This is a transcript of SYS 490 – From Stage To Screen With Anabelle D. Munro .
Welcome to Episode 490 of the Selling Your Screenplay Podcast. I’m Ashley Scott Meyers, screenwriter and blogger with sellingyourscreenplay.com. Today I’m interviewing actor, writer, producer, Anabelle Munro. She also runs the ethos Film Awards here in Hollywood. She’s originally from Germany and started her career there as an actor, but then moved to New York City and eventually Los Angeles, which is where she lives now. She started to write and produce her own material, to get ahead as an actor to create stuff for her to act in. So, we talked through some of her projects, how she got them off the ground, how she raised money, how she put them together, and then ultimately how she got them across the finish line. So, stay tuned for that interview.
SYS’s six figure screenplay contest is open for submissions just go to sellingyourscreenplay.com/contest. Our final deadline is July 31st. We’re looking for low budget shorts and features. I’m defining low budget as less than six figures. In other words, less than 1 million US dollars. Got lots of industry judges reading scripts in the later rounds, we’re giving away 1000s in cash and prizes. I had the winner from 2020 Richard Pearce on the podcast in Episode 378. He won the contest that year, was introduced to one of our industry judges, a producer director named Ted Campbell. Ted then took the script to MarVista Entertainment and got the film produced. And we’ve had a number of options in sales from the contest. And as I said, this is only the fourth year so feels like we’re getting some good traction with this. We have a short film category as well 30 pages or less. So, if you have a low budget short script, by all means, consider submitting that as well. Some of our some of our industry judges are definitely looking specifically for short script so hopefully we can find a home for some of these shorts as well. And again, we are running an in-person Film Festival in tandem with our screenplay contest, it is for low budget films produced for less than 1 million US dollars. We have a features and shorts category in the film festival as well. The festival is going to take place here in Los Angeles from October 6th to October 9th. If you produce a short film or know someone who has, by all means please do submit it. shorts are easy to program, we can definitely run a lot of shorts, we’ll be running one ahead of each one of the feature films most likely. And then we’ll also probably put together some short blocks. If we can find some shorts that sort of go together thematically just with tone and scope and that sort of stuff. Sometimes it’s fun to run the short film blocks, if you can get a bunch of short films that really mesh well together. If you have a finished film and we’d like to submit the festival or learn more about it, just go to www.sellingyourscreenplay.com/festival, if you want to submit to the screenplay contest, just go to www.sellingyourscreenplay.com/contest, you can also submit via FilmFreeWay we are there as well. So, if you use FilmFreeWay definitely feel free to submit through FilmFreeWay. If you find this episode valuable, please help me out by giving me a review in iTunes or leaving a comment on YouTube or retweeting the podcast on Twitter or liking or sharing it on Facebook. These social media shares really do help spread word about the podcast so they’re very much appreciated. Any websites or links that I mentioned in the podcast can be found on my blog in the show notes. I also publish a transcript with every episode in case you’d rather read the show or look at something later on. You can find all the podcast show notes at www.sellingyourscreenplay.com/podcast and then just look for episode 490. If you want my free guide How to Sell a screenplay in five weeks, you can pick that up by going to www.sellingyourscreenplay.com/guide. It’s completely free. You just put in your email address and I’ll send you a new lesson once per week for five weeks along with a bunch of bonus lessons. I’ll teach the whole process of how to sell your screenplay in that guide. I’ll teach you how to write a professional logline and query letter and how to find agents managers and producers who are looking for material, really is everything you need to know to sell your screenplay just go to sellingyourscreenplay.com/guide. So, now let’s get into the main segment. Today, I am interviewing actor writer producer Anabelle Munro, here is the interview.
Ashley
Welcome Anabelle to the Selling Your Screenplay Podcast. I really appreciate you coming on the show with me today.
Anabelle Munro
Thanks. Thanks for having me.
