Welcome to MovieMaker's second annual Screenwriting Issue. Last year this was the issue that kicked off our popular "theme" series, followed by editions devoted to cinematography, new products/technology, post-production, and film/media education. In the coming months we're returning to those topics and adding several more, including regular features on digital moviemaking, movie marketing and North America's best shooting locations. Be sure to check out our much-visited website for expanded articles and selected editorial from past editions.

It's been a mantra in the movie business for years that screenwriters don't get their due. They're an underappreciated, underpaid, exploited lot and we should all feel ashamed of ourselves. That's been the company line, anyway, and until now it seems as if repeating it has been an inexpensive way to placate writers without actually changing anything. Now, however, one studio seems to have acknowledged that the stench has gotten so bad from the manure it's been producing that its best hope is getting back to the basics; back to the written word. While there are always a few brilliant exceptions, most mainstream moviemakers will acknowledge that the quality of product in the industry has been declining for years. Encouraging the best writers with financial incentives seems like a nobrainer, but Sony surprised a lot of people recently when they announced their new deal with screenwriters. Rus Thompson's cover story, "Will the Writers Save Hollywood," is our look at what this means to all screenwriters; whether or not it's finally the start of a new trend of respect for the people who write the movies.

One of the great things about this gig is that I get to meet my heroes. I don't know too many jobs where a guy can pick up the phone and a few days later sit down one-on-one with someone he's been impressed and been fascinated by for as long as he can remember. For all the hassles being ringmaster of a small national magazine brings, that's one of the aspects I never take for granted. James Coburn fits into the category of boyhood hero. Some guys wanted to be Batman. I just wanted to by in like Flint. Congratulations to cool, classy Coburn on his Oscar win. The Academy couldn't have recognized a nicer, or more deserving, guy this year. At least one who isn't Italian.

As we go to press we just found out that Men in Scoring Position was accepted to another film festival. Executive Producer Susan Genard and I are proud of the movie and everyone who contributed to it. If you're in NewYork City the evening of April 28th, please come by our screening at the New York/Avignon Film Festival. MM