Lesson 3

[Paul Hallasy]

Subject Line: Paul Hallasy Producer/Manager
Imagine you have two meetings set up — with a producer and then with a manager. What would you say and do differently based upon this model?
Answer two questions:
1. How will you present yourself and your project to the producer? I have a project that has a built-in audience of at least 70,000 people and has a soundtrack that’s similar to two of the biggest-selling albums of all time.
2. How will you present yourself and your project to the manager? In addition to this screenplay, I’ve been a stand-up comedian for over 20 years. I’ve written a book, a blog and a one-man show.
3. Answer the question “What I learned today is…?” Agents are only good for helping you negotiate a contract. Managers are good for managing your career.

[Gill Kent]

Gill Kent: Producer/Manager

1. Presenting myself and my project to the producer.

I have a compelling narrative with a broad potential market involving a true story about historical characters in gossipy personal relationships who also have their hands on the levers of power. I have a pilot and the makings of episodes 2 and 3, along with a show bible and the main story arc and subplot arcs plotted out across nine episodes.

2. Presenting myself and my project to the manager.

I’d don’t expect to be looking for a manager because I’m planning to retire and am not looking for a career in writing, but I do want to get this project made. If I did approach a manager, however, I’d emphasize that with nine episodes in the limited series, this project will probably take up the next five to seven years of my productive life. I see potential for the story to become a blockbuster series and I have the confidence to believe that I can write most or all of it myself. I’m flexible and collaborative; I’ve already redrafted my pilot several times, and I’m open to notes. After this project, I want to write my memoirs, but I do also have ideas for a very different genre, a sit-com titled Squat! about New York’s East Village in the 1980s.

3. What I learned today is . . .

That producers and managers have differing needs and wants. In approaching them, we should keep the individual’s requirements in mind and pitch to those requirements, not our own.

[Adite Banerjie]

Adite Producer/Manager

What I learned: Producers need to be hooked with why investing in this project would make business sense to them. Managers have to be presented with reasons why they should invest in me as a writer.

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

Yogini is a supernatural thriller that is not simply an action film with supernatural elements but packs a powerful emotional punch. It’s about a mother who fights an internal and external battle to save her infant child. It would appeal to audiences who are looking for (comparable movie)-like stories. An A-list actor like XYZ would love to play a protagonist who revives her inner Tantric priestess and fights off predatory poachers to save her child. I have presented some intriguing aspects of the extremely secretive world of Tantrics in a visually exciting way in this script. VFX and never-seen-before locations in north-east India would add to the overall visual appeal, while keeping the budget to about roughly Rs xx million.

2. How will you present yourself to a manager

As a writer of both novels and screenplays, I am comfortable with words and visuals. For this script I have done extensive research on the cult of Yoginis and have presented some never seen before aspects of this extremely secretive world in a visually exciting way. The mix of an environmental theme, thrilling action scenes and powerful emotions would appeal to the modern audience even while exploring supernatural beings such as Yoginis. I am happy to make necessary changes to make the script stronger. Apart from this script I also have two others – a mature rom-com and a Bollywood musical romantic drama.

• This reply was modified 11 months, 3 weeks ago by  Adite Banerjie.
• This reply was modified 11 months, 3 weeks ago by  Adite Banerjie.

[Carly-Ann Giene]

Carly Producer/Manager

What I learned today is that pitching yourself to a Producer is going to focus on the specific project and why it is a great business investment for them. Pitching yourself to a Manager is going to involve demonstrating to them why I'm not only going to be a great business investment but also someone they would like to work with on a consistent basis. There is more emphasis on relationship.

1. How will you present yourself and your project to the producer?
I am an award winning screenwriter that has tapped into a lucrative genre in a new and exciting way that will resonate with audiences. 'Dredge' is a psychological thriller that leaves a lasting impact. It's 'Hereditary' meets 'It Follows'.

