I didn’t write in my journal until half-way into January 1993. Heard from the agent Robbins. He passed on the second script I sent him, “Dashing Dan.” But he thinks it might make a good 2-part “Seinfeld.” Oy. I decide to send him my “Seinfeld” spec, based on my “Wedding” script, “He might get a kick out of that.”
I didn’t write in my journal until half-way into January 1993. Heard from the agent Robbins. He passed on the second script I sent him, “Dashing Dan.” But he thinks it might make a good 2-part “Seinfeld.” Oy. I decide to send him my “Seinfeld” spec, based on my “Wedding” script, “He might get a kick out of that,” sez I.
December began with feedback from Joel Simon on my script “Dashing Dan.” He didn’t “get” it. Too broad. Wouldn’t know how to sell it. But, hey, call anytime.
I called that agency. I got a Vanessa Howle, who was in desperate need of a receptionist, as she kept interrupting our conversation constantly. She seemed fixated on “Kringle” and was dismissive of the idea of a “production guy” showing it around. Said I still need an agent (duh). I never got to ask if she wanted me or the script, but she wanted to know who saw the script, wants me to “reformat” it, and maybe rework it a bit. So I put her on hold (metaphorically) for the moment.
So, as it turns out, my big reason for joining the WGA Activities committee, to get a workshop going, was misdirected at best. I was on the wrong committee. Another committee, the Programs committee, would do something like that.
An epic post for an epic sketch...
Abbott & Othello
I wrote about my Pet Rock sketch earlier. I used that sketch as my signature bit (despite the circumstances), I was very proud of it, it was a tight, silly, funny bit, solid evidence that I was a writer. But it was dead. I would eventually need to create another signature bit.
I honestly don’t remember when I got the idea for “Abbott & Othello” but it happened. I certainly had done a ton of pop-culture mash-ups before (and since). And, weirdly, Abbott & Costello were in the zeitgeist in the 1980s; SNL, SCTV and others did A&O inspired bits. I remember one a joke; Elvis Costello and the group ABBA were going on tour as ABBA & Costello. Maybe all of this triggered the idea.
We reach February 1992, and I had finished and sent off “Like Magic.” I’m surprised to read that I had serious doubts about it at the time. Now, I have fond memories of it (In fact, I’m supposed to be working on it). But I was also annoyed that my Hollywood connections (Kevin, Bill and Joel) didn’t want to see any of my scripts, they just wanted to consider stuff they pitched to me.
January 2, 1992, I began my first entry of the New Year. I marveled over the fact that a year previous I was waiting to hear from Warner, rushing to rewrite “GhostWriter,” getting in the WGA and knocking out pages of “Like Magic.” Even six months earlier I was awaiting word from Pee-Wee’s people about the script and working on “Where’s the Party.” What a turn of events, right? The following six months sucked. I made some vows; finish “Like Magic.” Type up “Dashing Dan.” Write “Holmes Sick.” Or die trying.
Freelance writer, still hacking away.