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Lesson 3
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17 Replies
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Tasha Producer/Manager
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?
I will present my project with a major hook that the producer can sell in their market. And I will pitch the script via the specific elevated components of marketing that pertain to it, so the producer can easily attract a director, actors, funding, distribution, etc.
2. How will you present yourself and your project to the manager?
I will present myself as highly collaborative, proficient at taking notes and ever-willing to do what is necessary to a script to get it made. I will present them with my highly marketable script and work with them on ways to improve it to make it sell. I will bring them more highly marketable scripts. I will take paid writing assignments and be collaborative and instrumental in using the producer’s notes to arrive at a version of the script that they can sell.
3. What I learned today is that a producer can’t get a script made unless it’s highly marketable, so it becomes the job of the writer to make sure they are meeting the necessary criteria to make that script marketable and that they should always be thinking about how to present the most marketable parts of the script even at the concept level.
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Deb’s Producer/Manager
What I learned:
There is a different approach we must take as writers depending on who we are talking to. A producer wants to sell as much as a manager does, but a manager is interested in my development as a writer. I must be careful when talking to each that I give them only the information they want/need.
How would I present myself and my project to the producer?
First, I would make sure that the producer was interested in the genre and budget of my script. Then I would give them a quick rundown of the key elements of my script: Genre, Title, High Concept, Main Conflict, Transformational Journey, and Opposition.
I would mention other marketable elements that would help them see the value of this salable script.
If they had further questions about the script, I would explain as succinctly as possible. I’d let them know that I enjoy collaboration and am willing to work with them on any necessary changes to make the script better for their market. Then I’d ask them if they would like to read the script.
How would I present myself and my project to the manager?
I would give them a brief history of myself as a writer, the number of scripts I’ve written, and the number of polished scripts I have. I would let them know that I am malleable, willing to work hard, and that I’m looking for a coach and mentor that can further my career as a writer.
I would then present my current project, giving a quick rundown of the key elements: Genre, Title, High Concept, Main Conflict, Transformational Journey, and Opposition. I would talk about the marketable elements and comparable works. I will answer any further questions. I would tell them about the projects I am currently working on and my goals as a writer – where I see myself in five years. I would let them know that I’m a good listener and enjoy collaborating on projects. I would let them know that I’m interested in taking on paid writing assignments. I would ask the manager if they would be interested in reading the script.
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Terrell’s Producer/Manager
What I learned is the writer is the first leg of a relay race, and writing these pitches actually help guides the screenplay to live up to the hype of the pitch, which it better.
For this assignment it sounds as if I already have a manager and the producers could be a total strangers.
TO THE PRODUCER:
I would pitch sans the screenplay (unless requested) (title, genre, locations, the journey for the leads) I would emphasize is it low budget (but not cheap) contained movie, taking place in primarily one location the resort. The film is entitled the darkness so much of it takes place during dark scenes so the cinematographer and the gaffer would have to be very creative versus just straight out effects for tension and scares. (I would try to emphasize that in the script.) The two leads have the vast majority of the lines. Since this takes place at a haunted resort (both interior and exterior). This is a small fairly rustic resort so most scenes are exterior. I’m believe this could appeal to Asian and western audiences, male and females.
(Due to the previous assignment, monsters are clearly the hook in my story) and SE Asia has no shortage of unusual creepy crawlies from fetus eating vampires, (Aswangs or Manananggal) demon babies, (Tinyanak) cigar smoking bigfoots (Kapre) to interdimensional beings similar to dwarves or gobins to creatures that defy western description (like the Sigbin or Bangungot.) As tensions and scares mount with each monster encounter that’s worst than the last til the confrontation with the witch pulling the strings. (shorten to handful of SE Asia’s most terrifying monsters as opposition.)
Oh! Young Korean actors are very popular in Asia especially the Philippines, so the lead could be a great role for an up and coming young actor that’s hot in the Asian market.
TO THE MANAGER:
I would would submit a screenplay with my pitch expectations (I guess a bible of sorts) and ask advice and recommendations for something they feel that feel they can take to market.
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Rita Marcotte – Producer/Manager
1. How will you present yourself and your project to the producer?
After discussing the genre, logline and brief synopsis of my screenplay, I would focus on the monetary considerations and marketability of the finished movie. Since my script is a Hallmark inspired screenplay, budgets are usually a major concern. I would also discuss the following topics –
– Talent – characters are generically written giving flexibility on casting.
– Limited and basic locations (house, office, park, coffee shop) – reduces costs.
– Willing to brainstorm rewrites to lower costs for locations and/ or talent needs.
– Wide audience appeal – easier sell to a studio.
– Explore what studios/producers are looking for in screenplays.
