Lesson 3

[Michael HARRIS]

Michael L Harris’s Producer/Manager

What I learned today is that one need to know the general needs of producers and managers and then the specific needs of the producer or manager you approach and target your pitch to meet those needs.
1. How will you present yourself and your project to the producer?
I will present the marketable concept and key factors that fit the producer’s genre, budget range and distribution sources needs.

2. How will you present yourself and your project to the manager?
I will share multiple high concept projects showing I am a sustainable writer, be willing to prove my desire to be cooperative, and to do much of my own marketing.

• This reply was modified 11 months, 3 weeks ago by  Michael HARRIS.

[Joyce Davidson]

Joyce’s Producer/Manager
What I learned today is I will have a beter chance with a producer than with a manager.
1. How will you present yourself and your project to the producer? I will greet the producer and when I am asked what the script is about, I will offer hooks and my goals to have an actor inerested in the main role. I will assure the producer that I wll be happy to utilize any suggestions and notes about the entire project.

2. How will you present yourself and your project to the manager? I will approach a manager with a script that can be apossible series of sequels.

[anna harper]

Anna Producer/Manager
What I learned today is that I need to be much more concrete in how I approach the needs of different players and to think strategically before I get into any conversation with a manager or a producer.

How would I present my project to a manager that is different to a producer based on the lesson?

I would present myself as flexible and have scripts ready that are stand- a-lone and/or can be developed into a series, and be prepared to prove this with follow’ on concepts or outlines, or second in the series script ready to go.

I do have a 5 year plan for my writing goals, and following this lesson, I would indicate this, being sure that it is not set in stone, is a living document and that my number one objective is to get movies made.
Some managers I have checked out have certain types of material they prefer to represent. I would check that my brand mirrored their brand .
Having checked out the manager thoroughly, I would then be prepared to make creative changes as requested.
I would be clear in indicating that I am looking for a long-term professional collaboration.

How would I present my script to a producer that is different than to a manager?
I would make sure that my logline has a hook or hooks, that the title of my script is genre specific and fits with previous industry success in the genre.
I would give a comparative best guess at budget.
Show comps (no more than 2)
I would have at least one bankable actor to suggest.
I would demonstrate a strong emphasis on industry patterns of success that mesh with the high concept of my script, and match their brand interest/style.
If I was so blessed as to have a producer read my script, I would ensure that the script delivered on the high concept, and demonstrate that I was willing to quickly make changes/take notes.
Finally, I would ask a question regarding anticipated timelines in getting the movie made.

[Eric Jr]

Eric Edge Jr. Producer/Manager

• I must have written half a dozen completed scripts and even more in half-completed state over the years. But I view them as learning scripts that are just in the first rough draft. It wasn’t until recently that I found the missing piece. A working writer in the UK who gives incredible notes that have taken my recent work to a highly polished state. I trust her opinion about being ready for prime time and that my ideas are worthy of high marks for the originality of the concepts. I think when I approach a producer, I will highlight the high-concepts of my scripts as being bankable. I can see young audiences connecting with one. Another is a touchstone with women to express their emotions and their points of view. The one I’m presenting in class here, I can see as an excellent vehicle for the new breed of young actors ranging from the likes of Austin Butler, Zendaya, Anya-Taylor Joy, and Daniel Ratcliffe. The second one, I can see is an ongoing series of vehicles for top actresses that can fit a unique female-driven story.
• Again, I think my strength is the originality of my ideas. They are out there and just plain bonkers. There is nothing out there like them. At least that’s my unproven opinion. Won’t know for sure until I start presenting this to shakers in the industry. What I want to express to a manager is that I have a plethora of unique ideas, that I am flexible, will do whatever it takes to make them ready for market, and that I’m worth spending the time to develop a career with. I have one script that I believe will connect with young and old audiences of a left-leaning worldview. One that expresses a variety of female points of view. Another unwritten bang-up idea dealing with race that if I could find the right black comedy writer who has skin in the game to collaborate with would be powerful social commentary that could draw attention. I have others beyond that and the desire to get into film school that could lead to my ultimate goal of becoming a director.
• What I learned today is you have to tailor your pitch to producers and managers. Then faithfully follow their instructions on how to best proceed.