Ashley
So, to start out, maybe you can tell us a little bit about your background. Where do you grow up? And how did you get interested in the entertainment business?
Anabelle Munro
All right, a loaded question. I’m originally from Baia, in Germany, a beautiful, amazing place. It’s like Disneyland, but in real you can look it up. And then you know what I mean? And then I started seeing her there very early. I was lucky and found a mentor when I was 15. And I started literally working there acting, assistant directing, then moved on to directing and then right after school, I had a gig in the theater there and toured a little bit and then I went to drama school in Berlin. And then in the drama school, why am I here? Because I did already that already, you know, with the paid rehearsals and the health insurance and that this and that was so professional there. And I was like everybody’s striving to have that were just came from, it’s confusing, but exciting as well, because it’s the big city and there’s different tone in the Capital. And it was a lot of fun and great teachers, definitely new methods. But then, I was like, I wonder where my career is going to go? Do I want to strive to be on one of those big stages in Berlin or in another city? And do I want to explore television because there’s television and cinema in Berlin as well. And as soon as I had that thought, I literally got discovered for a TV show. While I was in school, I did extra gigs, just to try out, I want to find out and literally, the third time I was doing it, it was taking a Cinderella story, the directors, the first assistant director walks past and says; Hey, you, by the way, the director wants to speak with you. And I’m like; oh, is he married? And he said; Yeah, married with a kid. And so, the director walks up, you’re so silly, do you want to act? And like, totally, that’s why I’m here. He said; Great. I have a role in a TV series that’s coming up. I was is like, pinch, pinch. This is amazing. You just have to want something and then it comes. And so, I booked that job. I believe he already had seen me in this role. And so, I licked the blood of camera. Because this is so great. Because in theater, the sad thing is that you leave all of that behind with every single performance, right? Because usually it’s not filmed or if it’s filmed, it’s bad quality, unless it’s major money being put in, like, wow, this is now forever preserved. Also, the pay is amazing. The stories are a little lame sometimes. But it’s big fun.
Ashley
Can I just get a follow up on something that you said there, and it seems interesting. So, when you were in this small town, you were working as an actor, and you’re talking about like getting the health insurance, were you in some sort of an acting union in this small town. So, then when you made the transition, you actually felt like you were taking a step back, because it was harder to get work, get health insurance, but you’re actually making a living as an actor in the small town. So, a big fish in a small pond type of thing?
Anabelle Munro
So, here’s the thing about Germany, right? So, Germany had the kingdoms and in all the kingdoms, the theater was kind of like the business card of your wealth, that entertainment. And so, they were always subsidized by the those little kingdoms and states. So, no matter how small the places are, in Germany, they have a very subsidized theatre theater. And it’s done in a professional way. So, it has amazing stage design. And it the culture is just very different to here where you have to really hustle to sell your tickets. You don’t ever have to really worry about that too much in Germany, because you have it been paid for pretty much for the basics. And then the ticket sales that extra.
