Joel Hulett is an attorney in Tulsa, Oklahoma. He has an undergraduate degree in marketing management. Four years ago he decided to seriously pursue screenwriting. After finishing 3rd in a national competition this past year, he has picked up a few screenwriters from across the U.S. and Canada that he's representing, and is now producing films through his company, Dolphin Bay Productions. The first film, scheduled to be shot the summer of 2000, is a joint venture with Charles Newcomb's company, Mystic Rose Entertainment.

Charles Newcomb's script, "Six Days in Hong Kong," made the Top 3 of American Zoetrope's screenwriters group last year (Bender-Spink has agreed to represent this script along with "The North Woman.") Another screenplay, "Up On Cripple Creek," sold to CinePartners Entertainment -- who subsequently hired Charles to rewrite a script they already had in development. Charles was also hired to write 13 episodes of a new TV series set to air in the fall of 2000 ("Mysteries of the Black Rose Castle").

[Please visit Charles Newcomb's web site: http://centralcolorado.com/newcomb/]

Joel, how did you come not only to writing, but establishing yourself as an entertainment attorney, as well?

I've always wanted to be a writer, but when younger thought I had better follow a more practical path, such as law school. In 1985, I worked as an attorney on my first movie project in Oklahoma, read my first screenplay and absolutely fell in love with the screenwriting process. I became active with the Oklahoma Film Commission and was working to produce a movie project with another attorney partner of mine. To keep it short, my partner became terminally ill and the bottom fell out of the oil industry where I worked, so I dropped the dream for a number of years other than just writing. My interest in filmmaking kept me alert and in touch with whatever was going on in the entertainment industry from the legal perspective.

Charles, tell us a bit about your background. How did you come to write screenplays?

Well, I was on this medication and it...

Sorry. Actually, I was a journalist and got sick of writing stories about two-legged dogs that herd cattle and catch rattlesnakes, and fluff pieces about real estate agents giving themselves more awards. I had some great interview opportunities as a journalist (Bob Hope, Ross Perot, General William C. Westmoreland and others); but writing feature articles for the print media doesn't offer any real opportunity to tell good stories like they need to be told. I got a chance to work with the folks from Rescue 911, got introduced to the entertainment world, and then these silly notions started going through my head. Film at eleven.

How did your association begin?

[Joel] In October 1998, I posted some advice to a young writer at a site who was getting in over his head with a producer, and I received an e-mail from Charles telling me that he thought I had given some good advice, then advised me to check out a site where there were some very serious screenwriters. That's what led me to the American Zoetrope site. We swapped some posts from time to time, but I read one of his screenplays that just grabbed me and blew me away (By the way, this week it finished in second place in a national competition). That was the first time a screenplay at AZ had that effect on me. Charles and I started talking, found we had mutual ideas and goals, and over a period of time decided to work at tackling the Hollywood market jointly. We each have our own film company, mine is DOLPHIN BAY FILMS and Charles is MYSTIC ROSE ENTERTAINMENT, and this is a joint collaboration of the two companies. We see ourselves working together for a long time, though.

[Charles] I had a screenplay active on the AZ site -- Six Days in Hong Kong. Joel seemed to like it, contacted me about it, and we started communicating. I badgered him into becoming my entertainment attorney. He repped me on an option deal and on a gig I got to write 13 episodes of a new television series (Mysteries of the Black Rose Castle). As time passed, we became friends and started talking about making our own films. Now we're doing it.

Joel, what did you learn from your experiences in Hollywood after you moved to L.A.?

I haven't set up an office in LA. I mentioned that was a possibility I was examining in March when I visited there, and one I might still consider in association with another attorney, but it just didn't fit my present goals. There are a ton of opportunities for experienced entertainment attorneys in LA right now, but I could see how I could almost immediately become totally immersed in the savage game of marketing out there and never have time for my own projects. This isn't just about money to me, but about working at a vocation I love: writing. I might put in 20-40 hours per screenwriting client before I'm in position to market them, and that's quite a creative drain. I saw that I wasn't having any time for my projects. Also, the experience in general with Hollywood producers overall hasn't left me with a lot of confidence in the process. Even if we are successful in selling a screenplay, there is no telling what might end up on the screen. I came up with the theory that the efforts in making a film parallels those efforts we make in selling our screenplays, so I suggested to Charles that we take his next story and make it as a film ourselves. We had already been bouncing the idea around over the past year.

