How and when did you discover your love and talent for writing?

I have enjoyed writing for as long as I can remember - even as a child. I suppose I have taken the 'talent' part of it for granted, and have simply 'wrote to write'.

Over time, most people have responded favorably to what I written, however, the bottom line is this: I write for myself - because I enjoy it.

When did you discover that you wanted to write for film?

In 1988, when I was in jail. Once the 'accused' found out I was a published author (First Step, 1986), they would leave me alone during the day (while I wrote) - then, I would read to them at night - until the last of the cons was 'swept away by the sandman'.

The manuscript was called Contrary to the Ordinary - the song title borrowed from Jerry Jeff Walker, whom I knew down in Austin, TX. The 'jailbirds' liked the title - and (apparently), the content. I guess they could relate…

How did your career evolve?

It all began with Contrary to the Ordinary (CTO). Then, after a couple friends of mine read it, they suggested I try my hand at screenwriting (one was a film producer, the other a member of the Writers Guild of America).

Their convincing point was that a screenplay was only about 100 pages long. I thought, "Wow! I can do that!" However, this became the-greatest writing challenge of my life (to date). Starting with 668 pages (my 'jailbird' manuscript) - the first draft of "CTO" (as a screenplay) was a whooping 188 pages!

The first rewrite came in at 148 pages. The second rewrite, 128 pages. The third rewrite, 115 pages. And finally "CTO" 'stabilized' at 105 pages.

Learning (and enjoying) a-lot from this experience, ideas for new and original screenplays started popping up in my head. So, I decided that I would try and write in every genre - just to see if I could do it. And, I have. Eight totally-different screenplays - covering the spectrum of genres (yippee).

What do you enjoy most about your jobs as both a screenwriter and a festival director?

As a screenwriter - coming up with ideas that are unique and original.
As a festival director - helping to advance the careers of others.

When and how did the Telluride and Key West IndieFests come to be?

After writing, producing, and directing my first feature film Telluride: Time Crosses Over in 1995), I just decided to 'whoop up' an independent film and screenwriting festival in Telluride (in 1996).

We already had the Telluride Film Festival going on (over the Labor Day Weekend), however it was not an independent film festival - and, it did not have a screenwriting element to it. I saw a 'niche', and 'seized the day'.

As far as Key West IndieFest goes - I had grown weary of those long-winters up on Planet Telluride (it snows from November to May). So, I decided to 'whoop up' another event - in a warm and exotic location, by the sea - and Key West was the place.

I remember it was on a beautiful February morning (in Telluride) - there was snow everywhere - when I popped up out of bed (at 7am) and said, "I'm gonna do it!"

So, I hopped online, and found out there was no film festival in Key West. Then, I registered the domain name "Key West IndieFest", created a replica of the Telluride IndieFest web site (in Key Lime Green), and sent out my first press release (for the Key West event) - all by noon the same day (again, yippee).

How well have they grown since their inceptions?

Telluride IndieFest took off like a rocket - and doubled in size in each of its first three years. I decided (then) to limit the number of submissions we would accept for preview to 1000 (total of all films, videos, and screenplays), feeling that this was a 'manageable' amount - where we could pay the necessary attention to each entry. Telluride IndieFest will celebrate its eight anniversary this Labor Day Weekend (2004).

Because of the success of Telluride IndieFest, our Key West event has really taken off (double yippee)! I reckon it is a tribute to our 'preview and selection' process (which is very thorough) - but more so a tribute to the quality of entries we receive from all over the world. Key West IndieFest is celebrating its second anniversary this year (2004).

Have they caught the attention of the mainstream Hollywood radar?

Yes. And the thing that we are most proud of is that over 70% of our artists significantly advance their careers as a direct-result of being selected by our events. Such as: they get a talent agent (or manager), acquire a distribution deal for their film, find additional work in Hollywood, or in the 'indie world' (etc).

What advice would you give someone who hopes to break into the Hollywood mainstream?

You must have perseverance - and talent. As well, you must develop a 'salesman's mentality' when dealing with Hollywood. As my father taught me (years ago): "Son, it takes 100 calls, to get 10 prospects, to close 2 sales." This philosophy certainly applies in dealing with Hollywood - times 10.

Is being independent always the first path?

Not necessarily. However, if you are not catching 'the breaks' (ie. being in the right place, at the right time, with the right material), then go out and DO-IT-YOURSELF (ie. take your script, and make a movie)!

