It all started when I went to the library here in the Free State of Jones and picked up Roger Ebert’s Guide to VHS Movies in 1984 and locked my fifteen-year-old self in my bedroom and read and read and read it. Oh, and in the bathroom, too–but always in private. I grew up in a household where films were suspect–all of pop culture, come to think of it–because my parents didn’t understand the art form–at all. Ebert provided me an education that could not be rivaled. When I finally arrived in film classes thousands of pictures later my professors were notably impressed at what I already knew. The insights he provided me were priceless.
Because of him, I spent six months at 17 looking for a copy of The Third Man both here and in Forrest County. I remember the moment I found it at the Laurel-Jones County Library rooted to the floor with relief and happiness. And it only got better after I played it. Years later I made a comment to Sam Esmail about how Mr. Robot had this unusual Third Man feel to it when BAM a few minutes later–they were on a ferris wheel. Someone, like me, had just absorbed their film education. And all these years later, I am enormously grateful for the introduction. It was worth the six months.
And that’s what you want in a script editor: someone who understands what film means on a very visceral level and has demonstrated a dedication to understanding the structure–structure, I say, dears, not theory–of film.
Now for the resume. I left the Free State of Jones (yes, it is a real place, peeps) to live in LA when I was 22. I wasn’t involved in film yet, but eventually I became a reader for a small production company in Los Angeles, where I was told I gave “the best notes in the business” by a pretty well known actor who’s been at it a while. That was all the encouragement I needed.
I have served as a freelance editor for almost ten years. I have exceptional rates and provide you with in-depth coverage. I generally work this way:
For the non-professional, aspiring, or still-in-the-contest stage:
I offer an exceptionally reasonable rate of a $1.00 a page, plus shipping. You receive a marked-up script on actual Bona Fide paper. I also include an email with a very tight professional analysis, and then follow up with you with as long as a phone consultation you’d like.
For the Professional Production Company:
You’re not going to get off that cheap. I’m making a break for those who have to pay contest fees. However, you get more bang for your buckolas:
My flat fee for professional features that are slated for production is $450, but it covers all aspects of the script. This includes at least three revisions, unlimited phone consultation, and if you are in the New Orleans area, a face-to-face conference if you so desire. (Which means, you are paying for lunch, and I’m coming into town to meet you and for God’s sake, tooling over to the Whole Foods on Magazine to get myself some decent yogurt). We will edit that sucker within an inch of its life until it is completely done. If continuity winds up being a problem, it’ll be the super and editor’s fault–not your scripts!
I also write pitches, cover letters (killer!) and synopsis. Those prices vary by production and level of expertise.
Give me a call at (Nine-oh-one) six four nine-zero zero two seven or drop me a line at Brownie Carlisle AT Gmail dot Com. I can also be found on Twitter and on WeChat at BrownieCarlisle. I’m available after twelve every day that ends in Y. There is no charge to get my opinion on your work over the phone, pal. Call. You’ll be glad you did.
I look forward to hearing from you.