The GullCottage  / sandlot
                            Online Film Magazine / Library / Network 

                        Celebrating the Art of Cinema, ... and Cinema as Art


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                  "I can't try to guess what a million people will like.  It's hard enough to know what I like"                                                                                                                                                                               - John Huston

(April 2014) "THERE'S ALWAYS A WAY" -

by CEJ


"The General"? Nah! Scratched a cornea, but
   much better now. So no more pirate jokes!


     It’s neat and funny (funny "interesting"; not funny “ha ha”) that this week marks not only my own birthday but the third anniversary of the creation of the GullCottage / Sandlot.  Now, as I don't yet have children I'm sure there's some deep Freudian thing at work in there somewhere about how upon three years ago officially racking up another year on the life clock (LOGAN'S RUN reference there) one felt the need to "procreate"; to leave something behind by which to be remembered.  But I really don't have the time to examine it.  Or did I just do that?  Anyway, ...

     Now three years into this I realize back then I referred to this as “the GullCottage / Sandlot Film Blog / Online Library”,  which is what you’re gonna find if you do a typical Google-type search.  But over the last year or so I find myself more accurately calling this now ever-snowballing enterprise the “Gull Cottage / Sandlot Network”.  And before you get that look on your face, NO!, this isn’t pretension or “C’mon dude, we're getting a little ahead of ourselves here, aren’t we?” jumping-the-gun-ism, but an apt and succinct description of what things have evolved into over the last 36 months.  Which is not to say it's been hunky-dory easy.

D.P. Matt Fore, Dir./Writer/Prod. Craig Jamison,  Soundman  
Brett Pipkin. 
The L.A. crew of the GullCottage / Flying Bear  

      In previous “Celebrating Our ‘such and such’ Year” installments we dove into the background stuff.  Recap: a lover of film and film history since childhood, one day I noticed a growing collection had turned into a bonafied library of over 9,000 films, a thousand or so film score soundtracks and dozens of thousands of books, periodicals and other media - mostly centered around cinema and it‘s various facets and offshoots.  With a couple of thousand documentaries on film craft among them (many recorded from one-time airings and now considered rarities) I began burning disc copies to send gratis to like-minded friends, till eventually realizing the expense (in time burning those discs as well as shipping them) was becoming increasingly more prohibitive. 

     Hmmm?  A personal stubborn life motto has always been "There' always a way".  And I think any creative person will attest to this truth.  It's deep-seated within our human natures, don't you think?  Whatever's truly important to us, we always find a way of getting it done.  Whether it's an addict needing a fix, a destitute single parent needing food and diapers for their children, or a screenwriter or painter needing to meet an impossible deadline ... there's always a way. 

THE GRINDHOUSE: WITH CRAIG & JIM podcast show on BlogTalk Radio / THE GRINDHOUSE on Facebook



     Around this same time Hollywood was in the midst of a years-long damn near moratorium on purchasing new spec scripts (those written by writers on their own without being commissioned to do so by a studio or production company).  “A writer is someone who writes” says the axiom, and I believe that.  It's not someone who does dinner parties and post pithy postings of other people's posting's on social media and who talks about writing.  It's someone who sits down and bangs the keys.

    As such, while still working on scripts, I began banging out numerous articles, opinion pieces and other verbose esoterica which eventually found a home in the GullCottage /Sandlot website.  Notice I didn’t just use the word “blog” there, but “website”.  Because from the git-go the intent was to not just post articles now and then.  But to actually also have a section or channel in which to post some of those rare documentaries on film craft.  Also to make available to those studying film writing actual produced screenplays for (yes, entirely legal) download.  To establish pages dedicated to film art - be it film posters, pre-production concept work, character design or others; pages for film music - making available suites of scores as well as links to concert footage; departments for costume design, stunt work (our “Unsung Heroes” section), as well guest blogs and more.  Okay, problem solved. 

