Coaching with Gary W. Goldstein

GARY W. GOLDSTEIN

* Film Producer
* Business Owner
* Successful Entrepreneur
* Speaker & Keynote Presenter
* Author / Contributing Author
* Board Advisor
* Consultant to Entrepreneurs & Business Owners
_____________

SERVICES:

* Personal Development Programs

* Business Coaching Services

* Screenwriting Programs

* Corporate Training Development

* Motivational Business Speaking

* Tele-Seminars: Hollywood Confidential - Monthly Mastermind Group

* Tele-Seminars: How To Get Out of the Box You're In. Now!

* Tele-Seminars: Scaling the Great Wall of Hollywood

BUSINESS ACCELERATOR INTENSIVE MENTORING

"Creative Solutions To Take Your Business to the Next Level"

with GARY W. GOLDSTEIN

Are you seeking creative strategies to successfully map a systematic, strategic blueprint to quickly, effectively and exponentially grow your business ?

If you want to quantum leap your results, increase your brand effectiveness and revenues.

If you suffer confusion about how to elevate your game, stop struggling and working harder for the same results.

If you desire customized consulting to close the gap between where you currently are and where you ideally want to be 12-24 months from now.

HANDS-ON MENTORING WITH GARY GOLDSTEIN

For more details, visit his:
Business Coaching Services

HOLLYWOOD 'INSIDER' MENTORING

'Creative Solutions For Screenwriters & Filmmakers
Who Want to Take Their Career the Next Level'

with GARY W. GOLDSTEIN

The vast majority of screenwriters, directors and producers lack business skills equal to their creative talents. You've not been educated how to effectively market and sell your project, let alone communicate powerfully the value of YOU!

If you are serious about learning manageable, measurable, 'do-able' strategies to insure your forward progress, to distinguish you from the hundreds and thousands of competing projects vying for the attention of the decision-makers, market yourself and your project and build your career.

GARY'S 'INSIDER' MENTORING IS THE KEY TO MOVING AHEAD

You have talent.
You create and champion entertaining, compelling screenplays.
Is that all you need to build a success career ?

To get your film financed, produced and successfully distributed ?

Screenwriting, producing, directing, these are businesses !

For more details, visit his:
Screenwriting Programs

How To Get Out of the Box You're In. Now!

We've had overwhelming response for our accelerated tele-coaching program -- HOW TO GET OUT OF THE BOX YOU'RE IN. NOW! -- and are happy to offer this final opportunity to register and take your idea, project or business to the next level.

Click here now to listen to a preview call with Paul Hoffman & Gary Goldstein

This powerful 10 week teleworkshop -- plus 2 experiential bonus calls -- plus a PDF electronic workbook -- plus recordings of the entire program so you can go back and review -- begins on Thursday July 17th at 5pm PST. This program is specifically designed to:

* Laser focus your passion, purpose, intent, action and commitment
* Identify & quickly overcome any limitations, confusion and fears
* Teach concepts on how to organize the tools & resources you need to implement your vision
* Accelerate the building of teams and mastermind groups
* Provide templates, strategies and proven tools to expand reach & revenues
* Quickly launch dynamic new content & media-based products
* Generate new layered product offerings by repurposing existing content
* Powerfully and effectively communicate your business in 30 seconds or less

Click here now to listen to Gary & Paul's recent preview call

What You're About To Discover Is So Powerful. It Could Change Your Film Career, Forever!

Would it help you to:

* gain access to established producers, agents, managers, executives and more?
* be represented by an effective, enthusiastic and experienced agent and/or manager?
* know how to get your script read?
* learn short cuts to independent film financing?
* master simple p.r. strategies that will increase your visibility?
(without paying thousands of dollars in retainers to publicists)
* be able specific questions that will make financiers, distributors, producers fall in love with you? AND distinguish you from 99.9% of ALL other writers?
* learn how to target exactly the right people for your project?
(including: producer, director, actors, financier, distributor)
* AVOID the 5 BIGGEST MISTAKES common to writers?

