Day 3 Assignments

[David Harper]

David Harper Producer/Manager Strategy

What I learned doing this assignment is 1) pitching the project is only partly about the story itself. It’s also about why the story will attract an audience and make money. It’s also about pitching myself. 2) The process of pitching myself isn’t an overt one where I talk about how great I am, it’s more about the way I present myself as I pitch the story. If I go in understanding what it takes to get the project made, and offering options to adjust the script as needed, I’ll be perceived as a professional who is already ahead of the game.

1. How will you present yourself and your project to the producer?

With the producer I’ll focus on the marketable elements discussed in the course here, and highlight those elements in the pitch to show the film has good potential for getting made and attracting a wide audience. This would present the project as highly marketable and myself as knowledgable about what it takes to make it so. Then I would highlight where changes could be made depending on things like budget, target audience, etc. This would show I’m a writer who is willing to take notes and make changes that help the movie get made.

2. How will you present yourself and your project to the manager?

With the manager, I’d start with the marketable highlights of the story, then I’d move on to example studios and producers I might target with it. With those, I’d highlight how I could change the story to fit the market we’re presenting to. For example, if it’s a smaller studio, here’s how I could change it to meet their budget and pitch it that way. If it’s a studio that focuses on female protagonists, here’s how it could be rewritten to make the protagonist a female so we could pitch it there. If it’s a studio that makes films with a darker tone, here are ways we could darken the tone of the film to make it more appealing to them. This shows I have a marketable script, but it also shows I’m a writer who wants to get scripts sold and made. And since I’m showing flexibility in how the story gets told, I’d be showing them I’m a writer ready to handle writing assignments.

[julie Beckett]

Julie Producer/Manager

What I learned today is that I need to have two different pitches ready that are tailored to the needs of producers and managers.

1. How will you present yourself and your project to the producer?

a. I will research the producer’s credits and current project slate if avail. and mention how my script fits in with their projects. Also, hit the marketability points more thoroughly. Audience, budget, location etc.

2. How will you present yourself and your project to the manager?

a. #1 is I will definitely spend more time on crafting my pitch and practicing it until I know it well. I will keep in mind the traits managers are looking for and have written answers in case they ask about them. Also, I will mention some soft skills in the “About Me” section of the pitch if there is room and it flows well with the other content.

[Frances Emerson]

POWER PLAYERS ASSIGNMENT THREE

FRAN’S MARKETABLE COMPONENTS

WHAT I LEARNED: I think it’s really helpful to learn and understand thoroughly what Hollywood wants and how it operates in getting the stories they turn into film. That is really important for a writer to be a successful one in Hollywood.

To the Producer:

I would have to be honest, truthful and present to him the actual stories of the two captains, as well as the stories for Frances Shackelford and Charles Knapp—and how I found them.

Marketability: It is a unique, true story of the greatest steamboat race recorded in history. I don’t know if anyone has ever presented this story or tried to make it. I do know there was a series Riverboat many years ago. And a couple of movies about steamboats. But this is nothing like those made.

Well written: I’ve taken classes to help me get better as a writer. And I believe I have gotten better.

Specific Market: I need to target those producers who are interested in history and history stories. This is a race set in 1870, a steamboat race. Steamboats races were very popular back then for spectators.

Easy to Sell: I have great, more than colorful characters who were actual people in that time. I have a great love triangle in the story as well. I’m targeting actors for this one. But I’m sure there will be some clamoring for these roles. I’m counting on some very hopeless romantics to like the story as well as race enthusiasts and history buffs. I’ve watched Hallmark movies until they’re coming out of my ears in order to get the love story right.

To the Manager:

Same thing. I need to be honest, truthful. Tell them how I came across the story and what it all entails.

Marketability: I’ve already gotten two people on board with this script. A small Indie producer who’s going to help me pitch. And a young up and coming filmmaker and producer who’s been encouraging and urging me to finish the script. To keep going. Not to stop. And not to let our discouraging environment we both come from hinder my progress. He told me this yesterday.

Selling: I’ve been taking screenwriting classes to help insure I’m learning how to write and be able to provide scripts that can and will sell. And to be able to entice producers to make them into movies.

Easy to sell to actors: I believe this one’s an easy sell to actors. My colorful captains, real men of the MIssissippi. The young lovers. I’ve been working hard to insure I get the actors I want for the parts as well.

This one is going to be hard to take a lot of criticism for the race itself. I’m working to write the history part of the story as accurately as I can and give the descriptions I need in order tell what happened to the men minute by minute. As for the love story. I would welcome any help to make it more enticing to an audience.

And I want paid writing assignments if I can get them. But I am also looking forward to finishing the scripts and stories I’ve already started. So, I hope I can give the manager interested in me both.

[Michael O’Keefe]

Lesson 3 – What Do Managers & Producers Need? – Assignment

Mike O – Producer/Manager

What I learned today is that they have very different roles and therefore different approaches must be used if you are to secure either a producer and/or 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?

Understanding what a producer wants/needs is crucial. I would present myself as a writer with marketable projects that are well written. List the scripts, their respective genres, the awards at contests and festivals that I’ve earned. Second, having researched what the producer has produced in the past, I would present him with an original script that fits his/her specific market. Third, the script must be marketable, meaning an easy sell to his/her boss, or to one of the studios they work with. In order to do this, I need to know what scripts have done well from a box-office receipts standpoint in this particular genre, then tailor my script’s viability as being similar/yet different than those scripts!

2. How will you present yourself and your project to the manager?

Managers are looking at the big picture, meaning establishing a long-term relationship with a writer who can create/write marketable materials, and with whom the manager can guide/develop into a major player. First, I would let the manager know I was a team player and demonstrate my collaborative abilities. Additionally, let the manager know that I have my finger in the pulse of what is trending and relevant, and that I have no qualms about writing scripts that can sell based upon what is ‘hot.’