     The friends and colleges now had access to some of that rare documentary and other material, and a new personal creative outlet had been created to "keep me from going bonkers" while riding out the industry-wide cutback in purchased screenplays.  But just like with that damned pesky Hydra organization, you cut off one problem and two more rise up to take it's place.

Filming of THE MAN WHO "SAVED" THE MOVIES at the Sherman Oaks, LA home of Juliet Rozsa

on YouTube /






     After more than a few irritating (but educational) technical and corporate snafus over the first year and a half of the Sandlot's online existence (and don’t eeeeeeven get me started on how since the merging of YouTube and Google, along with the intercoursing of other telecommunications giants, the concept of an Internet with free and open access to information is quickly becoming a dream of the past) that frustration made it necessary and practical for us to (once again) find a way to begin developing our own original content.

     Keep in mind, in the same way we had to spend months teaching ourselves web design, we now had to begin a self education regimen to learn audio and video production and editing.  There's always a trial and error learning curve fraught with (and I'm paraphrasing Thomas Edison, "Not 1000 failures, but rather the learning of 1000 ways that won't work").  But if one is bullheaded enough, or I guess I should say "Ram headed" enough, as I'm an April Aries, you take the "1000 ways" as a combination of a challenge and education.


     Treating it as such, less than a year ago we finally launched our podcast series THE GRINDHOUSE: WITH CRAIG & JIM, which, in that short period of time, has managed to score (as of this writing) over 28,000 hits / listens.  And yeah, that’s 28 thousand! and not 28 hundred!  And yeah, that surprised even us.  Combine that total with the three quarters of a million worldwide hits our already existing 3 YouTube channels (launched the year prior, and dedicated respectively to film music, film craft documentaries, and short film subjects & esoterica - the later two presently being rebooted into newer renditions) and we had to sit back and say, "Wow! I think we’re maybe / kinda / sorta doing something a little right around here, and it's growing pretty fast".  But wouldn't you know, once again the "Hydra factor" reared it's multi-headed ass. 

MAN WHO "SAVED" THE MOVIES Pennsylvania crew (L TO R):
RYAN FARBER (sound), CAMERON MITCHELL (D.P. / with interviewee Tom Savini),
CHARLES BOURIL (sound), Tom Wills (Steadicam)


     Okay, domestic home-owner / resident / older person-type stuff here.  Those not inclined can skip down to the next paragraph.  But you WILL be missing a nifty allegory.  I leave it to you.  I fondly remember apartment life.  While it was great to not have to be responsible for cleaning up a yard, leaves, shoveling snow and a dozen other daily domestic concerns, after a while it DID however start to become, well ... sort of stagnantly boring.  In the same way a child outgrows a pair of pants and eventually needs a larger pair, at certain intervals in our maturation into adults we feel we've outgrown our current life and need a bigger one with more responsibilities and challenges.  But there's of course the "be careful what you wish for" factor. 

     The opportunity to move into a house (which needed a little work here and there) eventually presented itself, I snagged the opportunity and found grown up creative satisfaction in having an ongoing creative project of another sort in which to indulge one's self.   In time I'd learn however that it came with that wonderful MONEY PIT-like quandry of "there's always something waiting to break and cost you mucho bucks and time ... which you don't always ... or seldom ... have".  In the apartment if something breaks or springs a leak you make a phone call and it (hopefully) eventually gets done.  If you're in a house, yeah, there are times a plumber or whomever will take care of it, but for the most part you, Home Depot and Lowes develop a hot and heavy menage a trois.  However, you ironically at the same time find there IS something truly satisfying about knowing you yourself addressed a problem and (mammoth or small) addressed, fixed and solved it.  END OF FLASHBACK.

Similarly being grateful to current "online landlords" such as GoDaddy (for providing the magnificent software to build this site), YouTube (for making the posting of videos and music suites so user friendly) and BlogTalk Radio for providing the "Virtual Studio and Sound  Board" necessary to pull off the podcast show, we began feeling that itch; that "need for a bigger pair of pants" so to speak.

