HI Screenwriters!

Think about it. When you do go to market your script will only be read by at most 8 readers who can move it upward.
I’m Judy James. A lot of producing and now a script coach.
20 producing credits
30+ development “deals”
My experience Could be your secret advantage.

Judy has improved any script I show her by leagues…”Richard Dreyfuss, Producing Partner, Dreyfuss/James Productions
Judith James’ notes on my screenplay about the poet Edna St. Vincent Millay were superbly insightful and her support for the project through multiple drafts has been unwavering. She’s got a bullseye sense of what works on the line level (dialogue) and how all the pieces of a screenplay ought to hold together. That aspect of creative producing is a dying art; Judith James is the real deal. —Charles Lyons, PhD, journalist and filmmaker”

BASED ON HER EXPERIENCE AS A PRODUCER, DEVELOPER, BUYER, JUDY UNDERSTANDS THE BUYER’S POV. YOU CAN LEARN FROM HER TO “SEE” WHAT PRODUCERS SEE AS TOO MUCH, TOO LITTLE , OVERDONE OR IGNORED. EVEN WHEN THE STORY IS GREAT. YOU WILL BE STARTLED BY WHAT YOU DIDN’T SEE. IT MAY BE WHY SO MANY SCRIPTS EARN A “PASS”.

Judy’s clarity, precision and above all else, her genuine respect for the writer, is what sets her apart from anyone else I’ve collaborated with over the past twenty years.Joe Cacaci -Writer/Director/Showrunner Television, Theater, Film. Teaches Television Writing at Graduate Film School - NYU and Columbia; Undergraduate at Wesleyan.

   

THIS OBJECTIVE PERSPECTIVE WILL ACTIVATE YOU TO SEE WITH NEW EYES, UNBIASED, ALL TO THE BENEFIT OF THE SCRIPT YOU INTEND TO SUBMIT. PRACTICING OBJECTIVITY, GUIDED BY JUDY, CAUSES LESS OR MORE IN ALL THE RIGHT PLACES, MAKING THIS EXERCISE REMARKABLY SUCCESSFUL. THE FINAL THING TO DO BEFORE YOU GO TO MARKET.

Judith is a fantastic mentor to her writers. You will learn more from her in three hours than most writers learn in years.”Erin Condron -Writer/Conceptualizer Hasbro/Star Wars, DANNY for Irish Film Board
Judy James is a game-changer if you want to figure out the heart of your story and make it work. Her insights are priceless to me. There is no-one out there like her. She is truly unique among story/script consultants.” Anthony Buono, screenwriter

Some of Judith’s Producing Credits include:

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Scripts Judy Has Worked or Consulted On:


THE PROUD AND THE FREE -Howard Fast/Robert Bolt • THE QUEEN’S STORY- Tony Spiridockis • THE SECRET ANNIE OAKLEY – Marcy Heidish/ Gerry Ayres • THE TOWER -Ridley Pearson • THE TWO GEORGES – Richard Dreyfuss/Harry Turtledove • WINGS OF JOY – Eve Sereny • The Winnie Mandela project – Emily Mann • THE ORION PROTOCOL- Gary Tigerman • THE MUSIC TEACHER- John J. McLaughlin/ Richard Dreyfuss • THE LOVE OF HIS LIFE – David Rintels • THE BLUE ANGEL – Neal Jimenez • THAT OLD FEELING- Leslie Dixon • SWEATING BULLETS- Larry Bishop • LEONA’S – Steve Adams • REASONABLE SUSPICIONS Mark D.Rosenbaum/William J.Genego • PRISONER OF HONOR- Ron Hutchinson • LIVE – Bill Guttentag • MY FRIEND MATT AND HANNA THE WHORE -Ronaldo Vasconcellos • MSR HIRE Niel Jimenez • MOON OVER PARADOR – Leon Capitanos, Paul Mazursky • MOE BERG from book by Kaufman, Fitzgerald, Sewell • MEN -Joan Taylor/Elaine May • MAX BICKFORD – Joe Cacaci• LIGHT A NOONDAY CANDLE- Janet Heaney • KRIPPENDORF’S TRIBE – Charlie Peters • IT CAN’T HAPPEN HERE – Sinclair Lewis/ Michael De Guzman • JOURNEY WEST- Richard Dreyfuss • GOOD CITIZEN -Robert Parker/Bruce Graham • HAVING OUR SAY – Emily Mann • FUNNY YOU DON’T LOOK 200 – Amongst Many Writers: Jessica Teisch, Bruce Vilanch, Lorin Dreyfuss, Bill Maher, Randy Newman, Richard Dreyfuss • FREUD AND JUNG- Michael Lippman/Paul Mazursky• FAIRIES – Tony Spiridockis • REBECCA – Jessica Teisch• SOUTHERN EXPOSURE – W.H. Macy& Steven Schacter • DECALOGUE Series • DAYS OF FEAR – Aslami Amlani• DAUGHTER OF TIME – Josephine Tey/ • OTHER FIRES – Betty Kaplan • COPSHOP- David Black • DANCING STILL- Diane Houston • A FINE AND PRIVATE PLACE- Peter S. Beagle/Gerry Ayres • A BROOKLYN WOMAN- William May • COLLISION AT HOMEPLATE – James Reston • COMMANDANT- Frederic Morton • COAST TO COAST – Frederic Raphael • CITIZEN TOM PAYNE – Richard Friedenberg • CAPITOL FORCE – Ridley Pearson • BOSWELL FOR DEFENSE – Patrick Edgeworth • ASHES TO ASHES – Oren Safdie • ACID TEST – Mathew Chapman • ABERNATHY BOYS • WHEN THE PARADE’S GONE BY- Gerald Wilson • IMAGINING THE PEACE – Jay LaMonica • KISSINGER AND NIXON- Walter Isaacson/Lionel Chetwynd• • AN OLD FRIEND OF THE FAMILY- Fred Saberhagen• DUDDY AT 50- Mordecai Richler •EINSTEIN- Phil Rosenberg • DR. MIRACLE – Robert Dillon • Outside Inn – Loren Dreyfuss and David Landsberg• ROSENKRANTZ AND GUILDENSTERN • TO LIVE AND DIE A WOMAN- Kathleen Tolan • THEODORE ROOSEVELT -A LIFE • TEDDY AND ALICE – Ron Parker • TWICE THE PHOENIX – Leon Prochnik• WHATEVER LOLA WANTS – Kristi Kane • THE MARRIAGES OF ZONES THREE FOUR AND FIVE- Doris Lessing/Robert Dillon • THE FOREST – Ashvin Kumar • SEANCE ON A WET AFTERNOON – Bryan Forbes• SHUTTERBUG – Howard Franklyn • MAN OF THE YEAR- Millard Lampell • KID LOGIC- Mark Schilder • HEISENBERG’S WAR- • HEAVY DUST – Deric Washburn • • AN UNMARRIED MAN- David Black LAST COP- Evan Hunter/Ed McBain

