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With a career steeped in the art of storytelling, Kristin has spent years cultivating opportunities for writers to transform their ideas into scripts that ... 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[]"><iframe src="https://widget.spreaker.com/player?episode_id=63424792&theme=dark&playlist=false&playlist-continuous=false&chapters-image=true&episode_image_position=right&hide-likes=false&hide-comments=false&hide-sharing=false&hide-logo=false&hide-download=true" width="100%" height="150px" frameborder="0"></iframe></p> <p data-pm-slice="1 1 []">There’s a certain magic in the way creativity stirs the soul, and on today’s episode, we welcome <strong>Kristin Overn</strong>, a seasoned producer and the visionary behind the PAGE International Screenwriting Awards. With a career steeped in the art of storytelling, Kristin has spent years cultivating opportunities for writers to transform their ideas into scripts that resonate across the industry.</p> <p>Kristin’s journey began in the theater world, studying playwriting and directing at Northwestern University. Her love for stories soon led her westward, to the bustling hive of Hollywood. “I’ve always been fascinated by story,” she reflects. “It’s the common thread that connects us all.” In Los Angeles, she worked tirelessly—starting as an assistant and script reader, gradually earning her stripes in film production. But her heart’s true calling emerged as she realized a profound gap in the industry: connecting new writers with emerging producers.</p> <p>This insight birthed the PAGE Awards, a screenwriting competition designed not just to showcase talent but to bridge the divide between raw creativity and industry access. Kristin’s philosophy is simple yet profound: “Every great script deserves a champion, someone who sees its potential and helps it take flight.” Over the years, the competition has grown exponentially, now receiving over 6,000 entries annually. Its rigorous vetting process ensures that only the most compelling stories rise to the top—a beacon of hope for aspiring writers seeking their breakthrough.</p> <p>Kristin’s candid advice to screenwriters is a reminder of the industry’s complexity and the persistence it demands. “Find your voice,” she urges. “Don’t try to be the next Quentin Tarantino or Diablo Cody. Be unapologetically you.” Her anecdotes, drawn from years of working with writers and producers, illustrate the transformative power of authentic storytelling—where characters leap off the page and evoke emotions that linger.</p> <p>The episode dives deep into the intricacies of screenwriting competitions, the challenges of script development, and the significance of receiving professional feedback. Kristin’s passion for mentorship shines as she describes the thrill of connecting PAGE winners with managers, agents, and producers who can bring their stories to life. “There’s nothing quite like seeing a writer’s hard work pay off,” she says, with a palpable sense of joy.</p> <p>As the conversation unfolds, Kristin’s wisdom offers not just technical insights but a deeper understanding of the human connection that underpins all great storytelling. Her belief in the power of perseverance and the beauty of imperfection reminds us that the road to success is often paved with lessons learned from failure.</p> <p>“At the end of the day,” Kristin concludes, “the stories that move us are the ones that come from the heart. They’re honest, raw, and unapologetically human.” It’s a sentiment that echoes long after the episode ends, leaving listeners inspired to pick up their pens and tell their own truths.</p> </div> </div> </div> </div> <p><a href="https://api.spreaker.com/v2/episodes/63424792/download.mp3" data-wpel-link="external" rel="external noopener noreferrer"><strong style="font-size: inherit;">Right-click here to </strong><strong style="font-size: inherit;">download </strong><strong style="font-size: inherit;">the </strong><strong style="font-size: inherit;">M</strong><strong style="font-size: inherit;">P</strong><strong style="font-size: inherit;">3</strong></a></p> <p><span id="more-163243"></span></p> <div id="fbxt-wrap" > <div id="fbxt-wrap--inner" class="fbxt-extra-class"> <div class="fbxt-header"> <div class="fbxt-header--logo"> <svg width="24" height="25" viewBox="0 0 24 25" fill="none" xmlns="http://www.w3.org/2000/svg"> <circle opacity="0.05" cx="11.6406" cy="12.3918" r="11.6406" fill="#C60808"/> <path fill-rule="evenodd" clip-rule="evenodd" d="M16.6445 10.2899H6.63672V9.04663H16.6445V10.2899Z"/> <path fill-rule="evenodd" clip-rule="evenodd" d="M16.6445 13.3421H6.63672V12.0989H16.6445V13.3421Z"/> <path fill-rule="evenodd" clip-rule="evenodd" d="M12.7025 16.395H6.63672V15.1518H12.7025V16.395Z"/> </svg> <span class="fbxt-header-text">Episode Transcript</span> </div> <div class="fbxt-header--nav"> <a class="fbxt-header--nav-item fbxt-nav-email" href="#" style="display:none"> <svg width="16" height="12" viewBox="0 0 16 12" xmlns="http://www.w3.org/2000/svg"> <path d="M14.5 0H1.5C0.65625 0 0 0.6875 0 1.5V10.5C0 11.3438 0.65625 12 1.5 12H14.5C15.3125 12 16 11.3438 16 10.5V1.5C16 0.6875 15.3125 0 14.5 0ZM14.5 1.5V2.78125C13.7812 3.375 12.6562 4.25 10.2812 6.125C9.75 6.53125 8.71875 7.53125 8 7.5C7.25 7.53125 6.21875 6.53125 5.6875 6.125C3.3125 4.25 2.1875 3.375 1.5 2.78125V1.5H14.5ZM1.5 10.5V4.71875C2.1875 5.28125 3.21875 6.09375 4.75 7.3125C5.4375 7.84375 6.65625 9.03125 8 9C9.3125 9.03125 10.5 7.84375 11.2188 7.3125C12.75 6.09375 13.7812 5.28125 14.5 4.71875V10.5H1.5Z" /> </svg> <span class="fbxt-nav-text">Email</span> </a> <a class="fbxt-header--nav-item fbxt-nav-download" href="#"> <svg width="18" height="16" viewBox="0 0 18 16" xmlns="http://www.w3.org/2000/svg"> <path d="M16.5 9H13.5938L15.0625 7.5625C16 6.625 15.3125 5 14 5H12V1.5C12 0.6875 11.3125 0 10.5 0H7.5C6.65625 0 6 0.6875 6 1.5V5H4C2.65625 5 1.96875 6.625 2.9375 7.5625L4.375 9H1.5C0.65625 9 0 9.6875 0 10.5V14.5C0 15.3438 0.65625 16 1.5 16H16.5C17.3125 16 18 15.3438 18 14.5V10.5C18 9.6875 17.3125 9 16.5 9ZM4 6.5H7.5V1.5H10.5V6.5H14L9 11.5L4 6.5ZM16.5 14.5H1.5V10.5H5.875L7.9375 12.5625C8.5 13.1562 9.46875 13.1562 10.0312 12.5625L12.0938 10.5H16.5V14.5ZM13.75 12.5C13.75 12.9375 14.0625 13.25 14.5 13.25C14.9062 13.25 15.25 12.9375 15.25 12.5C15.25 12.0938 14.9062 11.75 14.5 11.75C14.0625 11.75 13.75 12.0938 13.75 12.5Z" /> </svg> <span class="fbxt-nav-text">Download</span> </a> <a class="fbxt-header--nav-item fbxt-nav-new_tab" href="#"> <svg width="14" height="14" viewBox="0 0 14 14" xmlns="http://www.w3.org/2000/svg"> <path d="M12.5 0H1.5C0.65625 0 0 0.6875 0 1.5V12.5C0 13.3438 0.65625 14 1.5 14H12.5C13.3125 14 14 13.3438 14 12.5V1.5C14 0.6875 13.3125 0 12.5 0ZM12.3125 12.5H1.6875C1.5625 12.5 1.5 12.4375 1.5 12.3125V1.6875C1.5 1.59375 1.5625 1.5 1.6875 1.5H12.3125C12.4062 1.5 12.5 1.59375 12.5 1.6875V12.3125C12.5 12.4375 12.4062 12.5 12.3125 12.5ZM10.625 3L6.375 3.03125C6.15625 3.03125 6 3.1875 6 3.40625V4.25C6 4.46875 6.15625 4.65625 6.375 4.625L8.1875 4.5625L3.09375 9.65625C2.9375 9.8125 2.9375 10.0312 3.09375 10.1875L3.8125 10.9062C3.96875 11.0625 4.1875 11.0625 4.34375 10.9062L9.4375 5.8125L9.375 7.625C9.34375 7.84375 9.53125 8 9.75 8H10.5938C10.8125 8 10.9688 7.84375 10.9688 7.625L11 3.375C11 3.1875 10.8125 3 10.625 3Z" /> </svg> <span class="fbxt-nav-text">New Tab</span> </a> </div> </div> <div class="fbxt-content"> <div class="fbxt-content--inner"> <p>Alex Ferrari 1:49<br /> Enjoy today's episode with guest host Dave Bullis.</p> <p>Dave Bullis 1:53<br /> My next guest began her career as an assistant and script reader at Davis entertainment, and she's also a producer's guild member. She's a Director's Guild member, and she's been running this competition now for about 14 years now, and a record high 6,364 scripts were submitted last year. This is a fun episode, especially for all you screenwriters out there. This is purely about screenwriting, with guest Kristin Overn.