2. How will you present yourself and your project to the manager?
I am a self motivated screenwriter with numerous projects in several stages of development. 'Dredge' is a fantastic script to establish me in the industry because it is a psychological thriller/ horror with a female protagonist. This genre has a history of lower risks and higher rewards. No script is too precious for me because I have an infinite well of ideas so my ego does not interfere when it comes to suggestions/cuts/re-writes. I am easy to work with and a big picture thinker. 'Dredge' is a story about a married couple that is strapped for cash and grieving their dead son. They get hired to clean out a deceased hoarders home and unearth disturbing secrets about the home and their relationship in the process.

• This reply was modified 11 months, 3 weeks ago by  Carly-Ann Giene.

[Brian Bull]

BRIAN BULL – PRODUCERS / MANAGERS

What I learned today is… how to work on selling my self and my scripts. I’m learning the business side of what it means to be a writer.

ASSIGNMENT

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:

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

First, let me start by saying, I have been in the Motion Pictures Industry for over 30 years and have worked on some amazing projects.

Then, I would focus my pitch on the MARKETABILITY aspect of my script.

Starting with, I have a GREAT TITLE!!! THE ONE THAT GOT AWAY – A Fisherman’s Tale. In the title, I have identified the target audience – FISHERMEN.

Then, I would point out the WIDE AUDIENCE APPEAL. There are 50 MILLION Fishermen in the United States – our target market.

But wait, there’s more!!! This is a DRAMA / SUSPENSE movie and that whole group of moviegoers.

And speaking of moviegoers, the SIMILARITY TO A BOX OFFICE SUCCESS should be addressed.

This movie is like:

THE OLD MAN AND THE SEA; a lone fisherman going out in a boat to fish with his equipment and inner thoughts

ORDINARY PEOPLE; the living brother struggling with the guilt of losing a brother while out on the water

CREATURE FROM THE BLACK LAGOON; the mysterious and eeriness of the location of the story – the Louisiana Bayous

ON GOLDEN POND; a fish that has eluted a fisherman for years

MOBY DICK; a vengeful man determined to catch a fish

JAWS; the elusive fish is surprising huge

THE SIXTH SENSE; the surprise and shocking ending! Ironically, the fisherman is THE ONE THAT GOT AWAY!!! but not this time.

Having said all that, this script UNIQUE and has a MAJOR STORY HOOK but best of all is the ending!!!

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

First, let me start by saying, I have been in the Motion Pictures Industry for over 30 years and have worked on some amazing projects.

Part of the reason for my success in the Movie Industry is my work ETHICS and ability to work with others towards a goal.

Then, I would focus my pitch on the MARKETABILITY aspect of me, the writer.

I’m only going to write scripts that are marketable; stories that are UNIQUE with INTRUING CONCEPTS and MAJOR STORY HOOKS; APPEALING to ACTORS.

I have this script, a few that are completed, and a dozen others that are in various stages of development.

You are welcome to read the completed ones, and we can talk about the others in development and which of those to develop further.

• This reply was modified 11 months, 2 weeks ago by  Brian Bull.

[Susan A. Smith]

ASSIGNMENT LESSON 3:

Susan Arnout Smith Producer/Manager

1. PRESENTING TO PRODUCER
I would briefly flag my existing work: 4 TV films, all made and airing worldwide, identify this project by its genre, its Grand Prize award (in its genre), and give the concept hook that could lead to a franchise developed out of this film. I would follow up with the two biggest marketability components: Timeliness and Great roles for Marketable Actors. I would be prepared to share the story in a one-line logline and answer any follow up questions.
In these ways I would be demonstrating:
• I write marketable projects
• That are well-written
• Fit their specific market
• And are easy to sell to actors, directors, funding sources and distributors.
• As my goal is to get them to request the script, if pressed I will remind them that my guild, (WGA), does not permit me to leave behind anything, and I’m happy to send along the script immediately.

