One goes where the good Lord sends us. Some people are born journalists, some achieve it, and some have it thrust upon them. Having been responsible for many millions of written words, I am extremely grateful for the opportunities I had, but who knew in advance? The crystal ball is very cloudy sometimes. HGL: A fellow I'd gone to school with owned an advertising agency in Chicago, and he came flying down in a private plane to recruit me to be his television director.
He said he was about to pick up a major television account, and he needed me. As it turned out, he didn't get the account, but he had a handful of small accounts, and we were shooting them in a little film studio in Chicago called Alexander And Associates. Typical of this deal, the owner was a man named Martin Schmidhofer, and while we were equal partners, the company was called Alexander And Associates, even though Alexander had left the company.
Martin was a terrific technician, but he had no business sense at all. So I bought a half-interest in the studio and we changed the name to "Lewis And Martin Films," because "Lewis And Schmidhofer" wouldn't have fit on the building. We only had 16mm film, and the studio wasn't doing much business, so to keep body and soul together, I got a job writing for the Morlock advertising agency in Chicago, an ancient direct-mail marketing agency. Eventually, Marty moved to Florida and just said, "Here, you take it.
One day, I was complaining about my business and somebody said to me, "Well, how do you make any money in your line of work? So, in a moment of madness, I put together a company called Mid-Continent Films, and every friend I had invested in it, but I was the biggest investor. We made two movies, which are loaded with mistakes. During the first movie, Prime Time , I just listened to too many people, and I became producer and I hired a director, and we shot it at Fred Niles Studio in Chicago, which was a big mistake. It cost far more than it should have, and it was kind of useless, which I realized even as we were making it.
HGL: A young coming-of-age type of thing with a young girl and a young guy and… it made no sense. But that's where I met [legendary exploitation producer] David Friedman. We made a deal with the distributor, who had a company called Modern Film Distributors.
Horror Movie Legend Herschell Gordon Lewis Dies at 87
He was going to distribute the film, and Dave Friedman was his assistant. I will tell you, without ego, that there is no comparison between the two pictures. HGL: Not at all. I just thought that maybe that was the way I could get something going. It was a commercial enterprise, as far as I was concerned, and that attitude hasn't changed over the years.
Well, lo and behold, Living Venus had a fairly good start, but then Modern Film Distributors went bust, owing Mid-Continent a ton of money. Suddenly, I had neither friends nor money. I had sold my film studio to raise money for Mid-Continent, so it was like the O. I was shooting TV spots whenever I could get them, and it was really not a good time. The breakthrough came when one day Dave Friedman showed up, and he was at loose ends, too. Here's the way I looked at it. First of all, United Film Studio had an old Mitchell camera that basically belonged in the Smithsonian Institution, but it worked.
The Mitchell is like a Rolls Royce; it never wears out. And, of course, I could run the camera, which is what I was doing anyway. I felt I could cut the film, and I felt like if we were going to shoot outdoors, all I'd need was maybe one reflector, you know, not even a light. All we would need was a couple of girls, and Dave said he could handle that. So that was the deal I agreed to do, and I agreed to do the score and have a musical background, because United Film had a piano, an organ, and a celeste. And it struck me that that was a good way to make money.
Ancient Greek drama has a device called deus ex machina, and whenever a Greek playwright would write himself into a corner, a god would come lowering himself down in a basket and give some edicts, and that would solve the plotline. Well, my deus ex machina was a guy named Jack Curtin, from a film laboratory. He dropped into United Film and said, "Hey, what are you working on? So I said, "Hey, I've got a deal for a one-reeler in color. Do you want to handle it? If you will make a full-length picture, 70 minutes, I'll make sure that no lab bills are due until 90 days after we get the answer print.
A full-length feature on those terms was just irresistible. That's when we made The Adventures Of Lucky Pierre , which was the first movie of its type to be shot in 35mm color. Russ Meyer had shot a couple, but he shot them in 16mm, and they'd be blown up, and it was grainy. So we shot this picture in four days, and it was in October, and the girls were freezing, and it was primitive as can be, and we only bought 8, feet of film for a movie that would have to be 6, feet long.
We used everything. There was one girl, I told her to stretch, but she thought I meant scratch, so she started scratching. Well, we left it in. There was a fellow named Tom Dowd who owned a theater called the Capri and who was a friend of Dave Friedman, and he agreed to play Lucky Pierre at his theater.
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We gave him the answer print, and believe me, it was crapola. But he ran that thing for nine weeks, and it made more money than Prime Time and Living Venus put together. We paid off the laboratory, we made 10 more prints, and we were solidly in business. At that point, we agreed to start shooting a couple of movies. We came down to Florida and began to shoot cheap stuff. One was called Daughter Of The Sun. And looking back at them, they're laughable, but they were playable. I had an old Volkswagen bus crammed with obsolete equipment, but it could go anywhere.