</p> <p>Kristin Overn 2:24<br /> Okay, yeah. Many moons ago, I was a student at Northwestern University studying theater, and I focused very much on directing and playwriting, and I loved that side of the entertainment industry, but I stayed in Chicago for a couple of years, but then very shortly, discovered not only how difficult it is to make a living doing theater, but I was repeatedly encouraged by many friends of mine who had moved out to the West Coast to come out to Los Angeles. And one guy in particular was telling me that I'd make a great what they call a D girl. Back then, that was the early 90s, and D girl was a development girl, a lot of women were working, reading scripts, doing script evaluation at the time, and advancing through the ranks in that way. And I was fascinated by that. I love story. I love storytelling so and I love the weather out here. It was cold and snowy in Chicago, so I finally made the move. And I started out as an assistant, like so many people do, I worked in television on a show called Chicago hope, and I also worked at a place called Davis entertainment, which John Davis' company made some major movies and television at the time as well, and did development for some other companies, slowly, kind of worked my way up, but then took a little detour. I ended up being invited to co produce a feature film, a little independent movie, million dollar feature that a buddy of mine was producing and directing, and he wanted me to work with him. He needed somebody on his side who he could trust and who he felt could help make the movie happen. So I jumped on board, and suddenly I was working in production, in film production, and it was, you know, education by trial by fire, but it was a great experience. And so then I started working more and more in production and learning more and more about that. And I produce theater, but film, of course, has its own quirks and problems and issues, and it was, it was a fabulous education, and I did that for several years, but all the while that I was working in production, doing budgets and hiring crews and working on these low budget features, my real passion has always been storytelling, developing scripts, editing, working with writers, and I discovered a real need. Because one of the things I learned as I was working with all these, all these little independent movies, is that there are were, and still are many. The. Up and coming, new producers and junior agents and new managers, people who are honestly looking for new writers who have a hard time connecting with them because the new writers don't know to pitch them. They don't know how to get to them, because they don't even know, in many cases, that they exist and but these are the people who are truly open to working with new writers, because they're all so new and they want, they're looking for that fresh voice. And I conceived of the idea of the page awards at a contest, using a contest as a means to be like a development department when I, when I was at Davis entertainment, John had money, and they had a big staff, and they had a lot a lot of people reading scripts and evaluating them, moving them up the ranks to the point where they would eventually, hopefully finally, get to his desk. So I thought we could use a contest the exact same way. And so that's when I founded the page awards. It was back in the fall of 2003 and we've been going hot and heavy ever since it's been growing and building and it's it's actually worked beautifully in the way, I hope, which is that it's connected a lot of new writers with new up and coming managers who are looking for new clients and producers looking for new scripts.</p> <p>Dave Bullis 6:17<br /> You mentioned Kristin about new writers finding producers, and producers sometimes don't know where to look, or maybe, you know, new screenwriters don't know how to pitch them. And in today's, you know, marketplace with where we have all these different, you know, websites and, you know, not meaning like, you know, social media, and you have all these, you know, different contests and stuff like that. Do you think that it's easier now or it's harder now for for that, that connection to happen simply because, you know, there's so many producers and there's so many writers and that and producers are getting hit by so many different directions. You know, is it harder for talent to sort of stand out?</p> <p>Kristin Overn 7:00<br /> That's a really good point. It in some ways, it can be it may be easier for you as the writer, to find people who are looking for new material online. However, as you said, they're getting a barrage of material, and it's not vetted. And the thing that a contest will do, for example, like ours, is vet the material for the producer. And the reason we have a lot of these people reading the final round of our contest. They'll say, I want to read your top 10 thrillers, or your top 10 TV dramas, or whatever it is. And they know that by the time these scripts have advanced to the top 10 to the final round, they've been vetted by 4 or 5 6 8, other people. And so they know that the material is really strong. So that's that's the extra sauce that we add to the process at this point.</p> <p>Dave Bullis 7:46<br /> Yeah, you know, I always hear about, you know, all the different, like, different avenues that people could use to and I know I'm kind of getting away from screenwriting, but just using as an example, you know, all of the different avenues that people could use to distribute their film, you know, going on to YouTube or Vimeo, etc. And, you know, as I've talked to different guests on here, that's something that we've always come back to, is, is, you know, how do you, you know, get the attention of, you know, buyers? How do you get the attention of certain people that you're looking for? How do you get the attention of your target market? And I remember there was an interview with Quentin Tarantino and Robert Rigas, and they were kind of talking somewhat similar about that. And you know, Tarantino was, was very adamant in the fact that, you know, the the best quality material, whether it be a screenplay or a movie or a piece of music, will always rise to the top and will sort of, you know, get above the noise, so to speak,</p> <p>Kristin Overn 8:39<br /> Absolutely I believe that. And so the more people that you have reading it and kind of giving it a stamp of approval, if you will, the more people in the industry can sort of trust that, yeah, other people like this. So, you know, I can take a look, and there is, you know, there's a certain amount of what everyone else likes I should like as well. There's a Hollywood is a funny, funny place in that regard. You know, opinions. Sometimes people aren't always as sure of their own opinions as they are of other people's opinions, if that makes sense. And so that's when you hear about situations like, if one manager wants to wants to sign you, suddenly three others are chomping at the bit as well because they feel like they don't want to miss out on something good. It's competitive, and it it can work to your benefit, it could work against you sometimes, but it's just the nature of the beast. I think.</p> <p>Dave Bullis 9:32<br /> Yeah, very, very true. And, you know, I know we were kind of, you know, as we're talking about distribution, I'm kind of getting ahead here, but I wanted to sort of ask too about, you know, getting started in your career, you know, because you produce a lot of things, you know, you've produced a lot of films, you've worked as a year production manager, and you work as a location manager, you work as a line producer.</p> <p>And I wanted to ask, Has has this experience when you, when you, when you started out, and as you have gone through your career, how has this experience sort of helped you out your current position at page? I mean, have you sort of, well, you know, I'm sorry, I should, I shouldn't add to that question, Kristen, so I'll just keep it at that, you know, how did this, all this experience, you know, help you with with Paige, as we, as you are the executive director now, </p> <p>Kristin Overn 10:28<br /> No, it's a great question, because it does. I mean, a lot of people, I think, sit in offices reading a lot of scripts, and that's great. That's one thing. But when you've actually been in the trenches on the set, set, they're figuring out budgets, seen what actually happens on the set with certain issues in the script that began day one, when the script, you know, was presented, you learn a lot about what works and what doesn't in production, and it is helpful in terms of evaluating material. That said, I will tell you. I mean, the projects I did were all small. They were low budget projects. And a lot of the scripts that win the contest in the action adventure category or historical film are big budget movies. So in that sense, you know, it's like, I don't know that the writer should think of limitations always. I mean, you know, especially depending on the type of movie you're writing, you know, don't be limited if you have a vision for a huge, big movie. I mean, if that's what it wants to be, that's what it wants to be. But if you are trying to write a film that a new producer can do for a million dollars, you know, there are, there are budgetary constraints. There are certain thing you don't you can't usually afford tons of cast of 1000s, you know, huge numbers of extras. CGI is becoming more and more affordable, so that's less and less of a constraint than it used to be. And there will are people who can do it very inexpensively, but still, you know, there are a lot of things you want to keep in mind if you're trying to write something low budget.</p> <p>Dave Bullis 11:58<br /> Yeah, I think that's a good point Kristen, and I wanted to, just to sort of follow up that question. Follow up that question, if somebody did have a script, whether it be a short, short screenplay or a feature length screenplay, and you know, they they said, you know, they wanted to make it themselves. And since you have the producing experience and the screenwriting experience, have you ever, do you have you had friends or clients or people you just met, who you know. Have you ever heard had anybody who's had a lot of luck? I don't say luck. I want to say success. Thank you. I was trying to figure out, trying to find that word. Have you had anyone who has had a lot of success doing something like that? Because the reason I ask is, Is that also, I've seen more and more where somebody like we were just discussing is, you know, somebody wants to produce their film. Somebody wants to produce their screenplay. Well, hey, I'm not gonna, you know, I don't want anyone to have to say yes or give me the green light. I'm gonna give myself the green light and go out and do it. So I wanted to ask you a question, have you had any you know, any people that you know, have any success in doing this?