2. PRESENTING TO A MANAGER
I would speak briefly about this current project, and the four TV films I have written that have been produced and aired. I would point out that each TV film success represents a specific skill:
• Written from another writer’s existing novel, (sole WGA writing credit)
• Original TV screenplay (awards, honors, sole WGA writing credit)
• Screenplay based on someone’s life, (sole WGA writing credit)
• A script rewrite, (awarded a WGA sole writing credit, a shared Story By credit)
I would then give brief, bold and brilliant ‘bites’ on the creative projects I have written that are available to be turned into screenplays. These include:
• 3 novels published by major US houses and translated in other languages, (pubbed by other houses worldwide)
2 of these novels are thrillers
1 novel is an historical romance about the birth of Alaska
• Several award winning theatrical plays that could be crafted as highly visual and emotionally compelling screenplays.

The goal is still the same: to get an ‘ask’ on the existing script, GOD’S PHOTO ALBUM.
The second goal is to learn more about this particular manager, and so I would come into the meeting having prepped by finding out more about him/her so I could ask incisive questions that relate to a possible working relationship.

I would be business-like, and aware of time and honor the moment by understanding that I have something they need; the question is whether it’s a good fit for both of us to work together.

3. WHAT I LEARNED TODAY IS without realizing it, I’ve been presenting myself as less than professional. The shift is now in me to clearly state my goals, strengths and intentions and evaluate, based on that meeting, what steps I want to take moving forward.

[Edward Richards]

Edward Richards – Producer/Manager

What I learned is the different optics producers and managers have.

PRESENTING TO PRODUCERS
Introduce myself with a brief bio (two or three sentences).
Prove I’m professional by referencing notes and consultations with industry execs.
Indicate that the project is within their scope of interest. And budget range.
That it is makable. And marketable.
Sell its components of marketability.
Show that I’m willing to do what it takes to get the script made.
Acknowledge that rewrites are an integral part of the process.
Whether they are a result of suggestions that improve the script.
Or production/budget problems.
Demonstrate enthusiasm and commitment.

PRESENTING TO MANAGERS
Introduce myself with a brief bio (two or three sentences).
Show that I’m not a one-trick pony, having three scripts in the same genre.
All written to a professional standard.
Make a short pitch for the chosen script.
Highlight its strengths.
And marketability.
Talk briefly about what I’m currently working on.
And any ideas for future projects.
Welcome their advice.
Be open to criticism.
Leave them feeling that you are professional, productive and enjoyable to work with.

[LC Granger]

LC Granger

Answer two questions:
1. How will you present yourself and your project to the producer?
– I would thank them for taking the time to meet.
– Award-winning script (it will be by the time I get to this phase)
– Give the 2-minute pitch
– Genre and budget are a match for their interests
– Any questions?
– When is it good for me to follow up?

2. How will you present yourself and your project to the manager?
– Thank them for taking the time to meet
– Let them know I’m a multi-time produced and published writer in various genres, name the more well-known works.
– Introduce them to my current project, and offer to give them the logline or 2-minute pitch.
– Let them know my current efforts to shop the project. (shows professionalism and passion)
– My goal with a Manager is: I’m looking to focus my efforts toward a successful career that keeps me working steadily.
– Thank them again
– Ask when I should follow up.

3. This lesson taught me: More about what a Manager does. I’ve never worked with a Manager and now I don’t know how I lived without a great manager in my career.

[Kenneth Johnson]

Kenneth Johnson – Producer/Manager

This lesson demonstrated the need to understand how to mesh the needs of Producers and Managers with our goal of getting money for scripts.

Answer two questions:
1. How will you present yourself and your project to the producer? – I am a produced writer with a feature script specifically designed to help us all achieve our financial goals. The film is called Combat Black and is based on a true story: a writer tries to convince his father to tell the story of his Korean War service with the last all-Black regiment in the U.S. Army. But his father doesn’t want the story told. This is something that any combat veteran and their family can relate to. It is a well-written piece with wide audience appeal and a powerful message of self-forgiveness and redemption. I am willing to make any rewrites necessary to meet specific needs in getting this script produced.

