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Day 3 Assignment
Reply to Post Your Assignment.
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35 Replies
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Jeff Bryce Producer/Manager
Producer: Give logline and emphasize that it fits their genre, highlight the title and why the switch from the old title, emphasize that there is an ensemble cast and there are several attractive roles for big names, secondary roles, single scene cameos, and voice-only roles. Remind that I’ll do what it takes to get the movie made.
Manager: Give logline and emphasize that I’ll continue to write scripts in this genre, that I’m easy to work with and adaptable.
What I learned today is I think it’s a better fit for me if I approach producers directly.
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Philip Producer/Manager
1. How will you present yourself and your project to the producer?
As a professional who understands script marketability and will collaborate to get the project made.
2. How will you present yourself and your project to the manager?
As a professional who will take on assignments, pitch, and collaborate well to sell projects.
What I learned today is to focus on developing marketable projects and getting them made.
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John Alen’s Producer/Manager
1. I will present my project as consisting of familiar genre staples that people enjoy combined with a fresh take that hasn’t been seen before. I will present myself as a writer who wants the project to be the best it can be and who enjoys the spirit of collaboration to get it there.
2. I will present my project as a highly marketable concept that’s intelligently written. I will present myself as a writer who will always be open to collaboration and advice and who understands the importance of making material attractive to bankable stars and marketable to financiers.
3. What I learned today is the importance of putting myself in the shoes of whoever I’m dealing with in the business, be it managers, producers, or anyone else.
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Cara’s Producer/Manager
1.) Producer Pitch:
Title: Rilke & Rodin or Imitation of a Poet
Logline: A heartbroken poet must leave his most inspiring relationships to find his true genius before his time runs out.
Synopsis: After a romantic rejection from renowned intellectual Lou Andreas-Salomé, heartbroken poet Rainer Rilke relentlessly pursues personal and professional validation from his former lover by befriending the famous sculptor, Auguste Rodin. Rodin, embroiled in his own love affairs, teaches Rilke his source of artistic inspiration, but when time begins to run out for Rilke this imbalanced friendship is broken and the poet discovers that his own fame can only come from an inner voice found in solitude.
Based on a true story in the public domain.
Rilke remains one of the most popular of all best-selling poets. His artistic influence continues to inspire pop culture icons, artists, and famous writers – even Lady Gaga has a Rilke quote tattooed on her inner arm. Rilke has also been quoted by other filmmakers including in Woody Allen’s “Another Woman” and Robin Williams’ “Awakenings.”
The story is similar to the box-office successes:
– Shakespeare in Love
– Dead Poets Society
– Il Postino
– Dr. Zhivago
** The script has gone through two rounds of edits by a top Hollywood story editor.
2.) Manager Pitch:
Title: Rilke & Rodin or Imitation of a Poet
Genre: Drama
Logline: A heartbroken poet must leave his most inspiring relationships to find his true genius before his time runs out.
Synopsis: After a romantic rejection from renowned intellectual Lou Andreas-Salomé, poet Rainer Rilke relentlessly pursues personal and professional validation from his former lover by befriending the famous sculptor, Auguste Rodin. Rodin, embroiled in his own love affairs, teaches Rilke his source of artistic inspiration, but when time begins to run out for Rilke this imbalanced friendship is broken and the poet discovers that his own fame can only come from an inner voice found in solitude.
** The script has gone through two rounds of edits by a top Hollywood story editor.
About Me:
– My primary goal is to have my work find its greatest possible success and I look forward to working with you to elevate my storytelling and make my scripts work for the budget, cast, and widest audience.
– As a writer, I have worked on successful television and radio show teams that included talent, editors, producers, and other writers.
– All of my professional writing is performed on deadline.
– I’d someday like a career similar to Aaron Sorkin.
– I have two other pitches ready if you’re interested in seeing more of my work.
3.) What I learned today is that I want to embrace the needs of the person with whom I am meeting and that it will benefit my work to be the best possible collaborator. Additionally, I feel that I am getting ahead of myself since I am still working on nailing the first assignment.
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What I learned is to not be a jack of all trades and to help fill the needs of the particular producer or manager.
Pitch to producers: Present my current script in a short, to the point way. That my script is in their market. Several great roles actors will want to play. Let them know that I know the world of the script and that I am open to any suggestions they make.
Pitch to managers: Present my current script in a short, to the point way. Talk to them about other scripts or ideas. Dedicated, writing every day. Experienced and connections to major producers. Have a lot of solid ideas to pitch and write.