</p> <p>Kristin Overn 13:00<br /> Absolutely, many of our winners actually have gone ahead and done that. They had that in mind all along with their project, and they wrote it for themselves to direct, and they have, in fact, done so a lot of short films. Obviously, we've had a few people who have been maybe grad students at UCLA, USC, wherever, and perhaps the script they sent us was their graduate thesis or just a project that they wanted to produce coming out of school. And they're very aware of, you know, what it's going to take and how much it's going to cost. And usually they're putting up the money, or their families putting up the money, or whatever. So yeah, and they've been very successful shorts. We also had a script that a couple of scripts that won the contest, that had been produced by features, by the writers themselves and directed by the writers themselves. And one that I can think of right now is landed distribution, and I think will become, be coming out on Netflix and a couple of other places. It's been around the festival circuit. One of our winners, Laurie welts, wrote a script called scout. It was produced by another producer, but she directed it, and that has had a really nice distribution in the festivals, and it was on Netflix. A few weeks ago, I saw it on Netflix, and so yeah, and that's really exciting. We encourage it. We We're so excited by writers who are willing, able to do that? Because that's, you know, that's, it's such a, a, it's, it's such a huge learning process. And B, it's, you know, taking your career into your own hands. And that's wonderful when you can do that. </p> <p>Dave Bullis 14:35<br /> Yeah, very, very true. And just to continue with that question, Kristin, you know, as just as we talk about producing films right now, I wanted to ask if we took it the opposite way, which is meaning that somebody did something that was they aimed way too high and then, but for the resources that they had. And honestly, I'm guilty that as well. I've done that before, where I try. Had to make, you know, this action shoot him up at short film, and it's, and you realize you don't have the crew for it, you don't have the CGI people for it. You don't have, you know, the time to set up all these, you know, you know, gunplay scenes and stuff like that. So have you seen that too? Kristen, the where you've had people who just, you know they wanted, they said, Hey, Kristen, can you, can you, can I show you my movie? And it's just, you know, you're it's just you know, you could tell they they fell short.</p> <p>Kristin Overn 15:30<br /> Yeah. I mean, well, of course, you every once in a while, you see a short film or a project that has somebody attempted to shoot and they just ran out of money at some point. And you know, that's always too bad when that happens. But again, it's a it's a big, it's a big learning experience. And you know, we all, we all go through our learning experiences, whatever they are, and hopefully come through it and and continue despite whatever problems you might have had with your first project, </p> <p>Dave Bullis 15:59<br /> Yeah, and see that's, that's what happened to me, you know, just, just speaking for my own personal experience. Is what happened was, I am too high, you know, I made a student short film and I got, you know, very, very comfortable with, you know, you know, making, you know, you know what I mean. You make a student film, and then suddenly, you know, you're like, oh, okay, I got this. I can now. I made a very simple student short film. I can now make a John Woods like movie. Why not? Right? So that sudden, you know you're falling short. And I think we learn a lot more from our failures and our successes, because as the saying goes, sometimes, you know, with successes you sometimes people get lucky. They really do, as I've learned in life, sometimes you get lucky and you have the right crew in front of you. Sometimes you get lucky and you find the money. Sometimes you get lucky and the location pops up. But with failures, you realize, oh, wait a minute, this isn't my time to make this film or, or for and I'll give you another example to Kristen is I had a friend who was making a time travel movie, and she wanted to make it where, you know, I think it was like the 1800s I think, or the 1700s and I was explaining to her, you know, you're gonna have to buy all these, you know, or, I'm sorry, not buy, but rent all these time period clothes. You're gonna have to worry about cars and everything like that. You're gonna have to worry about planes. And I said, you know, how are you gonna pull this off? And and she was gung ho about it. And when we saw the final project, she said, Oh, now I see what you were talking about. Because she admitted to because, you know, you could spend, you know, a couple grand on Colonial Era clothes in a flash, you know what I mean, in a blink of an eye, and then all of a sudden you're like, Well, okay, that's just, you know, a handful of clothes and, you know, and what else you're gonna spend the rest, you don't have any money to spend the rest of for it, to buy anything else for this movie. So, you know, that's, that's another learning experience. So that's just what I mean by falling short. I want you know it's you learn a lot from your failures, and sometimes we learn more from our failures and our successes. </p> <p>Kristin Overn 17:57<br /> Absolutely true. God knows that's true for me, and I have to say she had the opportunity to learn from your failures, which is even better, because I always say I'd rather learn from someone else's failures, so I listened very closely to other people, and she made the mistake, perhaps, of not listening to you in that case, but she learned the lesson anyway, and she had to go through it, and I'm sure she got a lot out of it despite whatever happened, you know, because that's what that's what Life is all about at the end of the day,</p> <p>Dave Bullis 18:23<br /> Yeah, and trust me, there's, there's one thing I know, it's how to fail. So, so it's how to fail, how to fail often, but, but you know, you, you sort of, as you meet at different people, you you learn that almost everyone has made some kind of mistake like that, where they try to do way too much, too early, as they started making their films, I've learned that from just doing this podcast, you know, they make a simple film to begin, or they maybe again, maybe they got, they were in the right place the right time, and they got an amazing crew, or what have you. And the second film and the third film were like, Wait, what happened here? You're taking like, you know, steps backwards, so</p> <p>Kristin Overn 19:03<br /> The sophomore curse, or something like that, you know, I don't know, but yeah, it's, it's that happens a lot. We have that in the contest as well. I've seen situations where writers somewhat rare, but it happens there's because of their just basic writing talent, somehow what they piece together, almost by intuition, accident, whatever is just really works. But then they try to write that second and third and fourth script, and somehow it kind of all dissipates and and, you know, you wonder, well, then they have to go back and learn the lessons that they and solidify the understanding of why the first script worked, why the first script worked, and you know, how they can replicate it, although I hate the word replicate, but replicate the elements of that that worked, you know, so it's, it's fascinating.</p> <p>Dave Bullis 19:55<br /> Yeah, that's actually really interesting. You know, if somebody writes, you know, a script, you know the first one there, let's call it the freshman, the freshman script, and they hit it out of the park. It's a home run. It's you know, everyone you know loves it that people want to read it and the second and third script aren't there. I mean, it, you know, is it usually because maybe they were trying a different method? Is it maybe because they just tried to just rush things out too quickly? I mean, is that some of the things that you've seen?