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Lesson 3
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MODULE 10 LESSON 3
FRAN MEETS PRODUCER/MANAGER
WHAT I LEARNED: Just be honest and put in the stuff you hope will catch their attention and show them your work is marketable.
MY VISION: I want to write great movies. Movies that are magical, movies that move people and tell the truth. I want to write movies that stars will want to be in.
For my Comedy:
For the Producer:
I would introduce myself. Give him my logline and the short synopsis I wrote for my script. And add the names have been changed to protect the guilty! I would add, too, if I had the time, that my sister and I worked for many years at various restaurants. A lot of the scenes included in the script really happened on our watches. That I know this story, I lived much of it as a waitress. Josie was a real person and a great friend. I’m paying homage to him in this story.
This is a good vehicle for some young, up and coming comedians to get their feet wet in the movie business. AND there are several female characters that might attract A-list actors.
I have taken several screenwriting classes to become the writer I am today. I am a third runner up in a contest I entered several years ago: The Seven Rays Scene Writing Contest. And I already have two producers who have great faith in my work. They are friends. They’re just not producers of comedy.
For the Manager:
I would emphasize more my skills as a writer has grown over the years, having taken several classes to help me learn to write and prepare screenplays for sale.
I would also be willing to write comedy for anyone who has an idea they would like to turn into an hilarious 90 minute screenfest.
I am also a bit of a comedian myself, having waited on tables for years to only go back to school to become a teacher, both jobs giving me the skills and expertise and knowledge in how to entertain people and make them laugh as well as educate.
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Lynn Meets Producer/Manager
I LEARNED that I need 2 different approaches for producers and managers, and also tweaking regarding specific companies that have different foci. A boilerplate won’t do.
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Imagine you have two meetings set up — with a producer and then with a manager. What would you say and do differently based upon this model?
1. HOW WILL YOU PRESENT YOURSELF AND YOUR PROJECT TO THE PRODUCER?
I’ve been writing climate fiction screenplays for a couple a decades in the sci-fi and action genres, winning top awards at over twenty film festivals, including a Platinum Remi from WorldFest Houston.
Searching for what will entice audiences, I hit on this fun rom-com idea that gives as much space to solutions as to problems.
WEATHERING IT is about two college students who struggle to overcome family fights about global warming, then try to get married during the worst ever Texas freeze.
This modern-day Romeo and Juliet comedic story is set in the tropical Rio Grande Valley of Texas and written along the lines of TICKET TO PARADISE, but focuses on the young couple.
Audiences, especially the youth, will love this refreshing cli-fi departure from bleak apocalyptic depictions. Although it’s unique, it is also at the intersection of THE AMERICAN PRESIDENT, a rom-com, with a climate change subtheme; DOCTOR DOLITTLE, for its focus on wildlife; AVATAR for its focus on eco issues; and YOU’VE GOT MAIL — the college couple falls in love, but doesn’t realize until midpoint that that they have opposing life directions. Ellie is an ardent eco-activist, committed to helping her whacky uncle on his off-grid ranch, while Jim is obligated to work at his grinchy uncle’s petroleum engineering consultancy. The two uncles nurse a long-time hatred that threatens to tear the couple apart.
Climate change is becoming an evermore timely subject, the majority of the world’s population are now concerned about it, and rom-coms (mine would be G or PG rated) have that universal, big tent appeal. Green-focused actors and directors would surely be interested in participating.
Please let me know if I can send you the script, and thanks for your time and consideration.
2. HOW WILL YOU PRESENT YOURSELF AND YOUR PROJECT TO A MANAGER?
I’ve been writing screenplays for several decades, taken a lot of screenwriting courses, including Screenwriting University’s fabulous Writing Incredible Movies. That course in particular has taught me how to grind out a first draft in a few weeks, then rewrite, revise, and polish in several successive drafts.
My first four screenplays have won over twenty top awards in competitions, including best screenplay at the Miami Sci Fi Film Festival and at ZedFest, and I have received Platinum, Gold, and Silver Remis at WorldFest Houston.
All of my screenplays deal with climate change in some way, a topic becoming evermore timely and of increasing public concern. I’ve written my stories in several genre: three, sci-fi; one, action; and my fifth, which I’ve just finished polishing, is a rom-com. I also published a romance novel years ago, so I am comfortable writing in many media and absolutely love screenwriting.
I am now looking for representation as I push forward with my screenplays and start to dig into my future screenplays in various stages of development, from concepts to outlines.
I’d like to have you look at my current one, WEATHERING IT, or any that may interest you. It is a modern-day Romeo and Juliet comedic story, set in the tropical Rio Grande Valley of Texas, and written along the lines of TICKET TO PARADISE, but focuses on the young couple.
LOGLINE: Two college students struggle to overcome family fights about global warming, then try to get married during the worst ever Texas freeze.
Audiences, especially the youth, will love this cli-fi departure from bleak apocalyptic depictions. Although it’s unique, it is also at the intersection of THE AMERICAN PRESIDENT, a rom-com, with a climate change subtheme; DOCTOR DOLITTLE, for its focus on wildlife; AVATAR for its focus on eco issues; and YOU’VE GOT MAIL — the college couple falls in love, but doesn’t realize until midpoint that that they have opposing life directions. Ellie is an ardent eco-activist, committed to helping her whacky uncle on his off-grid ranch, while Jim is obligated to work at his grinchy uncle’s petroleum engineering consultancy. The two uncles nurse a long time hatred that threatens to tear the couple apart.
