Interview:

I grew up in Steubenville, Ohio, a rugged steel-town near Pittsburgh (film people would recognize this area as the location for "The Deer Hunter").  I dropped out of High School, graduated from the Film Dept of the State University of New York at Purchase, and then spent the next ten years working as a cinematographer based in Boston.

Documentaries became my favorite form of filmmaking, my family moved to Los Angeles, and I became more involved with Directing/Writing/and Producing.  In these capacities, I've helped create dozens of docs for the History Channel, other cable outlets, and independent producers.

I am still based in LA, but my jobs involve lots of moving around.  For example, I'm currently writing/editing an indy doc feature that has kept me in New York for five months.  Have computer, will travel.

Is “REBS” your first script? If not, what else have you completed?

I've completed a half dozen full length scripts, plus a number of treatments and outlines.  Most are true historical adventures, but I've also written comedies and contemporary dramas. 
 

Why did you write "REBS? And how long did it take you to write it?

 Because it was a great American adventure with the twists and surprises only a factual story could provide.  And it had the further dramatic advantage of having a strong beginning, an action middle, and a rousing finale.

Describe your process; do you have a set routine, method for writing?

I have no set routine, but instead must fit my screenplay work around my free-lance documentary making.  This means my most important framing factor is unemployment!

What inspires you to write?

I love a great story, especially if it is about something important, challenges old ideas, and has lively characters driving it.  I'm also attracted "cinematic" tales---ones that feature strong visuals and action.

Apart from writing, what else are you passionate about?

My family, the issues that are changing the world, and ideas themselves.  I love making documentaries about all manner of historical subjects, from war to comedy to pin-ups.  And I've been a serious photographer all my life, having had one-man exhibitions of my work in Paris, Los Angeles, and New York.
 

What influenced you to enter the Movie Script Contest?

It came well recommended.  (and I'm rather cautious these days, having been burned by The Empire Screenplay Awards----where I "won" the $2500 top prize, but never received it.)

Do you feel that screenwriting contests are worthwhile for writers and why?

One must use caution--as in any endeavor.  But I've found them valuable and have even won some money (my script "Trouble With Money" won a Fade In Magazine award, for instance).

Who is your favorite screenwriter or writer and why?

I try to read and view widely, and I like many different writers.  But these days, where most movies are written by committee, I find few voices who are consistently successful.    There's plenty of inspiring writing going on now, but I find it mostly in independent magazines, such as Harper's, Granta, and the New Yorker.
 

Any advice or tips you’d like to pass on to other writers?

Nothing new.  Except--- don't bother doing it unless you absolutely cannot help yourself.         

What’s next for you?

I'm currently writing and editing an independent doc feature "Bettie Page Reveals All".  It's a great story about sex, the 50s, New York City, government censorship, and a mysterious disappearance.   This is the official bio, with Bettie's narration.  And I have to go through over 10,000 images of the greatest pinup model of all time….a tough, tough job!