     And it came to a head after the posting of part 2 of our energetic (and wonderfully at times slightly off color) podcast interview with Dale Launer - screenwriter / producer of MY COUSIN VINNY, DIRTY ROTTEN SCOUNDRELS, RUTHLESS PEOPLE and more.  Over the years our endeavors began to both catch the attention and garner the respect of a number of industry professionals.  And after the Dale Launer posting we noticed how some of the ad spots playing before it changed - going from simple 15 - 30 second ads to (on one night) an entire 2 1/2 minute trailer for the film DIVERGENT. 

     Unable to imagine how much it must have cost to have that trailer played before our show, we COULD however imagine the fact that our various "landlords" - on the website, YouTube, and the podcast network respectively were (to put it plain) "making serious bank" on our burning-the-midnight-oil efforts.  Which, hey!, is fair.  They provided the tools for us to build, and this was the trade-off.  But as Jay Mohr's high powered sports agent, Bog Sugar, says in JERRY MCGUIRE "It ain't show 'friends', it's show business!", we realized the time had come for us to take ourselves seriously as a business and to now "find a way" to consolidate all of our enterprises under a single network umbrella which would alllow us to reap the profits of our work instead of giving them away to other corporate entities.

MAN WHO "SAVED" THE MOVIES "Composer's Summit" - San Pedro, CA - featuring:
(Top) Gregg Nestor, Patrick Russ (Bottom) Erwin Vertlieb, Lee Holdridge, Steve Vertlieb, Mark McKenzie

MAN WHO "SAVED" THE MOVIES interviewee composer Lee Holdridge;
Principal Conductor - FIMUCITÉ 8, The Film Music Festival in Tenerife (Canary Islands, Spain) July 2014


   Filming MAN WHO "SAVED" THE MOVIES atop Philadelphia's Ben Franklin Bridge


     The aforementioned "respect garnered within the industry" lead to our own close relationship with film historian / journalist / educator / archivist Steve Vertlieb, which then lead us to launch our first feature length documentary film - STEVE VERTLIEB: THE MAN WHO “SAVED” THE MOVIES.  Featuring a panoply of appearances by industry greats such as composers Lee Holdridge and Mark McKenzie, director Philippe Mora, genre actor faves Paul Clemens and Veronica Carlson; along with Juliet Rozsa (daughter of Oscar winning BEN-HUR / DOUBLE INDEMNITY composer Miklos Rozsa) and many more, we're now into early post-production editing with an eye towards making the Winter 2014 / 2015 film festival and convention circuit.   And contacts and connections made during the filming of our docu (new relationships with cinematographers, Philadelphia's film making and distribution community, studio owners, etc.) has now has lead us to "find a way" to lay the groundwork of a GullCottage Online TV network which, if all proceeds according to plan, should be broadcasting it’s first episodes within the next 12 - 18 months.  Whew!

     All of that from typing a few opinions on a blank web page three years ago.  Neat, huh?  Oh, and don't get the wrong idea.  None of this has come easily or without great sacrifice in conjunction with the proverbial (but true and literal) blood, sweat and tears.  More than once on the precipice of psychological, physical and financial ruin, we’ve been constantly amazed at how, when the smoke and debris clears how we’re still not only somehow miraculously in tact, but have managed to move a few steps closer to the ultimate goalpost, and even managed to (go figure) excite others into joining and supporting our efforts.   Passion is truly contagious.  Combine that with the determination and belief that "there's always a way", then stand back, watch out and / or get outta the way! 

TUCKER (1988) - "Catching Dreams"

      I’m heartily indebted to those who’ve “caught the creative contagion” with me.  It's said “you choose your friends, but you’re stuck with your family”.  And, okay - fine!  I’m overjoyed to be “stuck with” a family who since childhood has always encouraged my most fanciful of germs ... I mean dreams.  I’m even more happy that most of us are all still around to see them start to come to fruition.  Special love and thanks to my mother, Priscilla Lloyd, and my brother, Harold Jamison for constant support, belief and encouragement.  I honestly don’t know how others manage without that rock solid foundation of a family who believes in you.  In that respect I’ve truly been blessed with the greatest of gifts.