2. How will you present yourself and your project to the manager? – I am an industry professional who writes scripts for commercial, promos, and trailers almost every day. I have a very marketable feature script with wide audience appeal. The script is called Combat Black and is based on a true story: a writer tries to convince his father to tell the story of his Korean War service with the last all-Black regiment in the U.S. Army. But his father doesn’t want the story told. This is something that any combat veteran and their family can relate to. I also have six other feature scripts that might pique your interest. I am prepared to work with you in tailoring my scripts and my presentation to fit a collaborative model of success. In short, I’m a good learner, I play well with others, and I like winning. If you’ve got a winning plan, let’s see about creating a season of winning for us both.

[Mark Turner]

Mark Turner Producer/Manager

Imagine you have two meetings set up — with a producer and then with a manager. What would you say and do differently based upon this model?

Answer two questions:

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

I would pitch him more of a sales pitch that includes a marketable concept summary containing the “business hooks” as in

assignment 2.

I’d ask him a “what if” question regarding the hook. And I would follow that with a single sentence logline containing the premise hook. And tell them some of the story “set pieces.”

Followed up by some comparable films.

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

I would present myself as an award-winning writer and let them know my connection with the material. How and why, I decided to tell this particular story.

I’d give them the single sentence logline with the premise hook.

Then pitch what the story is about thematically, using broad strokes punctuated with story examples.

3. Answer the question “What I learned today is…?”

That I’m still uncertain what the right pitch is and why they should be different.

• This reply was modified 2 weeks, 6 days ago by  Mark Turner. Reason: it came out in one blob instead of separated the way I put in into the reply

[John Duvall]

Lesson 3: What Do Managers and Producers Need? – The Big Itch

John Duvall Producer/Manager

What I learned today is: the different interests between producers and managers, and the different strategies for approaching them.

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?

WHAT DO PRODUCERS WANT?

• Marketable projects: As a noir detective parody, The Big Itch features a bumbling amateur detective constantly digging himself into deeper trouble, and a murder mystery involving corporate corruption and a farcical pandemic. These genres are popular and these plotlines have been the basis of successful films.

• …that are well-written, and…The script has a sympathetic character at its center, other well developed supporting characters, and some surprising plot twists.

• …fit their specific market. I target my pitches to producers (including directors and actors) who have a record of working in these genres.

• Easy to sell to actors, directors, funding sources, and distributors. The Big Itch is a low-to-medium budget film, depending on the level of talent. On the same basis, it could be released to theaters or streamers.

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

Initially, I send out query letters with a logline and a brief personal bio. I’ll follow up if I get no reply. I may also make cold call to follow up.

WHAT DO MANAGERS WANT?

• Writers with marketable projects who the manager can develop into a major player: I will describe the virtues of The Big Itch as above. I will also mention that I have written five feature screenplays, a limited series pilot, and a continuing series pilot.

• Writers who will continue to write scripts that can sell: See above. Also, I will continue developing other ideas I have in treatment form.

• Writers who listen and collaborate well: I have received notes on all my scripts from contests, writers’ groups, and professional analysts through Stage 32. I always consider feedback and criticism from authoritative sources, and have made many script revisions based on them.

• Writers who can focus on paid writing assignments. My life is quite full with my own work, so this is one area I’m not very open to, unless the project was very compelling in terms of my own themes and genres.

• This reply was modified 2 weeks, 5 days ago by  John Duvall.

[Jesse Paxton]

Jess’s producer and manager meets

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?
2. How will you present yourself and your project to the manager?
3. Answer the question “What I learned today is…?”

Both the writer and the project must be malleable. Changes have ruined some movies, but saved others, so unless the producer wants things that are impossible, it’s up to the writer to do them or give up his/her own project. And the latter choice will come with extra penalties. The spirit of cooperation can only have benefits, since if the producer’s changes tank the movie, it’s the producer’s fault; if they make it a box-office smash, then the writer can take the credit for the great script. Changes are just another rewrite, with external input. Getting the movie made is the important goal, as then, highly-paid assignments may appear!

