Peymon Maskan In 1996 I had it all - a head waiter position at the Red Lobster in Woodland Hills (directing your attention to the Ultimate Feast) and a 4.0 at Moorpark Community College. Getting into a good business school was a sure thing, along with a mediocre life of clawing my way to middle management. Then one day it hit me; if a job in business was a guarantee, I didn't want it. More exciting than security and money was insecurity and money. I decided to become a famous screenwriter. With only one semester left before I was to move on to the University of Boring Business, I decided to buckle down for an extra year of taking the only film courses offered at my small community college: What's My Motivation (in the learning annex) and The Great Stone Face (the cinema of Keanu Reeves). You can imagine the overwhelming validation I felt as a serious artist the day I was accepted into the USC School of Cinema Television, L.L.C. Ó** During my time there I wrote/produced/directed/edited six Super-8 shorts (three epics, two comedies and a genre I invented called the Euro-Comedy) and one 16mm film, TP42, a comedy. USC had successfully taught me the delicacies of great filmmaking. I also learned real quick the inevitable backlash when credits are distributed unfairly. A revelation came while making my next project, a scene from David Mamet's Edmond, and I finally felt the magic of working with actors in a well-written scene. That project will be noted as my inspiration to become a Director in my upcoming autobiography Peymon: I did it all for the Nookie. With a few months left before my graduation from 'SC, I decided to direct Looking for Bobby D. For some reason, I'm still not rich. At present, I'm an assistant at New Redemption Pictures for John Herzfeld and Eric Handler to pay for the '97 Civic and the overdue school loans. In my off hours from midnight to six a.m., I'm working on three of my own screenplays, which are in various stages of development.