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REAL advice from someone who's REALLY done it.

With over 20 years experience in the film industry as a Writer/Director/Producer,​ I can help you kick your script up a notch and get it that much closer to production. 

Get straightforward, honest, practical script analysis from​ someone who understands all aspects of film production.  I've actually been there, in the trenches, on sets, getting it done. I'm not a jaded development guy who sits in his office figuring out the quickest way to hate your script.  I come from the point of view that you've spent a lot of time on your project, that you're passionate about it,  and that you want to do everything possible to make it great. 


As a lifelong film fanatic and graduate of the UCLA School of Film and Television, I live and breathe movies, often seeing 4-5 of them a week. I got this from my mother, who was a local writer and film lover in the small Ohio town where I grew up."  She'd take me to movies way outside of my age range and have intelligent discussions about them afterwards, just like Frances McDormand did with her son in ALMOST FAMOUS!  Every Tuesday, I would wait for my father to get home from work just so I could be the first to read reviews from David Ansen in NEWSWEEK and Pauline Kael in the  NEW YORKER. Even though most of the films they reviewed would never play in my podunk town, I just HAD to know about them!

Want further proof of my love for the movies?  Then check out my film reviews on TUMBLR (GLENN ON FILM) for a sense of my taste and skills at movie criticism: 







​I can do the same for your script:  Boil it down to its essence and help you unlock your story's potential.  That sounds sooooo Dianetics, but it'll cost you way less! 


  • LONG-WINDED SYNOPSIS (NO!) - I'm not going to bore you with a regurgitated recap of your script.  I think YOU know your own plot points.  Besides, there'll be more room for all the good stuff!  If you want this service,  however, I'm happy to oblige.

  • B.S.-FREE SCRIPT ANALYSIS (YES!) - Instead, I'll briefly summarize your story and what I think you're trying to say, see if there's a clear PREMISE, a singular VOICE, and if there's a way IN for the audience through your MAIN CHARACTER/S.  We're going to look at the STORY, the main one and the hidden one.  Hidden one?  Yep, it's the one that makes the audience care about your film.  If it's not there, I'll help you find it.  And while we're at it, I'm going to see why YOU are THE person to tell this story, and figure out how to stay true to that throughout your script.

  • D-EXEC POV (NO!) - I'm not going to SAVE THE CAT or SYD FIELD you to death. Those screenwriting books are great, and I'll be the first to encourage you to read them, but if you need more, I'll give you a personalized perspective. Instead of a one-size-fits-all, lock-step formula which many Development Execs will put your through, I'll give you gut-level, seasoned analysis from a guy who not only wants to make great films, but wants to see them, too. If you don't have that same drive, and all you want to write is a Studio Programmer, then I'm not your guy.  I know indie films, and the indie spirit and can help bring that sensibility out in you, whether you're writing a big genre film or one about two people sitting in a room.

  • FILMMAKER PERSPECTIVE (YES!) Next, the filmmaker side of me is going to kick in, and I'm going to see if your characters will appeal to actors, if you're giving a director something to sink his teeth into, and what red flags are in there that will make a producer freak out over budgetary concerns.  Trust me, you can't get that from someone who sits behind a desk!

Intrigued?  Then feel free to browse around and get to know me a little better.  I look forward to hearing from you.


I'm either directing I DO in NYC here, or demonstrating my love of INVASION OF THE BODY SNATCHERS.  You decide.

I'm either telling I DO D.P. David M. Gil where to put the camera, or I'm miming an Amazonian Boob Grab.  You decide.

I'm either showing I DO Associate Producer, Jack Grimmett, the framing for a shot, or demonstrating my keen "Whatever"-forming skills.  You decide.

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