Where are you currently employed?
I work in the story department at Amazon MGM.
Current projects?
“Highlander,” “Alone at Dawn,” “Shield of Sparrows,” and “Red, White & Royal Wedding.”
Describe your job.
Union story analysis basically falls into three different buckets. First, you tend to be the first read on submissions. The sheer volume of material submitted to any given production company or studio is just too much for creative executives to take in. Basic coverage offers a thumbnail sketch of the story and a breakdown of the material’s pros and cons to help the story department decide what warrants in-depth attention. Submissions can be in any and every media format. Beyond the typical screenplays, treatments, and manuscripts, there are graphic novels and manga, foreign films, art books, video games, podcasts … basically anything under the sun.
Second, once a submission has been acquired and becomes a project in the development pipeline, readers generate detailed synopses, beat sheets, and comparisons to track changes, note improvements (hopefully), and offer suggestions for next steps and course corrections.
The third bucket is a catch-all of all things story-related. Credit determinations and legal comparisons are the most common assignments here. But over the years, I’ve had to create databases to track story element origins across multiple media for copyright discussions, compiled “awards distribution” drafts (aka “Notice of Tentative Writing Credits”) to match final cuts, and even transcribed an independent feature that had no written screenplay.
How did you first become interested in this line of work?
A film school classmate and creative collaborator, Marc Haimes, landed a gig as a reader and recommended the job to me. He showed me the basics of coverage and introduced me to people at a few story departments, where I was able to start picking up freelance work. The flexible hours were a perfect fit for my night owl habits, and I was excited to get paid for what amounted to a practicum on screenwriting.
Who gave you your first break?
Marc introduced me to Tracy Andreen, who was running the story department at Mandalay Pictures at the time. We hit it off, and the work I did there opened some doors and helped me generate samples that led to work for Castle Rock, Scott Free, and Amblin (just as they were segueing into the first iteration of DreamWorks). That was the kind of daily hustle and juggling act that I believe is uniquely suited for someone in their 20s. As I picked up more work at DreamWorks, I eventually narrowed my focus to reading exclusively for them.
What was your first union job?
I was a regular freelancer at DreamWorks when the Paramount merger happened. That led to a staff shake-up, and when the dust settled, the remaining reader staff, myself included, found ourselves in the union. It was an eye-opening transition, and I’ve never looked back.
What credits or projects are you proudest of, and why?
“Galaxy Quest,” “American Beauty,” “Gladiator,” and “1917” were all creative high points at Amblin/DreamWorks. Just being able to play a small part in films that remain near and dear to me was a privilege.
“Road to Perdition” is also a standout memory because I was a part of that one from the very start, having covered the source graphic novel and then remaining with the project throughout its development.
What was the biggest challenge in your job (or on a particular project) and how did you overcome/solve it?
Development on the live-action “Ghost in the Shell” feature was an epic undertaking that spanned several years. A complex rights deal meant I had to track the origin of every story element across all sorts of media, from the original manga through the animated features, series, and OVAs [original video animation: anime episodes or films released directly to home video formats without first airing on TV or being a theatrical release]. It was left to me to develop a template and process to generate, maintain, and update a massive spreadsheet across many, many drafts. The document became a touchstone for multiple departments, including legal. Luckily, I was already a fan of the various sources, so to some degree, I was getting paid to be the ultimate fanboy. And it earned me a bespoke screen credit as “Mythology and Continuity Consultant.”
What was the most fun you’ve had at work?
Some of the strangest and most rewarding assignments are the ones that fall outside the familiar tracks of coverage and notes. It can be exasperating but also exhilarating to flex those creative problem-solving skills. I spent years on another “Ghost in the Shell”-style database for a big sci-fi title. That project eventually fell off the slate, but the work was fun, and I’m crossing my fingers that it will find a home somewhere. Some other fun, oddball pieces include figuring out how to synopsize and assess a sprawling, non-linear, multi-POV horror narrative, and covering a survival horror video game with no supporting materials of any kind… literally having to beat the game to learn the plot.
Jobwise, what do you hope to be doing five years from now?
Not to be too cynical, but I’ll be content if the job itself still exists in five years.
What are your outside activities, hobbies, passions?
Outside of catching movies in a darkened theater, I’ve earned a black belt in Kenpo. I also remain true to my geeky roots, reading sci-fi and fantasy books and comics. I’m always up for a good game night and am fortunate to be part of a weekly RPG [role-playing game] group. And I make it a point to keep current with Liverpool FC in the Premier League… as frustrating as that can be.
Favorite movie(s)? Why?
“Lawrence of Arabia” is, for my money, the best film ever made. I catch it on the big screen whenever I can. It’s not just an epic narrative, but an epic achievement in filmmaking. It fills the frame with gorgeous images and jaw-dropping pre-CGI spectacle, layers in some of the most memorable and quotable dialogue, and delivers probably the single best “and introducing” acting debut ever.
But there are so many other favorites — the test being, if I encounter it while flipping channels, I’m in for the long haul. The OG Star Wars trilogy and “Raiders of the Lost Ark” are why I went to film school. “Aliens,” “The Matrix,” “The Exorcist,” and “The Shining” are all genre icons. “The Goonies” and “Back to the Future” instantly transport me back to the age when I fell in love with movies. And “The Lion in Winter” is amazing as a stripped-down acting showcase with a stacked ensemble brilliantly riffing off each other.
Favorite TV program(s)? Why?
I’m a sucker for sprawling sci-fi franchises – all iterations of “Doctor Who” (with Tom Baker in pole position), “Star Trek” from The Original Series through The Next Generation and onward, and all the old-school “Twilight Zone” you care to dish out. Recent shows like “WandaVision,” “Wonder Man,” and especially “Andor” really raised the genre bar. In the non-scripted sphere, having had the chance to compete (and propose to my wife) on the “Jeopardy!” stage means it will forever have a place in my heart.
What advice would you offer to someone interested in pursuing your line of work?
Obviously, it helps to be an avid filmgoer and TV viewer. But you should also work to be conversant in all genres from all periods. You want to have a sense of what’s trending and working now, along with the context of what has come before (if only so you can recognize when someone’s ripping off a classic). That also means watching genres outside your comfort zone, because you’re expected to assess anything that comes in. More importantly, you need to read every script you can find to gain an understanding of how the page translates to the screen. And honestly, reading bad scripts is one of the most useful things you can do, especially if you aspire to write. It’s so much easier to figure out what’s going on under the hood of a story when you can clearly see where and how it has gone wrong.
Was there ever a circumstance when you had to rely on the Guild for help or assistance?
There have been several instances over the years — especially when working at places that are just transitioning to a union setup — when it’s been very useful to reach out to the union reps about issues like varying rates for different assignments, minimum call requirements, or turnaround times. Just having someone who can step in as an expert to clarify the rules and advocate on your behalf is a huge relief.
Is there anything you’d like to say to your fellow Guild members, some words of encouragement?
At a time when the industry and the world in general feel dire and chaotic, it’s worthwhile to remember what made us fall in love with storytelling. Stories offer an escape, provide support and comfort, remind us of our common bonds, and are powerful catalysts for change and resistance. And no matter how much cynical, short-sighted forces try to minimize or marginalize that work, the intrinsic value of people sharing and connecting through human stories remains undeniable.