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Day 3 Assignments
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13 Replies
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Laura Hyler’s What Do Managers & Producers Want? 5/20/22
Lesson 3
What I learned by doing this assignment is this is not easy to respond to, having never seen an example of how writers approach producers and managers.
How I would approach Producers–
First, I would present my logline. I would tell them why my topic is timely and would be interesting to an audience, especially their audience, because it is in their genre of filmmaking.
I might suggest actors who I think would like the protagonist’s role, or at least the type of actor(s) this may appeal to.
How I would approach Managers-
I would also start
with my logline. I might do some research as to how/why my script is
marketable. Tell them that I am a good listener and willing to take direction,
and lastly that I can meet deadlines as required, or at least complete requests
in a timely manner. -
Mary Emmick’s What Do Managers and Producers Want?
1. How will you present yourself and your project to the producers?
I would first research who the producer is. I would greet them and chat with them and listen to elicit conversation and find connections with them.
I would talk about how my story is highly marketable, unique and has wide audience appeal and is timely and connected to a major event, our current social and political climate. (10 components of marketability)
Next, I would tell them the genre, logline and give them the broad strokes of the story including describing the main character, the setting, and the main character’s wants and obstacles. I might talk about some interesting scenes.
I would leave them with a one pager that gives a short snappy idea of my movie, the logline, genre, world/setting, short description of characters and a brief snapshot of the story. If on Zoom, I would send them the one pager.
2. How will you present yourself and your project to the managers?
I would greet them and chat with them and listen to elicit conversation and find connections with them.
I would tell them the genre, logline and give the broad strokes of the story including describing the main character, the setting, and the main character’s wants and obstacles. I might talk about some interesting scenes.
I would be willing to cooperate with the manager and make whatever changes are necessary, write and rewrite my pitch as they request, and practice until I have it down. I would be able to perform when it is time to pitch.
I would leave them with a one pager or if on Zoom send it to them.
3. What I learned today is that producers and managers are needing certain things from the writer. I need to sell producers them on the project’s value. Managers help you create a career that pays off for you and for them. You want to cooperate with your manager.
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Day 3 Scott TOM Dennis Producer/Manager
1. How will you present yourself and your project to the producer?
I’ll present ourselves honestly and with great transparency.
Hooking them with short appropriate story hooks and terrific parts for the leads.
I will be listening more than talking and only talking enough to hook them into wanting to read full script.
Signaling I am a team player and will strive to meet their needs and as many of their wants as possible.
2. How will you present yourself and your project to the manager?
By being completely transparent in products offered and expectations.
Clearly sharing a desire for a manager who shares a passion for telling great stories.
Admitting our need for guidance and mentoring through the Hollywood business maze.
Sharing that we can provide a variety of unique and marketable scripts that can make a full lucrative career.
Signaling that we are open to being coachable and flexible.
3. “What I learned today…. is that producers and managers have unique needs despite having some overlap. A producer may be primarily looking for a one off great project while a manager is looking for how he can hitch to a quality writer with a lucrative career path.
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Assignment 3
VAUGHN JELKS PRODUCER/MANAGER
1. I’ll present my targeted producer with what he/she wants/need in a well written and highly marketable screenplay and high quality pitch/marketing materials that fit their specific market and is easy to sell to actors, directors, funding sources, and distributors.
2. I’ll present myself to my potential producers with what they want/need in being a screenwriter with marketable projects and who is pliable that be developed into a major player. I’ll present myself as committed to continuing to write scripts that can sell. I’ll listen and collaborate well, and be a skilled screenwriter who can focus on paid writing assignments.
3. What I learned today is that the two primary business people I’m going to deal with in my career are managers and producers. I have to work with them to be a real pro. Although managers and producers work together, they are very different in important ways.
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Lindy Baker’s Producer/Manager
What I learned today is that the Producer has the goal of finding a movie he can sell and also someone that is easy to work with. The Manager is looking for a client for the long run that will take direction and has, not only the ability to write, but also has other script and ideas so that he can build a career for.
How will you present yourself and your project to the producer?
Before I speak with the producer, I want to do some background research, finding out what budgets their other movies were, googling for their reviews to see if they are hard to work with, checking them out on IMDB and making sure they are interested in my genre.I think I would start with thanking them for their time. Then, why I am the person to write this story and that it is based on my own true story. I might mention that I have 10K followers across social media. I’d give them an estimated budget, my genre, and the HOOK.
How will you present yourself and your project to the manager?