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Phyllis MacBryde – Producer/Manager
1. How I plan to my project/me to a producer:
I am currently engaging in pre-marketing work to identify the film’s core audience prior to shooting a proof-of-concept film. This 1-2 minute film will showcase the African talent and settings that make the film unique. I plan to approach producers only when I’ve made adjustments to the script, have more than a screenplay to show, have crafted a strong pitch deck, have gathered early press and defined a core audience.
2. What I learned from the assignment is to present myself as a writer/producer who understands the components necessary to make a project marketable, that I’m willing to make changes to get the project made, and that I’ve done early work to show that what is written in the script can be delivered.
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Phyllis,
I think you are putting your ideas into a sound package and not skipping ahead of yourself. A strong pitch deck is essential and I think gathering all your presentation material and being organized and well prepared will be a winning combination. Keep pushing ahead!
Hope this is of some help.
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Paul: Producer/Manager
What I learned today is that I have to see the process through the other person’s eyes and that I should keep my focus on getting the film made. Also, being businesslike in all contacts is of great importance.
1. I would present myself and my project to a producer in as concise a manner as possible. I would first present my title, genre and concept and keep biographical points to a minimum.
2. In speaking with a manager I would expand on the biographical details: finalist with another script in an international film festival; a published writer of fiction and newspaper and magazine articles. I would try to show that I can be businesslike and ready to listen to suggestions.
END
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Barry: Producer/Manager meetings.
Since meetings were set up, I assume the producer and manager would have read my logline and synopsis of my screenplay.
Before the meetings, I will have researched the producer and manager on IMDBPro, the daily trades and Google. Knowing the producer is focused on this project, not my career, I will know the producer’s genre(s), the budget range of his/her films, the “typical” level of actors (A-list, B-list) and what motivates this producer to produce certain films.
As for the manager, knowing the manager’s focus is developing my career, I will know the genres of screenwriters the manager represents, as well as actors. I will know what they look for in a screenwriter before signing that screenwriter.
1) Producer:
I will emphasize my experiences and abilities gained from years of technical writing and collaborating with others.
The producer will learn that I write what I lived, so that what is in the script is based on personal experiences-which gives me unique insight- and underscores why I am the only screenwriter who can write this screenplay with realism.
The producer will quickly learn that this crime-drama screenplay is a reliable and dependable genre that attracts a very large audience. It is a mix of crime, corruption, criminal justice and morally-bankrupt characters that populate every aspect of our criminal justice system.
Based upon my research, my screenplay will dovetail nicely with films he has produced and has characters that actors the producer formerly worked with have been waiting to immerse themselves in.
2) Manager:
Since I am an unknown quantity, I will emphasize my deep knowledge through experiences that I am qualified to write crime-drama screenplays. Additionally, the manager will become aware that my experiences have given me knowledge that will easily translate into numerous screenplays. In fact, I will tell the manager that I have researched four more screenplays and will be writing those screenplays as well.
The manager will realize that I am a good fit within their family of clients, that I collaborate well with others and have longevity in this business. Equally important is for the manager to know that I am motivated and independently driven to complete my screenplays.
3) What I learned is that, in addition to collaboration, the vision of my project by necessity must reflect the producer’s vision as well as reflecting the manager’s insight into this industry and, probably, familiarity with the producer.
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Stephen Maynard – Producer/Manager
What I learned today is that the pitcher must tailor his pitch to the needs and requirements of the pitchie. A good pitch will reflect a thorough awareness of the pitchie’s past practices, successes, limitations, needs, and the markets the pitchie has successfully exploited. The object then is to fit a perfectly sized peg into the pitchie’s hole.
PRODUCER PITCH
I’m going to ask her how her day is going. Then I’ll give her the GENRE, the TITLE, the HOOK, the LOGLINE, and a short SYNOPSIS of the screenplay.
I’ll talk about the protagonist and antagonist, emphasizing the ACTOR-BAIT characters and I’ll tell her why the roles will be highly coveted.
The pitch will be structured to show her that my screenplay matches (1) her MO for doing business, (2) the investment capital available to her based on her recent production budgets, and (3) be appropriate for the audience she has previously exploited.
I’ll share my awareness that a screenplay DRAFT is the first element of a collaborative project that is subject to rewrites up until the last scene is in the can. And I’ll tell her that I’ll be with her, as she may require, to resolve script problems every step of the way.
I’ll thank her for her attention and lay down my “one-page leave behind” which will reflect the information presented in the pitch, the availability of the writer’s LOOKBOOK, my other titles with loglines, and my contact information.
MANAGER PITCH
I’m going to ask him how his day is going. Then I will introduce myself as a screenwriter looking for a business partner.
I’ll give him a GENRE, a TITLE, a HOOK, LOGLINE, and a short SYNOPSIS of one of my screenplays.