– Inquire if producer has any project needs or wants.
– Offer other projects, if producer is interested.
2. How will you present yourself and your project to the manager?
After discussing the genre, logline and brief synopsis of my screenplay, I would focus on the development of the script. I would also discuss the following topics –
– Be open to suggestions for making my script more marketable.
– Review plot points which could benefit from more development.
– Budgetary requirements/limitations of the script.
– Discuss timeline expectations for rewrites and feedback.
– Explore what studios/producers are looking for in screenplays.
– Offer other projects, if manager is interested in accepting clients.
What I learned today is – be aware of your audience and target what their needs and wants are as they are ultimately the customer.
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Rob Producer/Manager
1. How will you present yourself and your project to the producer?
This is a commercially focused project designed to fill a vacuum in the market: the lack of Thanksgiving-themed family comedies. The script is highly contained, with a limited cast and a small number of locations, so the budget can be scaled down or scaled up as needed. The lead roles are written to offer actors the opportunity to play complex characters with humor, warmth, and pathos. The emotional heart of the film is an uplifting message about the importance of family, forgiveness, and gratitude for being alive in a world full of beauty and wonder.
2. How will you present yourself and your project to the manager?
I have written 9 scripts, 7 of them feature screenplays, and nearly all have won highly prestigious awards. Several have been optioned. I focus on original IP that is intended to be broadly commercial and targeted at four-quadrant audiences. I have been a producer and studio executive in the past, so I have a deep understanding of the business side of the motion picture industry, an extensive network of contacts, and a highly collaborative work ethic based on long experience working with talent, executives, producers, and other writers.
3. Answer the question “What I learned today is…?”
It is helpful for me to see the differences in the journeys of writers, producers, and managers, and to explicitly tailor my pitches to the specific type of individuals who hear them.
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This reply was modified 1 year, 7 months ago by Robert Cain.
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This reply was modified 1 year, 7 months ago by
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How will you present yourself and your project to the producer?
I will do whatever it takes to get the movie made, ask questions to clarify changes and be thankful for the opportunity.
How will you present yourself and your project to the manager?
The strange thing is, I am semi-retired and don’t want to write or follow other people’s ideas anymore or stay in a particular genre. Although I started this process thinking that I wanted a manager, I am not interested in a long-term career and what that means. If I had a meeting with a manager, I would be hopeful, but clear so that they don’t waste their time. If I found an exceptional manager, I would move heaven and earth for their help.
3. Answer the question “What I learned today is…?”
Thank you. This was huge for me. I am tired of wasting time and am looking forward to the end of the strike and getting our (husband’s and my) honed scripts out into the world.
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Ron’s Producer/Manager
Selling to Producer: I’d focus on producers who like making WWII movies – Spielberg? Hanks? so there’s an established interest in WWII movies. I’d pitch this as one more facet of that war, one whose story has not been told except once, in 1945. This is a “new wine in an old bottle” kind of pitch. In addition, I’d argue this could be a real opportunity for a quality producer to highlight one of Hollywood’s as-yet ignored up-and-comers, actually half a dozen of them, as movies like U571 or Saving Private Ryan did (no star salaries).
Selling to Manager: At 76, I’m not sure I’ve got a “Career” ahead of me, so I imagine it’d largely be a waste of time to focus on a manager. I think I’d be better off focused on going directly to producers. Still, I have other “true from WWII stories” such as the attack on the Nazi heavy water plant in Norway, attacked by young Norweigians after training in the UK, or the secret landing strip built out of the wood a mile or two from a Nazi encampment in Yugoslavia. So maybe there’s more than one movie in me after all – but they’ll all be about WWII.
What I learned today: I’m probably better off focused on producers instead of managers, who are presumably looking for younger talent whose work represents potential income for a lot longer than one script. And I’m probably better off focused on producers who like/have made WWII movies in the past, especially successful ones.
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How will you present yourself and your project to the producer?
I’m presenting my project first and myself second to Producers. I’m tailoring my pitch to the specific situation and to the individual Producer. I’m starting very focused on my pitch and then building the pitch out on my script’s key components, and also important, I’m also listening to the Producer, don’t over-sell. The Producer knows what they want, and they will be asking questions based on their ability to sell our project, to make our project a hit. I have to be exchanging with them to show that I’m able to answer their questions and satisfy their market needs. This will be the first step, this meeting will show them that not only do I say I’m eager to collaborate and work together, but I’m doing that now in the meeting, on my feet.
How will you present yourself and your project to the manager?