Gary will guarantee you learn how to:

* get your screenplay read & championed whether you are in Los Angeles or Kansas City
* the 7 steps to package a successful screenplay before you ever show it to a living soul
* how to grow a network of strategic relationships in Hollywood and avoid wasting your time on the wrong people & approach
* how to identify your most powerful story and deliver an 'undeniable' screenplay
* who are the gatekeepers? Learn how to disarm them, make them your friend and advocate, and successfully navigate the system
* how to align and form strategic relationships in Hollywood

Gary's "tactical toolbelt" for screenwriters includes all of the above and more

Using films Gary has produced, he will give you vivid examples and lessons learned that will give you a powerful advantage

Persistence + Talent + Proven Strategies = Success

For More Information, Visit: Screenwriting Training

* Would it help to have greater clarity ?
* Are you prepared to make 2009 the best year of your career & life ?
* Would an affordable coaching/mastermind solution be helpful ?

Welcome to my monthly mastermind group !

This 12 month interactive, progressive, and dynamic program is one of the most uniquely results-oriented and exciting mastermind products I've ever offered. My monthly mastermind group is about execution, progression, intensity, interaction, and it gives you the unique opportunity to be a continuing part of my inner circle.

* Monthly 2 hour call
* Starting February 12th, 2009
* Recordings of each week's call will be archived
(Available for replay and/or download)

You know the importance of having a coach or mentor in your life. Every day I get people coming to me wanting to be coached. My normal fee for one-on-one monthly coaching obviously does not fit everyone's budget.

If you know me, you know I am 100% committed to helping as many people as possible realize their dreams. So, I needed to come up with an affordable solution. I wanted a format to share all the best strategies, tools, information and concepts I know of in a way that was not only affordable but would get people the results they desire.

As you know, working in a personal, intimate setting with like-minded people committed to results is incredibly powerful. The benefits are vast, including:

* Leveraging the skill and knowledge of other people
* Together we generate ideas and solutions to solve problems
* Being held accountable to achieving the success you desire
* Working in a group helps avoid isolation and expands the possibilities for expansive thinking.
* Create new alliances that provide amazing support , encouragement and friendships
* Sustain the motivation and energy required to take inspired action and get massive results

For More Information, Visit: Hollywood Confidential - Monthly Mastermind Group

1. Feature film script should be between 95 and 120 pages in length.
- Never longer. A script over 120 pages needs editing.
- Never shorter. A script shorter than 90 pages is too short.
- The perfect length is 100 pages for comedies, 110 for dramas.
- Cheat your margins if you have to, but better yet write and cut to the correct length.

2. Do NOT use camera directions. Ever.
(Note: Historically, writers used to employ camera directions, but the practice is no longer in vogue.)
- Do not use words like CAMERA, CLOSE UP, LONG SHOT, DOLLY, PAN, or anything else that refers to the camera.
- Do not use CUT TO or any references to editing.
- At the beginning of the script, you may use FADE IN.
- At the end of the script, you may use FADE OUT.
- Please use a maximum of two dissolves in the entire script. If any.
- Dissolves are not generally well-received, disdained by directors and studio readers.

3. Dialogue should generally be one to three lines long. Only occasionally should dialogue exceed four lines. Keep it short and simple.
- A few monologues may be acceptable, but even they should be broken up with action (e.g. 'he drags on a cigarette'), so they are under ten lines in length. Long stretches of one character talking are boring and hard to read.

4. Scene description should be kept to a minimum.
Many studio executives and readers may actually skip over scene description. If they can't get the story from the dialogue, some may feel frustrated and stop reading.
- Scene description should be one to three lines in length, and never more than five lines without a break.
- When describing significant amounts of action, break the description into logical paragraphs, separated by double spacing.