I’ll talk about the protagonist and antagonist, emphasizing my ACTOR-BAIT characters and I’ll tell him why the roles will be highly coveted.
I’ll say that I have three ready for market screenplays. That all my scripts are populated with great HOOKS and COMPLEX CHARACTERS on TRANSFORMATIONAL JOURNEYS that comment on both TIMELY and UNIVERSAL themes.
I’ll come right out and ask him if he’d like to read one of my scripts and collaborate on making it right for one of the producers he works with.
I’ll tell him that I’m looking forward to collaborating with him to prepare scripts that he can sell.
I’ll say “I prefer to work on my ideas but for you, I’ll take writing assignments.”
I’ll thank him for the appointment and place on his desk my “one-page leave behind” which will reflect the information presented in the pitch, the availability of project LOOKBOOKS, my other titles with loglines, and my contact information.
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Stephen,
RE: I’ll talk about the protagonist and antagonist, emphasizing my
ACTOR-BAIT characters and I’ll tell him why the roles will be highly
coveted.What if your ideas and theirs are different? Could work against you. Isn’t it more the producers wheelhouse to know how the roles will fit and appeal to actors?
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What I learned today: The fine points between a manager and a producer. A perspective that helps promote each given situation depending which hot seat a writer finds him/herself in…
PRODUCER/MANAGER
#1. How will you present yourself and your project to the producer?
Anytime, you meet with a producer, you must be on time and not only bring confidence, perspective, competency, but also respect for their time. You must appear clean, decently dressed and be ready to give the who, what, where, and why of your script. After all, that’s why you’re there. The script is the product, the bargaining point, something the producer wants and you own. If it’s the right script and the writer and producer meets the needs of each other, it’s a win, win for both.
The ability to give a pitch in the midst of interruptions present in a busy, business environment requires focus. This requires the ability to relax, to project your voice, clear, clean and without verbal interruptions, the use of acceptable language into a pitch that reflects a movie geared for an audience above an eighth-grade education; hopefully, with a four-quadrant audience. And this is just the tip of the iceberg. Who knows the pitfalls one is slung into while testing the waters of this industry? Some of the surf that overrides your sanity, is to test one’s ability to swim. Some to show if a writer is capable of navigating through what the producer wants.
For the writer’s audition, several variables play into the decision for his/her hiring: Is the script low budget, high concept? Is it in the producer’s genre? Does it have uniqueness, twists and turns, subtext, setups and payoffs–something they haven’t seen before? The pitch must lend universal appeal, uniqueness and a mental schematic of the movie, lending potential to the overall project. It’s vital whether the movie can be sold to streamers, the possibility of return, the draw for the A list actor; all, which determines the possibility of the writer to bring future projects as well.
So much is answered as subtext in the interview though general questions. Can the writer take notes? Can he/ she implement them, cut pages, make instant decisions? Can the writer deal with cheaper locations, changes for actors– in other words, be flexible; yet, have the confidence to ask questions, even when questions are not always appreciated from a super busy producer. And the list goes on.
The ability to give a pitch in the midst of interruptions present in a busy, business environment requires focus. The ability to relax, to project your voice, clear, clean and without verbal interruptions, to know your material, and know it well, utilizing acceptable language while focusing a pitch for an audience above an eighth- grade education. One perhaps, with a four-quadrant audience One that creates buzz and a franchise. And this is just the tip of the iceberg. Who knows the surprises/obstacles one must bypass, not just to survive the production of a movie, but the ability to follow with another?
But then, what’s good for the goose, is also good for the gander. The writer can dismiss the producer just as quickly, if he/she feels their ability to work together is not present. It’s a two-way street. To produce a finely crafted work, one appreciated as art, takes major players working well together. If it’s perceived that cannot happen on either side, the project is best pitched elsewhere.
#2. How will you present yourself and your project to the manager?
By doing much the same thing as one does for a producer. Acting and dressing professional. Delivering a project worthwhile to his expertise. A manager is the nurturing side of the coin. Somewhat. Unlike the producer whose irises are the color of a green-back dollar, the manager is less so. Well, maybe. The meetings with the producer are cut and dried. They are interested in end results. Pitching is their language. They are there to check for potential money-making movies. If a writer has one, fine. If not, the next question sliding off his/her tongue effortlessly, is in the form of, what else do they have?