Ashley
Okay, so perfect. So, continue your story, you’re transitioning. So, you’re in Berlin, you’re working as an actor, and then take us your transition…
Anabelle Munro
Right after that, I’m thinking; Well, if that worked out so easily, I think I would like to work in the English speaking realm as well, because I don’t think German content travels so well. And I met my husband, he was living in London. And suddenly, you know, I was in a situation; hey, are we going to move to England? And I’m like, well, that will kind of make sense with my idea of wanting to act in English and see, you know, like, look into the movie world rather than the television world. And there once I arrived in England, I understood why German actress weren’t booking more roles in English speaking films, because all about school education, those schools, they count for nothing. England and London in particular, we moved to London was kind of like, yeah, you from Germany, you went to school, who cares? Pretty much. And you got to play the Nazi role and like, small, whatever, you know, you’re always going to be the German and like, oh, I don’t want to be the German. So, and that inspired the writing part because I was like, why can people not understand that it doesn’t matter what accent you have or where you’re from? Because, I mean, how close minded are people? I’m going to write roles that I think would be perfect for myself and for people If you’re like me, and that was the beginning of my writing career and kept me, it was a great school for me to not be sitting there waiting for the phone to ring. But think what, like, what can I do right now to stay inspired and to express myself artistically? And through staying in that positive vibe. I then started booking in the film roles. So, as I had think that happens, discovered, my love for writing. And so, as I was booking the first indie roles, I thought, and my husband went to a trip in New York, and he came back and said, New York is so amazing, you know, I wonder if we ever can make it there. Because we want to have a family. And I’m like, yeah, we would have to do it kind of like sooner. And America and film that’s kind of like the great grand vision. Literally, two weeks later, he comes home and says, Anabelle, I have a job offer in New York. And I’m like; you’re kidding, right? So yeah, the only requirement is we have to go like super soon. Yeah, let’s go. So, we went, moved to New York. And there, I decided, wait a second learning from the last time that nobody is looking for waiting for me there. As who do I want to go there? I can write you know, how about because I know I can direct as well there was part of the school education in Berlin. How about I’m going to direct a play, because that’s not going to be very expensive. But I know I’m going to have big fun. So, I was looking for stuff to direct and there was a competition – Shakespeare the anatomy of love. I love Shakespeare. So, I was like, that’s going to be my thing. I’m going to participate. What’s needed? Oh, yeah. So, people have to write an adaptation of a Shakespeare play. That’s 40 minutes long. I’m like; cool. I can write as well. And so, the list of the love themes, there was Macbeth listed in there. And I’m like, ah, that’s bizarre that they put that in there. I’m going to take that one. Let me find whether anatomy of love is in Macbeth. And I did it the German way. I wrote an adaptation where I had Lady Macbeth one and Lady Macbeth two. Macbeth one and Macbeth two. And I had the ego and the human, the like kind personalities split into two, and had a mirror frame, empty mirror frame. And I went German style on the choreography to really create the illusion that this would always be like a mirror reflection. But the one person says, yeah, you should really kill that other person. And at one point, the mirror figures were stepping out and creating havoc in that group in that other world. I also had King Duncan in there that I said, I’m going to do another crazy German thing. I’m going to put the actor in a pedestal, you know, only the head of sticking out. And that person is not allowed to say a line for 35 minutes when the reality is cracking open, and everything’s going crazy in the Macbeth world, and everything worked out so awesomely, it was such a success, and I won like a couple of awards in this competition and ended up being you know, in the final show at the National Comedy Theatre, which is a nice, Off Broadway big place. And they’re an actress came Gamma Wartburg, who is a celebrity from Israel watch the show. And she came to me afterwards that you need to direct my graduation piece of Strasburg. Whatever the Strasburg school is Academy what is …
Ashley
The Lee Strasberg.
Anabelle Munro
Yeah, exactly. It’s Institute, the Lee Strasberg, the renowned beautiful Lee Strasberg Institute. So, boom, there was the next job for me as a director, I had these Lee Strasberg Institute graduates hiring me to direct their graduation play. And so, I went into the theater realm. It was also super-duper fun with those people. David Blaine was in the audience. Because he was part of that, it was a weird time and beautiful time. But finances were bad because there was not a lot of money in this, the ticket puzzle was new to me was like this is doesn’t feel right, you know, like, draining, and it’s fun, but I don’t know. And then I started booking movie stuff, but I couldn’t do it because I would be on stage and a commitment unpaid for rehearsal when you’re letting other people down if you don’t come, and I had to let go of those movie jobs, you know. So, it’s like, this doesn’t work. I want to move to LA, because I want to solely focus on film. I think that’s a better path for me, I want to open a film company. And here I am, and have been for 13 years.
Ashley
So, a couple of things. You mentioned that you did this very German adaptation of this MacBeth, what does that actually mean? Are these like German tropes of having that the ego and the things like this is something that we’re not familiar with, but it’s very common in Germany?
