All the biggies are coming up, Sundance, Disney, Nicholl and... BlueCat, founded by Gordy Hoffman.
"I have sacrificed a lot to keep at this love affair. If you have a second option, you probably will never succeed. Find time every day and make sure you can provide for yourself. In the long run, this will give you the most time to create. If you don’t feed yourself, over time, you will find yourself in the same place with your art. It’s more important than ever for writers to persevere. Now is the time. " ~ Gordy Hoffman
BlueCat was started in 1998 by Gordy Hoffman. Hoffman is a playwright, award-winning screenwriter, filmmaker, contest-creator extraordinaire (and brother of actor Philip Seymour Hoffman). Besides having an excellent reputation, and winners obtaining impressive results post-win, BlueCat is one (if not the only) screenwriting competition which is actually helmed by a writer -- Gordy himself, and he stays involved in the selection process.
This is important because, if you're anything like me, no one else can "get" our love and fear of the blank page, our lack of personal hygiene until we type "FADE OUT," our rapid consumption of Gummi LifeSavers, and the sweet relief that comes from simply slipping a brass brad into a crisp, finished script... quite like another writer. (I left out the blood, sweat, and tears and propensity for either euphoria or a mild case of something with the exact same symptoms as Malaria as you progress into Act III.)Who knew Gordy Hoffman loved ANIMAL HOUSE?
So when Heather (BlueCat partner and producer) contacted me about interviewing Gordy, I couldn't have been more pleased. During our interview, I got a chance to ask him about the business of screenwriting, the process, the contest, and some of his favorite films.
The deadline is April 1st, Midnight and be sure to visit BlueCat for all the pertinent details.
Q&A
1. Since we have the mutual "blue" in our titles, I thought I'd ask the inspiration for yours... where did the name BlueCat come from?
GH: I had a black Tom cat for 13 years, and he died a few months before I decided to start a screenplay contest in 1998. His name was Blue. I still miss him!
2. This morning I got up and read the LAT column "Scriptland" and came across a story I found rather silly and full of hyperbole, which seems to me is very Hollywood: the story was about a manager who claimed to have discovered a writer outside his door in Silver Lake who was just released from prison and had several stints in the county clink and submitted a script to him handwritten in multi-colored ink... which he went on to sell. I do believe anyone can write and stories can come from anywhere... but with the rise of Diablo Cody many screenwriters feel that one now needs a "gimmick" in addition to great writing... is this just Hollywood as usual or do you feel that screenwriters should do something to set themselves apart?
GH: The way a screenwriter can set themselves apart is to put their own voice in their work. The last thing a writer considers as a source is their own life’s vocabulary, often going outside themselves. You are what makes you different from anyone else. Start there.
3. Any favorites at this year's Oscars?
GH: There Will Be Blood was the greatest film of last year, and a much stronger screenplay then the winner. Away From Her was another favorite that should have been recognized.
4. What are some of your favorite old films?
GH: I love La Dolce Vita, The Third Man, Animal House, Contempt, many many films.
5. What are some of your favorite screenplays (top 3)?
GH: Michael Clayton was great! Of course, Chinatown, and....Animal House? Screenwriters, watch it again. Very tight.
6. As writers we often struggle with pure artistic voice vs. more "sellable" (from an Agent's POV) ideas or loglines that may garner representation and meetings... what do you think is most important for screenwriters to focus on?
GH: Personal voice. Write a couple screenplays telling your stories closer to home. Once you find your comfort there, you can take your authenticity to your commercial ideas, and you will more quickly find you’re writing a compelling product.
7. Is there something in particular BlueCat looks for? Freshness? Originality? Emotionally compelling characters and story? How would you characterize what you look for in the competition?
GH: I think you understand exactly what we are looking for. Usually I am either crying or laughing when I read the winner. That’s probably the best answer I can give.