Managers help train a writer to create profitable means for both the manager and producer monetarily speaking. You, the writer, connect with them so they can nurture your work, making sure the script you’re delivering is deliverable to the market. It’s still on the writer to perform, but the manager promotes the performance through their application of knowledge, and the sending out of your newborn package into the hands of whoever produces that genre. In between, you are responsible for new concepts, new screenplays that in turn the manager markets. The writer is the work-horse. The manager is the one who holds the reins. You turn the soil over and do the sowing, weeding and fertilizing. The manager comes behind the writer to see if the harvest is worth keeping. Together, they become a team…
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Emmanuel Sullivan’s Producer/Manager
What I learned today is managers and producers are usually on two different business tracks that a writer must be mindful of when interacting and pitching.
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Gordon Roback Assignment 3
What I learned in this assignment: When in doubt follow the instructions.
1. Meeting with a Producer
My goal in the meeting is to present my pitch in such a way as to make it easy for the producer to say yes.
a. I enter the meeting having researched the producer’s background, previous films and interests. In the case of “Camerone” it would be helpful if the producer was a former legionnaire or someone who is a fan of the Legion. Someone with a military background would be ideal.
b. My goal is to present myself as a team player and a professional writer which means I am willing to take direction, am open to other points of view with the goal of getting the film made. I am working on the assumption that the producer will view me as a professional. This means he or she does not expect me to work for free, a situation far too commonplace in Canada.
c. I shall pitch a screenplay that is in a genre they like to work in.
d. I shall attempt to deal with some of the problems inherent in the script. I will be prepared to talk about whom I see playing the key roles and why they would be good. I will also be prepared to deal with some of the problems inherent in the script such as amortizing costs, tax incentives and possible producing partners in different territories. It is a matter of doing my homework prior to the meeting.
e. Even if they choose to not buy the script my goal is to keep the door open so the producer is willing to meet with me again to hear another pitch.
2. Meeting with the manager
a. The goal of meeting the manager is to give him or her a sense of genre or genres I like to work in and that my previous screenplays were high concept. This is especially true of future projects.
At the same time I am willing to accept creative suggestions and guidance from the manager.
b. My next goal is to convince the manager that I am a team player who can work with producers and other members of the production team. In almost all other occupations the question is: can I handle problems if problems occur? In the film industry the question is” what happens WHEN problems arise because there are always unexpected problems in the film industry.
c. In the meeting I am looking for signs that the manager knows what he or she is talking about and that we share a similar worldview. The Talmud says that “the right mate comes with the first date” but all first dates don’t necessarily end in perpetual bliss.
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Mark’s Producer/Manager presentation
Pitch To Producer: My strengths are having had first-hand experience in the creative side of the industry as a cinematographer and director of docu-dramas. The third feature script I wrote was produced and distributed. And on the business side of the industry I have co-written or co-produced three feature films.
I have always been a successful collaborator on projects, and prefer the added creativity that comes from working with a partner. That’s why SkyFire is co-written by two of us. My partner is a published book author and an optioned screenwriter.
Skyfire is a TV series concept adapted from the 1980’s novel, in the vein of Stranger Things and X-Files, but it’s grounded in weather science and today’s global climate crisis.
Imagine a lightning storm with purpose, that never stops hunting and killing a team of scientists who are survivors of a Navy weapons experiment that burned a hole in the atmosphere. Mother Nature’s sentient weapon is defending the planet, and four scientists struggle to understand how it’s possible, and how to escape from it.
Unlike a high-budget disaster epic, the looming threat of this storm is often in the background, like the Terminator. It’s unstoppable and never ceases hunting them. Our characters reactions are the main story driver, as they face a threat beyond anything they could have imagined in their lives.
This entity of nature takes on a character itself and elicits terror, despair and awe even though it may be seen only as a blip on a radar screen or a low pressure area on a satellite display. It creeps and sneaks and lurks off-screen, invisible at times. It is coldly calculating, and it’s strikes are targeted and shockingly brutal.
Jeff Holden, our protagonist, is a pilot and meteorologist who teams up with the best woman weather expert in the Navy to understand what went wrong with the experiment. When they realize that the mega-storm can travel across continents and oceans and is still after them, their real terror begins. Then Holden learns an awful truth, that their electrical signatures have been imprinted by the earth’s magnetic field. His debt will be paid back to the planet only when his DNA is wiped out — the storm is after his 3 year-old son also.
The arc of the first season includes three unexplained deaths of Holden’s team, resulting in baffling local crime investigations in several cities. Holden is powerless to prevent the deaths and he becomes the last survivor. He is torn between fleeing ahead of the storm and protecting Gina, the woman he loves, and his son.
The season builds to the moment when Holden makes the decision to have the Navy fly his family to safety across the country, while he pilots a fighter jet to the Arctic, luring the storm after him. He is unaware that the storm catches up with Gina. She is struck by lightning and dies while protecting the boy as the season ends.