      Huge thanks to my “extended family” as well, who are just as close and important to me as those related by actual blood.  Adam Hughes and Carl Scott, I’ve known you two longer than anyone else outside my biological family.  And far as I‘m concerned you two are biological family!  Bob Cho, Jim Delaney and especially Steve Vertlieb, I haven’t known you as long as the others.  But in the short years we have known one another you’ve proven to also be that family I’m more than happy to be “stuck” with.  

      Prepare for and watch what happens over the next year.  Gonna be a good show.  Those out there maybe reading this who aren't yet part of our "fam", we hope you’ll not only be a spectator but come along with us for the ride.  It won't always be easy, ... but we ALWAYS find a way! 

      Happy Birthday GullCottage / Sandlot.
                                                                                              CEJ - April 2014

Learn more about MAN WHO "SAVED" THE MOVIES: watch clips, peruse our Mission Statement,
access our three city Production Blogs and support us and the cause of cinema archivism.
Click Image to go to the film's Official Web Pages

(click image)


                 (APRIL 2012) CELEBRATING OUR 1ST YEAR!!!
                                                            by CEJ

"WELCOME TO THE PARTY, PAL!  And Yippie ki-yay , MUTHA  ... !!!"

     ... Though I don't know if "celebrate" is the most apropos of words as this weekend has been anything but.  Y' see, as we've rounded that "one year up and running" bend in the road, we really wanted to take things up a notch.  Those who've been checking in from time to time will now notice quite a bit more embedded video/film material within the context of our articles as well as the addition of more "recurring" series (MALTIN ON MOVIES, LIFE AFTER FILM SCHOOL, INSIDE THE ACTORS STUDIO, POST MORTEM WITH MICK GARRIS, etc.), and even feature documentaries such as HASKELL WEXLER: WHO NEEDS SLEEP? and the enjoyable 50s sci fi retrospective WATCH THE SKIES!  to our library roster.  Nowadays libraries aren't only devoted to the printed word, but to all forms of information media retrieval, and we'd like to keep up with that - growing one "byte" at a time into what it surely will be no exaggeration to call a "mini online network". 

     To this end, it is our goal by the close of 2012 to feature a "library roster" of original content media as well:   short films, music, illustration, fiction, design work and more by YOU, the aspiring artist.   We want the work of the new generation of rising "Young Turks" (perhaps yet to be discovered by the mainstream) to be featured equally alongside the work of those already occupying space in/on our GALLERIES, TIMEWASTERS, THE WRITE STUFF and other departments.  It's difficult to hone one's craft, make a living doing the "day job" and also find the time (as well as means) to get one's creative work before the eyes of those who can make a difference.  It's our intent to be a conduit making that just a wee bit easier. 

      The technicalities and legalities involved in inching towards "mini network"-hood are, of course, many and challenging.   Getting the "vision" from brain to site is no mean feat.  Just this weekend in fact the attempt to post too much updated multi-media material at once resulted in a system "crash" and subsequent need to restore the entire site while combing through "dropped" images/material to restore them one by one as well.  Hence the "not a lot of celebrating just yet"

     There's a huge difference however in "burning the midnight" oil (and throwing one's back out of alignment spending too much time in a non ergonomically designed office chair) because of a burning love, rather than in doing so because you "have to".  And few things compare to the love (a glee born in childhood - "See, Mom and Dad, you shouldn't have taken us to the drive-in so much; you created a monster!") of wading within the pool of the cinema arts. 

     The intent from the "git go" was to share that love with others.  And for the opportunity to do so, I thank those who have been very supportive over these past  twelve months ... even if they didn't realize they were.  Among them Bob Cho, Jim Delaney, Adam Hughes, and of course my family who, since childhood, have been a sounding board for all manner of "off the wall" ideas/concepts binging about my brain and sometimes leaking and ricocheting into the "normal" world. 

