Office Hours and Booking the Space

General office hours are Weekdays 11am-7pm. Hours may change based on employee availability and whether or not we are holding an event.

If you would like to book the space for shooting with the green screen, editing, etc. Please fill out the form below and we will accommodate you as best we can.

Please enter your desired date and time
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Office Closures

Please be advised our offices will be closed for the following holidays:

Monday 10-12 (Columbus Day)

Wednesday 11-11 (Veterans Day)

Wednesday 11-25 through Friday 11-27 (Thanksgiving)

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WGAW’s Feature Writer Access Project – submissions now being accepted

The WGAW Feature Writer Access Project is currently accepting submissions from WGAW members who qualify under the program Guidelines.

The goal of this peer judging program is to increase access of minority, writers 60 and older and women feature film writers to agents, managers, studio executives and producers of feature films.

Participants must submit one (1) current feature-length, unproduced spec script. Scripts written for hire under a WGAW contract are not eligible for consideration, nor are spec scripts that have been sold or are currently optioned to any company.

Each Project participant must be a self-identified member of a minority group (including American Indian, African American, Asian American and/or Latino), a writer 60 and older, woman or a writing team comprised of at least one such person. At the time of submission, a Project participant must be a Current Active (including Lifetime Current) or Post-Current Active member of the WGAW. If submission is made by a writing team, both writers must be Current Active or Post-Current Active members of the WGAW. Emeritus members are eligible if they meet all other criteria and take necessary steps to transfer to Post- Current status.

Deadline is 6 p.m. Friday, July 31, 2015.

Further details

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Secretary of the Board of Governors

We have a vacancy for the role of Secretary of the Board of  Governors.

This voluntary position, which carries full board membership, functions largely around board meetings. The Secretary (in consultation with the President and Executive Director) prepares the agenda, keeps the minutes of all meetings of the Board and prepares and gives notices in accordance with bylaws or as required by law.

You must be able to attend all regular board meetings, meaning that this position is not best suited for someone living outside of the Los Angeles area.

If you are interested, please download the application form and return it to us by 5/28/2015.

If you have previously submitted an application to the Board of Governors, please reiterate your interest in this specific position.

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Although this report is likely past-the-deadline – I’ve several points to make:

1) Digital Hollywood is a GREAT place to interact with industry people.  By Day #2 I knew my way around and more easily settled in.  RESULT:  I had meaningful conversation with all sorts of folks I would ordinarily not have had the opportunity to meet.

2) Happy Hour – aka Poolside Reception – is a world unto itself.  Against the backdrop of beautiful boats in the Marina, the fabulosity of the Ritz Carlton and the setting sun, the attendees readily mingle.  For myself, mingling is THE best part.  I think that writers often don’t do enough of it, and women often feel left out.  Happy Hour is the Great Equalizer.

3) My final panel: The Brightest Innovations in Media from Israel!  This was a 6-MAN panel, touting highly specific inroads into all sorts of venues.  From “interactive script-writing” to the laying of video onto virtual walls.  Yes, men do love their toys.  I even understood some of what they said.

4) Bottom line:  This is an exciting, pioneering time for entertainment.  Digital Hollywood has really opened my mind to that fact.

– Leah Markus

WHO’S FINGER IS REALLY ON THE BUTTON?                                             A Final Assessment of Digital Hollywood Spring 2015

At last week’s Digital Hollywood Spring 2015 conference at the Ritz Carlton in Marina del Rey, technology, art, content, creativity, and culture collided to forge the future of what we consume online; not just online though, really in all facets of media.

The entertainment landscape has changed drastically over the past few years and, according to Russell Schwartz, Sr. VP at Starz Network, “It’s only just begun.”

“With an ever-changing group of players providing every specialty of content, the choices facing consumers brings variety to a whole new level.”

What’s this mean to consumers? It means that in the coming evolution of technology and content consumers will have their choice of virtually any content at any time from any device or platform.

“It’s the Wild West again!” declared James M. Berger, who’s law firm Thompson Coburn, LLP in Washington DC specializes in copyright and trademark law as it applies to Technology, Media, and Entertainment.

Berger’s perspective that no one really knows where we’re ultimately going because the variables are not stable long enough for uniformity is a salient and erudite one. It is true that while digital media is encroaching heavily on traditional media’s portion of the consumer pie, what will ultimately win the dollars and keep the eyeballs still remains anyone’s guess.