Our audience is all those who think that civilization can protect us from nature.
Pitch to Manager:
I am coming to screenwriting after studying my grandfather’s scripts from when he was a technical script doctor at Fox Studios in the 1930’s. And after writing or co-writing six feature scripts, two of which have been produced. I had a hand in producing those however, so I am still looking for validation as a writer from outside sources.
I have always been a successful collaborator on projects; as a co-writer or co-producer on features, and as a co-director on docu-dramas. I prefer the added creativity that comes from working with a partner. That’s why SkyFire is co-written by two of us. My partner is also a published book author and an optioned screenwriter.
Skyfire is a TV series concept adapted from the 1980’s novel, in the vein of Stranger Things and X-Files, but its grounded in weather science and today’s global climate crisis.
Imagine a lightning storm with purpose, that never stops hunting and killing a team of scientists who are survivors of a Navy weapons experiment that burned a hole in the atmosphere. Mother Nature’s sentient weapon is defending the planet, and four scientists struggle to understand how it’s possible, and how to escape from it.
Unlike a high-budget disaster epic, the looming threat of this storm is often in the background, like the Terminator. Its unstoppable and never ceases hunting them. Our characters reactions are the main story driver, as they face a threat beyond anything they could have imagined in their lives.
This entity of nature takes on a character itself and elicits terror, despair and awe even though it may be seen only as a blip on a radar screen or a low pressure area on a satellite display. It creeps and sneaks and lurks off-screen, invisible at times. It is coldly calculating, and its strikes are targeted and shockingly brutal.
Jeff Holden, our protagonist, is a pilot and meteorologist who teams up with the best woman weather expert in the Navy to understand what went wrong with the experiment. When they realize that the mega-storm can travel across continents and oceans and is still after them, their real terror begins. Then Holden learns an awful truth, that their electrical signatures have been imprinted by the earth’s magnetic field. His debt will be paid back to the planet only when his DNA is wiped out — the storm is after his 3 year-old son also.
The arc of the first season includes three unexplained deaths of Holden’s team, resulting in baffling local crime investigations in several cities. Holden is powerless to prevent the deaths and he becomes the last survivor. He is torn between fleeing ahead of the storm and protecting Gina, the woman he loves, and his son.
The season builds to the moment when Holden makes the decision to have the Navy fly his family to safety across the country, while he pilots a fighter jet to the Arctic, luring the storm after him. He is unaware that the storm catches up with Gina. She is struck by lightning and dies while protecting the boy as the season ends.
Our audience is all those who think that civilization can protect us from nature.
I have another TV series horror project based on another novel by the same author, and a feature project based on a historic event that captured world headlines for four weeks.
What I learned today is that the best answer to “What makes a great pitch?” is to explain the project only through the most interesting parts. Tell the drama through the hooks, the high points and the turning points.
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Lonnie’s 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. Producer: Pitch my best script/story with the best hooks. Be ready to answer all questions, and I’m open to suggestions, changes. Let him/her know I’m available to rewrite/rework at any time. Be ready to pitch 2<sup>nd</sup> script, and more concepts if asked.
2. Manager: Pitch my best script/story with the best hooks. Pitch myself as a writer with a number of concepts, and two completed scripts. Have a bio ready. Will emphasize this is my career, and want to sell many more scripts. I’m flexible with changes.
3. What I learned today is to remember who I am talking to, and pitching to, and remember the key differences between a producer and a manager. Manager will help me market my scripts, and wants to market for future work, a producer will produce the movie/series, hire directors, etc.
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Test Post. Was unable to post many times.
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Continuing to do a Test Post since it is not showing up.
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A pitch to a producer about my script:
I’m an optioned writer, L.A. Emmy nominated, with a different take on a teenage supernatural horror. It’s carried by a male and female teen, and there are several other teens that are all killed off. It has a relatively contained budget with a primary location: a cabin in the woods.
Unique aspects:
1) The killer’s uniqueness
2) The unusual way he dispatches his victims
3) The new world that’s never been seen before on screen
Roles that can attract actors:
1) A slick, charming male teen
2) An impressionable but sarcastic female teen
3) A charismatic deadly killer with a unique blend of characteristics
I’ve collaborated on many scripts and have rewritten many for producers, and am willing to do rewrites and do whatever it takes to get this script green-lighted.
A pitch to a manager:
I’m an optioned writer, L.A. Emmy nominated, who has written many screenplays, many of which I co-wrote. I’m also a script consultant and story analyst who worked at Hearst Entertainment, and have rewritten and helped develop screenplays for producers. A co-writer and I have recently finished a sci-fi noir, and another co-writer and I have written an original spec sitcom that we’re getting ready to pitch.
