Monday, December 17, 2007


View a nine-minute teaser version of 'Spec" -- working title -- as the filmmakers present a work-in-progress compilation of the more than 7o hours and 60-plus interviews already racked up in the course of production for this feature-length documentary, with an anticipated preview date of Winter '09. To screen, go to the link:


ANTHONY GRIECO and JEFF DRONGOWSKI show up at the Disney Studios WGA picket line to show solidarity with striking writers. Jeff and Anthony walked the line themselves as they became the last writers to sell a script before the midnight strike deadline, closing the deal on their horror thriller, "Hurt" with the producers of the "Halloween" franchise. In a real-life plot twist that would have probably been thrown out at the pitch stage for it's too-ironic twist, the writing team signed off on their deal on October 31st.

Tuesday, August 28, 2007


On a location scout in Las Vegas, we came across this unique "archeological site" for some of the symbology of the Vegas of Dino, Sammy, and The Chairman. The Neon Museum, located in the less than flashy region of North Vegas, a repository of three acres of pre-LCD signage and logo art dating from the 40s and 50s.

Our team was in Nevada to meet with members of the Las Vegas Screenwriters group, an active and well organized resource for a surprisingly lively and prolific group of writers there.

For a picture or in-person tour of this one-of-a-kind Las Vegas attraction, go to Or on your next trip to Las Vegas, somewhere between the I-Bar and Flamingo Quick Collateral Loans, schedule a visit to "the boneyard" and consider a donation to support this truly unique attraction.


Slow fade up to:

Justin DiPego knows that sometimes life can be a perfect balance -- between his work with horses and bringing his visions to the page in his other life as a screenwriter. Justin is a second generation screenwriter. His dad, Gerald DiPego, is probably best known for the sweetly memorable '96 hit, "Phenomenon".
Justin, like so many of the writers who have shared their stories with us, seems to have found the key to keeping life in perspective while he takes on each new writing project, holding onto the hope that this is the one that is going to push him over the top. And what's Justin's idea of hitting it big? Probably not a whole lot different than he has it now -- feed the horses first thing in the morning, write, then back for the late afternoon feed. Except that Star and Sundance would get to enjoy a few more creature comforts. Like maybe riding around in a plusher horse trailer.

Tuesday, August 7, 2007


We sweep pan to:

Raynold Gideon and Bruce Evans, writer and director of the recent “Mr. Brooks,” walk the tracks, recalling memories of their ’86 classic, “Stand By Me.” With Director of Photography James Khanlarian shouldering the camera work, this specially rigged dolly tracks with Ray and Bruce as they recall the fortunate set of circumstances that brought their script for “Stand by Me” to the screen. Producer/Director Edmond Stevens provides questions for the writing duo.

Key Grip and Associate Producer
Justin Falahi, right, brings just the right amount of light to an interior shoot. Josh Weinstock, left, visits the Westwood office of Dr. Michael Zola, making a sales call as part of his daytime job meeting with dentists and M.D.s to support his familyand screenwriting side-gig.

Slam cut to:

Wednesday, July 25, 2007


I am producing a feature-length documentary about the culture of spec screenplay writing and how the craft, coupled with the lure of fame and sole credit, make for a highly unique universe. I am approaching this project from two angles:

  • Writers and filmmakers who have achieved success by way of the spec screenplay, and

  • The “aspiring” who work at their dreams, not only in Los Angeles, but to the farthest reaches of the country and abroad (Nigeria, no less)

This blog has been created to serve as a kind of “call sheet” for progress, profiles, anecdotes, and dialogue as this project takes shape.

The “script” calls for following the corps of writers who manage to keep their visions on track, often against the tide of naysayers and numbing hardships. With shootin
g now well underway, the process has already brought forth a number of unique stories as my crew follows a diverse group of individuals and writing teams as they develop their ideas and lay them out in character and action. Some of these unfolding stories have already proven to be inspiring, funny, unrealistic, noble, impractical, empowering, and wholly wonderful.

I am also documenting the sub-sets that have developed around the spec-writing culture. This includes screenplay software writers, story gurus, coaches and editors, consultants, and analysts. And, of course, the real support people – the spouses, lovers, children, and readers.

I bring some measure of experience to the process. I am a 30-year-member of the Writers Guild of America and secured my own entrĂ©e into the film by process of writing several spec screenplays, one of which sold and opened the door to a career in theatrical and television motion pictures, plus a number of episodes for several dramatic series. (It’s mostly all there on IMDB.)

My early experience as a journalist and then in technical filmmaking has created a foundation for the video production company that I started five years ago. My company, FrontPoint Visual, creates commercials and informational videos for a number of public interest clients, with a special stake in health care and the environment. A partial client list includes: the AFL-CIO and Los Angeles County Federation of Labor, American Oceans, Campo de Cahuenga, IBEW, Coalition for Clean and Safe Ports, SEIU Social Workers, AFSCME.

As this process evolves, I am hoping for the contributions and participation of all who can bring any light, humor, wisdom, or understanding to this “American Idol” for the keyboard set.