</p> <p>Kristin Overn 20:35<br /> I have no you know, I honestly have to say I have no idea why it doesn't work the second time or the third time. I have no idea what it is that sparked first one that just somehow didn't work in the second, third and fourth. It can be probably any one of the things you mentioned, you know, but, but I we have a situation recently. I don't think the right writer would mind, because I think he's talked about it himself. He won this page awards and 2007 with his very first screenplay, and he's been working on it ever since, and his subsequent efforts haven't quite worked as well. And he says himself, he's just had to go through a huge learning, kind of relearning process to really understand what it is that makes a screenplay work, even though, intuitively, he did something wonderful the first time out of the gate. And now this year, he won another prize with us. He's kept getting notes, he's kept reading, he's he's gone to conferences. He's just really continued to work and stuck with it, and at the end of the day, that's brought him back to maybe where he began. But now with that basis of really solid understanding of the process, the writing process, what it, you know, a better understanding of screenplays as a craft, you know,</p> <p>Dave Bullis 21:53<br /> Yeah, and that's interesting too, because you mentioned he, he wrote his first screenplay, and that's what he he ended up winning with in 2007 so does that happen a lot in your experience?</p> <p>Kristin Overn 22:06<br /> No, no, it doesn't. Most of the time. To be honest, people's first screenplays are can be kind of a train wreck. I mean, sometimes they just haven't bothered to really study the form at all. They sometimes writers think they know how to format a script better than the people who do it every day, you know. Or they think they don't have to study know anything about structure or what I don't know what it is, but they think they've seen a lot, I guess what it is, they think they've seen a lot of bad movies, and so their movie is bound to be better than all these bad movies they've seen, but most of the time, people's first efforts are not, are not, you know, they don't reveal their full potential. It's only after, most people will tell you, it takes many scripts before you really achieve something wonderful and special and something that's going to get you signed or something that's going to get produced. But there are exceptions, like, I mean, every once in a while that you run across somebody who whose very first script is just somehow magic. I don't know what to tell you. There's a little mystery to the whole thing, which is what makes it fun.</p> <p>Dave Bullis 23:15<br /> It reminds me what Shane Black once said he was doing this, this Q and A session, and and somebody asked him a question. He said, all the time he gets, you know, a lot of go get an email, or he'll get a note sent to him, sent to him via his agent, from, from like, a, you know, a fan or filmmaker, what have you. And it's always Hey, you know, Hey, Shane, I saw this movie in a blockbuster to Netflix or whatever, and I could write better than that. So I decided to write. And then Shane usually goes back with, Well, I'm glad that you think your mediocrity is better than some other mediocrity that you saw. And he said his advice is, is, instead of, you know, using that as saying, Oh, I could write better than this, how the hell is that a movie? You know, he's like you should really just want to do it in general, regardless of you know, if you think you could write better than than some other movie that's out there</p> <p>Kristin Overn 24:06<br /> Exactly, it's got to be, at the end of the day, it's got to be a passion that you're willing to stick with. And that's again, why I admire this writer who stuck with it all these years, even though his second and third and fourth efforts were not as successful as his first. I mean, his first script did not end up selling, but it got a lot of good attention, and it's still a viable movie, from my point of view. So, you know, but it takes that kind of dedication and passion, and if you've got it, you know, stick with it. Keep keep at it, and study and read and talk with other writers and be part of a writers group, and don't be afraid to get notes. A lot of beginning writers are really afraid of getting feedback on their scripts, because, honestly, they're afraid of what the person reading their script is going to say, and they don't want to hear it. You know, deep down, it's like, you don't want to hear that you have cancer or something. You know, it's, it's you don't want the bad news. But the truth is, um. That's what's going to help you grow again. It's your mistakes that, you know, learning from your mistakes that is going to get you to the next level as a screenwriter.</p> <p>Dave Bullis 25:08<br /> You know, that is 100% true. You know, I actually used to run a screenwriting group, and we would have people who would want to join. You know, every so often somebody would come in and and say, Hey, I have a friend, where I have somebody else who wants to join. And this one time somebody came in, he was a first time screenwriter, and he actually had illustrations within his screenplay. And I, and I, you know, something, I was a little nicer about it. I was like, hey, you know, I wrote a little note on there, hey, don't put in, you know, illustrations of a design and a screenplay. Like, you know you're not, you know you're not like a James Cameron level, where he could just do whatever he wants and no one's gonna bat an eye. You know, if you're using this as a calling card or what have you, it has to follow certain guidelines. Other people just put on the put in the script. They were like, No, an exclamation point and stuff. Like, you know what? I mean? It's just, it's, it is very hard, especially when, you know, you put all this effort and time to a screenplay and you get feedback, and you know, people tell you, hey, you know what? It just isn't good. Or, or some people will say, hey, look, it just sucks. And I think that what happens is, is, I think we, we kind of view it as an extension of ourselves. So we think, hey, look, this screenplay sucks, therefore I suck</p> <p>Kristin Overn 26:23<br /> Exactly it. You know, it's your baby and, and I know that, for example, the folks who read for us, the judges who read for us and write notes. And we talked to them about this a lot. You know, it's, it's critical that they understand that each script is a writer's baby, and they believe in it and love it and, and our job is to help them make it better and advance as writers. And I think our judges really try to do that. But I I have also heard a lot about writing groups where things can get pretty brutal. Sometimes other writers can be, you know, your toughest critics. You know you're, I don't know it's, it can be really great to be part of a writers group. I've heard some horror stories too. So it's all about putting together the right group of people that are going to, you know, grow together as a group. </p> <p>Dave Bullis 27:10<br /> Yes, very, very true. And about if everybody is really a part of the same goal, which is to be a professional writer, a working writer. And, you know, I was a part of another group where every meeting, every month, we met once a month, and every month we would have a whole new batch of people show up. So we would have to explain, like, the beginning of screenwriting, you know, we Hey, this is what formatting is. Hey, go buy final draft. Hey, you know, make sure that you're, you're all set. We know what I mean. Like, it's all, it's all these things. And finally, we started, you know, me and the guy, the guy who ran it at that point in time, we said, Wait a minute here. You know, we're kind of like spinning our wheels in the mud, because every meeting we're just briefing these, these new, you know, new people, and then they leave, and then we're getting a whole nother group, and then we're explaining it to them. So it's like, at some somebody once told me that the best way to run a run a writers group is to gain entry, you have to submit a screenplay, a fully, a feature length screenplay, and every, every member, sort of, you know, takes it and gives her feedback, and then you take a vote on it. But that's the key, is they have to have written at least one screenplay</p> <p>Kristin Overn 28:18<br /> That's very smart. Yeah, I think that's a great idea. Or if it's a group of people, none of whom have written a screenplay, that's fine, too. But then you're on the same level, and you're learning together, you know? But the commitment is the other part. It sounds like it sounds brutal to be losing people all the time and have bringing in new people all the time, that would be really hard.