My middle name is “collaboration” and it’s my intention to do all I can to work with a manager to build my career under their experienced guidance.
What I learned:
The approach to a producer and manager is more different than I thought. I realize it’s essential to be able to work with a producer and a manager. conveying that I’m willing and able to work closely with them.
I appreciated the suggestion to go deeper than my first answer, which I did, discovering more about my project and how to present it.
I was reminded that a manager wants our scripts to be the very best they can be, which means we are ultimately “on the same page.”
And the big one: I learned I could take your guidance regarding the producer’s journey and create a specific pitch for my script. (I’m already more comfortable with the idea of pitching it to producers — and it still needs a rewrite!)
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Mark Abel’s Producer/Manager
How would you present yourself and your project to the Producer?
I would pitch ESCAPEGOAT with emphasis on the project’s concepts, estimated budget, actor bait, audience appeal, and marketability based on their produced films, in addition to myself as a flexible professional who is easy to work with.
How would you present yourself and your project to the Manager?
I would pitch ESCAPEGOAT as one project among many available scripts, treatments, and loglines with emphasis on myself as a solid, collaborative writer with specific strengths and unlimited ideas interested in rewrites, selling specs, and completing any other paid writing assignments.
What I learned today is…
Although I was already familiar with the differences between producers and managers, this assignment helped me better separate one long pitch into two focused pitches.
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Debbie’s Producer/Manager
Producer Pitch
Title, genre, number of episodes, number of seasons
Logline
What makes the story and the characters unique.
Comparison with big/money-making projects
Manager’s Pitch
Bio (the fact I have experience on staff)
Title/genre
Logline
Goals: To get on staff/To get paid writing assignments
I learned to really tailor each pitch to what the producer or manager is looking for.
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Stephen Dexter Producer/Manager
Producer: I would present myself as a professional writer – someone whom they would love to partner with.
A writer with a product they want – a marketable, well-written, family-friendly script that fits perfectly into their needs, generates interest, and will be easy to sell. I would let them know I am someone who shares the same goal they do: to get this script made into a movie. I am someone who will gladly take their notes and gladly do as many rewrites as it takes to achieve the goal, we both share.
I will first target those producers wanting family-friendly, dog stories. And then target those producers in search of family films.
Upon being asked, I will give them the logline and the pitch. I’ll be ready to answer any additional questions they may have about the story.
The purpose of this meeting is:
1) To generate enough interest in the story, for them to be interested in producing it.
2) To present myself as the type of writer and type of person, they would love to work with.
Manager: Again, I would present myself as a professional writer, who has serious potential and is ready to establish a long-term, mutually beneficial relationship. We’re in for the long run here, so I want the manager to see me as someone they would love to work with on this script as well as other projects down the road.
The Manager is the expert here, so I would leave my ego at home and show my willingness to do what is asked of me and do it gladly.
Rewrites? Just tell me what needs reworking.
I would be prepared to discuss the three other family films I have completed and be ready to discuss them in as much detail as requested.
The primary goal of this meeting is for the producer to answer “yes” to the question: Is this someone I can see myself wanting to work with?
What I learned today is:
1) A meeting with a producer is about selling the script first and then selling myself. It’s all about them saying, “yes” to the script
2) A meeting with a manager is about selling myself first and then the script. It’s about them saying “yes” to wanting to work with me for years to come.
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A pitch to a producer about my script:
I’m an optioned writer, L.A. Emmy nominated, with a different take on a teenage supernatural horror. It’s carried by a male and female teen, and there are several other teens that are all killed off. It has a relatively contained budget with a primary location: a cabin in the woods.
Unique aspects:
1) The killer’s uniqueness
2) The unusual way he dispatches his victims
3) The new world that’s never been seen before on screen.
Roles that can attract actors:
1) A slick, charming male teen
2) An impressionable but sarcastic female teen
3) A charismatic deadly killer with a unique blend of characteristics
I’ve collaborated on many scripts and have rewritten many for producers, and am willing to do rewrites and do whatever it takes to get this script green-lighted.
A pitch to a manager:
I’m an optioned writer, L.A. Emmy nominated, who has written many screenplays, many of which I co-wrote. I’m also a script consultant and story analyst who worked at Hearst Entertainment, and have rewritten and helped develop screenplays for producers. A co-writer and I have recently finished a sci-fi noir, and another co-writer and I have written an original spec sitcom that we’re getting ready to pitch.
My middle name is “collaborator” and it’s my intention to do all I can to work with a manager to build my career under their experienced guidance.
What I learned:
The approach to a producer and manager is more different than I thought. I realize it’s essential to be able to work with a producer and a manager. conveying that I’m willing and able to work closely with them.
