The Los Angeles Convention Center, normally populated by boats
and cars, played host last weekend to aspiring screenwriters
instead.
The 2002 Screenwriting Expo brought together people from across
the country to learn about, and then compete in, the art of
screenwriting. Sponsored by Creative Screenwriting magazine, the
event was the largest convention ever held for screenwriters,
filling the second floor of the West Hall of the Convention
Center.
The expo had the traditional, informative lectures and workshops
held by working screenwriters, script consultants and film
professors, as well as a “Pitch Fest” with Hollywood
producers, development executives, agents and managers. The expo
also included the “Creative Screenwriting Open,” the
first on-site, timed screenwriting competition in history.
The “Open” gave 1000 contestants 90 minutes to write
a scene with a predetermined plot, such as a protagonist who must
fend off dark forces and protect the love interest. The scenes were
then judged on structure, originality, dialogue and style to
determine who would advance in the competitive round format. In
each round, the top ten percent advanced until the top three were
determined. The ultimate winner was decided by an audience vote at
the closing ceremony.
While amateurs participated in the competition, veterans were on
hand to advise other ways of winning your way into
Hollywood’s machine. Writer-directors Frank Darabont
(“The Shawshank Redemption,” “The Green
Mile”) and David O. Russell (“Flirting With
Disaster,” “Three Kings”) highlighted the lineup
of keynote speakers and guests of honor.
“I hope it was helpful,” said Richard Krevolin, a
USC film professor who occasionally teaches screenwriting classes
at UCLA and gave three lectures at the expo. “I know that
many people across the world are dying for information, and I think
this was a great way to educate them.”
Many attendees, however, did not get a chance to attend the
lectures they had registered for, as the ticket-purchasing system
for the “Pitch Fest” event slowed almost to a halt.
This caused some to wait in line for five hours or more.
Additionally, because the demand for “Pitch Fest”
tickets was larger than expected, many ended up waiting in
vain.
“They (messed) the whole thing up,” said David Blue,
an attendee there to pitch his movie. “It was like they sold
500,000 tickets for an arena that only holds 4000.”
The “Pitch Fest” had 1200 pitching slots for
aspiring screenwriters, with tickets being distributed on a
first-come, first-served basis. Each person could purchase five
slots, meaning about 240 people would be able to
participate. However, approximately 2700 people attended the
expo, according to Erik Bauer, the expo’s coordinator and a
managing editor for Creative Screenwriting.
“If there was one area that fell down organizationally, it
was the “˜Pitch Fest,'” Bauer said.
Many people came to the expo solely for the “Pitch
Fest,” waiting in line all day on Saturday for the chance to
talk briefly with production companies on Sunday. Each pitch lasted
only five minutes, with time warnings at one minute and at ten
seconds to go. After five minutes passed, a bell rang, and writers
had ten seconds to leave.
“It’s all very Hollywood-ish,” Blue said after
the first of his five pitches.