Tell us about the project you are currently collaborating on.

[Joel] George Mason is an elderly Native American who lives in a rest home and has adopted that statement as a way of life. While sulking by the lake one day, he's befriended by an extraordinary Canada goose. The friendship grows, as does the spark of life in George's heart. Before long, he checks himself out of the rest home and spends his son Bryan's inheritance on a farm he converts into a sanctuary for Canada geese... much to the delight of his granddaughter, Ellen. Bryan, understandably, becomes addicted to Maalox.

In the classic style of Disney and Hallmark Hall of Fame, our story unfolds with some handwrenching and heartbreaking turn of events: reconciling with past tregedies; overcoming personal hardships and family rifts; and finally staring down the barrel of a full blown, out-of-control government bureaucrat. But touching scenes (and one amazing Canada Goose) make it all worthwhile: Our goose becomes a hero; our granddaughter comes of age; someone from George's past enters the picture; the community rallies to their support; and George's son...well, you'll just have to see the film.

[Charles] It was a lot easier just being a writer. But the satisfaction of knowing what I wrote is pretty close to what will show up in the final product makes up for all the elevated blood pressure. And not having to jump through all those Hollyweird hoops anymore... I can't understand why everyone doesn't do it.

How do you see this movie? Mainstream? Art house?

[Joel] GET GOOSED is definitely mainstream. I compare Charles' writing to the screenplays of Horton Foote (To Kill A Mockingbird, Tender Mercies, Trip To Bountiful), and this one has a very Capraesque ending. One thing I really enjoy about Charles' writing is his ability to strike a chord in most of us relating to our humanity.

[Charles] Art houses are fine. So are film festivals. But we decided to make this one commercial right out of the starting gate. I see production much the same as I do screenwriting: Entering contests might work for lots of folks; but in my mind that time and energy is better spent on marketing one's work. Making a film is not unlike writing a screenplay: If you intend to make some money from it you have to set your sights on the product being commercial and entertaining. You have to pick your market before you write a word or shoot a frame. That's what we did with this project. We saw a huge market for family entertainment in broadcast and direct to video. Let's face it... people don't go to the movies with their kids anymore. But they will sit down and watch a movie on TV or a rented video with them. So we're targeting that market... at least with this one.

How difficult was the process of raising financing?

[Joel] We started this one on a short time frame, so there have been some frustrating situations which I'm still working on. Ask me again when we're through with everything; I'm sure I'll have a different perspective.

[Charles] It was simple. I got Joel to do it.

How do you intend to market Get Goosed!? Will you test the festival circuit and tradeshows?

[Joel] We have some money in the budget to cover a few film festivals, but we have already made some decent inroads as to people being interested in the film and anxious to see it once it's in the can. We hope we will be successful with this without relying upon the film festival circuit.

[Charles] I sort of answered this one in (a previous) response. But I'll elaborate.

We wouldn't turn down a film festival or trade show opportunity. But -- again -- we have investors who expect a return on their investment. That's one reason we brought Larry Brody on board. Larry has written/produced over 500 episodes for TV (including MOWs). He can get us in some pretty big doors with a phone call... doors Joel and I couldn't get in right now if we paid to do it. We already have some big cable networks waiting to see our product, and we have a marketing plan for video distribution.

Many digital film sites are producing trailers for independent theatrical releases and straight-to-video films. Do you see a role for the Internet in the marketing of your film?

[Joel] I believe the Internet presents more opportunities for small independent filmmakers. We'll have a section of my website dedicated to GET GOOSED, but in the future I see the ability to make better use of this technology in our marketing communications and abilities. We'll definitely want a trailer of our film there. My website is still under construction, but should be up the next week or so at www.dolphinbayfilms.com.