But, do not do what I did - and make a feature film first. My partner (Jules) and I spent $80,000 between us - and, our movie remains in 'post-production' HELL - and, it will stay there. I should have followed my Uncle "Spanky's" advice (which relates to gambling): "Only gamble with as much money as you can afford to lose."

So, go out a shoot a (good) SHORT FILM first, and use it as a 'calling card' for bigger and better projects in the future! Or, a kick-ass documentary - using topical matter that an audience may not be familiar with!

Is there a place for those that want to remain outside of the Hollywood scope and still support themselves financially?

In today's world, you can live just about anywhere and write screenplays, as well as make independent movies. Hollywood, even though it SUCKS, is still the best place to be (I suppose) for the aspiring professional screenwriter and/or filmmaker (for that is where the 'action' is). However, I (for one) will never 'live' in THAT town (full of liars, cheats, and thieves) - unless (of course) they offered me so-much-money that I would not have to live there!

What are the main implements of survival for a new screenwriter entering the Hollywood arena for the first time?

The ability to accept copious amounts of rejection, the ability to discern 'shit from shinola', and the ability to persevere and believe in yourself (and your talent). And, don't go out there 'broke', hoping to find that 'pot of gold' right away. Hollywood can smell desperation (among other things). So, 'fake it until you make it.' - just like 'they' do.

What are the main virtues of a successful screenwriter?

1. Talent (principally). There is an axiom from the "De-Motivational Series" a friend sent me a few years ago: "Winners never quit, and quitters never win. However, if you never win, and never quit - then you are an idiot."
2. Perseverance (if you don't have it, then "get out").
3. The ability to write "concise, yet clear".
4. The ability to write "visually" (for film is a visual medium).
5. Write only when you are inspired to write.
6. Never write any dialogue (after the first draft) - let your characters do the talking, and you write down what they say.
7. Let it "flow" - especially in the first draft. Get all of your ideas down, and don't worry about how long (your first draft) is.
8. Learn to accept rejection - for it will happen (and often).
9. Learn to give up "creative control" after you sell your script.

What screenwriters and filmmakers have inspired your current work and career choices and for whom do you have the most respect?

All of the independent filmmakers and screenwriters in the world - for I am one of 'them'. They are the ones that test the boundaries of the medium - and often 'raise the bar' of innovation and creativity - something that is grossly-lacking in most Hollywood movies and scripts.

How do you think they got to be where they are today?

"Moxie" (ie. 'balls and guts'). The indie artist believes that: "Dreams can-become reality, if you pursue them - yet remain only fantasy if you don't". A phrase I coined years ago.

What films have had the biggest impact on you?

The Lord of the Rings trilogy - Fandango and Field of Dreams (and most of the movies directed by Kevin Costner) - Hud and Cool Hand Luke (and most anything with Paul Newman) - as well as most of the films created by Robert Redford (i.e. Legends of the Fall and A River Runs Through It, and especially Havana).

What lessons from your formal education have remained as vital keys in your current success?

Two things in particular: Doing your 'homework' and studying your craft. These are two of the-most vital keys to success in any business.

What did you dislike about your education?

Are you kidding me? How can you even ask such a question? There is nothing - and I mean NOTHING - that beats a good education! My experiences at Oklahoma State were some of the-best life experiences anyone could have. Learning new things and acquiring knowledge gives you strength and insight that help you succeed in the 'real world'.

What do you know now that you wish you knew then?

There is nothing I know now that I wish I knew then - because you can never look back and wonder, "Why didn't I think of that before?" Just be glad that you finally realized it. Hindsight is 20/20. That is why it is important to learn through the (ongoing) experiences of life - for that is what IT is all about.

Describe a typical day as a screenwriter.

There is no 'typical day' for a screenwriter, everyday is different - just like life itself. And, every writer is different. Some people have been encouraged (through books) to write every-day, even if they are not inspired to write. I staunchly disagree with this concept. Only write when you are inspired to write - because forcing yourself to write is an absolutely terrible idea!

Describe a typical day as a festival organizer.

On this, I can only speak personally - for once again, each festival organizer is different on how they approach the awesome task of organizing a film and/or screenwriting festival.

However, I typically wake up at 7am, check (and answer) the festival email (over a protein shake with vitamins), then go to the gym and 'work out' for 2 hours (the 'healthy body, healthy mind' concept).

