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MF GALAXY

MF GALAXY is a weekly podcast powered by four mighty engines: * Writers on writing: the craft and the business * Pop culture including TV, movies, graphic novels, and more * Progressive politics, activism, and social enterprise * Africentric change-makers, histories, cultures, art, and more! Mixing brand-new interviews with classic conversations (from my archive of 23 years in broadcasting) with famous and dynamic figures in the arts, Hollywood, and politics, MF GALAXY will take you to places you've never been before, and deliver fresh insights on the places you've been.
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Now displaying: Category: writer - film and television
Jul 4, 2018

Many people dream of making independent movies. I know I did. Back in the late 1980s and early 1990s I was so inspired by Spike Lee that I read all of his “making of” books and in 1995 wrote a screenplay called The Coyote Kings for which I actually shot some test scenes with a group of friends in 1997. Of course, it didn’t go anywhere. 

But some people don’t stop at obstacles the way I did. They go around them or climb over them. Angie Zimaro is an Edmonton-based filmmaker went to film school at NAIT, the Northern Alberta Institute of Technology. She wrote and produced the post-apocalyptic indie film Dr. Plague.

Shot on location in Sherwood Park, Alberta and directed by her film school classmate Nathaniel Goselwitz, the film stars Edmonton Oilers and Montreal Canadiens legend Georges Laraque, and it won a Bronze Remi at WorldFest-Houston International Film & Video Festival 2018. Quite an achievement for a debut film!

On June 15 I met sat with Zimaro at the Simply Done Café in Edmonton’s gallery district to talk about making an award-winning debut short film. We also discussed: 

  • How to save money while making an indie film
  • Why creating a story can be fast while creating a script can be extremely slow
  • The career path to entering filmmaking later in life
  • How to finance entry fees for film festivals, and
  • How to snag a celebrity to star in your independent movie

 

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Aug 7, 2017

This show is mostly about creators in various fields showing and proving what they know about how to make what they make and how to make money from what they make.

Today we get to combine two fields: making movies and making novels. Jeff Carroll is an amazing creator. He's worked as a booker at comedy clubs and also managed comedians, which gave him access to plenty of working comics whom he could cast the movies he wrote and produced, including his Blaxploitation/ B-Movie/ Grindhouse films such as Holla If I Kill You and the award-winning Gold Digger Killer.

When his distributor went belly-up and took his money beyond the grave, Carroll leveraged his existing intellectual property by turning one of his features into a novel. He's also a speaker and known online as Yo Jeff the Hip Hop Dating Coach. So the man definitely knows how to hustle to keep on reaching audiences through multiple venues.

In today's episode of MF GALAXY, Jeff Carroll discusses:

  • The ideal locations for indie movie-making and why you should use night clubs with expired liquor licenses
  • Why you should hire comedians to star in your movies--and it's not just because they're funny
  • What movie-making taught him about writing and promoting his own novels, and
  • How he shapes his screenplays and characters, and why he solves script problems by going Full Sharknado

 

We spoke by Skype on June 23, 2017.

 

Jeff Carroll's blog 

Coach Yo Jeff the Hip Hop Dating Coach

Jeff Carroll page at African American Literature Book Club

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Jun 8, 2015

Emilio Ortega Aldrichworked his way up from production assistant to write tie-in Arrow comics for DC and an episode of the hit CW superhero action series Arrow. That’s where he met Oscar Balderrama, who’s written an Arrow tie-in novel and the forthcoming Arrow graphic novel; he’s also been a script coordinator for the series.

Both of them spoke on the Arrowscreenwriter panel at Eagle Con on May 15, 2015, where they discussed:

  • The path to writing for a Hollywood series
  • The significance of not just who you know, but who knows you
  • The job descriptions of writers’ assistant, script coordinator, and showrunner
  • To what degree these writers needed to know the DC universe in general and Green Arrow in particular to write for Arrow
  • How screenwriters on a television show work as a team under the leadership of a showrunner
  • How writers working in collaboration can garner an individual “written by” credit, which is the top glory for a writer, and the top pay
  • The shocking secret behind the show bible for Arrow, and
  • How the writers react to fan responses and expectations

 

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