5. An entire scene - from one slug line to the next - ideally runs three pages or less (it can be as brief as a small fraction of a page). Never more than five pages in length. The average scene should be a page and a half or less. Larger, important scenes can run three or four pages. Please make certain the script keeps 'moving' or 'flowing' for the reader. If you have a great deal of dialogue or information, experiment with breaking the scene up into mulitple locations (e.g. "Let's get to the restaurant, and I'll explain.").

6. Character names should begin with different letters so the reader can more easily distinguish them. Different numbers of syllables can also help (e.g. Stan, Sue, Sam and Sara is far more challenging for the reader than Susan, Drew, Alyssa, Charlie). In particular, characters that talk to one another should have uniquely different names (e.g. not 'Lyle' and 'Kyle).

7. If a particular character has few lines (half a dozen or so) and only appears in one or two scenes, it's best to refer to that character by occupation (e.g. POLICEMAN, MAID, BARTENDER). This lets the reader know they do not have to worry about this character fitting into the story. Use a proper name only if important to do so or the character has a signficant effect on the story.

8. Do NOT use parentheticals, except when absolutely essential. Typically, a parenthetical is used to introduce a line of dialogue, describing how that line should be read (e.g. angrily, laughing, nervously). Please make every effort to avoid this device and, if you must, limit to four or fewer your use of parentheticals. The litmus test is: is it likely the reader will misinterpret this line (sarcastic: "Sure I will.). Beginning writers often make the mistake of using parentheticals consistently throughout a screenplay.

9. Slug lines - the first line of scene, describing time and place - always begin with INT. (interior) or EXT. (exterior). They always end with NIGHT or DAY. Do NOT use 'Magic Hour', 'Late Afternoon', or any other such departure. Only use 'Morning' or 'Sunset' if it is critical to the timeline of the story.

10. Character names are capitalized in scene description only once, the very first time that character appears in the screenplay.
- Sounds are capitalized (e.g. BANG).
- Please don't use this often or get carried away with capitalizing sounds (e.g. PATTER, PATTER, PATTER of feet as he SHUFFLED; or the faucet went DRIP, DRIP, DRIP as the kettle WHISTLED).
Stick to loud, important sounds. If in doubt, don't capitalize.
- Nothing else in scene description should be capitalized.
- (Note: Long ago, writers sometimes included lighting effects, props and other capitlaized items, but these are no longer accepted practices).

THE ASSISTANT - YOUR MOST VALUABLE ASSET

The most important people in the film business, by far, are the assistants. Revere them. Befriend them. Treat them with unadulterated respect. Know their names and make them your ally.

CREATING AN ALLY

Whether your goal is to make yourself known to a producer, director, agent, manager, studio or independent film executive, treat their assistant with respect and courtesy, humor and politeness. Do not "rush" your way through the assistant or approach them as someone standing between you and your goal.

Approach the assistant as if he or she is precisely your desired objective. Communicate your appreciation without being overly solicitous. Use your precious moments on the phone well, stating clearly who you are, your purpose and your 'why'. Your 'why' is about the assistant, the regard you have for their company, and your mission or goal that prompted your phone call.

Read Full Article

The fate of the galaxy rests in the hands of bitter rivals. One, James Kirk, is a delinquent, thrill-seeking Iowa farm boy. The other, Spock, was raised in a logic-based society that rejects all emotion. As fiery instinct clashes with calm reason, their unlikely but powerful partnership is the only thing capable of leading their crew through unimaginable danger, boldly going where no one has gone before.

Also Known As:
Star Trek 11
Star Trek Prequel
Star Trek XI
Star Trek: Corporate Headquarters
Star Trek: Starfleet Academy

Production Status:
In Production/Awaiting Release

Genres:
Action/Adventure, Science Fiction/Fantasy, Adaptation and Sequel

Release Date:
May 8th, 2009 (wide)

MPAA Rating:
PG-13 for sci-fi action and violence and brief sexual content.

Distributors:
Paramount Pictures

Production Co.:
Bad Robot, Kurtzman/Orci

Studios:
Paramount Pictures

Filming Locations:
Los Angeles, California USA

Produced in:
United States

Watch the Trailer