• This reply was modified 11 months, 2 weeks ago by  Eric Jr.

[Eden De Ruse-Moore]

Subject Line: Eden De Ruse-Moore Producer/Manager

What I learned today is that the role of the manager is to have a journey and our job as professional writers is to bring our scripts along for the ride and let them lead the way.

How will you present yourself and your project to the producer?
I’ll present myself as a professional, who’s ultimate goal is to get a film made. Sharing that my current project aligns with films in their wheelhouse which they’ve produced. Stating that my current project Yankee Doodle Daddy is a high concept script and by design it is similar to the box office hit film, Barbie. Which makes it enticing to investors. Also leveraging the fact that the story will relate to a global audience means it will attract domestic and international distribution.

How will you present yourself and your project to the manager?
I’ll present myself as an individual who is highly collaborative, and share my collaborative track record. I’d also mention that I have been involved in paid writing gigs in the past and I’m open to more in the future. Taking into account their skills as a manager I’d work with them on a strategic development plan beginning with my current project Yankee Doodle Daddy, a high concept screenplay. I’d continue to bring in marketable features so I can develop my career and become the next “go to” writer for the studios.

• This reply was modified 11 months, 2 weeks ago by  Eden De Ruse-Moore.

[David Ennocenti]

David Ennocenti, Sniper Queen
I learned that producers are looking for a screenplay they can market. One that fits their preferences. Also, screenplays that are in their budget range and can attract key players, actors, actresses, distributors, and investors.
Managers are looking for a client who can be a successful writer and create more screenplays in the future and can be relied on.
I would pitch the producer on my screenplay and point out that it was an Official Selection in The Artemis: Women in Action Films Festival. “Fantastic script – incredible true story!” Zac Baldwin, co-founder of the Artemis Women in Action Film Festival
The screenplay has a similar title and subject matter as the successful American Sniper. The difference is this is more unique in that this is about World War Two’s deadliest sniper and the sniper is a women. A woman in a traditional male role. The subject matter should attract A-List actors and actresses. Although the main protagonist is a Russian woman, there are American Icon’s playing key roles in the script. They include, Eleanor Roosevelt, Franklin Roosevelt, Five Star General George C. Martin, and the first Congresswoman from the State of Massachusetts, Edith Norse-Rogers.
Given the subject matter and possibility of success, this movie should attract investors and distributors as well as I wide target audience.
I would reiterate many of the same things to a potential manager and make the manager understand that I have many other screenplays written and potentially many more similar screenplays yet to be written. I am willing to do whatever rewrites or corrections that are necessary.

[William Whelan]

William Whelan Producer/Manager
1. How will you present yourself and your project to the producer?
I would inform the producer that I would welcome his suggestions and recommendations and would be amenable to make any changes to the script he felt necessary.
2. How will you present yourself and your project to the manager?
I would inform the manager that I would welcome any suggestions and recommendations by him or a producer and would be amenable to make any changes to the script they felt necessary.
3. Answer the question “What I learned today is how to positively interact with producers and managers.

[Joseph Waldygo]

Joe Waldygo – Marketable Components
What I learned today is the value of developing a full repertoire of marketing hooks and pitches to most effectively target specific audiences and get script requests.
1.) Genre: Female Led Action Thriller Feature
Title: BROKEN WINGS
Logline: Tormented former fighter pilot, suffering from chronic pain and guilt, reunites with her old squad to lead a perilous mission against a ruthless cartel in order to save a collapsing veteran’s shelter and gain personal absolution.
Concept: Disgraced and addicted ex-military hero reunites with former squad to save a collapsing veteran’s shelter from foreclosure by robbing drug gang of a Mexican cartel.
a.) It’s an underdog story. An addicted and wrongly accused hero seeks and gains absolution while saving a veteran’s shelter of wounded warriors from foreclosure.
b.) I am going to target Literary Managers first because I am seeking representation for several projects.