8. What is the selection process, how many reads does a script get?
GH: Every screenplay is read in its entirety and a page of analysis is written up, which is sent to the writer. I sort through the readers’s comments and find the winner.
9. Do you prefer structured screenplays or do you like non-linear narratives as well? How strict are you about things like formatting, etc?
GH: We are not strict about formatting. If it looks like a screenplay, that’s good enough. Again, linear, non-linear, what is most important is whether the story connects to our emotions. Our last winner contained a wonderfully, layered flashback structure.
10. How does being a filmmaker inform your work?
It gives me a deeper sense of responsibility when I’m writing if I know I will be directing. I also consider casting, budget, location, it’s all there when I’m writing the script. It adds so much more to the process. It’s not as if I don’t care, but it’s more your own if you’re going to take it all the way.
11. Do you provide notes, coverage with submissions?
Every entrant receives over 600 words of analysis.
12. Anything you would like to say to female scribes... out there?
GH: Look at how many Oscar nominees there were....four! What does that say? We need the stories of women and their view of life. All women should tell their stories and trust you’ll find your audience. Two words: Diablo Cody.
13. Are you still teaching at USC? What are you currently teaching?
GH: I do teach a course there as an adjunct professor. It changes each semester. I love it.
14. What are some common mistakes you see again and again in screenplays?
GH: Lack of compression. Too many locations, dialogue, characters and description. Cut it all away, everybody, and this will create more space for story.
15. What is your advice or thoughts or musings... for scribes who have passion, perhaps even credentials, in terms of sticking it out and struggling and working day jobs etc. for a dream, for art? (especially in our consumerist society?)
GH: I have sacrificed a lot to keep at this love affair. If you have a second option, you probably will never succeed. Find time every day and make sure you can provide for yourself. In the long run, this will give you the most time to create. If you don’t feed yourself, over time, you will find yourself in the same place with your art. It’s more important than ever for writers to persevere. Now is the time.
16. In your experience, do you feel a writer can or should only write in one genre?
GH: No way. Anybody can write anything, it’s up to you to define yourself. We might like certain tones, and that’s wonderful, but avoid the “can’ts” and “shoulds.”
17. What is your writing process?
GH: I try to write everyday, when I can. No matter what, you try and get something down. In terms of how to tackle a new idea, I usually write scenes to find story and character, and then I start with page one. I don’t outline.
18. For BlueCat's previous winners... do you happen to know how many scripts they'd written to get to this point or how many drafts of the winning script were written before submitting?
GH: Usually it’s quite a few drafts. Sometimes it is their first script. More importantly, they always get more notes!
19. I love the theatre (and grew up in the Minneapolis theatre community)... does BlueCat still offer theatre workshops or the Live Staged Readings?
GH: We are doing a live reading in Los Angeles in May, as well as Screenplay Live in Rochester, in conjunction with the Rochester International Film Festival. Live readings are crucial to the development of the screenplay. Don’t skip this step!!
GH: I had a black Tom cat for 13 years, and he died a few months before I decided to start a screenplay contest in 1998. His name was Blue. I still miss him!
2. This morning I got up and read the LAT column "Scriptland" and came across a story I found rather silly and full of hyperbole, which seems to me is very Hollywood: the story was about a manager who claimed to have discovered a writer outside his door in Silver Lake who was just released from prison and had several stints in the county clink and submitted a script to him handwritten in multi-colored ink... which he went on to sell. I do believe anyone can write and stories can come from anywhere... but with the rise of Diablo Cody many screenwriters feel that one now needs a "gimmick" in addition to great writing... is this just Hollywood as usual or do you feel that screenwriters should do something to set themselves apart?
GH: The way a screenwriter can set themselves apart is to put their own voice in their work. The last thing a writer considers as a source is their own life’s vocabulary, often going outside themselves. You are what makes you different from anyone else. Start there.
3. Any favorites at this year's Oscars?
GH: There Will Be Blood was the greatest film of last year, and a much stronger screenplay then the winner. Away From Her was another favorite that should have been recognized.
