“Dear Jennifer: Let me start by saying, I adore you. You are smart, funny, unpredictable, awkward, goofy, charming, and in a different universe I think we’d be amazing friends. But as much as I admire you for taking a stand on pay inequality in Hollywood, it bothers the hell out of me that you have decided getting paid less than your male co-stars was your fault because you weren’t a good negotiator. That’s like saying it’s your fault your boyfriend cheated on you with your best friend when you were out of town because you shouldn’t have left the two…
Author: Denise Meyers
Denise Meyers
Denise Meyers began her professional career at the William Morris Agency as an assistant to literary agent, Judy Scott-Fox after graduating from Oregon State University in 1982. After working as a freelance story analyst for New Line Cinema, New World Pictures, Vestron, and several independent producers, Meyers launched a screenwriting career. After twelve years in the film business with nothing but a handful of free options to show for her efforts, she moved to Utah to pursue a wildly successful career as a full-time artist. When the economy bottomed out in 2009, Meyers returned to what she calls “the dream that wouldn’t die”. Her work as a screenwriter has landed her in the top fifteen percent of writers who submitted to the Nicholls Fellowships in 2014 and 2015. LUCKY 13, about the Women’s Airforce Service Pilots in World War Two, is currently in pre-development with a major film producer at Sony Studios, and RIDE THE WIND, a Second Rounder at last year’s Austin Film Festival, is currently seeking financing through award winning documentary producer, Cheryl Bedford and director, Craig Ross Jr. Meyers also won an eight week screenwriting scholarship to the New York Film Academy, and THE DARK OF NIGHT, a short screenplay she wrote for the NYC Midnight Short Screenplay Competition was the first in its heat. Meyers was recently awarded the Grand Prize for Short Screenplays from Table Read My Screenplay with THE DARK OF NIGHT as well.
I began my film career at the William Morris Agency in 1983 the same day as the now famous head of the Creative Artists Agency, Bryan Lourd. He was lovely, with bright blonde hair that swept seductively over one eye, and as we sat together in the personnel office I remember thinking the film business was going to chew this beautiful man child up and spit him out like garbage. I was going to be the one to make it, and I was going to get there writing screenplays about strong women who did remarkable things. But I was an…