2.) Marketable Components

a.) Unique = High Concept
Female ex-military squad uses stealth and cool gadgets to steal cash from cartel drug dealers to save a veteran’s shelter from foreclosure.

b.) Wide Audience Appeal – M&F, 25-50. Female action characters rob bad guys to save disabled veterans.

c.) Similarity to a box-office success. – The protagonist and theme is similar to Jack Reacher except with a female protagonist.

d.) Great Role for an Actor – The protagonist’s heroism, unique capabilities, and numerous flaws present a very interesting role and character arc for a leading actor.
3.) Do a quick brainstorm session about ways to elevate those two components for this script and tell us how you might pitch the script through the two components. Emphasize and contrast the disgrace, guilt, addiction with the heroism, bravery, skills and redemption/absolution. She feels guilt and wants to make up for it.

4.) Example: If you say your script has a great role, in one or two sentences, tell us how you can emphasize that role as you pitch your concept.
Badass female
Tragic Hero
Wounded & addicted warrior
Wrongfully disgraced

5.) Uniquely flawed and heroic protagonist. A disgraced and guilt-ridden ex-military war hero risks her life to gain absolution by saving a collapsing veteran’s shelter.

[Hiram Taylor]

HIRAM TAYLOR – PRODUCER/MANAGER

What I learned today is ‘SAY YES!” This lesson explained why I have not succeeded after 40 years in this industry. I have always said and done the wrong thing in meetings with agents, managers, and the many producers I have worked with. I realize now that I did not understand each of their job descriptions correctly. I expected both my two agents to do what a manager does, no wonder they stopped taking my calls. I argued with producers, directors, and a few actors. I refused to do rewrites. In other words I said “NO”. And that was the end of the deal. That is why I have been much more successful in the publishing industry and the theater world. It made me very upset and sad to realize that today.
MY ANSWER TO THE TWO QUESTIONS. : 1. HOW WILL YOU PRESENT YOURSELF AND YOUR PROJECT TO THE PRODUCER? I will walk in with a completely different attitude than I have ever had before. I will walk in as a “TEAM PLAYER”. I will walk in confident and cheerful excited to share my concept with a person who can get it on the screen. I will keep the chit-chat to a minimum, respecting their time. I will state my Genre, Horror, and then go into my logline. Afterwards I will pause and wait for their response. If it’s positive, I will discuss what they need from me, thank them and go. If they say No, I will ask if I can present any new project in the future and thank them for their time and leave.2. HOW WILL I PRESENT MYSELF TO A MANAGER?: I would focus not just on this project but describe it as a representation of my work. I would say that I have other scripts in the same Genre. If they ask about my goals, I would briefly describe my industry experience and how I envision myself moving forward. I would express that I am interested in how they see my career expanding and how we could work together to achieve the same goal. I would also carefully look for clues or hints about when it is time to end the meeting. I would say I hope you enjoy my script. Ask when I should follow up with a call or email. Thank them and leave.

[Joseph Waldygo]

Joe Waldygo – Producer/Manager (put in first line of your post)
1. How will you present yourself and your project to the producer?
I would start out by giving my inspiration for writing the script and then broadly describe the genre, time period, location, audience. After that I would give the TITLE, Logline or High Concept, and main story beats of the Protagonist’s journey over 3 acts and its three most marketable components.

2. How will you present yourself and your project to the manager?
1.) I would introduce myself as a screenwriter of thriller and action/thriller features and TV pilots. 2.) Provide a little background on myself as a writer and the number of scripts I’ve written. 3.) Present strongest project. Tell the genre, TITLE, high concept, most marketable components, hooks, etc. Communicate interest in collaboration and receiving/applying notes.
3. “What I learned today is to tailor my pitches to the specific needs of the producer or manager. Always emphasize the most unique, relevant, and strongest marketing components of my project.

[Brad Best]

Brad Best Producer/Manager
1. How will you present yourself and your project to the producer?
Understanding that the producer needs something to market and sell, I will emphasize the elements of the script that make it more marketable. In this case, the unique aspect of a quirky campaign/election comedy set in South Dakota and that deals with popular issues from a different lens.