</p> <p>Dave Bullis 28:37<br /> Yeah, you know what I think it was, was because, the reason we had that, that constant flux of people leaving and coming, leaving and coming, was because of the the time did change every month. And also, I think that a lot of people weren't really ready for, like, Oh, this is a real writers group, you know, because, like everybody, like the about the three or four people who are, I would say we're at the, sort of like, I guess, top of the group, if you know, though. I mean, we all, I mean, it was myself and through the guys and we, we all are doing stuff now, you know, I in the, in the business, one way or another. But the thing is, like everybody else, I think, was more long lines up. They wanted to start, like, a beginners group, you know what? I mean, like, Hey, I you know, because it's kind of like, you know, if you want to go play a sport or something, you know, you want to start on a team with other people that are, you know, you're like, you know, around, like, your your skill level, you don't want to start, and all of a sudden, you're, you're playing with people who've been, who are veterans, playing for years. You know what? I mean, it's just kind of, you get a little intimidated, if you will,</p> <p>Kristin Overn 29:38<br /> Absolutely, and it needs to be mutually beneficial for everybody involved, you know, so it's best if you're all kind of on roughly the same level. I think, yeah,</p> <p>Dave Bullis 29:47<br /> Exactly. And I'm not saying, like I'm some expert either, Kristen, I'm not, oh yes. I'm just saying, You know what? I mean. It's just like, sometimes, you know, in this business, sometimes things could get intimidating, period, you know. You see, you see a film in a film festival, you're a part of, you're like, Oh, well, God damn it, that person is better than me. I have no shot of winning, so, you know. And it's, I think it's happened to everybody,</p> <p>Kristin Overn 30:20<br /> Sure, sure. And it's understandable that people get intimidated, you know, because it's hard, and you know you're vulnerable, because it's your baby, then it's, that's, that's, that's what makes it great, though, that you know when, when you have that kind of passion for your project and you care that much, it's, it's both a curse and a blessing, because, you know, it's what, it's what is ultimately going to make your writing special, and that project special, it's also what's going to make you vulnerable to taking notes personally, or, you know, driving people away because you're too difficult to deal with, or whatever the situation is. So, you know, there you go. It's just part and parcel of the business.</p> <p>Dave Bullis 31:03<br /> Yeah, very, very true. And I wanted to ask to Kristen, as we sort of get into this about about page in general, you know, as we were talking the pre interview, there was an impetus for you to start page. And I wanted to ask, you know, what was that point in time in your life where you decided to actually start the competition.</p> <p>Kristin Overn 31:23<br /> It was a time when I was doing a lot of producing. I was working as a line producer. I was doing a lot of budgets for people reading a lot of scripts. And I really realized that I just missed the writing aspect, working with writers and evaluating scripts and helping writers develop scripts, and all of that that was more my passion than all of the work I was doing on movies to get movies made. That that's a grueling life, and I have friends who are great at it and who love it, but you're working 20 hour days for weeks at a time, and then suddenly the project is over. You got to have another gig right away and move on to the next. And it's it's a it's a tough life, and it wasn't the kind of creative life that I wanted. So I wanted to get back into working with writers and reading scripts and working with people who evaluate scripts, which is what all our judges are. And also being a little bit of a matchmaker, I have to tell you, I love the opportunity to take our winners and introduce them to certain judges. Sometimes I have a hint hit that a certain judge is really going to love a certain script, and maybe if they even read a different category, it's like, ah, yeah, I know you read the comedies, but I think you're really going to love this family film, and so I slip it to them in the process. And sometimes that works out, and it's really exciting when that happens.</p> <p>Dave Bullis 32:49<br /> So when you actually started Paige, you know, what was some of the responses that, you know, you first got? I mean, you know, again, like, when you start anything, like we were just discussing, you know, it's very nerve wracking. You get very nervous, you know, because there's always that feeling, you know, what, if I fail, you know. So, so what were you feeling when, you know, when you first started page?</p> <p>Kristin Overn 33:07<br /> Well, yeah, you're nervous that it's not going to work. Of course, luckily, because we did something unique with page at the time, which has since become pretty common, which is that we split the contest into these different genre categories. Initially we had nine. Now we have 10, and we have the judges evaluate scripts only in the genre that they're most interested in reading. Sometimes people like reading several, but we focus. We have them focus on one. And so basically they're kind of comparing apples to apples, if you will. Of course, not every drama is like every other drama, but at least you're not comparing a drama to a sci fi film or whatever. So you know that that that has been a real help on every level, both in terms of the judging process. The writers love being able to submit in a certain genre, knowing that their script is really going to be read by people who love that particular type of script, and that way, we could also present awards in the different categories and send out promotions. And so if people are looking for our top 10 sci fi scripts or whatever, we can send them those it's it's ended up working out really well over time. And sort of the when you talk about the beginnings of the contest, that was, that was one of the key things that I saw working right away, and I felt was really important. And so that's kind of kind of kept me going through the first couple of years, even though, of course, the first couple of years, we got about 1000 entries, which was pretty good, but, you know, it was tough to make ends meet. It was, we were still operating at a loss, but it was, I could see that this could really work, and people were starting to find projects that they liked, and that kept me going, you know, in the beginning, because I felt like, yeah, this idea is good. This idea will work. We. Have to get the word out, and it has to become better known.</p> <p>Dave Bullis 35:04<br /> So just to go now to sort of Flash forward to today, you know, 2017 how many submissions do you get a year now? </p> <p>Kristin Overn 35:15<br /> We got about 6300, both the past couple of years. So that's we're almost peaked out. I think the nickel receives just over 7000 lately. The past couple of years, I think Austin has received something like 9000 submissions, which is massive. We our judges, the way we structure things, we would have a hard time handling too much more than we get right now. So we're kind of, we're at a good place. I feel some people say that you have to read about 100 even 200 scripts to find a great one. Well, if we get about 6000 entries and we give 30 prizes, 31 prizes, that's about, right, then I figure</p> <p>Dave Bullis 35:57<br /> When you get, like, you know, you know, 6000 7000 entries, you know, I could just imagine, you know, that there's a, you know, that just all these screenplays sitting in a room, and it's like, my god, would you even start? You know, so, you know, how is the process? I've always been interested, you know, even with, with the Nicole and the and and the the Austin Film Festival one, and you know, some of these other screenplay competitions, you know that are getting, you know, five four digit high four digits submissions. You know, how do you start to sort through them as they come in? </p> <p>Kristin Overn 36:32<br /> Well, it's, it's well systematized now. And luckily, because everything's online, there's some things are doable that would not have been doable 1012, years ago. So as the scripts come in, they come in in a certain category, we have certain judges reading certain categories, and they get assigned to them online. And everyone's reading everything online now. So it makes it, makes it relatively easy, but we do have over 90 judges over the course of the five rounds of competition. So it's a lot of people going through it, but it's, it's all, it's all handled through a little online system that that works pretty well, pretty well.</p> <p>Dave Bullis 37:08<br /> So, so they didn't just just sort of continue with that same question, do you ever get like, so much digital traffic, then in your like and you start to sort of lose track of things, or we, you know, I mean, again, with all the submissions, I mean, I could just imagine, with that, with, again, high four digit submissions, it's like, how do you keep track of everything you know? And I imagine so. So do you have, like, a whole team behind the scenes, sort of like, okay, this is an action adventure, this is a comedy, this is a horror, </p> <p>Kristin Overn 37:36<br /> Yeah, absolutely. But it's all online too. It's all recorded when the script comes in so that the scripts can be automatically tracked to the right judges. And Zoe and Jennifer are very hands on our team behind the scenes. And Zoe handles all the submissions, and she does a fabulous job, and she's very much on top of it, watching as things come in and making sure that they're tracking to the right judges. And when writers request feedback, she'll be careful to she actually assigns those individually. So she makes sure that it's a script that that particular judge has not read before, it's the type of script that she thinks they'll like based on the log line, you know, that kind of thing. So we're very hands on, but by the same token, we've got it pretty well systematized now so that, so that things keep moving, which it has to do. You know, when you, as you say, when you have 