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Jason Hellerman

Copywriter

Writer

Jason Hellerman graduated from Penn State University in Film Production & English and holds an MFA in Screenwriting & Film Theory from Boston University. Jason has worked as a Story Editor for several A-list clients and continues to do story consulting.

In 2013, his screenplay, Shovel Buddies, made the top ten of the annual Black List. Shovel Buddies was purchased and produced by AwesomenessTV and debuted at the SXSW film festival in 2016.

Outside of Hollywood, Jason has collaborated on commercials for Nintendo, Ford, Universal, and SyFy.

Jason is constantly writing and developing new ideas for companies across the globe.

Websites www.TheJasonHellerman.com
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ARTICLE POST
A Complete Guide to Representation for Writers and Directors
3 years ago
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This Doc Explores Indie Film Life and It's Basically Film School in a Box
3 years ago
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5 Ways Robert Eggers Wins at Being a Weird Filmmaker
3 years ago
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What 20 Filmmakers Does Bong Joon-Ho Think Represent the Future of Film?
3 years ago
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How to Make a 'Poor Man's Process Trailer' to Shoot Moving Car Scenes
3 years ago
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How Did Phoebe Waller-Bridge Tackle Her James Bond Rewrite?
3 years ago

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Article Comment – How To Write a TV Drama Pilot: Free Seminar (Week One)

Yes. That sounds way too long. Ideally, your intro is about a minute or two, especially if it has nothing to do with the characters or story and is just set up. I would think about a way into the world that involved the people we meet along the way. Or a few lines that summarize where we are now, sort of like they do in Blade Runner - then give us an opening scene indicative of the story of the show. Mad Men opens with Don trying to sell cigarettes...

4 years ago
Article Comment – How to Copyright Your Screenplay to Protect Your Ideas

You're copywriting the idea, not the spelling and dialogue. As long as the revision isn't a major overhaul, you should be good.

4 years ago
Article Comment – How To Write a TV Drama Pilot: Free Seminar (Week One)

Most of the people I know staffed on shows are in their 30s and 40s. People usually come to LA, spend their 20s trying to break in, get a few solid breaks, and then get staffed in their late 20s and early 30s. Usually, that's because they work as an assistant long enough and get the clout to be trusted. Or that's how long it takes to get reps and to be read. I really don't think it matters as long as you're a strong writer who can get along well with others in a room. Plus, you need agents, managers, and all the rest.

4 years ago
Article Comment – How To Write a TV Drama Pilot: Free Seminar (Week One)

I don't think there's an age imbalance - Writer's Rooms tend to have older and younger writers coexisting, especially if the show has an ensemble that varies in age.

4 years ago
Article Comment – The ALL-NEW 'John Wick: Chapter 3 - Parabellum' Trailer is Here

I am HYPED

4 years ago
Article Comment – Free Screenwriting Seminar: Pages 60-70 (Week 7)

Glad you are enjoying it!

4 years ago

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How to Make Money as a Cinematographer

How to Make Money as a Cinematographer

Take your career — and your day rate — to the next level. How to Make Money as a Cinematographer is a new in-depth online course from No Film School, available now. Watch the Trailer Here!

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