4. What are some of your favorite old films?
GH: I love La Dolce Vita, The Third Man, Animal House, Contempt, many many films.
5. What are some of your favorite screenplays (top 3)?
GH: Michael Clayton was great! Of course, Chinatown, and....Animal House? Screenwriters, watch it again. Very tight.
6. As writers we often struggle with pure artistic voice vs. more "sellable" (from an Agent's POV) ideas or loglines that may garner representation and meetings... what do you think is most important for screenwriters to focus on?
GH: Personal voice. Write a couple screenplays telling your stories closer to home. Once you find your comfort there, you can take your authenticity to your commercial ideas, and you will more quickly find you’re writing a compelling product.
7. Is there something in particular BlueCat looks for? Freshness? Originality? Emotionally compelling characters and story? How would you characterize what you look for in the competition?
GH: I think you understand exactly what we are looking for. Usually I am either crying or laughing when I read the winner. That’s probably the best answer I can give.
8. What is the selection process, how many reads does a script get?
GH: Every screenplay is read in its entirety and a page of analysis is written up, which is sent to the writer. I sort through the readers’s comments and find the winner.
9. Do you prefer structured screenplays or do you like non-linear narratives as well? How strict are you about things like formatting, etc?
GH: We are not strict about formatting. If it looks like a screenplay, that’s good enough. Again, linear, non-linear, what is most important is whether the story connects to our emotions. Our last winner contained a wonderfully, layered flashback structure.
10. How does being a filmmaker inform your work?
It gives me a deeper sense of responsibility when I’m writing if I know I will be directing. I also consider casting, budget, location, it’s all there when I’m writing the script. It adds so much more to the process. It’s not as if I don’t care, but it’s more your own if you’re going to take it all the way.
11. Do you provide notes, coverage with submissions?
Every entrant receives over 600 words of analysis.
12. Anything you would like to say to female scribes... out there?
GH: Look at how many Oscar nominees there were....four! What does that say? We need the stories of women and their view of life. All women should tell their stories and trust you’ll find your audience. Two words: Diablo Cody.
13. Are you still teaching at USC? What are you currently teaching?
GH: I do teach a course there as an adjunct professor. It changes each semester. I love it.
14. What are some common mistakes you see again and again in screenplays?
GH: Lack of compression. Too many locations, dialogue, characters and description. Cut it all away, everybody, and this will create more space for story.
15. What is your advice or thoughts or musings... for scribes who have passion, perhaps even credentials, in terms of sticking it out and struggling and working day jobs etc. for a dream, for art? (especially in our consumerist society?)
GH: I have sacrificed a lot to keep at this love affair. If you have a second option, you probably will never succeed. Find time every day and make sure you can provide for yourself. In the long run, this will give you the most time to create. If you don’t feed yourself, over time, you will find yourself in the same place with your art. It’s more important than ever for writers to persevere. Now is the time.
16. In your experience, do you feel a writer can or should only write in one genre?
GH: No way. Anybody can write anything, it’s up to you to define yourself. We might like certain tones, and that’s wonderful, but avoid the “can’ts” and “shoulds.”
17. What is your writing process?
GH: I try to write everyday, when I can. No matter what, you try and get something down. In terms of how to tackle a new idea, I usually write scenes to find story and character, and then I start with page one. I don’t outline.
18. For BlueCat's previous winners... do you happen to know how many scripts they'd written to get to this point or how many drafts of the winning script were written before submitting?
GH: Usually it’s quite a few drafts. Sometimes it is their first script. More importantly, they always get more notes!
19. I love the theatre (and grew up in the Minneapolis theatre community)... does BlueCat still offer theatre workshops or the Live Staged Readings?
GH: We are doing a live reading in Los Angeles in May, as well as Screenplay Live in Rochester, in conjunction with the Rochester International Film Festival. Live readings are crucial to the development of the screenplay. Don’t skip this step!!
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