I appreciated the suggestion to go deeper than my first answer, which I did, discovering more about my project and how to present it.
I was reminded that a manager wants our scripts to be the very best they can be, which means we are ultimately “on the same page.”
And the big one: I learned I could take your guidance regarding the producer’s journey and create a specific pitch for my script. (I’m already more comfortable with the idea of pitching it to producers — and it still needs a rewrite!)
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Andrea Higgins – Producer/Manager
1. Presenting myself and project to the producer:
DANIEL AND THE SEA DRAGON is a family friendly action adventure that features a great and diverse set of characters, which will appeal to named actors. It has the timeless appeal of past blockbusters like E.T. Like E. T.’s Elliot, this story also features a child hero, but the back stories hinted at with respect to the adult characters are more contemporary and offer rich world building potential.
2. Presenting myself and project to the manager:
DANIEL AND THE SEA DRAGON will, I hope, be the first step in an ongoing collaboration with you that will strive toward artistic excellence, and draw exciting talent to this and future projects. It bears the hallmark of my greatest interests and strengths as a writer: Family friendly projects with a supernatural or fantasy twist. Stories that feature young protagonists, but which also value multigenerational families and deep and abiding friendship. And strong visual storytelling that finds magic in the familiar.
3. What I learned:
To keep the audience in mind.
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John Vanis Producer/ Manager
Producer
I will give the producer my brief pitch by giving the genre, title and hook and I’ll let them take it in. I will take any questions and notes that they may have as well as criticism and ideas to make it more marketable and budget friendly. And I will not get angry or defensive from their criticism or changes. Like them, I want to get the movie made and for all parties to make money.
Manager
I will give the manager the same brief pitch that I gave to the producer with the genre, title and hook. I would mention that I have written two other scripts and that I have many other concepts that I am developing. I would definitely accept writing assignments. Making a career out of being a screenwriter is something that I would strongly emphasize.
What I learned today is that I have to be understanding of the different needs of both producer and manager and they each have a specific formula that I must use in my approach.
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Guil, Producer/Manager.
1. How will you present yourself and your project to the producer?
What may be the most marketable quality of the script is that it is contained. It can be done very inexpensively. That might give it leeway in the casting, to go from casting indie film actors to well-known stars. So, it has commercial potential. I’m leaning towards a low-budget indie film.
Another marketable quality may be that it is set in a world of kidnapping, betrayal and murder has twists and turns that can keep the audience guessing until the end. The story makes use of the tropes: 1) kidnapping a producer (Swimming with Sharks), 2) the dysfunctional co-dependence between two characters (Sunset Boulevard), and 3) an accident that has irreversible consequences (Detour); and it immerses the audience into the world of a movie-obsessed and crazed screenwriter who will do anything it takes to “make it” and exact revenge on those who get in his way. The consequence is a point of no return.
2. How will you present yourself and your project to the manager?
I would also refer to its marketability, but also make reference to my experience as a writer and/or director where I have collaborated constructively and positively with many people. It’s not only about the script itself, but my ability to successfully collaborate with others. I would also mention my desire to maintain a long-lasting career. I have written scripts in different genres and I would highlight my passion to work on a variety of projects.
3. Answer the question “What I learned today is…?”
It is imperative to present yourself as a professional writer who can work in a collaborative environment. The goal is always to get produced. Period.
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KZ Producer/Manager
1. How will you present yourself and your project to a producer?
I will present myself as a writer who has created a unique screenplay using the Thriller and Profound movie models; that it will be relatively low-budget; that I want the script to be the best it can be; that I want to collaborate so that it gets made.
2. How will you present yourself and your project to a manager?
Quite honestly, I don’t think I would be very attractive to a manager as I am not interested in a career as a screenwriter only.
3. What I learned today is that getting the movie made is going to require letting go of the Ideal movie I have in my head, and learning to collaborate.
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Paul A. Davis
Producer/Manager
I see that a lot of producers are making Horror films right now or remaking old Horror films. And to my knowledge they all are becoming very profitable. Even if the story isn’t that well told . Well I got a Horror screenplay that if it can get made that we will sell a lot of tickets to Movie goers and people who want to cuddle up with there companion at home and watch a great movie. My screenplay introduces two New Horror Icons that could last for years and years. New Original Horror Icons that can build a new franchise. It could be made with or without a notable actor. The whole movie can be made for less than a Million Dollars or a little bit more than that. The movie can be shot in one to three places. I can direct it for you or if you have one in mind that is cool, and I feel it could change all Our lives financially, and Career wise.