I’m presenting myself first and my projects second to Managers. However, I’m trying to break in to the business, and since I don’t have a lot of experience, and thus I’m going to be talking more about my projects, my writing, and my career goals. We’ll need to position the best project to lead with, and then do whatever it takes to get my other projects up and running. As we work together I’ll show them that I can be a professional client, that I can take notes, and then effectively integrate solutions into my writing to improve the marketability for them and their clients. This is a business relationship first and foremost, we’ll need to share love and respect for the motion picture industry, and that means selling projects.
What I learned today is…?
Be ready and prepared for any meeting with Producer, Manager, Actor, and/or Director, they’re all different. And, they all have different roles so my pitch has to be strong but also flexible. I’m looking forward to and wondering what these meetings will really be like. I know this is a highly competitive business, and this class is presenting a strong framework for going forward.
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Lin’s Producer/Manager
1. My presentation with a producer would start with answering the question on their mind – is it sellable – by mentioning at least one if not several of the components for marketablity and be ready with a script that matches my pitch.
2. My presentation with a manager would include not just one, but several scripts to show case my potential as a writer and that I can develop into a major player.
3. What I learned doing this assignment was that what a producer and a manager want are similar: great, marketable scripts, except the manager wants to help build a career for a writer with great potential.
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Assignment #3
David Wickenden Producer/Manager
1. Producer: I would query only those producers who create similar projects and ensure that my story is well written and add that I am interested in collaborating with the producer and am open to any notes they may need.
2. Managers: I would approach a manager as a writer looking for a mentor. I would ensure that I express my goal as wanting to learn and grow as a writer and that I have many story ideas.
3. What I have learned today: The needs of both producers and managers and how I can help give them what they need to succeed while helping myself.
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John Woodward’s Producer/Manager
Answer to #1
I’ll present myself as the co-writer of a screenplay that fits a genre with a track record proven to be both popular and evergreen—that is, a neo-noir thriller along the lines of too-numerous-to-count blockbuster hits over the years. Adult audiences of all persuasions have flocked to movies of this type, ones that spin tales of the darker side of human nature, ones rife with elements of love and hate, trust and betrayal, and enough sex and violence to whet viewers’ appetites.
In addition to wide audience appeal, the screenplay offers roles juicy enough to attract a bevy of topline actors. Hard-boiled roles with punchy, authentic dialogue and three-dimensional depth.
Directors, too, would be drawn to our script, which is replete with compelling scenes, riveting twists and turns, captivating visuals, and comic relief of the dark-humor sort.
Answer to #2
I’d say that anyone who could write a screenplay like The Takedown Artist (along with a plethora of quality works both produced and available) has demonstrated an ability to generate future works of high quality.
Answer to #3
I’ve learned that the roles, expectations, and wants/needs of producers and managers differ greatly, and a screenwriter with a finished screenplay in hand should approach a representative of either category based on those differing needs and agendas.
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This reply was modified 1 year, 7 months ago by John Woodward.
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This reply was modified 1 year, 7 months ago by John Woodward.
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This reply was modified 1 year, 7 months ago by
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ASSIGNMENT #3
Subject Line: (Sheila Rinear) Producer/Manager
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 would focus on approaching Producers who have credits for producing large epic pieces such as the one I’d be pitching. (Ridley Scott; Tom Hanks; Michael Hirst) I’d emphasize the script’s marketability in terms of the timelessness of the audience appeal, action, adventure, romance, inspired by true historic events with many roles for bankable actors. I’d mention the international appeal of this story. I’d pitch that it’s well-written and the result of several successful development efforts. That it’s placed well in competitions but that I am willing to do whatever adjustments/rewrites the Producer finds necessary to get the film produced, made and distributed. I would ask the Producer what s/he needs and I would really listen to what s/he says and show total willingness to make those requests a reality. As for me as a collaborator, I’d be sure to tone my pitch with my enthusiasm for the project as well as my professionalism as a natural team player.
2. How will you present yourself and your project to the manager?
When meeting with a Manager, I would emphasize that I am excited to work with him/her as the new Expert/Coach in my Writing Career and his/her Managing Career and why I think s/he and I would work well together. (meaning I’d have done my research on who to pitch to) That I have several ready scripts that have done well in competitions and that I have several projects in various stages of development. I’d also mention that I am constantly writing out new scenarios for story ideas that want to be written by me. BUT I’d emphasize that I would totally rely on this Manager to guide us both to the success that I do not know how to get to as I do not know the business as this Manager does. I’d point to my success in theater with my playwriting as proof that I love and do well with collaboration and that I also do quite well with commissions and meeting deadlines.
3. Answer the question “What I learned today is…?”
What I learned/realized today is that it’s a great relief to know there are producers and managers who are probably as passionate about their business as I am about my writing. Getting my focus on their needs and concerns will probably diminish my nervousness about the actual pitch because I’ll have to be busy listening and processing.