In a paradigm where Millennials are happy experiencing their worlds through a pocketsize screen, content providers are now charged with creating for a screen that fits in your pocket simultaneously as one that fills your living room wall. But the issue goes deeper. It has to do with deliverability.

Where are those elusive eyeballs?

While the big five or six media conglomerates dominate overwhelmingly in the broadcast, cable, and satellite space, in the digital world, it’s anyone’s game.

An executive with DirecTV, wishing to remain nameless, shared a statistic indicating that the average wireless device now offers between 300 and 1,000 apps. “This levels the playing field somewhat in that anyone can play. But is Bob’s self-designed super niche bug counting app able to compete with the likes of BeachBody whose web foot print has been significantly established? Or social sites like E-harmony or”

But the real question is not who is winning, but who will win?

Audra Priluck, VP at GfK Consulting North America says that there are just too many providers and not enough content yet.

“The problem is that our copyright laws and licensing agreements have not yet caught up with existing contracts and new technology. So we’re waiting for everyone to compete equally.”

If it is the Wild West, who’s the sheriff? Is there anyone able to wrangle the posse? Is there anyone emerging to bring it all into a cohesive platform?

Right now to get your content you have choices, but they’re expensive and web users want everything for free.

According to Damian Johnson, an independent market researcher, subscription services like DirecTV run an average household $150 per month for its set programming. Dish and Time Warner Digital Cable are fairly competitive.

Amazon Prime at $9.99 per month, Hulu at $7.99 and Netflix at $7.99 per month beg the question, Why not subscribe online,re cutting the cord and getting the same value?

“The problem,” shares Yolanda Burkenberg, a media consultant based in Seattle “is that the value of the customer has not yet been identified but it’s beginning to standardize.”

Her insight suggests a counter to the generally accepted perspective that large media enterprises can’t think like small ones and the small ones like Netflix, when it was new, who think big get the lion’s share of the market. Excellent examples are Redbox and DVDs.

The answer to the question of equality in the marketplace insists Ericson’s Vice President Business Development, David Price, is, “No sheriff yet!”

Price reveals that “We all want the biggest piece of the pie and every company is going to do whatever it can to get it.”

It seems obvious to me that as a result, a mobile device with 700 apps with 800 payment plans is what’s in store for many unless and until one of the big media technology players like Google, Amazon, Twitter, Facebook, offers a plan where within one single app all your devices and all your content will be accessible with a click or two.

“Until that happens,” offers Bruce Lancaster with Logitech, “the confusion will continue and maybe even increase. But it’s great to watch it happen, because eventually the best will win and we’ll have an entirely new media landscape. It’s just going to take a few painful learning curves to get there.”

Learning curve is right, but at whose expense? Most likely the consumer’s as these titans must recoup their investments into this emerging marketplace.

So what have we learned at Digital Hollywood 2015?

For one, the future looks brighter and more dynamic than ever before. With so much burgeoning technology improving content creation, deliverability, and consumption, one can hardly wait for holography to come into play.

Also, one no longer needs a ton of money to be a legitimate player in online and digital media. Simply concoct a great premise, forego the studio process, the development deals, and the endless barrage of inane executive notes for changes, and if you’re lucky, really lucky, you just might be a hit.

The only thing yet to happen is the big brands and the many power players in all industries realizing the power of digital media and fully embracing it as they have traditional marketing. When that finally happens the powers that be will once again rise to the top and the digital world will become a playground of the already mighty and influential.

In other words, nothing has really changed.

– Mike Herman

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Day 4 – Final Day

Crowdfunding Tips, Tricks and Trends, Darren Marble, CEO, FilmBreak

Crowdfunding is a way to finance independent film and TV content based on launching campaigns over 1,200 different platforms on the internet.  The most popular crowdfunding platforms for film and TV are Indiegogo, Kickstarter and GoFundMe.  Crowdfunding has become accepted and mainstream. The panelist said he thinks that 30 billion dollars in capital will be raised this way by the end of 2015 for all products, not just content.   It keeps doubling every year.

Film and TV creators like the crowdfunding route because they retain more creative control and can gain better terms in deals that come about after the content is created.  It’s also a way of finding the niche audience early in the process so that success can be guaranteed later.