Hi I’m Judy James.

Before you consider your script done, it’s very important to understand how a producer will “read” your script.

Before you consider a ‘final’ re-write, I strongly recommend you look at it from the pov that will count, that of the buyer/producer/or readers for same. They, like you, are in the business of imagining it on screen. Take this step to make your script the best it can be, before you go to market.

At this most vulnerable point in the process, you and your reader-who-can-option it, need to SEE the same film and the same opportunities. .

If you are prepared to see your script from this ready-or-not pov, I’d like to work with you. My greatest strength is talking through the script with you, asking questions — notes aren’t enough. In one-on-one sessions -via phone or Skype – we’ll explore the essence of your script without damaging the quality of what you’ve written. I can help you refine and define the elements of your script. I offer straightforward savvy and objectivity.

Would you like to discuss this? Pricing is in the above menu bar. You can reach me at judith@djprods.com. Let me know when it would be convenient and we’ll set up a conversation.

I look forward to speaking with you,

Judith-James-Sig

Before I knew it, the script had come together in a way I didn’t expect… and for the better. Working with Judy was a great learning experience and a lot of fun too!”
Rob Smithline - Writer/Editor/Director - TRUST US, THE HUNTER'S ANTHOLOGY

WHAT DOES IT COST?
Working on your script
from the objective pov?

Judy will read and acquaint herself with your script readying for the first hour-long discussion ($250). You decide jointly if you want to go ahead.

Going ahead the sessions are $125 an hour.

If you are about to start a re-write, 3 session hours should do it. You’ll get her advice about what works and where to spend your time.

She suggests 5 session hours if you want to go to market with it soon. She will encourage you to spend some time on some undeveloped wicked idea or a clumsy scene (or similar questions particular to your script.)

It may take 8 hours of sessions if applying the producer’s pov has turned up a lot of missed opportunities. You two will decide.

Every now and then, when you want to, you’ll go away and write. You’ll call when you want Judy to read and you’ll talk and discuss changes, new ideas that have come out of the writing.

And at the end of each of your discussions,

You Will return to your writer’s den fired up

Very few film people can dissect a script as thoroughly and capably as Judy, who comes to her work first and foremost as a producer. David Paulsen - TV showrunner, 15 years, the only person to have directed, produced and written for each of the three big prime time soaps of the 80s – Dallas, Knots Landing and Dynasty.
One of Judy’s myriad talents is her innate ability to successfully guide a writer to the movie they are trying
to describe on the page.David Knell - Writer/Actor, Whizz Online Person

So What Happens Now?

Click the “Get Started” button below. You’ll fill out a short application answering a few questions so Judy knows where you currently are in your process. You’ll submit that application along with your script and the read/explore $250 to-get-started fee!

Sound Good?

Let’s Get Started!
One of Judy’s myriad talents is her innate ability to successfully guide a writer to the movie they’re trying to describe on the page. ”David Knell - Writer/Actor, Whizz Online Person