And when I say old, I mean to get into reverse, you had to get under it and shift the bars with your hands. So we developed a reputation, Dave and me, for shooting movies on the cheap. I was usually the director and cameraman, Dave was the producer and soundman, and we would pick up a couple of grunts wherever we'd go. He's been freelance copywriting for over 40 years so he knows a thing or two. In this interview Richard shares his copywriting and direct mail wisdom that he has gathered over the years.
I discuss with David the creativity aspect of copywriting. In this interview we discuss this as it relates to copywriting and marketing although the system can be used in any aspect of your business or even your life.
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Sally Ormond is a freelance copywriter who helps businesses by producing copy that people want to read and also makes them want to buy. She does this by offering a whole range of copywriting services that include… SEO copywriting, web copy, brochures, emails, newsletters, blogs, reports, white papers, articles, case studies, press releases, scripts and more!
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In this interview I ask Sally for tips on how we can write in a more persuasive way as well going deep into the specific mediums such as web copy, press releases, newsletters, etc. Ray Edwards is a self confessed, direct mail junkie. The top gurus and I do mean the top gurus have turned to him to write some of their direct marketing pieces. He was voted one of the 50 most influential people in sales lead management by the Sales Lead Management Association. Some of the worlds best copywriters are singing the praises of this guy, Kevin Rogers.
Kevin went from stand up comic to copywriter, quickly building an esteemed reputation in the copywriting industry. Kevin is behind some of Clickbanks and the internet marketing worlds biggest launches. And the reason they sold like crazy was because Kevin knows exactly how write sales letters, launch sequences and emails that make people want to buy. In this interview I ask Kevin for his best tips on how to write great copy as well as how to avoid some of the biggest mistakes that rookie copywriters make.
Vin Montello is a TV script writer turned copywriter. In this interview we dive deep into the human psyche. There is no trickery or anything unethical involved.
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This is about connecting with your reader in a way that resonates with them. Copywriting legend Dan S. In this interview I ask Richard for specific examples of how to find the most suitable words that will have the most impact when someone reads our sales message. Joe Sugarman is one of the all time greats of Marketing and advertising. His achievements in marketing innovation alone give him the right to be called a legend. He wrote the copy for a John Reese product that was the first to sell 1 million dollars worth in one day. Not a bad accomplishment for any copywriters CV.
You want to avoid these 3 mistakes at all costs. He works with businesses all over the globe, writing them sales copy that pulls in millions of dollars. Yanik Silver is a serial entrepreneur who has built multiple successful online businesses and has bootstrapped 8 different product and service ideas hitting the million-dollar sales mark from scratch without funding, taking on debt or even having a real business plan.
Yanik is also the founder of the Underground Online Seminar and Maverick , a private group of top level, game-changing entrepreneurs. In this interview I ask Yanik all about how we can also become adventurous, maverick business owners ourselves as well asking him for some of his best copywriting and marketing advice. In this interview Dan reveals his freelance copywriting wisdom such as how to chrage high fees and select only the best copywriting clients. In this interview Bret reveals how he is able to conjure up incredible marketing ideas as well a ton of other tips which will help you increase your conversions.
Herschell Gordon Lewis is internationally recognized as a major authority in advertising and direct marketing. In fact his accomplishments have earned him recognition by being honored in the Direct Marketing Associations Hall of Fame. He is the author of over 31 books on the topic of direct marketing and copywriting. In this episode Herschell give some of best tips for writing outstanding copy. Writing for the web is indeed a different beast to writing offline.
Top web copywriter Nick Usborne shows us how to write powerful web copy and create a website that sells. Colin is the leader of facebooks most popular copywriting group The Cult of Copy. In this episode colin give us tips on how we can write better copy. In this interview Andy talks with me about some of the copywriting strategies from "Write to sell". Joe Vitale teaches us how we can write copy so powerful the reader is almost hypnotized by it by tuning in to the subconscious mind of your readers. The Online Marketing Show Copywriting.
The Online Marketing Show Episode Go to josephbushnell. Copywriting - 13 Ways to Increase Conversions Part 1.
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What is Copywriting? Why is Copywriting good? Who is Copywriting for? How to do Copywriting? Continue to your page in 15 seconds or skip this ad. Directory Jobs Contact Us Advertise. Direct Marketing Confidential. September 30, By Paul Bobnak. He was, first and foremost, a practitioner of the first order.
This is the opening: Dear Reader, A very good morning to you! I know statistics are boring.