In the afternoon, I will take some scripts and go to the pool (or beach) and read (sometimes five or six screenplays), then check the post office for festival mail on the way home. Once home, I check (and answer) festival emails, send out press releases, assign materials to our preview staff (etc).

Then, if nothing good is on television that evening (which often there isn't) - I watch film (in video) entries that have already been recommended by my 'staph'.

Then, to bed (around 11pm).

10 hours a day - most everyday - I am working on some aspect of the festivals (or my other businesses).

What main lessons did you learn from your film-making experiences?

The main thing I learned is just how much a script changes when you shoot a movie. What I thought was a tight 'shooting script' (for "Time Crosses Over") changed considerably during production. A lot of things were impractical (or too expense) to do. Other things just didn't work. Some scenes were scrapped, and new scenes created (often, on the spot). If you really-want to know what happens to your script when a Hollywood director gets hold of it - go out and shoot your own script (and see for yourself)!

What did you enjoy the most?

The 'doing'. Actually doing it - and getting the experience! I also really enjoyed working with our cast - which numbered over 120 people for the feature film "Time Crosses Over". They were great, very supportive, believed in what I was doing, and were really into what they were 'doing'.

How important is communication between all creative elements within a film project?

What do you think? Critical and Vital! I think the word "communication" may be one of the-most important words (to apply) in any language or culture.

Being a published author, what advice can you give those who have an interest in writing about film (theorists, critics, educators, etc.)?

That's easy: Just write. If the 'spirit moves you' - then write. If you can write 'concise, yet clear' - then write (screenplays). If you have any-kind of imagination - then write. If you write thinking you will become 'rich and famous' - then, don't write - because such an idea is not realistic.

How does one get published?

Write a good book - then, 'self-publish'. That would be the easiest way.

Can you dispel any common myths about screenwriting and the film industry in general?

No - because they are all true. Hollywood is a 'sewer' - and the film industry, a 'swamp' (with artificial coloring). And, yes - the most creative person in 'the biz' (the screenwriter) is the least-respected entity in the food chain.

If I didn't like the good films so-much, I would tell "Holly-wood" to go to HELL. However, it is the good films - and the few good-people (in 'the biz') that keeps me from actually saying it - although (I guess) I already have.

How does the job market look for screenwriters at this time?

Always bleak - and, that is the very-reason why you should write. There are (literally) millions of people who write screenplays - and few actually succeed (especially financially) in "Holly-wood". So, keep your 'day job', write when you are inspired, remember the 'saleman's axiom' (100 calls, 10 prospects, 2 sales), keep trying - and maybe, just maybe - you will catch the 'big break'.

What is the typical salary range for a screenwriter?

There is no 'salary range' for a screenwriter. You get paid a sum of money if you sell (or option) a script. And, the few writers you hear about - who 'ring up' six or eight figure deals - are in the minority (and, a very small minority).

Any future predictions?

Yes. The sun will-rise in the east, and set in the 'swamp' (Hollywood).

What positive and negative trends do you see in the film industry today?

I heard today (Friday, March 26, 2004) that the average Hollywood motion picture now-costs over 100 million dollars to make. This is what is sick about "Holly-wood" - GREED and runaway budgets - for most motion pictures will fail at the box office. Fact is: Only 1 in 10 movies released makes its money back at the box office. However, video and DVD rentals and sales, foreign distribution, television revenues and cable do help re-coup some of these 'runaway' expenses. Must be the unions or something. The main (positive) trend for the industry is the use of digital technology and the Internet.

What do you think the future of the industry looks like?

Like a 'Picasso' - colorful, odd, and interesting.

From the people you have spoken and worked with that have studied film at institutions, what would you consider to be the top 5 institutions of film education?

Besides the American Film Institute - I suppose that any reputable College Film School would be just-fine.

What is the best way one can get a film project included in a film festival or screening?

Create a good film - what else?

What qualities make certain entries stand above the rest?

Entertainment value is the-most important consideration.

How has the popularity of the Internet affected your profession?

The Internet has had a tremendous impact! What with advent of broadband technology, affordable digital video cameras, inexpensive editing suites, high-speed webcasting, and email to facilitate communications - the possibilities are (now) endless.

Any final words of wisdom?

Yes. Write because you have too - for to deny your creative desires is just another form of 'suicide'.