     For all, I'll continue to endeavor to make this place something of which will be worthy of you to return. 

                                                                                                                                                  CEJ - April 2012


The library isn't all it's cracked up to be for Henry Bemis (Burgess Meredith) in the
TWILIGHT ZONE episode TIME ENOUGH AT LAST (CBS, orig. airdate 11/20/59)

                                                                                                by CEJ

                                                                “ I was born in the Cinema … almost” - Sergio Leone   
Welcome to our site.  A library - or more accurately a library in the making.  I love books (remember those?);  love 'em.  Always have from the earliest age.  Love libraries.  They,  bookstores and movie theaters have always been second homes for me.  

     A strange child, at the age of ten I was reading novels like THE GODFATHER, THE EXORCIST and everything I could get my hands on by the likes of Agatha Christie, Alistair MacLean, Ian Fleming, Michael Crichton, Donald E. Westlake, Edgar Rice Burroughs, Ira Levin, … you name ‘em.  And as I’d always had parents who enjoyed going to the movies, it wasn’t long before I put the two together and knew I wanted to be a screenwriter. 

     I’d drift from screenwriting for a short time (as we sometimes tend to do when searching for ourselves in our late teens) but return to it with a greater love than ever; and return to it with a love for all facets of film and not just writing.  Residing near the South St. section of Philadelphia (which back "in the day" was our mini Greenwich Village / Georgetown-like enclave of artists) and living and working with friends who were photographers, architectural and fashion designers, musicians, actors, painters and the like, they’d help me broaden my horizons to see film as truly the most collaborative of art forms:  the single medium to incorporate EVERY other art form in one way or another.


Site Search Index:


  Libraries Pt. 1:  Takin' the heat in FAHRENHEIT 451 (1966)


   “All good work is self revelation”
- Sidney Lumet

     As someone who’d always loved libraries,  I’d of course always dreamed “one day” of having one - y’know, when you move into that dream house.  But as John Lennon once said (and I'm paraphrasing) "Life is what happens while you're waiting for your plans to unfold". 

     The truth of that statement hadn't occurred to me till one day, while working at a restaurant, when a friend asked a film question, and I responded, “Hmmm? I’m not sure; lemme go home and look it up”.  Since childhood I'd been collecting and devouring every piece of film in various formats, as well as practically every book and magazine page printed on the cinematic arts; doing so out of sheer love of the craft and subject.  Every time I'd move to a new home the boxes got heavier and heavier, and I'd be accused of being a sentimental "pack rat" unable to let go of crap.  But that wasn't it. 

     Even back then I knew a lot of this stuff wouldn't be around forever.  That books go out print, that magazines are destroyed or recycled, and all that great FIRST HAND INFO (written or visually documented at the time a film was created and released ) would be lost as well.  Maybe not lost to the world.  You'd still find a copy at NYU or the Museum of Television and Radio, etc., ... but not in my home.  Not at my fingertips.  That was important to me.  At any rate, "Ta-da!", Badabing! and HOLY CRAP!  - that night I realized the desired "dream house" library already existed.  Thanks, Mr. Lennon.   

     In time it would grow to something like 10,000 films - 2,000 or so of 'em home recorded documentaries or theatrical films which, with the exception of an airing on TCM, etc., had never been released on any home video format.  The rest were purchased DVDs, BluRays, and even Laser Discs and VHS tapes - remember those?  Oh yeah, and I've gotta throw this in real quick.  Keep in mind that even with the wonderful instant access of Netflix and other streaming services, there are still thousands of films which for various reasons (often contractual / licensing issues) have never been released on mediums other than VHS.  THAT is why I kept those old tapes; and not just being a sentimental pack-rat.  So there.  Anyway ...

   Over the years the library would also grow to a thousand + books, just as many CDs and albums (most of them film score soundtracks - same story with music as with VHS, not everything has made the digital leap as yet), and tens of thousands of periodicals.  I’d jokingly come to refer to it all as the “Archives”, then begin the long (actually “life-long”) task of converting it all to the digital realm.  The process of doing so has already slaughtered a small army of VHS/DVD players and burners.  But (John Lennon rears his philosophical head again) that conversion process itself became Film School Graduate studies of a sort as well. 