Anabelle Munro
Yes, we go very technical and extremely experimental. So, there’s like, because we don’t have to sell tickets, we are completely free to be crazy. And not crazy in the sense of not knowing what we’re doing, but to really challenge the audience to having an experience. So, there’s usually blood and splatter and stuff you’ve never seen before. And it’s based in art, and the sacred storytelling. And we also take the word. We don’t have necessarily as a goal to have the most natural method acting situation where the actor forgets the moment, we can incorporate that but that’s only one small piece of toolkits, we create a multi essential little Mind Blow. And for whatever reason, like if you look, for example, the big stages in Berlin in particular, are the folk Spooner, if you just look a little bit what these people are doing there, you think you would probably be offended. But in the German theatre culture, this is cutting edge political, scientific, in a way to what you can do on stage with script with the written work, right? You come back, you come out of a show like that with a changed mind, really, because you had an experience that really ruffled you up, big time.
Ashley
So, let’s talk about some of these first shorts. Again, I’m looking at your IMDb page, White Cut, Strange Fruit, Radi, Ganjin: Fish out of water. Were those just talking about those briefly? Are those some of these shorts that you were doing with these students? You were producing these? How did you get these off the ground? Like what was that transition now you’re actually doing shorts.
Anabelle Munro
So in Berlin, that goes all the way back to Berlin when I started being in film, and I noticed that it’s great, but the TV stuff is like, a little bit on the … I don’t know, not the deepest thing you ever, you know, I especially crime stuff, Germans are obsessed, you know, they have this extremely intellectual theater culture. But then when it comes to television, they are all into these crime series. And it’s always … so I thought, what would I didn’t want to do? And so actually, I did, I wrote a short film called White Cut, and I knew other director, friends and whatnot. So, I co-directed and wrote a script about a theme that is very close to me homelessness. Yeah, so that was the first kind of experiment.
Ashley
Maybe just talk. Like, again, I know that there’s a lot of screenwriters out there that are looking to get their first short into production. So just talk about that a little bit. How did you get money together? How did you get equipment? How did you get a crew? How did you just actually get this thing from script to being produced?
Anabelle Munro
Right. There was this wonderful gentleman Jonas Taitke who was also an aspiring director, who had cast me in a little experiment of his was like a one-shot film. And we really got on well, and I say, hey, I have a script, maybe we can collaborate on this and share direction, I have the script. And he had access to the equipment, and I had access to the location I acted in it as well. My friends from acting school acted in it as well.
Ashley
And so where do you just get the confidence? Because I know this is something that a lot of people as a writer that they’ve never necessarily been on set. But how did you have the confidence as an actress to just say, you know what, I’m also a writer, director and producer, and I mean, you’ve got to have enough confidence to convince all these actor friends in this crew people that you know, I mean, they’re coming probably working for no money or next to no money. So, you’ve got to have that confidence to be able to corral people in but just where does that confidence come from? Where do you get the sort of the confidence?
Anabelle Munro
The story, the sacredness of the story and the importance of the story? And you also need to know and I have that inbuilt, I have a dire urge to take people with me when I’m having a great experience. I would not take them with me if I jump off the cliff is the other way around. I have a need to take people with me to happy land when they are around me because that amplifies my success and my happiness because I see it in the reflection of the gang is like this thing where one in one makes three, where you create this, this rare thing of shared creativity, grass joy, and just for the sake of the greater good pretty much. And I know it’s might sound a little bit hokey, but that is my fuel and that I’m not the only one once you meet kindred spirits.
Ashley
Yeah, I agree. Just the energy is contagious. That positive vibe is contagious. And it can go a long-ways. So, let’s talk about some of your feature films. You produced a movie called dandelion season, which you actually acted in and produced but you didn’t write and direct. Maybe you can talk about that a little bit. Again, I know there’s screenwriters out there. I get emails from people like, well, how can I get this screenplay to this director? Just walk us through this thing. How did you get involved with this project? How did you find this screenplay?