2. How will you present yourself and your project to the manager?
I am capable of revisiting this cast of characters in other movies. I am capable of writing romantic comedies and dramas as well. I have range as a writer and I’m easy to work with.

[Michael Wallace]

Michael Wallace Producer/Manager

What I learned was that I must have my pitch on my first project as focused and concise as it can be, and I must research potential Managers and Producers that work on projects that are most similar to mine.

I will present myself to a producer by having my pitch ready and also point out the marketable components of the project. I will also have pitches and marketable components ready on my next two projects in case I am asked.

I will present myself to a manager similar to a producer in regards to pitch and marketable components, but also talk about my long-term plans and goals as s writer/producer. I have an extensive entrepreneurial background and understand that great businesses are built by great teams not any one person’s ideas or solutions.

[Pamela Milton]

Pamela Milton’s Producer/ Manager
What I learned: Scriptwriting maybe a creative endeavor for the writer but first and foremost it is a business. Treat yourself and others involved like professionals.
Producers: They don’t need or want divas. I would make my approach to them as “less is more” or “time is money”. Cliche, yes, but accurate. I would give them the genre, the logline, let them know I am willing to work with them on revisions which may help the budget or attract a marketable actor or any other marketable component they may have. Then I’d be quiet so I could listen and learn.
Managers: They are in a working relationship for the long haul so I would let them know I had several projects (and genres) in various stages of development. I would approach it as a collaboration of their developing me into desirable writing commodity and me doing what it takes to achieve that goal.

[Ian Patrick Williams]

Ian’s Producer/Manager
What I learned today is how to present a project in different ways

Managers: I have five scripts and a pilot in a variety of genres from comedy, true history, sci-fi and supernatural horror. I had one script optioned and did multiple rewrites for two different directors (the producers ultimately couldn’t get the funding needed.) I was also hired to write an action film based on the producers’ 2 page outline and that film was shot. I believe this shows that I’m a team player who also has several marketable projects.

Producers: First, I would only contact producers who are interested in action films. Because this script has a Black lead, I might also focus on producers who have backed similar films in the past. As a professional actor myself for 40 years, I know good roles from the other side of the camera and I stand by the quality of the writing. To help visualize the cast, I’ve included names of possible A-list actors whom I believe would be a good fit for the leading parts.

[Lyn Embree]

Lyn – Producer/Manager

1. I would present myself to a producer in a succinct, direct manner, letting them know that I respect both their time and their opinion. I will demonstrate that I have put energy into understanding what they do specifically and what they’re looking for. I will select only the elements of my story that are most appealing to them and let them know I want what they want – to get this movie made – and am willing to do what I can to accomplish that. The point is to get them interested in the idea and let them know I am someone they can work with.

2. With a manager, I want to show that I am invested in building a successful career that will benefit both of us. I would tell them I am eager to collaborate. For a specific project, I would give them the main beats, very similarly to my producer pitch, then let them know that the well runs deep, giving them a few words on other projects I’ve completed or are in the works. I’d let them know I’ve worked hard at my craft and have formidable skills, but am always open to improving with their guidance. I want to share the vision I have for myself as a super successful writer in a way that allows them to see themselves as part of a soon to be unbeatable team.

3. What I learned today is that it is paramount to know your audience when you are pitching and to understand what they want. It’s not about the details of my story, it’s about what makes my story and my writing in general a moneymaker.