Again, I would research background on the Manager. I’d check on IMDB for other clients they represent, in what genres and budget areas and how long they have been a manager. I want someone that knows their way around the industry. I’m more comfortable with a manager that has a relaxed manner, but knows what they are doing. I don’t respond well to those with dictatorial styles. I’d check out their social media postings to see what their style of communication is.When I approach a manager, if I only have the one script finished, I want to be sure to let them know that I have other loglines, other outlines ready, that I am very earnest about succeeding. I want to show him/her that I have a plethora of future ideas and concepts. I think classes that I have taken are important to mention so that it shows that I am always moving forward, elevating my skill level. I’d also mention that I have won contests, such as the 1<sup>st</sup> comedian to win Mary’s Got Talent, and other writing experience to show my writing diversification, which is different than talking about mastering a genre.
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John Stimson Producer/Manager
1. My pitch of my script “The Terrorist” to a producer:
It’s marketable because it’s a high-concept story and a star vehicle; you could describe it as a Michael Mann movie, like “Collateral.” Although, it is comparable to a Vince Flynn or a Tom Clancy novel because there’s political intrigue.
In fact, the novel version of “The Terrorist,” which I am the author, is available via Amazon and Barnes & Noble, and has sold worldwide.
It is a movie star vehicle for the most likeable, handsome, charismatic male actor. It gives him everything to make him even more desirable and admirable, on the screen, and yet the character is a sociopath.
It’s a thriller. It has action (bombs and buildings exploding and chase sequences) which makes it attractive to funding and distribution sources who would back this project.
2. My pitch of my script “The Terrorist” to a Manager:
The three screenplays that I have recently written I entered into several screenwriting competitions, each won a Best Original Script award. “The Terrorist” at the Paris Film Festival last September.
I earned my BA at the University of Southern California’s School of Cinematic Arts.
Most of the stories that I write are action orientated, but doesn’t it seem that the stories that are financially successful are the ones that have action? The answer is yes. In my case, Men and women characters of action are the ones that interest me to write about.
3. I learned that the pitch is different, to the manager you pitch yourself and how marketable a writer you are or can be. Whereas to a producer to have to pitch how marketable your script is to the factor he or she must take it to the next level.
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Rob’s Producer/Manager approaches
1. How will you present yourself and your project to the Producer?
– I’d focus on the story of my TV Pilot, emphasizing the heroine is a gutsy female in a man’s world of the 1930s Dust Bowl era. She fights against ruthless men, corrupt bankers, and immoral corporations. The supporting characters are also distinctive and complicated. Talent would love to explore both bad and good qualities of these.
2. How will you present yourself and your project to the Manager?
– The manager is looking for the long run, not a one-time hit. I would say I’ve written a half dozen feature scripts to develop my writing skills. Of those, two were Optioned. My current script is a TV series Pilot and latest script rating is “Strong Consider”. I’m looking forward to continue my writing skills.
– Basically tell my work, my success, and that I’m still in the game.
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Nancy Lucas Producer/ Manager Assignment
What I learned by doing this assignment is that I will take the time to PRACTICE and understand the goal of my pitch to these different persons.
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 remain completely professional for the meeting. Even if the meeting doesn’t not go my way- I know that people remember you and they will remember your professionalism. I would prepare for my meeting by making sure the producer I am meeting is interested and successful in my genre. I would research the movies they had done in the past and be knowledgeable about the pitfalls or problems that would happen in this type of genre. (I would do this to prepare for conversations/questions) I would thoroughly prepare my pitch and make sure I cover they type of movie it is (contained? ) and share whom I envision to play the lead. I would highlight the marketable points that would make it successful and fundable. I would be thorough and succinct- pleasant and remain calm. I take all criticisms kindly and with curiosity as to know how I can explain it better or re-write it to their liking. I would practice, practice, practice my pitch! * What I forgot to mention was that I would bring my ENERGY to the meetings. I want them to know how I feel about it– my enthusiasm and excitement!*
2. How will you present yourself and your project to the manager? I would remain completely professional for the meeting. Even if the meeting doesn’t not go my way- I know that people remember you and they will remember your professionalism I would build a relationship with the Manager. I would need a level of trust and confidence that we would both need from each other for the business relationship to work.
Prior to pitching my project to him/her – I would initially give him/her a bit of my background and experience, but focus the meeting entirely about the project, my other projects, my work ethic, my production timeframes and also what I need/ expect from the relationship.
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This reply was modified 2 years, 11 months ago by Nancy Lucas.
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This reply was modified 2 years, 11 months ago by
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Bob Bland… What do producers and managers want?
How to present myself and my project to a producer?