Anabelle Munro
So, that came actually through Dell Weston, who was my best buddy and mentor for many years until he passed away in 2021. And so, he just called me up say, hey, we have a situation here. I need your help. And oh, sure. What is it? Let’s do it. And then yeah, we did dandelion season. It was a writer and director who he had supported from Iran through the action on film mega fest, which is his film festival. That is I think, no more after he passed away. And, yeah, I didn’t have a lot of pickings to do with the script. But I ended up doing the majority of the producing work. And so, it kind of like the project was there before I came on. But there was a big gap for my thinks that I could contribute.
Ashley
So, just in general, when you read feature length scripts, are there some tips you can give as someone who’s been a writer, now producer, director, actors. Are there some tips you can give to screenwriters? What do you see in screenplays that you really like? What do you think writers don’t do enough of, what do you think they do too much of?
Anabelle Munro
Absolutely. So, the number one thing, it has nothing to do with the script to start with is the confidence which you mentioned, where people sadly feel that as writers they are limited to only the writing part. Because the ownership of the script. As long as you haven’t solved the script, you are the owner, and therefore a producer of the script. And that is nothing to be scared of, or to be ashamed of, or intimidated by. This is amazing. And I just wish people would understand, when they own the script, they own the baby, they have the Golden Grail that everybody’s after. And as long as it’s not. So, they are the owner of the IP, that means the producer. And every time you talk about your script, or think about your script, or go someplace with your script to a film festival, you go there as a producer, because you own the property, that’s all you have to do. It doesn’t mean you have to find the financing. It doesn’t have the means you’d like to schedule, that’s what the producers, the other producers do. But you as a writer representing your script that is a producer’s duty and job the ownership of the script. And that’s it, be proud of it, and use it. And then look in the story and remember why you wrote it because something was so important to you that you sat there for so many hours, pouring in all your knowledge, all your heartache, all your tears, all your sweat that you’ve had for, I don’t know, 20, 30, 40, 50 years that’s in that script. So be proud. Start with that. Remember why you wrote it and what it is, it’s the baby. And every time you show the baby, remember that is yours, your sacred thing. That’s all you have to do producing part. And then for me to read, if you come with me as a confident mother or father and say; Hey, this is this is what I’m doing. This is important to me, and I’m proud of it. Of course, I’m going to take notice. And so, then when you have my attention at first and I read, we all know the rules. Have a kickass logline. If I don’t know what your film is about when I read your metadata is already a red flag. So, your logline is so important because there’s a science behind it. You know this as a writer, don’t skip over it. For producers. It’s the number one thing we don’t like to waste our time reading. We want to know that you already have done your homework. Never give something out with spelling mistakes, grammar mistake, never, never, never. Hire your nephew, I don’t know, hire somebody to just make sure there’s no spelling mistake in there. Because when we see that we think, sadly, nobody cared, because now I don’t care. Because it’s not sacred enough that you went that extra mile to just put it in a format to make sure there is no obvious poo-poo in there are. Then the first 10 pages, we all know about the first 10 pages. If your script doesn’t grab me on the first 10 pages, how likely do you think it is that I continue reading? How would you like to read reading if you’re thinking hmm, I don’t know what this film is about the first 10 pages, you would just think, wow, I think I need a nap. So, and that’s just human common sense. Use that. Put so much energy in and making sure you grab my attention and clarify all my major confusions in those first 10 pages and put in all your love all your knowledge, and then make sure it’s polished.
Ashley
Sound advice, for sure. So, let’s dig into your film festival, the Ethos Film Awards. Maybe you can tell us a little bit about that. What is this festival all about?
Anabelle Munro
So that festival originally was given to me as an award from Dell Western. mentioned earlier.