How you doing my name is Paul A. Davis and I’m a aspiring Screenwriter who writes Horror films and Drama films. I have a Horror screenplay that can be the next big Horror Franchise. I have two new Original Horror Characters that writers can create movie after movie on. I’m a team player so I can get along with other writers, producers, Etc. My whole focus is getting the movie made successfully and write new screenplays that can sell and become commercially successful films.
What I learned today is that you have to think about what the producer wants . It’s a business and if you can make the producer money then the producer will like to do business with you. Managers can help you a lot but you have to make sure that you can bring money making screenplays to their door. Make a great reputation for yourself throughout the industry and make their lives a little easier with things you can have done before you even walk into their office.
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Liz’s Producer/Manager
1. How will you present yourself and your project to the producer?
I will tell them I am here to help them get the movie made. I am open to their advice and know they are the person in charge. I will give a brief description of my script and its top selling points and ask for their thoughts.
2. How will you present yourself and your project to the manager?
I will tell them my main goal is to sell my script. I am open to their advice and will rely on their expertise and experience to make the sell happen. I will give a brief description of my script and its top selling points and ask for their thoughts.
3. “What I learned today is…
My job is to say YES to the goal of getting the movie made. Make whatever changes will accomplish that purpose. Collaborate professionally.
IMPORTANT: Don’t ever disqualify yourself. Don’t refuse to rewrite. Don’t refuse to pitch. And don’t ever give them scripts that don’t fit the plan.
Work WITH your manager, and/or your producer and you will benefit from it in a big way.
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Robert Barhite Producer/Manager
1. How will you present yourself and your project to the producer? I will present myself as a screenwriter who has significant collaborative experience and works well under tight deadlines. Emphasize comps. Emphasize the marketability of a Western told from a Black cowboy’s POV.
2. How will you present yourself and your project to the manager? I will emphasize I have multiple scripts for both television as well as feature films. I work well under pressure and time constraints. I have ongoing working relationships with screenwriters in Florida and Taiwan.
3. Answer the question “What I learned today is…?” The only way to successfully market myself to either managers or producers is to learn to think like them.
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I’ve been trying to post for days but to no avail. If I can post now. Testing….
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Producer: I’ve worked as producer and I get it. Every word I write isn’t sacred. I’m not looking to be that person. I’m looking to grow O’AHU 2080 with you: a shared vision that will tell be the start of a fantastic universe that we can both play in for years to come.
Manager: I am a fast and imaginative writer who has worked as a producer and an investment banker – I fully understand the idea that scripts are meant to be selling tools. It’s my job to turn stories that are important to me into something that someone else can see envisage as being sellable. Authenticity plus practicality.
What I learned today: As a writer, I am part of a team. When people take the time to give me comments, I should look at them in light of who they are and what their goals are. There may be multiple ways to accomplish those goals; I want to both make the product better and make the team feel good about the process.
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Steve – Producer/Manager
My answer for how I will present myself to a producer or manager is the same. I understand that film is collaborative art form and I am willing to work with other professionals (Producer, Managaer or Director) to accomplish the end goal, get my script turned into a marketable film. My screenplay is merely a starting point that needs to be evolved into a marketable product and I am willing to support that effort in any way that I can.
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Torino Von Jones Producer/Manager
When I meet with a producer I’ll want to be on the same page, with the intention of creating the best screenplay possible, and a pitch that makes it easy to get funding, actors, and directors.
When I meet with a manager, knowing they are interested in building my writing career, I’ll be listening carefully to their suggestions, discussing all my future projects, and my commitment to becoming a writer who can perform well in the business.
What I learned was producers and managers have different roads that lead to getting a film made. The goal for the writer is to understand how to successfully work with these two important business people.
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Audrey Producer/Manager
What I learned today is to wear a business hat and be clear, quick and act like someone who already works there for a producer. For a manager, I can be more informal and open to coaching with a manager.
PRODUCER
How to present myself and my project to the producer: be on time or before the meeting. Authentically pleasant and professional in manner. Find rapport about his/her movies (etc.) that are like my project and interests. Have progressive enthusiasm, yet keep the sellable points clear and intriguing. Use visual images and words in a storylike style, and watch their responses. Pause and allow to continue more like a friendly focused chat. Brief highlight on the project – big picture on protagonist journey and topic of grief and spiced with humor., little details if any. Wait for questions, and leave after thanking for meeting and time.
MANAGER
Exploratory looking for chemistry and checking each other out. Ask how they like to work and offer my interests, skills, work to collaborate. Add if appropriate skills with both focused and mixed genres, open to writing assignments and understanding the business. Provide writing samples with openness to rewrites and changes for evolving improvements, network and pitches.
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