[Paul McGregor]

Paul’s Producer/Manager
3. What I learned today is that I need to look at getting a Manager. I was not familiar with their role, but now I am fascinated by what a Manager could offer in developing my writing career.
1: To a Producer: I would briefly mention that I am a published writer and then move directly to Title, Genre, and Concept. I would then let the producer take the lead and answer all questions in a positive manner.
2: To a Manager: I would go into more detail about my published writings, give some background on my screenwriting including references to http://www.screenwritingu.com classes. I would go over my latest script with title, genre and concept followed by the logline, if there was a show of interest.
END

[Sandra Fox-Sohner]

Sandy Producer/Manager

With a producer, my approach would be based on marketability, ensuring this producer worked in my genre of historical biopics. I would state the title/genre, then emphasize the hook and true-story logline of my script. From there, I would describe the great role for a lead actor, and the audience appeal based on the success of similar films. I would keep it brief, mention the timeliness, and then open the conversation to ask for their thoughts or questions, indicating a collaborative approach. If interested, I would tell the producer why I have the background and inspiration to write this story. If interested, I would go on to tell the producer more about the major beats, turning points, and twists in the story. I would mention collaborations and how I have revised the script.

With a manager, I would emphasize the awards my script has won and its marketability by describing the hook, true story logline, and timely aspects of the story. I would also mention that I have other scripts or script ideas and ask if that would be of interest to this manager. I would mention collaborations and how I have revised the script.

Today, I learned to always know your audience and respond to their reactions and needs as the conversation progresses. What does he/she need to know and want to hear more about?

• This reply was modified 11 months, 2 weeks ago by  Sandra Fox-Sohner.

[Janis Pryor]

Janis Pryor: producer/manager
What I learned: how to refine compartmentalized thinking.

For the producer:
I have a script, based on a true story, with the working title of I’ll Never Leave You, that’s ideal for two bankable stars who have a strong fanbase that’s dying to see them reunited in a love story. The story spins around a growing mainstream interest/curiosity about the afterlife. I’ll Never Leave You is Ghost for grown-ups. It’s sophisticated, authentic, with two very unusual but credible lead characters who have a wide audience appeal. The roles would be a welcomed challenge for each lead actor, one of whom has been looking for a substantive story around an inter-racial romance.

For the manager:
My first story/script, I’ll Never You, is a true story based on the memoir, White Roses, A Love Story Before and After Death. What I’m offering is one of several stories/scripts based on what I’ve seen, what I’ve experienced, and what I’ve learned. My second book/script-mini-series is based on Dinner With Trixie, the South Settles an old score with the North. A very wealthy, old New England family is called out on blackmailing an equally old, wealthy Southern family, when the newly appointed CEO decides the blackmail will stop. One chapter has been produced for the stage in Cambridge, MA. A subplot, Alistair and Kate, Can You Love Someone Who Owns You, will be staged next year, also in Cambridge, MA. The third book/script is Victoria’s Family, Human, Alien, Hybrid. The fourth book will be out this fall, Mother’s Madness, a daughter’s report on race, class and lunacy. In progress is, We All Came Home, the story of a multiracial family that returned to a home in a state that doesn’t “love” them, after their professional lives were over. I’m talking about the Gulf Coast of MS regarding a family with three blood lines: Black, Native (MS Band of the Choctaw Nation), and white European with several interracial marriages starting in the mid 1800s right up to the present day. What I’m seeking is a manager to invest his or her time in the wide range of stories that make up and continue to evolve, the multiple narratives and stories that make up my life, including a documentary based on “all my bosses” – some of the iconic politicians and activists ranging from the late Senator Edward Kennedy to being a member of former Governor Mitt Romney’s “kitchen cabinet” regarding people of color.

[Janis Pryor]

Janis A. Pryor -Ten Most Interesting Things…
What I learned: How to change your perspective on your work.

Most interesting thing(s) about the two lead actors:
She was born with a veil over her face and neck. She’s a “caul bearer.”
She’s an upper-class Black Indian with the blood off three races running in her veins.
She has a wide range of seemingly unrelated personal and professional interests.
He is the only white sibling in his family that originates from Jamaica.
He has a deep understanding of racism as a result.
He’s brilliant, compassionate, kind and curious.

Major hook of opening scene: She displays one of her psychic abilities with a friend, who is always freaked out when she does that and it comes true!