Managers have usually held other jobs in the industry: agent, producer, studio exec, and even writer. Since agents’ only real function is to negotiate the price of a sale, their job is temporary. A manager will spend time coaching and preparing the writer to make the successful pitch that becomes a sale. If they’re willing to put in the long hours, the writer had best be willing to listen and learn. Can the pitch be improved? Do it! Can the script be improved? Do it! Get the options, get the sales, get the movies made, and enjoy the career. Even Hemingway and Faulkner had editors. And after all, it’s just another rewrite. Make it worth their while to help you.

No matter the source, it’s just another rewrite, based on ideas that come from someone who is trying to help sell the project and the writer. These people have experience in the industry, so work with them.

• This reply was modified 2 weeks, 4 days ago by  Jesse Paxton.

[orlando Chavez]

Subject Line: Orlando Producer/Manager

1. How will you present yourself and your project to the producer?
I will start by meeting thier needs and telling what i have.

I have a dramedy feature about a Mexican Olympic wrestler who becomes the envy of the lucha libre. Its in the realm of Nacho Libre and The Wrestler.

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

I will be open to any suggestions they have on developing me as a writer who can create scripts they can sell to be a go-to for studios.

3. Answer the question “What I learned today is…?”

I learned the importance of meeting producer and manager needs in order to be a successful screenwriter.

[Brian Moon]

Subject Line: Brian Producer / Manager

I’m going to come at this a little differently, because I had a manager way back when. The way I see managers is that they want talented writers who can work in a variety of genres. Selling spec scripts is difficult. My manager would often come to me with something either he wanted or a connection wanted, and I would be asked to rewrite (punch up) a project. Even doing this well does not guarantee success. I did a rewrite on a project which got a “recommend” from CAA but still floundered. So, in approaching managers I would probably discuss the range of my work, the fact that I’ve been produced, and the fact that I can and will do rewrites (quickly). Maybe I’m wrong here.

In approaching a producer, I would concentrate on selling him or her one pitch, probably in a genre that he or she frequently works in.

[John Duvall]

I mistakenly just submitted the assignment, not my response to it. Here it is.

Lesson 3: What Do Managers and Producers Need? – The Big Itch, John Duvall Producer/Manager

What I learned today is: the different interests between producers and managers, and the different strategies for approaching them.

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?

WHAT DO PRODUCERS WANT?

• Marketable projects: As a noir detective parody, The Big Itch features a bumbling amateur detective constantly digging himself into deeper trouble, and a murder mystery involving corporate corruption and a farcical pandemic. These genres are popular and these plotlines have been the basis of successful films.
• …that are well-written, and…The script has a sympathetic character at its center, other well developed supporting characters, and some surprising plot twists.
• …fit their specific market. I target my pitches to producers (including directors and actors) who have a record of working in these genres.
• Easy to sell to actors, directors, funding sources, and distributors. The Big Itch is a low-to-medium budget film, depending on the level of talent. On the same basis, it could be released to theaters or streamers.

2. How will you present yourself and your project to the manager?
Initially, I send out query letters with a logline and a brief personal bio. I’ll follow up if I get no reply. I may also make cold call to follow up.

WHAT DO MANAGERS WANT?

• Writers with marketable projects who the manager can develop into a major player: I will describe the virtues of The Big Itch as above. I will also mention that I have written five feature screenplays, a limited series pilot, and a continuing series pilot.
• Writers who will continue to write scripts that can sell: See above. Also, I will continue developing other ideas I have in treatment form.
• Writers who listen and collaborate well: I have received notes on all my scripts from contests, writers’ groups, and professional analysts through Stage 32. I always consider feedback and criticism from authoritative sources, and have made many script revisions based on them.
• Writers who can focus on paid writing assignments. My life is quite full with my own work, so this is one area I’m not very open to, unless the project was very compelling in terms of my own themes and genres.

• This reply was modified 2 days, 8 hours ago by  John Duvall.