First, research to find out the producer’s interests to make sure there is a potential fit with them. Don’t sell horses to someone looking for chickens.
Make a connection, whatever that might be. Laughter is always good.
Tell the producer I have a script that just might fit their mandate. Give its title, genre, and logline.
Tell them (in the particular case of Doc Band-Aid) that – at its core – it’s a story about whether we, as in some way damaged people, will allow ourselves to be trapped by our past or will we find a way to confront it and push forward. Like the title Doc Band-Aid suggests, will we allow past anguish and grief to fester and control us, or will we rip off the band-aid, and expose our pain to the air so we can truly heal, freeing ourselves to create a happy and fulfilling life?
Assure the producer that if the script needs some changes, whether because of budgetary concerns or making it a better read for the actor or director, I’m all in to make it happen! My goal, like theirs, is to see the script get made.
How to present myself and my project to a manager?
Research to know whom they represent, what are their interests, etc. If they like horror but I write drama/romance, move on. They won’t go to battle.
Then… make a connection. Laughter. Body language. Perhaps they rep a writer who does what I do. Maybe briefly say how I came to write this kind of material – in this case – drama/romance.
Tell them what I’m currently working on. Give them the title, genre, and logline. Tell them the core concept. In the case of Doc Band-Aid (see above).
Assure them that as I develop Doc Band-Aid, I sincerely want and appreciate their notes.
Acknowledge that they know how the business work. Just tell me what to do, what to rewrite, how to tweak my pitch, whatever it takes – I want to work with them. My goal – on their behalf – is to hand over a script that they’ll be proud of and excited to take to market.
Tell the manager I have other stories that may also grab the interest.
What I learned?
The necessity of giving producers and managers what they want and need to hear. They have different mandates, both not wanting the same thing. Collaboration is key. First, listen, then speak.
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Melanie’s Producer/Manager
Presentation to Producer:
– For the project: Do research on what projects they have produced and see how my project can fit their wants/needs. Tailor the pitch to similarities in my script with what they like while highlighting the top ten marketing ideas we identified in the last assignment.
– For myself: My eagerness to listen to their suggestions in the script and willingness to collaborate to make the best project for them. Collaboration is key!
Presentation to Manager:
– For the project: Research their current clientele, identify similar aspects between all of them and describe how this project fits that criteria. I’d then highlight the aspects of the top ten marketing ideas we identified last week.
– For myself: Again, my eagerness to hear their suggestions/notes and willingness to take their notes to elevate the project. I’d also mention my previous/current screenwriting projects and my aspirations and how we can work together.
What I learned today was how thinking from either a producer’s or manager’s perspective can change your pitch. Makes sense – tell them what they want to hear!
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Lenore Bechtel (Producer/Manager? Answer two questions:
How will you present yourself and your project to the producer?
No star needed for this low budget comedy feature about a third generation Sweet Adeline’s two struggles: resisting her family’s rejection of her own unique singing style while also resisting her boyfriend’s pressure to break her chastity vow. “Sweetie Heaven” has many barbershop favorites, but also introduces original new-style songs, and supports the new revolutionary movement among many young people to remain virgins until marriage. It could be cast with any winning Sweet Adeline chorus (500 worldwide), with crowd scenes filmed at any major competition, and have 21,000 members eagerly luring their friends and family to make it a box office success.
2. How will you present yourself and your project to the manager?
Of my three completed screenplays, “Sweetie Heaven” could be the quickest, easiest, and least expensive to produce, even with its multiple characters who could all be cast with any winning Sweet Adeline chorus (500 worldwide), with crowd scenes filmed at any major competition, and have 21,000 members eagerly luring their friends and family to make it a box office success.
“Sweetie Heaven” has many barbershop favorites, but also introduces original new-style songs, and supports the new revolutionary movement among many young people to remain virgins until marriage. This comedy feature revolves around a third generation Sweet Adeline’s two struggles: resisting her family’s rejection of her own unique singing style while also resisting her boyfriend’s pressure to break her chastity vow. It demonstrates that people shouldn’t get stuck in a rut, no matter how wonderful and admirable, nor should they follow current sexual mores, no matter how much the media and society extol their acceptance.
My other screenplays—“Thank You, Elvis” and “The Good Ole Gender-Benders” are also comedy features, with the latter leaning toward farce.
3. Answer the question “What I learned today is…?”
What I learned today was to emphasize what most interests the producer or manager in the screenplay’s logline.
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Gordon C
Producer/Manager
Presenting to Producer:
Subject Line – Gordon C.
First line – Producer/Manager
Presenting to Producer:
(Sorry, screenwriting formatting doesn’t paste well. Forgive me?)