Ashley
Yes, he did. And he was on the podcast. I have been to action on film. And I mentioned this to you last time we chatted. I’d been to action on film. And so, I knew him enough to be able to email him. And I got another film in there. And I had him on packets literally like a month or two before he passed away. It really was sad.
Anabelle Munro
Yeah. It was a passionate…
Ashley
Yeah, he’s a force of nature.
Anabelle Munro
I’ve never laughed as much. And I probably never will. It was like literally everything that came out. This dude is a genius and it’s so weird. And you know, should be on a German stage. Probably. But nobody would understand him. Anyway, so he gifted me that film festival. And it was a little off initially, the branding, because my thing is not action, and Stunt. And like splatter and core, even though I’m not against horror films, but I’m more, you know, that whole purpose driven thing. So, and as I tried to explain what I would like to do, I was like, oh, there we go purpose driven, that’s going to be the tagline. And so, he housed me for the first three years. And then when he passed away, I was like, okay, I definitely want to continue this, because it’s such a neat way to introduce people to each other, to bring people into a room and to transcend these barriers, through the purpose driven. It’s like what I’ve always been using the focus on the story, and the passion for the story. And then meeting like-minded kindred spirits that are interested in the same thing. And it doesn’t matter if you’re famous or not, if you’re a beginner or not. If you have something to say about that, you know, we have a conversation and everybody contributes a piece. I don’t care what it is, you know, because your passion will lead the way for you on the team. So, Ethos Film Awards is doing that we don’t give the usual vanity awards. As I’m naming it, even though it’s not really fair to say it’s only vanity because you’re honoring the craft. I get that. But the focus is not on saying you did that best. The focus is on saying this really has focused on a very important topic, and manage to tell this topic without preaching to the choir, or like hammering the message home, which I think is so powerful if you have a movie where somebody was really thinking about the intention, not just making money, right, but you thinking what is important, what would I like to see change in the world. And then you package it and entertainment that people even if they hate what you’re talking about, because it triggers them, their heart softens, and their prejudice melts because you put the focus slightly off, you know, for example, Christian movies, my favorite. Favorite example, Christian movies don’t travel because they are branded Christian, and they are produced for a Christian audience. And what they want is to read the non-Christian audience to help. But you know, I went to a couple of festivals and said that whole thing you need to take that off, talk about the truth. Talk about what is important to the whole world and then you can have your Christian values in there. But people can figure out themselves what that is without you telling them as you take them on exciting journey somewhere. You know where they like enthralled in the story.
Ashley
Yeah. Yeah, so you also have a screenplay contest running within the Ethos Film Awards. So, I assume it’s the same thing. You’re looking for purpose driven screenplays as well and you do short screenplays and feature screenplays?
Anabelle Munro
We do everything. And if we don’t have it, let me know write an email to me and say; Hey, I didn’t see a PSA competition for under five minutes, or whatever it is, you know, because this is a platform for filmmakers to show their stuff. And if you have purpose driven stuff, and I don’t have like the box ticked, where you feel that this is your category, let me know. Because we don’t give awards based on the categories, we give a wide spaced on how people have put the message in the most efficient, broad way, in the most skilled way. So, we’re looking at the Nobel Prize, actually, too, when it comes to the categories, we have a piece category, we have science, we have technology, sustainability, you know, environmental causes, we have faith based as well, because I believe that’s part of the whole shabam spirituality. Why are we here? Death. Right, those fundamental issues that humans have to struggle with anything related to the meaning of life, and suggesting a movie that gives a solution for a better life in a way that is not preaching or lecturing. That is the movie for us. And the funny thing is that we all start out with that intention. But as soon as it comes to that first feature film, this is when everything changes, because we’re being told by the market, this is the entertainment industry. And it’s best to start out with a horror, as we all know, right? And then people think that just by writing horror, it means they have to sell their souls and forget about putting their sacred message into the horror, you can do that, right? You don’t have to just show heads flying off and like guts splattering out, you can write a very, very intelligent horror, stay true to your origins. And just take your time and be double smart. Instead of thinking; Oh, no, I have to play by the rules of the industry. Yes. But don’t forget who you are and why you started doing this. It’s like the same with lawyers. Right? They all start out wanting to be Robin Hood. And then they have the greatest crook as their first client thinking, Oh, no, I’m representing the battle.