[Charles] I do from a consumer standpoint. But I don't see much potential for promotion within the industry itself.

You have to consider a couple of things: (1) Producers and distributors don't have time to sit at their computer surfing all day. I don't think they ever will; and (2) People turn to the Internet for freebies. So where's the incentive to produce top-notch entertainment to be delivered via the Internet? Trailers, promos, etc. might work fine... but I think the wise production companies will only hedge their bets by using the Internet to get people to go out to the theater or to go to the video store.

Also, who in their right mind is ever going to want to sit down at the computer to watch a movie with their family? It's very difficult to get those tiny little pieces of popcorn out of the keyboard. Now as technology evolves and we will be able to download films to play on our television sets... then we have a different story.

This isn't to say the computer world has nothing to offer producers right now. The digital era has already come. It is now possible to shoot, edit and distribute films to be shown in theaters... all electronically. Joel and I have already decided to hitch our horses to that wagon in the very near future.

How has your experience with American Zoetrope's screenwriters group (and now AZ's virtual studio) influenced your careers?

[Joel] I have always been and always will be very thankful to Francis Ford Coppola for making this screenwriting community available to us. The site gave me an opportunity to meet and share with other extraordinary writers on the verge of breaking in.

[Charles] American Zoetrope, at least for me, has changed my life. Two years ago I had no idea I'd be sitting here answering these questions. I got an option deal from participating on the AZ site. That led to a rewrite deal and an offer to write for a television series. But more importantly, it led me to Joel. And we gonna kick some hiney together.

What do you want to do next? Where do you see yourself in five years?

[Joel] I'm working hard in the little spare time I have to finish a screenplay involving some complex issues following family tragedy. It's a tough write, but a story I'm addicted to right now. We haven't decided what movie we're doing next. I'm sponsoring a screenwriters competition through my company offering $7,500 in cash awards plus other bonuses, so I expect to find some jewels from there. However, I am always going to rely upon one of my favorite screenwriters around as a source, Charles Newcomb. We are hoping to have about four screenplays in the production phase at all times, with one of those being mine or Charles, with the others coming from new screenwriters.

In five years, I'm hoping to be able to produce four movies a year and write at least one screenplay a year. I can never see myself giving up writing. Every goal I've had for years has been related to achieving the situation where I can write full time.

[Charles] I guess I've been asked about my "vision" a gazillion times. I never really had one, to be honest with you. All of this just sort of happened. But I do have one now: I want to make movies that will bring back the stars of yesteryear. I want to prove Hollywood has messed up big time by putting some really fine talent out to pasture.

And a nap would be nice, too.

Joel, are you still taking on new screenwriter clients?

I still represent a select few screenwriters, but I'm not seeking any new clients now. I might change my mind on this depending upon the quality of the turnout of the screenplay contest. I can imagine a situation where I feel that not only the top three winners should be touted to the industry, but that I'll also want to tout any of those near the top worthy of mention.

Do you have any advice for screenwriters?

[Joel] We're all sick of hearing that the odds against us as screenwriters are more than a thousand to one, but unfortunately that's the way it measures out. Here are some steps I recommend:

1. Get your hands on screenplays of the most critically acclaimed movies and study those. This is the level of writing to which you aspire to be.

2. Write every day. It it's trite, predictable, bad writing - do it anyway. You can always note your objections with a red pen on the printed page and fix it later.

3. Align yourself with excellent, honest writers whose opinions you trust. This will mean hearing things you don't want at times, but we as writers need a credible source of feedback.

4. Network to get your screenplays out in front of people. Do whatever it takes to open the doors of opportunity for you. There are many books on this subject, and practically every edition of the screenwriting magazines has an article on this.

5. Have the patience to hold your screenplay back until you are absolutely sure it is as good as can be before you market it. If you think the screenplay you just finished is going to be a hot property, it will still be hot two months from now after it's been tweaked and fine tuned, plus you won't have burned any bridges by starting too soon.

Sam Quo Vadis is the founder and webmaster of The Screenplayers, a screenwriters marketing and support group. He is from Vancouver, Canada.