FADE IN
INT. GORD’S ROOM – DAY
Gord leans forward into the table focused pleasantly on the computer screen. His model perfect hands impeccably manicured and comfortably clasped together compliment his crisp dress shirt. He looks cool, like a million bucks.
Below the table, in underwear, Gord’s true guerilla forested appendages attach to knuckle dragged stumps where one “hand” holds the remote he nervously taps on his equally hairy knee. The other incessantly scratches where no others would ever go.
JERRY – THE PRODUCER (Zoom like video link)
(on screen)
Look Gord. My next meeting starts in three minutes. I’ve had a frightful day, I’m dizzy from G-force meetings, smell like jet fuel, my back’s killing me, feet are swelled and I have gas.
(rolls eyes)
I’m interested in your concept. But I’m really pressed for time. So whaddaya got? In a minute or less.
On screen Jerry’s eyes widen when seeing that Gord doesn’t react, doesn’t move an inch.
JERRY (Zoom like video link)
(under breath but audible)
Jeez. Didn’t flinch. Guy’s a pro.
GORD
(to screen)
Thanks Mr. B. I’ll be gone in 60 seconds ––
JERRY (video link)
(on screen, interrupts)
Wrong movie. But go ahead.
GORD
(to screen, smiles)
Okay. If you were inadvertently sent a computer file you knew instantly when reading would mark you for death, what would you do?
(loses smile)
You’re a regular guy. Law abiding good person. Only brush with the law is when you received that speeding ticket you forgot to pay.
On screen, Jerry’s eyes squint in recollection. Gord is steely focused.
GORD
(to screen)
But obviously you’re not trained to defend against hardened, lethal assassins who would arrive any moment to retrieve that file. Sooner in time than what you just gave me.
(squints)
How are you gonna survive? What would you do?
On screen Jerry’s expression ponders, extending silence. Gord doesn’t flinch above table. Below, both neanderthal legs bounce.
GORD
(to screen)
Can innocence survive sheer evil? That’s the ultimate question here.
JERRY B (video link)
(on screen)
Not bad. What if the assassins come with toy guns and party hats?
GORD
(to screen)
Gee, hadn’t thought of that. Could be workable. May I ask your reasoning?
JERRY B (video link)
(on screen)
Yeah, yeah. There’s this project filmed in Arizona. Disaster struck when one of the prop guns went off. Live ammo. Crazy stuff.
(serious look)
Scared the studios shi… less.
(flinches)
Now they’re all over us. We must hire an army of prop gun checkers, double checkers, dogs to sniff out GSR, a local sheriff deputy. Then here come the studio’s forensic experts whose only expertise is to blab to the media and pretend they know something about acting in courtrooms. The budget, the film set, all of it gets bat s..it crazy if we use real guns.
GORD
(to screen)
Thanks for sharing. I get it. Um, yeah, it’s all doable. I can make those changes in say ––
JERRY (video link)
(on screen, interrupts)
Tomorrow. Same time? I’ll fit it in.
The upper table image of Gord doesn’t flinch. The lower half violently spasms.
GORD
(to screen)
Gosh, I was just thinking the same. Tomorrow then?
END.
Presenting to the manager:
On a serious note not sure what to include here. If, for example, I possessed three completed scripts, one in showcase condition, one needing Act III changes graciously suggested from a great source, and a third (the first actually) requiring a rewrite but “not bad” as many say, I’m not sure this would be enough with which to bother a manager. Is it? But there it is and I’d be honest. Good titles to all, good logs, great first ten pages, etc.
Among those three, one project, the thriller, is in fab shape, clearly attracts A-List talent and received good coverage from reputable outside sources. Another, an action/drama project screams for A-List talent and requires a rewrite of the last third of the script.
That said, this is my thought on why I’m focusing on producers.
All for now.
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Warren Dan Goldstein Producer/Manager Lesson 3
1. How will you present yourself and your project to the producer?
Based on a true story. Comedy – Sci Fi – Thriller, Challenges Einstein’s theory of relativity, author is a proven clairvoyant and master clinical hypnotherapist, and ordained in the Catholic Church as a healer
2. How will you present yourself and your project to the manager?
Based on a true story. Comedy – Sci Fi – Thriller, Challenges Einstein’s theory of relativity, author is a proven documented clairvoyant and master clinical hypnotherapist, and ordained in the Catholic Church as a healer, credit as a starring actor in Paramount’s $70 million National Lampoon film in 1991 Arrive Alive.
I learned nothing “new” from this lesson.
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