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Subject: Monica’s Producer/Manager
What I learned today is something I didn’t do when I was speaking to producers before and that is ask them how to make the script better and if I could re-pitch to them again after re-writing.
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?
I would pitch my script. Hopefully, they’ll read it and like it. If they recommended changes, do them. Ask them which of the reasons listed is behind the changes in order to focus the rewrite. How fast do they want the rewrites back? And, if there is anything else I can do with the script to ensure we get the movie made.
2. How will you present yourself and your project to the manager?
I would present myself as serious about my career as a screenwriter. I would pitch my script and do any changes that are required. I would practice pitching with them to become good at pitching. Follow their advice for meetings.
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Linda Anderson’s Producer/Manager
What I learned today is that it was good differentiating how to uniquely and specifically approach producers and managers.
Pitch to Producers
I’d emphasize to producers:
1) the established audience for genres of my spec script and the unique reasons I’m pitching it to this manager due to his/her background,
2) my previous personal (book-buyers) and the general large platform (established audience) showing international appeal for the movie’s subject matter,
3) the bestselling, award-winning IP material I own the rights to that this screenplay adapts,
4) the challenging but award-attracting roles for actors and directors who have an affinity for the screenplay’s themes,
5) the recent high-grossing movies in my script’s genre,
6) the fascinating twist my screenplay gives to plot and characters in other movies with this genre and subject matter,
7) my writing and literary manager experience with the business aspects of selling original material
8) my professional contacts and network of service providers who specialize in working with the type of talent required for this screenplay
Pitch to Managers
I’d emphasize with managers:
1) all of the above (shortened),
2) short section on other projects I’m developing for film and television through my ScreenwritingU courses that include a contained script, feature films, and a television series,
3) my writing career goals that include whatever it takes to get this movie produced and distributed and paid writing assignments, especially IP book adaptations into biopics,
4) my appreciation for the collaborative process which includes paying for coverage several times on drafts of this screenplay, coursework with feedback, and produced stage plays with notes from directors and actors.
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Archer Producer/Manager
Producer meeting:
Emphasize commercial appeal – genre-bending concept, wide audience draw
Highlight IP’s profit potential – sustained buzz, franchise potential
Outline vision for A-list cast – roles well-suited for bankable stars
Discuss proven marketing angles – tie-ins to true crime popularity
Offer to help secure attachments early – leverage personal connections
Request help connecting with major studios/streamers to fast-track
Manager meeting:
Focus on writer’s unique voice and vision behind concept
Discuss character depth and representing underseen demos
Share passion for craft – careful attention to arcs, themes, dialogue
Request support establishing credentials – introductions, referrals
Seek guidance advancing career – goals, negotiating, navigating Hollywd
Ask how manager would position my talent – and represent me/project
Inquire how we can collaborate long-term developing my body of work
3. Answer the question “What I learned today is…?”- leaning toward Producers
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Richard Pierre Producer/Manager
1. How will you present yourself and your project to the producer?
I will focus on highlighting the castable roles in the script and mention big name actors who would be a great fit. I’d discuss other marketable elements of the script. Finally, I’d convey enthusiasm to accepting any notes, demonstrate I’m receptive to feedback, and eager to collaborate
2. How will you present yourself and your project to the manager?
I will communicate my openness to working together to build my career. listen and communicate the projects I’ve written that are most sellable.
3. Answer the question “What I learned today is…?”
You need to hone your pitch depending on whether you’re talking to a producer or a manager.
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Bob Kerr: Producers/Managers
What I learned is to work with producers and managers there are essential differences which must be honored. I now see the value of working with a manager.
Answer two questions:
1) How will I present myself to a producer and your project to a producer.
I introduce myself and indicate I have worked as an extra on film and made for tv film. I started writing scripts under the mentorship of a season producer. I have done research on the type of projects that you work with and the budget range you have been working with recently.
My project is a true story, for which I have the rights, and it is unique as it was a first. The project is based on the challenges a crew, specifically the women’s crew had to overcome in their first season. With all the challenges, adversity and hazing they still built a championship crew in their first year at Wichita State.
2) How will I present myself to a manager and my project to a manager.
I introduce myself and indicate I want to be successful as a screenwriter. I have honed my ability to listen, take notes and collaborate to get a project to actual realization. I am looking for as mentor and want to see if we can build that business relationship.
My finished project is based on a true story, that I own the rights to, of the inaugural towing crew at Wichita State university in 1974-75. This first time ever season was coached by a reigning World Champion and under his leadership the women on the crew overcame all obstacles to build and sustain a women’s crew at the dawning of Title IX. I am also developing a second script that is also a true story that was the first major air disaster to befall a college football team.
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