There are various companies that have sprung up that creators can pay to run their crowdfunding campaigns.  Having a solid campaign strategy helps ensure success.  The panelist recommended having 25% of the money raised before launching a campaign as the general public wants to climb onboard with a winner.  Then the campaign should find and identify 300 bloggers who can reach out and spread the word.  Of this 300, about 15% will actually write about the campaign. It is customary to thank bloggers with the offering that is part of the campaign. For example, a free DVD once the film is completed.

The campaign is all about momentum and perception.  It needs a strong and visual story that can be quickly scanned through with pictures and videos alone.  Updates are crucial to keep the audience engaged.

Hitting milestones is equally important.  Don’t set a goal that is too high in terms of dollars sought.  It would be better to break it down and have multiple campaigns.  Out of 250,000 campaigns only about one hundred were seeking over a million dollars.

Jackie Zabel, Stellar Productions

Everyone was tired from a long week of networking, learning about and interacting with new digital technologies.  But the faithful made their way to the last day.

Unfortunately, I had to leave early.   I was torn about leaving the last panel, “Writing for Virtual Reality,” because it was probably the most relevant to my life as a writer.

Although I could only stay for the first 15 minutes, I learned a couple of very valuable things:

  1. Content producers don’t know how long audiences will be able to tolerate Virtual Reality experiences.  When I tried a pair of goggles yesterday, I noticed my equilibrium was affected, kind of like walking on solid land after being on a boat all day.  The immersion experience of Virtual Reality is very real, very intense…but it’s not real.  It can be a little disorienting.  It’s thrilling and a lot of fun, but disorienting, all the same.  But like a sneeze, it can’t be described – you have to experience it.
  1. The moderator had produced a project shot with four cameras set at 90-degree angles from each other, so they were recording 360 degrees.  Things were happening in front, to the sides and in back of the viewer at all times.  Writers and producers have to think through how the content will be perceived by the viewer. As writers, we will have to expand our concepts of story, to create larger stories that can be told with more information that the viewer can experience.

I remembered seeing the play, Tamara, an immersive live theatrical experience where the audience starts together in one room of a large house and could choose for themselves where they wanted to go and which characters and stories they wanted follow.  It was an extraordinary experience.  I can imagine how Virtual Reality movies could be an exciting addition to traditional storytelling.

I hated to leave early, but fortunately, I met someone taking notes who said she’d be happy to send them to me. This underscored another enjoyable part of the conference.  People were very open.  We all understood that we were in the same boat of an unknown and evolving industry.  We were all holding hands and taking the plunge together.  I can’t wait to email my new Digital Hollywood acquaintance and find out what else was shared over the course of the next hour.

An entrepreneur who I knew and was attending the conference praised me for diving into such foreign waters.  It wasn’t easy to hear all of the technical jargon and the nuts and bolts business talk, but he said that I had now witnessed where the industry will be going in the next three to five years.  I knew he was correct.

I want to thank the TVWFFF for allowing me the opportunity to attend this remarkable conference.  Thank you David and Janet!

– Richard Rossner


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Digital Hollywood Spring 2015

Day 3

Here I am with my TV Literary Agent from about 20+ years ago, the great David Tenzer.  David remains one of the entertainment industry’s most powerful legal minds. What a treat to reunite after so many years. – Mike Herman

Mike Herman & David Tenzer

Today was a good day to consolidate and follow up on some of the people I have been meeting.  I stretched myself even farther than usual.  I went to a panel on Venture Capital and realized there was a panelist there who might be interested in one of my concepts that revolves around a medical application for a virtual reality program.  The pieces all fell into place in my mind when I realized how various people and companies I have met could fit together. There is still plenty of work to be done to nurse these relationships and make my vision a reality, but none of this would have happened had I stayed home and not immersed myself in the dizzying world of the digital tsunami.