Please let me know if I can send you the script, and thanks for your time and consideration.
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<b style=”font-family: inherit; font-size: inherit;”>Subject: Monica Meets Producer/Manager
What I learned today is, I had an, ah-ha moment. When I first started writing film I was tentative in my interactions verbally with producers and managers. I felt I didn’t know what I was doing! Since then, I have made myself choose video/telephone conferences with producers regarding my projects. And am feeling more confident. It won’t be long now.
Imagine you have two meetings set up — with a producer and then with a manager. What would you say and do differently based upon this model?
Answer two questions:
1. How will you present yourself and your project to the producer?
· Present a well-written, high concept, script that has been edited and proof-read until your eyes bleed. And continue to re-write even after it has been submitted. I’m always cognizant of budget and looking for ways to cut down on locations.
· Come into a meeting with the intent of helping to get the movie made.
· Say yes to any changes the producer wants to make to the script. For me, I’d ask for him or her to explain the thinking behind the changes to make me a better writer. (I always say this.) And also, a timeline when the producer would like the changes done.
· Because I’ve been in business where I had to work collaboratively, this is second nature to me.
2. How will you present yourself and your project to a manager?
· Work with them on honing your writing and pitching skills.
· Always say yes to notes and re-writing both the script and the pitch.
· Practice, practice, practice the pitch with them to be ready for producers.
· Learn all you can and be grateful for their help and advice.
· Write yourself an empowerment statement and do that before speaking to the manager and before re-writing.
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Renee Meets Producers/Managers
What I learned from doing this assignment is that you have to approach producers and managers differently.
1. How will you present yourself and your project to producers?
I will only present them with high-concept, highly marketable scripts. I’ve been working with a producer who optioned my script in 2021 and was more than willing to make the changes he suggested. Some of the changes were due to budget (getting rid of the rain aspect of the script) and some of the changes were based on pumping the action up a bit more to make the scenes a bit more exciting. I’ve really enjoyed working with the producer so far and have my fingers crossed that he will get the last bit of money so he can start production.
2. How will you present yourself and your projects to managers?
I will only present them with highly marketable ideas. I will follow their advice on changes I need to make to hone my writing. I will make sure that they know that I can work with producers on writing assignments.
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Amy Meets Producer/Manager
What I learned today is that you can’t approach producers and managers in the same generic way. You have to tailor your approach depending on what they need/want.
1. How will you present yourself and your project to the producer?
I will focus my pitch on the parts of my movie that are similar to movies they have produced. I will put an emphasis on my protagonist and her character traits and character arc. I will be open to suggested changes.
2. How will you present yourself and your project to a manager?
I will talk about how my movie is similar to other movies that have been produced. I will open to their suggestions for my script or other projects that I should write. I will make it clear that my goal is to get paid writing assignments.
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WIM2 Module 10 Lesson 3 – What Do Producers and Managers Need?
Lisa Long Meets Producer/Manager
What I learned today is that there are major differences between a producer meeting and a manager meeting. Both require preparation.
Imagine you have two meetings set up — with a producer and then with a manager. What would you say and do differently based upon this model?
Answer two questions:
1. How will you present yourself and your project to the producer?
While I worked with a producer once on a casual basis, this would be my first meeting with a Hollywood producer. Before the meeting, I would practice my pitch with anyone I can and in the mirror. I would perform a meditation from Hal to build confidence and relax.
Once in the meeting, I would start with the pitch. I would come with my one pager to assist me with nervousness and have a reference in case I get lost. The one page will also help me with answering other questions that may come up. I would bring the screenplay too. I’m not sure if this is standard procedure, but I would want to carry it with me. I will be friendly and agreeable. And I will say yes!
2. How will you present yourself and your project to a manager?
I would start with the confidence meditation from Hal. Beforehand I will practice my pitches for each screenplay that I’ve worked on. Once there, I would imagine that the manager would want to get to know me, so I would inform them of my writing history, experience, and education.
Then I would think that we would be discussing my current projects, not just one screenplay. I would come prepared with all the information on each project. We would discuss possible future collaboration and career building ideas. And we would need to see if the cost and the personalities are a fit.
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Module 10- Lesson #3:
1. How will you present yourself and your project to the producer?
I actually met with a producer about two weeks ago. She was pleasant and had read my script. She enjoyed it and stated she wanted to work with me, suggesting we begin with creating a podcast. When I explained I had written two more scripts because this work was based on a trilogy, she got excited and said she thought if the podcast was successful, it might have the potential of being picked up as a limited series. HOWEVER~ when I met with the owner of the company, it was explained I would have to pay, upfront for 6-8 episodes. When the cost came in at $6,000 per episode, and after I fainted and recovered, I had to decline. This is a reputable company and I googled and researched the producer and she is a real, successful person.
2. How will you present yourself and your project to a manager?
I was professional, answered her questions easily and having taken this class, which by the way, she was aware of and stated it is a great program! I would say it was a mutual conversation. She even asked who I would choose as the lead (protagonist) and when I told her, she stated she knew him and had worked with him, and agreed with me.
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