 4 • 1996 (Cover).