     While doing the conversions you often come across a cool documentary you hadn’t watched in years, and it opens up a whole new creative avenue of thinking.  One such "forgotten gem" was an old PBS NOVA episode on George Lucas' (then still relatively new) INDUSTRIAL LIGHT & MAGIC special FX facility, which I'd recorded to VHS back in '84 when INDIANA JONES AND THE TEMPLE OF DOOM was in theaters.  I recently burned it to the same disc on which I also burned the Nov. 2010 ILM docu which aired on Starz/Encore - INDUSTRIAL LIGHT & MAGIC: CREATING THE IMPOSSIBLE.  And from a techno-arts stand point it's really fascinating to watch the old optical FX techniques lined up against the newer digital ones.  And hey (sorry to sound like a fogie), but some of the old optical stuff holds up a little better over time. 


     The interesting thing with the docus is that many of them (because of the same kinds of contractual licensing reasons as feature films themselves) may have only been cleared to air on television once.  Footage, as well as music contained in that footage, remains the property of the copyright holder. 

     And if the footage is owned by a studio or production company presently in receivership or other kind of legal / financial limbo, the docu containing those scenes
often can't air again till that quagmire is hashed out and a new licensing agreement established.  Ohhh, the vagaries of art and commerce.   
Needless to say, it became wise to begin burning DVD copies of those VHS recorded docus to protect them from wear and tear.  And while doing so you'd inevitably think, "Maybe a like-minded friend and/or creative cohort might dig this particular one too", so I'd send it to them.  And in time the "archives / library" began to evolve into a "Free Netfilx Film School For Film Fiend Friends".  Say that three times fast. 

Libraries Pt. 2With the world's info owned, digitally stored and  
controlled by corporations,
James Caan travels to Europe to learn history  
from earth's last living librarian (Ralph Richardson) in ROLLERBALL (1975)  


     My manager (a very personable fellow named Bob - he’s based in LA;  I’m in Philly) came to call the regular documentary shipments “Craig’s Film School”.  And it’s funny he’d put it that way as (while my screenwriting career is still just finally getting off the ground) I’d still always held a secret desire to teach. 
     Dovetailing with that, my hobnobbing over the years with artistic friends of various disciplines, had also given birth to a desire to publish a magazine wherein there could be individual focus on particular crafts within the film world.  Wanting to write, teach and do a magazine all at the same time?  Spreading one's self a little thin, isn't it?  No, not at all.  Those "afflicted with the disease" of creativity know you never have just one thing simmering on your artistic burners at a time.  Creative sorts are like the multi-legged, multi-tasking cartoon character "Squiddly Diddly" (... an over 30 reference there, sorry for those who came in late).  Alas, the print medium at the time however would become cost prohibitive, unless I did something like a slim monthly newsletter.  And that really wasn’t what I had in mind. 

      Besides, even with a newsletter, as outlets like Tower Records (and Books), Barnes & Noble, B. Dalton and others were cutting back and even folding, such a distribution plan seemed too little too late.   Enter however not only the Internet, but it’s burgeoning plethora of site building software.  So, with a little imagination, a lot of hard work, and an even greater amount of trial and error (banging one's head against the wall at 3:AM with the appropriate background music helps) ... here we are.  

  Early A.M. website building

The Gull Cottage/Sandlot combines the need to funnel (as well as preserve online) the so-called “Film School Archives’ with a desire to help teach and enlighten a generation of film buffs and students - hopefully helping such like-minded individuals I don't yet know, come to love the medium every bit as much as I do. 

     As it's not possible to send copies of documentary DVDs to EVERYone,  here we can do the next best thing - present an online magazine celebrating all those arts which combine to create the world’s most collaborative art form, the motion picture. 