6000 entries, and you have basically from January through October, is the whole process, but the vast majority of them are, are read by the middle of July. It's, it's, it's a lot of scripts to read, and a lot of people reading,</p> <p>Dave Bullis 38:38<br /> Yeah, and I mean having to get, you know, and all the feedback and stuff like that. I, you know, I've had friends who even started, you know, I mean, their own screenwriting competitions on a on a much smaller scale, obviously. And even then it was like, it was just like, my god, what the hell have we gotten ourselves into? </p> <p>Kristin Overn 38:57<br /> That's very true, you know. I mean, I think a lot of people think, oh, let's start a screenwriting competition. We'll make some money. It'll be easy. We're looking for a looking for some in some cases, like we're looking for a script. Let's start a contest, you know, but it's actually if you're, if you're honest about it, and if you do it with integrity, it's a lot, a lot of work, and it takes a lot of, you know, kind of caring people behind the scenes, the administrative team and the judges to to make it work well. Otherwise it ends up being pretty much a rip off for the writers. And I've seen and heard a lot of horror stories in that regard. So, yeah,</p> <p>Dave Bullis 39:28<br /> I mean, because I've entered screw any competitions before, and I haven't entered page yet, but I'm actually hoping to get something done in time to enter. But, you know, </p> <p>Kristin Overn 39:43<br /> I hope we'll live up to your expectations. But yeah, I mean your own experience, I'm sure would be really educational for your listeners, because, you know, what's the range of experience you had with contests?</p> <p>Dave Bullis 39:54<br /> Well, I think Paige already meets my expectations. Because, like, honestly my expect, because, I mean, I've heard of the competition before, you know, as I was, you know, just just, you know, obviously we were just discussing this whole conversation, you know, I'm familiar with Paige, you know, Austin, the nickel. But in my experience, by the way, the ones I just mentioned, I've not entered before. I entered one, and I got back maybe half a page, or a page of like, of course, by you know, of like, feedback. And that's what I really wanted, was that feedback. So I wanted to hear what the writer was going I mean, I'm sorry the reader was going to say, and basically, at the end, she admitted that this screenplay wasn't for her, and just kind of, you know, let me down easily because she she just didn't know where it fits, so to speak. And I forget what language she used. But, you know, I felt like, Okay, I don't really know if this was worth the extra money to pay for the for the for the feedback. But what I did was, and this is a part of the funny story was, I took this screenplay and I knew a producer, and he said, Hey, you know, if it's a it's a horror comedy, and I sent it to him, and he goes, Dave, this is so over the top. He goes, I don't know how to even market this thing. Bob, you know, etc, etc. Well, a couple months later, I ended up bumping into him again, and he goes, You know what? I should have went with you on that screenplay. He goes, I don't know what the hell I was thinking about. He goes, I've been thinking about that opening. He goes, and the and the funny parts were funny, the horror parts were scary. He goes, but he goes, I just don't know. He goes, I just don't know how to actually market it. And I said, it would be tricky. It would be very tricky, but it could be done. And so I told him that the feedback I got from the screenwriting competition. And he said, Yeah. He said, You know, we talked about what competition it was. And he said, Yeah, they they oftentimes either don't give any any feedback, or they just sort of give, like this very homogenized feedback. </p> <p>Kristin Overn 42:05<br /> Yeah, yeah. I mean, feedback. What can I say? We work really hard to give our writers great feedback. That's a very important part of our mission, because, you know, it helps writers grow, and that's what our goal is. We'd love to see. We love it when writers enter a few years in a row and they keep doing better and better, and they've got more and more scripts and a stronger body of material, and so that finally, when they do, when they end up getting signed because they have a body of material to show an agent or manager, and things are launched from there, that's actually kind of an ideal scenario. And we love to be a part of that. We love to help to help writers do that. And feedback is a huge part of it. I think getting professional feedback is so helpful for writers when you can get it from someplace that's supportive, that's going to really that's where the goal is, to help you improve as a writer, rather than just trash you or tell you you know why the script doesn't work. So, you know. But there's the whole range out there. It's writers, you know. I think as much as you can get, my bottom line advice would be, get as much as you can and take it all with a big grain of salt, because that's really at the end of the day, when you're working as a professional writer, you're getting notes all the time on everything you do eight sets of rewrites on a script by the time it gets into production, or more. I mean, it's it's crazy, how much and you have to be able to take all these opinions from the producers initially and the financiers and then the director and the actors and somehow incorporate that into your script, and keep the integrity of your script and keep make sure it continues to work, because often the notes you get aren't even if the person offers a solution, often it's not the right solution, but maybe they have their finger on the pulse of something that's problematic, so you have to, as the writer, interpret it, interpret that, and make the note work within your vision of the script. It's very complex, that complicated and hard to do. So the more practice you get at taking notes, even if they're bad notes, and just figuring out, hmm, what was this person really saying? And, you know, is it something I want to do? Is it something that I want to incorporate in the script? Or, you know, and when you start hearing a note from more than one person, really pay attention, because something's not working, you know? </p> <p>Dave Bullis 44:23<br /> Yeah, I concur. And one of the thing I wanted to say, too was that sometimes, you know, the that note could be that something's not working. And one thing I've noticed, too is also something could be working. Because one, I wrote a screenplay years ago, and I remember I the one positive I got out of it was that everyone there was one note I always got it was like, Oh, this was actually working pretty well. This is a really nice way to open that this movie. And only one person out of everyone I let read it was said, Oh, no, that's too much over dramatic. Don't do it that way. And everybody else disagreed. And I was like, Alright, I think I'm gonna go with that, with the just gonna keep it in.</p> <p>Kristin Overn 44:59<br /> And that's again, you make my point for me, which is, get as many opinions as you can, and ideally professional opinions, but your friends is fine, as long as they know something about reading a screenplay. If your Writers Group is great, but get as many opinions as you can and get as many professional opinions as you can from wherever, because the more you hear, the more things will start to make sense, and then that one oddball opinion will stand out as like, Oh no, no. That was just that person who had a bad dinner that night or whatever, but or just didn't understand something about this, whatever the situation might be. But if you just get notes from one person, and you take those as gospel, you know you could potentially be be led astray. </p> <p>Dave Bullis 45:43<br /> Yeah, very true. Kristin, very true. You know, Kristin I know that the page screenwriting awards opens this year, which is December 1 2017 which is in about two weeks, give or take, and probably about a week when this podcast actually is going up. But I just wanted to, you know, ask just while you know, why have you on here? Because I've always heard this about screening competitions. I heard that the the better the chance for to sort of win, or to even just to get noticed, is to get your screenplay in earlier. And the reason, the the reason they say this, is because they say, you know, judges and everybody has to read so many screenplays that they end up, you know, pulling their favorites out first. You know what I mean, like, they'll have that in their meaning, in their mind, though, you know, they have, like, Oh man, I remember reading this script, and if you know, and it really stood out, and then, versus handing it in later, and, you know, you have less of a chance to sort of stand out. You know what I mean, like, we were talking about earlier on, where the with the time? The where the top always goes, the cream always rises at the top. So is there any truth to that in your experience?