Ashley
For sure. So, how can people learn more about the festival and potentially enter? Do you have a link that we can send people to?
Anabelle Munro
FilmFreeWay page is the best because we update that constantly. And yeah, it’s still up and running straight access, FilmFreeWay Ethos Film Awards.
Ashley
Perfect. I’ll put that in the show notes. So, people can click over to that. And just to wrap things up, what is the best way for people to keep up with what you’re doing? Twitter, Facebook, Instagram, and if you’re comfortable sharing, I will put that in the show notes as well.
Anabelle Munro
Oh, is it even I don’t put that much out because I’m building so much. And you know, like the FilmFreeWay for the filmmakers is probably the best. And then we have the Facebook. Of course, I’m old fashioned when it comes to that I love Instagram for the locks and all of that. But when it comes to really giving information, I believe Facebook, you can like write stuff down and Instagram I feel it’s more about the images. So, I’m a Facebook person.
Ashley
Gotcha. Gotcha. Yeah, well, I’ll round all that stuff but and as well I will link to your IMDB page too so people can just get a feel for your background as well. Well, Annabelle, I really appreciate you coming on talking with me today. I look forward to attending your festival. Hopefully I’ll see you there and we can actually meet one day.
Anabelle Munro
Yes, totally exciting.
Ashley
Perfect. Sounds good. I appreciate it. Bye.
A quick plug for the SYS screenwriting analysis service. It’s a really economical way to get a high-quality professional evaluation on your screenplay. When you buy our three pack, you get evaluations at just $67 per script for feature films, and just $55 for teleplays. All the readers have professional experience reading for studios, production companies, contests and agencies. You can read a short bio on each reader on our website, and you can pick the reader who you think is the best fit for your script. Turnaround time is usually just a few days but rarely more than a week. The readers will evaluate your script on six key factors Concept, Character, Structure, Marketability, Tone, and Overall Craft which includes formatting spelling and grammar. Every script will get a great pass consider or recommend, which should help you roughly understand where your script might rank if you were to submit it to a production company or agency. We can provide an analysis on features or television scripts. We also do proofreading, without any analysis. We will also look at a treatment or outline and give you the same analysis on it. So, if you’re looking to vet some of your project ideas, this is a great way to do it. We will also write your logline and synopsis for you. You can add this logline and synopsis writing service to an analysis or you can simply purchase this service as a standalone product. As a bonus, if your screenplay gets a recommend or a consider from one of our readers, you get to list the screenplay in the SYS select database, which is a database for producers to find screenplays, and a big part of our SYS select program. Producers are in the database searching for material on a daily basis, so it’s another great way to get your material in front of them. As a further bonus, if your script gets a recommend from one of our readers, your screenplay will get included in our monthly best of newsletter. Each month, we send out a newsletter that highlights the best screenplays that have come through our script analysis service. This is a monthly newsletter that goes out to our list of over 400 producers who are actively looking for material. So again, this is another great way to get your material out there. So, if you want a professional evaluation of your screenplay at a very reasonable price, check out www.sellingyourscreenplay.com/consultants. Again, that’s sellingyourscreenplay.com/consultants. On the next episode of the podcast, I’m going to be interviewing Andy Volk. He is the film programmer over at the Austin Film Festival. He comes on the show to talk about the Austin Film Festival, which is very writer centric, and he gives some great advice to writers about how to approach festivals like Austin, how to give yourself the best chance to succeed at a festival like Austin, and then ultimately how to just optimize your experience if you do end up going. So, keep an eye out for that episode next week. That’s the show. Thank you for listening.