     We also want to do it in the most “interactive” manner possible - each article replete with video and audio downloads, along with scene and dialog excerpts, and as much behind the scenes footage allowable and sensible.  We want our articles to be fun and engaging too, and not just a dry reading experience.
  It truly IS a labor of love.  


  Libraries Pt. 3:  Knowledge is power; and the battle is over books, libraries
  and the flow and preservation of information in THE BOOK OF ELI (2010)


      One of the greatest pleasures (and cinematic educations) at those libraries which where so much a part of my youth,  was to scour hundreds of magazine articles regarding a particular film or film topic.  Those of you old enough to remember will recall that nifty reference index publication all libraries had called The Readers Guide to Periodical Literature

     To those not old enough to know what the hell that is, our “Site Search Index” fulfills the same purpose.  As stated earlier, we’re a growing online reference library of film.  It's a valuable tool now.  Hopefully within another year or so, as we continually add more material, it'll become an invaluable one.  

     Bi-monthly we introduce a new ONLINE MAGAZINE issue with anywhere from five to ten in-depth premiere articles covering
in exhausting detail a particular facet of film.  Dec. '11 / Jan. 2012’s “Cover Story” articles "THE CBS WARS" and "THE INHERENT POWER OF GENRE: AND THE BAND PLAYED ON", as well as our ongoing "BURIED TREASURES" and "HOME VIDEO" series are such.  So are our  “COMPOSER PROFILE”, “DIRECTORS PROFILE”, “IN MEMORIUM” and “MUSINGS AND RAMBLINGS” (our “Op-ed“ page) installments.  Thumbnail  “Table of Contents”  links to these updates are on the bottom half ONLINE MAGAZINE section of the HOME PAGE. 

     Weekly updates such as industry news, weekend box office, promotional video interviews, newsbreaks and debuting theatrical trailers will always be in the top half "SPOTLIGHTS" section of the same HOME PAGE.

                      Libraries Pt. 4: "Shhh! Dr. Jones!", people are trying to study.  And where's your

     Oh yeah - one more thing …


     Keep us informed of anything you feel we can do better.  Hell, now and then maybe even just shoot us a line letting us know if you dig what we’re about.  An upcoming feature we’re looking forward to implementing we call “U REVIEW”:  a page where you get to sound off within a paragraph or two, about a film (obscure or big budget) you think others may enjoy ... or wish to avoid.  Keep in mind it really doesn't have to be in the "King's English" or anything of the sort.  In fact the more casually written and expressed the better.  All we ask is that you make it a review and not just a thrashing/trashing personal diatribe.  Try to express why you dug it or didn't, and what differentiated it from other films of it's like.  In time we'll even make it easier for you to just download an audio or video review from your phone to post to the site.  Should be cool.  Anyway ...

“Making a film is all work and worry and all fear and all
heartache; ...
NOT making one is worse” (Sir Carol Reed)

     A fairly large ongoing undertaking?  You bet!  But we think worthwhile.  You be the judge.  Hopefully we'll prove both useful as well as entertaining.   Then one day when you say to a friend "Hmmm? I'm not sure about that.  Lemme look it up on this site I know","Ta-da!", Badabing! and HOLY CRAP! ... we'll have bit by bit, article by article, become a bonafied online library.  In the meantime we grow.  As the saying goes ...
“How do you eat an entire elephant? … One little bite at a time.” 

     Or, as we're in the age of the digital library, perhaps we should say ...

     "... one BYTE at a time".


CRAIG ELLIS JAMISON is a screenwriter living in Philadelphia , PA.  A professed workaholic who’ll take a vacation when he feels he's “earned” one, he’s usually found chained to the desk, banging out web articles and scripts in the wee hours ... with a lovable pain-in-the-ass Lab/Shephard/Pitt mutt named Ripley at his side.  He has a handful of screenplays on tap for the remainder of 2012 including the adventure/thriller
 GIRL'S BEST FRIEND, and the sci fi actioner 7:POINT-0 . 

He can be reached at,, and on Facebook and Twitter.  His management representation information is available upon request. 

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