</p> <p>Kristin Overn 46:48<br /> No, no. So you know, that's one of the myths. And you know, I do think that the judges have less to read early on, and they're fresher, if you like, in a sense, although most of these people, keep in mind, are reading for their companies all the time. Anyway, it's it. So this is just something they incorporate into their schedule over time, but, but here's, here's the thing. Like for us, we have five different rounds of competition, so your first round judge will read your script pretty much soon after it comes in, right? And then this we also have the second round that starts right about in March, once there's enough build up of stuff moving forward from the first round. So those people start reading in March, and they read through the middle of the summer. But once you get to the third round and fourth round, they're kind of reading things all at the same time, and not necessarily in order that it was submitted. So basically, what we have found, and I've tracked this because people have asked this question a lot, we've had scripts with over the you know, with the 31 prizes we give, usually, one of them will have been submitted on the very first day of the contest, and one or two of them will have been submitted on the last day, and they pretty much are scattered all throughout. So it really that is not it saves you money to enter early. We push you to enter early because we want to get scripts in for the judges to read. We want to give them enough time to read everything. We don't want everything coming in in May, at which point, you know, we wouldn't be able to get everything read in time to make our announcements. So that's why we give, you know, all kinds of incentives to enter as early as possible, but it does not affect your chances of winning.</p> <p>Dave Bullis 48:33<br /> That's another sort of false myth out there put down. I'm glad, I'm glad I asked that question, because, you know, you see all these false myths online about about screenwriting in general, and I'm just glad that that</p> <p>Kristin Overn 48:45<br /> I think at least in our experience, that's one of them. I mean, maybe other contests. I can only speak for us, but, but that's, that's the way things run here. And I honestly have seen a lot of the scripts that are submitted in the last couple of rounds of competition win, as well as some that are submitted early on. So it's, it's, it's pretty well spread out throughout</p> <p>Dave Bullis 49:06<br /> And, you know, Kristen, we've been talking for about, you know, 50 minutes now. And I just wanted to ask, you know, is there anything that we can get a chance to talk about that maybe wanted to discuss right now, or just even anything you want to say to sort of put a period into this whole conversation?</p> <p>Kristin Overn 49:19<br /> I think the only thing is, you know, people ask me a lot, what does it take to make a winning script? What is it that puts the winners over the top? And it's a very, very hard question to answer, and I've tried to sort of distill it down over the years, but I would say that for us, the scripts that advance up to the semi final and final round. They're all really strong. They're strong writers. They're interesting ideas. They have the scripts have a lot of strengths, but every script has certain what somebody would call a weakness. You know, if one judge read it, they might say, Oh, I love this character to me, you know, so everyone, I mean, opinions differ in that regard. But at the end of the day, what I hear over and over, when we're down to the final final decisions, is people saying this script. The thing that's so special about it is this is a character that I know 10 actors who would love to play this role. It's so compelling, and so story moved me and and it will move an actor. So the script has a real shot of getting made, and it it the voice of the writer is just so clear and so specific and so special that they feel like they bred something that is unique and will stand out from the crowd. So whatever its other flaws might potentially be in terms of that they can work on in development, which, as I said, it'll end up probably going through however many rewrites in the course of development and into production. But that the true thing that's there, that the core of an idea that's really special, a role for an actor, that's really unique and compelling and and something that's really going to make an actor sit up and take notice, and just something in the voice of the writing that is, makes it stand out from the from the crowd, whatever that is,</p> <p>Dave Bullis 51:36<br /> Yeah, and that's very true too, because whatever gets you to stand up from The crowd. And you've seen examples, you know, all throughout, even in the in the like the 90s, for example, when Shane Black wrote Lethal Weapon Quentin Tarantino, you can really tell when he really enjoys writing his scripts, because they just sort of pop their own style of popping out at you. And then you even some of the screenplay competitions, the award winners, like they just released the screenplay from mud bound, they released a couple of other screenplays that you know, how the you know you could you and you when you read them, you can kind of see how you know they did what they did with their screenplays, how, what, what causes them to be unique.</p> <p>Kristin Overn 52:15<br /> Absolutely, when Juno came out, that was such a special script and movie, because she had such a strong voice on the same sort of note. But the flip side of it is that, please do not try to copy Quentin Tarantino or David Mamet or somebody else who has a really strong voice. Because really, the judges roll their eyes at that industry readers roll their eyes at that they you know, they've seen a lot of copycat scripts. It's really about finding your own vision, your own voice, your own approach to the world and to your story that is unexpected and fresh. And that's where you hear the phrase familiar but fresh. You know? It's like an idea that perhaps people in the industry can understand and say, oh, yeah, I know we did. We know about movie that some movie like that, but this particular script has such a fresh twist on the idea, and that's the writer's voice, the writer's point of view, that makes it stand out.</p> <p>Dave Bullis 53:14<br /> Yeah, and that's a really good point, by the way, Kristin about not trying to copy anybody else. I once had a friend of mine who who started before me in the film business, and he started before me, and he he ended up calling himself the next Quentin Tarantino, and he kept labeling himself as that. And finally, I think he bumped into a manager, agent, and they said, Why are you marketing yourself as the next Quentin Tarantino? They were like, do you think Quentin Tarantino went around and said he was the next whatever, like, he just wanted to be Quentin Tarantino. That was it, like, you should be focused on that, not trying to be somebody else. And I think I'm sorry </p> <p>Kristin Overn 53:50<br /> Absolutely, I'm just agreeing because it's, yeah, it's so important. You have no idea. I mean, I can't tell you how many times, oh, that's another guy, Richie script, you know, or something. They they're just and people do it. So you have no idea how many other writers are trying to copy some of these iconic writers, and it just doesn't. It doesn't work. So find your voice. Find your own voice. Oh, but you know, one good exercise, if writers want to play with it, and this is a fun thing to do, is write a script in the style of just for fun, as you're learning, maybe a short film, even just as you're learning, as you're growing, just to kind of strengthen your chops you know, write a script in the style of Quentin Tarantino or Diablo Cody or whoever you know, just to see how different writers might approach a different subject, a different basic storyline. That's a really fun thing to do, and it teaches you a lot doing something like that.</p> <p>Dave Bullis 54:44<br /> Yeah, I know what you exactly what you mean, and I've seen, but I do like the idea too, is just to be unique and be yourself. Because, you know, at the end of the day, you know, you have to be yourself, right Kristin? </p> <p>Kristin Overn 54:57<br /> Absolutely, you know, absolutely, it's. So I think that's a great, a great sort of sign off. It's like, be yourself.</p> <p>Dave Bullis 55:04<br /> Yeah. I just want to ask in closing, though, is where we will find you, at online?</p> <p>Kristin Overn 55:09<br /> Pageawards.com is our website. </p> <p>Dave Bullis 55:12<br /> Kristin, I just want to say thank you so much for coming on. </p> <p>Kristin Overn 55:15<br /> It's been a pleasure. Thank you so much for having me, Dave. </p> <p>Dave Bullis 55:18<br /> Oh, my pleasure Kristin.