Some turning points:
She asks a friend about him. The next morning he speaks to her.
A series of synchronicities brings them together: fancy flirting, first kiss, first night.
Last night together. He leaves her with a ring box to be opened when he comes back.
He dies.
Housekeeper sees him!
Series of visions leads her to contacting his sister who is stunned!
Visitation from the “dignified lady” who tells her to “do what you do best. Read, read, write, think…communicate.”
Contact(s) from the afterlife from him to her.
The only way she can stay in touch with him is by acknowledging and improving her psychic abilities. Her life is forever changed in a variety of ways.

Emotional Dilemma:
–She is conflicted about the psychic abilities and the public response.
–This otherwise confident man is terrified she’ll ignore him.

What else?
The characters around her are forced to examine their beliefs.
Her extended Native and Black family members have been waiting for this second sign of her abilities all of her life.

[Rebecca Sukle]

Rebecca’s Producer/Manager
What I learned today is to always be cooperative and provide whatever materials the producer or manager want or need.

How will you present yourself and your project to the producer? I would first present my project with a well crafted hook and unique concept that would attract actors and funding. I would then present a well written pilot script and series bible showing a small evolving cast and few sets for each episode. My openness to suggestions for changes will shine with my eagerness to brainstorm or make any improvements the producer might suggest.

How will you present yourself and your project to the manager?
I will present myself as the writer of several well written projects both series and features. I will trust the manager’s expertise in understanding the industry, how business happens, and listening to their strategies to make me a successful writer. I will do this by implementing any changes to promotion materials and script rewrites that they might give me.

[dave korr]

dave Korr lesson 3 pickups: managers want great writers who collaborate and be prolific. Producers want marketable, well written projects for their genre that are easy to sell to actors, directors, funding, ect

[Dorian Stone]

Dorian Goto Stone Producer/Manager
1) Producer
I am a writer/director specializing in grounded sci-fi. My recent accolades include multiple award wins for my sci-fi VR180 film called GEIMU, which I wrote and directed. I also won an award for my short sci-fi screenplay “Unknown”.
The project I am pitching today is the feature version of this.

Genre: sci-fi, psychological thriller.
In the near future, in a society which has further separated into extreme wealth and abject poverty, the government is developing a technology that can alter a person’s personality and memories. A man and a woman work and live inside a windowless lab where they treat patients using this technology as part of the final trial phase of its development.
As they fall in love, the man starts to remember that he is an agent who was placed there by a secret organization to destroy the technology. The data exists inside her brain, so in order to destroy the technology, he will have to destroy her as well, an outcome which he wants to avoid at all costs.

2) Manager
I am a writer/director specializing in grounded sci-fi. My recent accolades include multiple award wins for my sci-fi VR180 film called GEIMU, which I wrote and directed. I also won an award for my short sci-fi screenplay “Unknown”. The project I am pitching today is the feature version of this.
I am an avid science reader, and I enjoy seeking ways to incorporate hard science into my science fiction. My interests include artificial intelligence, psychology, quantum physics, astronomy and the origin of life.

Genre: sci-fi, psychological thriller.
In the near future, in a society which has further separated into extreme wealth and abject poverty, the government is developing a technology that can alter a person’s personality and memories. A man and a woman work and live inside a windowless lab where they treat patients using this technology as part of the final trial phase of its development.
As they fall in love, the man starts to remember that he is an agent who was placed there by a secret organization to destroy the technology. The data exists inside her brain, so in order to destroy the technology, he will have to destroy her as well, an outcome which he wants to avoid at all costs.

3) What I learned today is the different needs and goals that a manager and a producer have, which should be taken into consideration when pitching to them.

[Danielle Dillard]

Subject Line: (Danielle) Producer/Manager

1. How will you present yourself and your project to the producer?
If the producer is looking for scripts in my genre (faith based films), I would give them a brief reason for my passion for the genre, brief bio of my experience and the scripts I’ve sold / optioned and the budget I write in.

2. How will you present yourself and your project to the manager?
If the manager is looking for writers in my genre I would piggyback on the above on presenting myself to a producer, and mention the contest I’ve won, the writing assignments I’ve had and projects I’ve completed and ones I’m currently working on.
3. Answer the question “What I learned today is…?”
How to present myself to a producer / manager.