I had a moment to speak to a panelist on a “Virtual Reality Outside  the Home” session.  (All that means is that VR is being developed for amusement parks, etc.)  I told him I was a writer, so I write content.  His eyes lit up.  “Really?  We need content!  We need lots of content.”  It was shocking to have a major player in that industry be as interested as he appeared to be in me.  All that tells me is that we, as writers, are valued, and we must find our way through the evolving swamp of new technology!
The biggest question I had is how all of this is being monetized.  It turns out, that seemed to be everyone’s question at the conference.  I asked an actress on a panel who excitedly told us how entrepreneurial she has had to become.  She was a traditional actress on some series, but now she is writing and starring in a web series that has been very successful.  I asked if she was getting paid for her efforts.  There was a brief pause, then she told us that she didn’t get paid for the first year of the show.  She was paid for the second year and received some kind of a bonus for doing the first year, but the pay sounded very low in comparison to standard television.  As I said, everyone is trying to figure out where the money is and how product can be properly monetized.
Digital Hollywood is still a giant puzzle, with pieces everywhere.  We must participate in helping the producers and investors figure it all out.
By the way, trying out the virtual headsets and technology was astonishing.  Here I am training to be a Jedi Warrior!
– Richard Rossner
richard rossner
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Day 2

Today was a very productive day.  I chose to go to a panel on Healthcare Content. I thought it might be interesting, but it certainly wasn’t as sexy as any of the panels on film, web series or the creative fare that I am most used to.  

I am on the Board of Directors at the Simonton Cancer Center, so I thought I might get a peek at what’s happening in the digital world for health providers.  When I heard what was going on, I could barely contain myself.  After the formal panel discussion was over, I introduced myself to two of the panelists.  It occurred to me that there was a great fit and potential alliance with the healthcare content producer/distributors, and the unique content I can make available to them through the Simonton Cancer Center. Both panelists were very interested in pursuing future conversations.  In fact, one suggested that he is dealing with so much content that has until now only been produced in-house, he may have to outsource some projects to a writer like me!

Later in the day I attended a panel on Virtual Reality.  Since I’m not a gamer, I didn’t think that there would be anything for me at that discussion.  Once I saw how the VR people understand their business and where the industry is going, I realized that there was a huge opportunity to utilize their technology for one of my projects.  I approached two of the panelists after the general meeting, and once again, both were very interested in follow up discussions.

I have to say that just being in an atmosphere where creative visionaries are trying to figure out the new world of entertainment, content and distribution, I have been forced to think more creatively myself.  Possibilities that I had never considered before suddenly seem like very viable and potentially profitable avenues to pursue.

Thank you TVWFFF for providing me the opportunity to be exposed to the 500 pound gorilla of Digital Hollywood, and all of the serious talent that is molding this brave new world of entertainment!

- Richard Rossner

This is my third time attending Digital Hollywood.
The talent is sifting through the quagmire of repetition, generic content, and irrelevant information that barrage you at an event such as this. 
That said, today I had a breakthrough of sorts while at a panel for Health & Wellness that will help me with my FFF endeavors.
I realized that my YouTube channel belongs in the category or genre of Health & Wellness.
I am providing content to help people with disabilities and handicaps, but more broadly, I am positioning myself as an expert on Disability Issues, which I already am.
Understanding that I am a Wellness and Health & Wellness content creator helps to hone my market, focus my marketing, and identify the proper partners and sponsors.
For me that  was quite valuable.
– Mike Herman

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Digital Hollywood Spring 2015

Digital Hollywood Spring 2015 at the Ritz Carlton in Marina del Rey is happening this week and our writers are sending in reports from the event.

Day 1

The Power of YouTube: Unlocking the Power of Programming, Premium Content and Advertising

Audience is the number one reason YouTube continues to be such a powerful platform in digital.  It targets the person who grew up with their hands on a phone and computer and hits them where they are enjoying content. YouTube continues to be a search engine for brands and lately, has really been helping independent creators find their specific audiences.  Discovery is the number one challenge on YouTube because of the mass audience it attracts.  It was the consensus of the panel that YouTube has gotten better about supporting and showcasing creatives.  There are always emerging talents, defined as creatives who have content with less than 100,000 views.  Legacy players exist and continue to thrive.  The panel seemed to say that YouTube continues to be starving for good creative content in all areas.  Popular areas are food, lifestyle, do-it-yourself, fashion, and beauty in a mostly personality driven medium.  Scripted is starting to happen more and more and some announcements are coming in this area. YouTube assesses whether the audience sticks around for the entire program, and considers success at the 60% retention mark. YouTube is only 10% of the big ad buyers budget but something that advertisers do the most talking about how to maximize. YouTube content has found its way to other platforms.   It is very sensitive to what is trending.  Talent developed on YouTube needs to be able to interact with fans.  Rival platforms are gaining steam but no one seemed to think YouTube would lose any relevance.  Quite the opposite, one panelist forecast that ad buys on YouTube would climb to ten billion dollars by 2016.                    – Jackie Zabel, Stellar Productions