</p> </div> <div class="fbxt-content--footer"> <a href="#"> <svg width="9" height="11" viewBox="0 0 9 11" xmlns="http://www.w3.org/2000/svg"> <path d="M0.5625 0.25C0.234375 0.25 0 0.507812 0 0.8125V1.375C0 1.70312 0.234375 1.9375 0.5625 1.9375H8.4375C8.74219 1.9375 9 1.70312 9 1.375V0.8125C9 0.507812 8.74219 0.25 8.4375 0.25H0.5625ZM2.10938 6.83594L3.65625 5.28906V10.1875C3.65625 10.5156 3.89062 10.75 4.21875 10.75H4.78125C5.08594 10.75 5.34375 10.5156 5.34375 10.1875V5.28906L6.86719 6.83594C7.10156 7.04688 7.45312 7.04688 7.66406 6.83594L8.0625 6.4375C8.27344 6.22656 8.27344 5.85156 8.0625 5.64062L4.89844 2.47656C4.66406 2.24219 4.3125 2.24219 4.10156 2.47656L0.914062 5.64062C0.703125 5.85156 0.703125 6.22656 0.914062 6.4375L1.3125 6.83594C1.52344 7.04688 1.89844 7.04688 2.10938 6.83594Z" /> </svg> <span class="fbxt-nav-text">Scroll back to top</span> </a> </div> <div class="fbxt-modal 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54.8784 7.80638 56.0789 7.80638C57.3098 7.80638 58.0544 8.71857 58.0544 9.92453C58.0544 11.1305 57.3098 12.0427 56.0789 12.0427C54.8784 12.0427 54.3618 11.0223 54.3618 11.0223V8.8268Z" /> <path d="M64.3915 6.07476C62.2489 6.07476 60.5469 7.76 60.5469 9.92453C60.5469 12.0736 62.2489 13.7743 64.3915 13.7743C66.5341 13.7743 68.2361 12.0736 68.2361 9.92453C68.2361 7.76 66.5341 6.07476 64.3915 6.07476ZM64.3915 12.0427C63.1606 12.0427 62.4008 11.0686 62.4008 9.92453C62.4008 8.78042 63.1606 7.80638 64.3915 7.80638C65.6224 7.80638 66.3822 8.78042 66.3822 9.92453C66.3822 11.0686 65.6224 12.0427 64.3915 12.0427Z" /> <path d="M71.1828 9.80084L68.5083 13.5888H70.575L72.2009 11.0841L73.8269 13.5888H75.9999L73.3406 9.80084L75.848 6.26029H73.7661L72.3225 8.51758L70.8485 6.26029H68.7059L71.1828 9.80084Z" /> <path d="M3.34457 0.583843C4.10968 1.3623 4.10968 2.62442 3.34457 3.40288C3.2166 3.53308 3.07534 3.6415 2.92523 3.72814V13.035L8.90051 13.035V8.33442L4.95452 12.3492V0.990621H14.7632V12.2656C14.9174 12.3532 15.0624 12.4638 15.1935 12.5971C15.9586 13.3756 15.9586 14.6377 15.1935 15.4162C14.4284 16.1946 13.1879 16.1946 12.4227 15.4162C11.6576 14.6377 11.6576 13.3756 12.4227 12.5971C12.552 12.4657 12.6947 12.3564 12.8465 12.2693V2.94071H6.87119V7.64125L10.8172 3.62648L10.8172 14.9851L1.00855 14.985V3.73693C0.852708 3.64886 0.706164 3.53751 0.573838 3.40288C-0.191279 2.62442 -0.191279 1.3623 0.573838 0.583843C1.33895 -0.194614 2.57945 -0.194614 3.34457 0.583843Z" /> </svg> </a> </div> </div> <div id="comp-jzhq90sw" class="style-jzhqdfrt" data-has-iframe="true"> <h2>LINKS</h2> <ul> <li><strong>Page International Screenwriting Awards – <a href="https://pageawards.com/" target="_blank" rel="noopener external noreferrer" data-wpel-link="external">Official Site</a></strong></li> </ul> <h2>SPONSORS</h2> <ol> <li><a href="https://indiefilmhustle.com/script-coverage-service/" data-wpel-link="internal"><strong>Bulletproof Script Coverage</strong></a> <strong>– Get Your Screenplay Read by Hollywood Professionals</strong></li> <li><a href="http://www.freefilmbook.com" target="_blank" rel="noopener external noreferrer" data-wpel-link="external"><strong>Audible</strong></a> – <strong>Get a Free Filmmaking or Screenwriting Audiobook</strong></li> </ol> </div> </div> </div> </div> </div> </div> </div> </div> </div> <div class="fl-row fl-row-full-width fl-row-bg-none fl-node-61447e149cb44 fl-visible-desktop" data-node="61447e149cb44"> <div class="fl-row-content-wrap"> <div class="uabb-row-separator uabb-top-row-separator" > </div> <div class="fl-row-content fl-row-full-width fl-node-content"> <div class="fl-col-group fl-node-61447e14a6f8a" data-node="61447e14a6f8a"> <div class="fl-col fl-node-61447e14a7082 fl-col-small" data-node="61447e14a7082"> <div class="fl-col-content fl-node-content"> </div> </div> <div class="fl-col fl-node-61447e14a7085 fl-col-small" data-node="61447e14a7085"> <div class="fl-col-content fl-node-content"> <div class="fl-module fl-module-heading fl-node-61447e2e4bdd3" data-node="61447e2e4bdd3"> <div class="fl-module-content fl-node-content"> <h4 class="fl-heading"> <span class="fl-heading-text">Share:</span> </h4> </div> </div> </div> </div> <div class="fl-col fl-node-61447e14a7086" data-node="61447e14a7086"> <div class="fl-col-content fl-node-content"> <div class="fl-module fl-module-uabb-social-share fl-node-61447dfa7c308" data-node="61447dfa7c308"> <div class="fl-module-content fl-node-content"> <div class="uabb-social-share-wrap uabb-social-share-horizontal uabb-ss uabb-ss-column-auto uabb-ss-column-medium- uabb-ss-column-responsive-"> <div class="uabb-ss-wrap uabb-ss-align-left uabb-ss-gradient uabb-ss-view-icon uabb-ss-shape-rounded uabb-ss-color-default uabb-style-inline uabb-floating-align-right"> <div class="uabb-ss-grid-item uabb-ss-animation-default uabb-ss-button-facebook"> <div class="uabb-ss-grid-button"> <a class= "uabb-ss-grid-button-link" 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href="https://www.linkedin.com/shareArticle?url=https%3A%2F%2Findiefilmhustle.com%2Fkristin-overn%2F" target="_blank" onclick="window.open(this.href,'social-share','left=20,top=20,width=500,height=500,toolbar=1,resizable=0');return false;"> <span class="uabb-ss-icon"> <i class="fab fa-linkedin" aria-hidden="true"></i> </span> </a> </div> </div> </div> </div> </div> </div> </div> </div> <div class="fl-col fl-node-61447e14a7087 fl-col-small" data-node="61447e14a7087"> <div class="fl-col-content fl-node-content"> </div> </div> </div> </div> </div> </div> <div class="fl-row fl-row-full-width fl-row-bg-color fl-node-6143bec9b84f4 fl-visible-desktop-medium" data-node="6143bec9b84f4"> <div class="fl-row-content-wrap"> <div class="uabb-row-separator uabb-top-row-separator" > </div> <div class="fl-row-content fl-row-full-width fl-node-content"> <div class="fl-col-group fl-node-6143bec9c0bad" data-node="6143bec9c0bad"> <div class="fl-col fl-node-6143bec9c0c60 fl-col-small" data-node="6143bec9c0c60"> <div class="fl-col-content fl-node-content"> </div> </div> <div class="fl-col fl-node-6143bec9c0c63" data-node="6143bec9c0c63"> <div class="fl-col-content fl-node-content"> <div class="fl-module fl-module-rich-text fl-node-6143c08a4a2fd" data-node="6143c08a4a2fd"> <div class="fl-module-content fl-node-content"> <div class="fl-rich-text"> <p>NEXT EPISODE:</p> </div> </div> </div> <div class="fl-module fl-module-post-slider fl-node-6143bdfac14a8" data-node="6143bdfac14a8"> <div class="fl-module-content fl-node-content"> <div class="fl-post-slider" itemscope="itemscope" itemtype="https://schema.org/Blog"> <div class="fl-post-slider-wrapper"> <div class="fl-post-slider-post fl-post-slider-no-thumb swiper-slide post-163459 post type-post status-publish format-standard has-post-thumbnail hentry category-blog category-directing category-podcast tag-behind-the-scenes tag-creative-journey tag-dominion tag-doomed tag-encounter tag-film-festivals tag-film-industry tag-filmmaker-inspiration tag-filmmaking tag-hollywood-stories tag-horror-movies tag-independent-film tag-indie-film-hustle tag-iron-eagle tag-michael-g-kehoe tag-mission-impossible-3 tag-movie-making tag-savage-dawn tag-screenwriting tag-short-to-feature tag-storytelling tag-the-hatred tag-the-taking-of-beverly-hills tag-vampire-at-midnight tag-vanilla-sky" itemscope="itemscope" itemtype="https://schema.org/BlogPosting" > <meta itemscope itemprop="mainEntityOfPage" itemtype="https://schema.org/WebPage" itemid="https://indiefilmhustle.com/michael-g-kehoe/" content="IFH 790: From Short to Feature: The Filmmaker’s Journey with Michael G. Kehoe" /><meta itemprop="datePublished" content="2025-02-18" /><meta itemprop="dateModified" content="2025-02-18" /><div itemprop="publisher" itemscope itemtype="https://schema.org/Organization"><meta itemprop="name" content="Indie Film Hustle®"></div><div itemscope itemprop="author" itemtype="https://schema.org/Person"><meta itemprop="url" content="https://indiefilmhustle.com/author/cyrene/" /><meta itemprop="name" content="Indie Film Hustle" /></div><div itemscope itemprop="image" itemtype="https://schema.org/ImageObject"><meta itemprop="url" content="https://indiefilmhustle.com/wp-content/uploads/2025/02/Michael-G.-Kehoe.jpg" /><meta itemprop="width" content="808" /><meta itemprop="height" content="388" /></div><div itemprop="interactionStatistic" itemscope itemtype="https://schema.org/InteractionCounter"><meta itemprop="interactionType" content="https://schema.org/CommentAction" /><meta itemprop="userInteractionCount" content="0" /></div> <div class="fl-post-slider-content"> <h2 class="fl-post-slider-title" itemprop="headline"><a href="https://indiefilmhustle.com/michael-g-kehoe/" rel="bookmark" title="IFH 790: From Short to Feature: The Filmmaker’s Journey with Michael G. Kehoe">IFH 790: From Short to Feature: The Filmmaker’s Journey with Michael G. Kehoe</a></h2> </div> </div> </div> </div> <div class="fl-clear"></div> </div> </div> </div> </div> <div class="fl-col fl-node-6143bec9c0c64 fl-col-small" data-node="6143bec9c0c64"> <div class="fl-col-content fl-node-content"> </div> </div> </div> </div> </div> </div> <div class="fl-row fl-row-full-width fl-row-bg-none fl-node-61577b5318de7 fl-visible-desktop" data-node="61577b5318de7"> <div class="fl-row-content-wrap"> <div class="uabb-row-separator uabb-top-row-separator" > </div> <div class="fl-row-content fl-row-fixed-width fl-node-content"> <div class="fl-col-group fl-node-61577a2a97917" data-node="61577a2a97917"> <div class="fl-col fl-node-61577a2a97922 fl-col-small" data-node="61577a2a97922"> <div class="fl-col-content fl-node-content"> <div class="fl-module fl-module-heading fl-node-61577a2a97925 fl-visible-desktop-medium" data-node="61577a2a97925"> <div class="fl-module-content fl-node-content"> <h2 class="fl-heading"> <span class="fl-heading-text">FEATURED EPISODES</span> 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