The power of YouTube is that you can feel completely powerless. A powerhouse with virtually no competition, any middle-school aspiring YouTuber has the entry to the creation of the world known as YouTube. For the rest of us measly writers, it can appear to have very little or no opportunities, yet. Unless, you have the good fortune of teaming up with a talented up and coming YouTuber who has simply run out of material. Because let’s face it, coming up with content on a daily basis is exhausting and can leave you, well, powerless.
But, with YouTube’s new “preferred programs” where a tremendous amount of support is given to Top Creators, you may want to take a second look at your young nephews, nieces, kids and see if you can hone that talent by writing a web-series. The power is in the easy entry, low costs and the gain might just be an audience. And according to Tony Chen, one of the panelists, “it’s a great platform for incubating and test marketing pilots and other pitches. Feel the power?digitalhollywood– Nili Nathan, Publisher My Daily Burbank

TV/Film/Video – Developing Strategies & Partnerships – Developing Hollywood Content as Brand and Franchise

By day’s end, wine and walnuts put it all in perspective.

As evidenced by this picture of me, at poolside during Happy Hour.


Unaccustomed as I am to all things digital, I fully appreciate the undertaking of this MOST impressive event.

To the uninitiated, these endless panels seem a Puzzle of Buzz words.  But by day’s end I found myself – a traditional, old-school t.v. writer – carrying a new air of Platforms and Digitized Body Parts.

And, that’s a good thing.

I’ll highlight just one panel:  TV/Film/Video – Developing Strategies & Partnerships – Developing Hollywood Content as Brand and Franchise.
What stood out for me was what one panelist termed a “myriad of formats”.  How to spot new trends… develop different revenue models… that sort of thing.

Basically, let’s talk about the Repurposing of Old Content… Monetizing it (my new favorite word) and finding New Markets.

One panelist – a writer/director-producer – revealed how she just completed her first non-studio film on a mere $1 million budget, using international players via Skype… and Craigslist.

She was the only woman on the panel – which appeared to be a trend – and it made quite the impression.  The entire panel was composed of highly innovative and driven “Hollywood” types, who observed that Hollywood has become more of a mindset – than a geographical location.

ALL the panels I attended discussed – one way or other – Do you know your audience?  Can you reach your audience?  After these questions are answered, you ask:  What is your New Distribution Model?

Well, that was simple, wasn’t it?  Have a walnut.                                              – Leah Markus

I attended several panel discussions today, and everyone seemed to agree on a few key points:

1. It’s still the Wild West in the digital world.  It is a world that is evolving, and everyone is making things up as they go along.  (And that includes the fine points of a contract.  They are now making stipulations about Tweets!) Those who try to apply the rules, ideas and standards of the Entertainment Business we grew up with don’t do very well.
2. Content is king.  Everyone is looking for superior content.
3. While lots of executives still try to maintain a distance from the explosion of content creators…if you have good content and build an audience, the key developers at the key outlets will find you!
4. The most important quality is remaining open.  This came from a development exec at Lifetime.  He said he was stalked by a high school classmate for years.  He ignored him as long as he could, but finally answered an email.  This person had an idea for a show that has become a huge hit for them.  The take-away was that the idea didn’t come from the executive’s development team; it didn’t come from anyone at Lifetime; it didn’t come from anyone in the business.  It came from an unexpected source.
– Richard Rossner
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Paul Sprenger

Paul SprengerPaul Sprenger, one of the Fund’s trustees, has died.

As many of you know, Paul was the lead counsel representing television writers in the age-discrimination litigation and spent many years fighting the injustice of ageism, persisting against all odds when judges in lowers courts repeatedly dismissed the case.

Before taking on the TV Writers case, Paul won a landmark case against the University of Minnesota, which at the time had never had a tenured female professor in engineering or the hard sciences. He also represented female iron miners in Minnesota in the nation’s first class-action lawsuit focused on sexual harassment. It was later made into the movie North Country in which Woody Harrelson, who had previously starred as porn publisher Larry Flynt in The People vs. Larry Flynt, played Paul, a fact which amused Paul and those who knew him.

If any of you wish to pass on your condolences to Jane Lang (his wife, law partner and, fellow trustee) then you may do so by either mailing it to our office or by emailing

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