Lesson 3

[H. Vince]

H. Vince’s Producer/Manager

Power Players – 2023

Lesson 3: What Do Manager and Producers Need?

What I learned from doing this assignment is…

That this course is speaking my language. I have worked as a business professional working closely with business owners for many years. I have owned a business and worked for myself for years. I have a formal education in business so I understand that with any business, people want to make money.

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

I would point out that I write Thrillers which is the type of movie they usually produce. I would present the concept making sure it stands out. Then I would tell them what well-known movie or movies it could be compared to and how this type of movie would be attractive to actors. Not only would I mention similar box office successes in the subject of strained office relationships, but I would also mention that seasonal as well as up and coming actors such as Julia Garner (Ozark) who played a somewhat relative role in the 2019 movie “The Assistant” would be interested in a project like this. Bottom line I am willing to work with the producer to get a money-making movie made.

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

I would let the manager know that I have many concepts in the vault that are either fully written or I am willing to work on currently if he/she thinks this will be a money maker for everyone involved. I would then pitch the current concept and let them know that I am willing to work and learn how we can make this concept become a cinematic reality. I have spent time and money on studying the current writer’s market with current theater released movies, streaming movies and current writing techniques. I am professional and motivated to move the project forward which will mean I will be open to rewrites that will meet the budget and attract desired actors.

[Stephanie O'Leary]

Stephanie O’Leary LESSON 3 Producer/Manager

WHAT I LEARNED TODAY is …

A Producer needs a Writer for Source Material but begins an entirely new journey thereafter, finding and assembling the myriad components and people that eventually get a film made. A Writer can be an invaluable ally to a Producer by sharing their vision of the material, being flexible about script changes, and creating targeted pitches to help them shop your script to actors and business entities alike. Do whatever it takes to get your film made.

A Manager acts as a long-term mentor and creates a plan to shape your abilities as a Screenwriter. A Manager knows how the movie business works and can advise you on everything from pitches to presentation. Being focused, doing the work, and following their directives can lead to a mutually beneficial and successful career.

HOW I WOULD PRESENT TO A PRODUCER:

TUSK is about a woman’s fateful encounter with alien hospitality,

…  whose role in the universe is redefined without her consent,

…  a woman who cannot die

…  and whose loss of control leads to a tragic transformation through the will of others.

Alternative High Concept Pitch:

What exists beyond the stars? If it lives, is it friend or foe? And if we dare to breech that divide, are we willing to pay the price of our curiosity?

There are two strong roles that should attract name actors. One of the final scenes also suggests the possibility of a sequel.

HOW I WOULD PRESENT TO A MANAGER:

I have a cosmic horror script called TUSK that I hope will be of interest.

LOGLINE: Space “harvesters” abduct and transform astronaut Brie Foley, forcing her to examine the mysteries of faith, the price of willfulness, and the cosmic cost of cravings and appetites.

There are two strong roles that should attract name actors. One of the final scenes also suggests the possibility of a sequel.

I have a varied background as a writer and TUSK, my first script, is based on one of my published short stories. I hope it will be the first film in a franchise.

• This reply was modified 1 year, 9 months ago by  Stephanie O'Leary.
• This reply was modified 1 year, 9 months ago by  Stephanie O'Leary.

[Jake]

Jake’s Producer/Manager

What I learned today is as a writer I have to make my scripts the very best, in order to approach producers and managers. And, I should understand how to pitch and work with them, because each have different things to consider when making business decisions.

To a producer I will present myself professional; Three strangers decide to help some kids escape from a slave-labor camp in downtown LA. I’d be open to any rewrites and ideas with the goal to get the movie made. The same, I’d take action from a producer’s perspective even though I’m just the writer and would put on a producer hat if that helped the movie get made. I’d be prepared with facts, figures and be ready to conduct other production necessities if I’m asked to, or my input is needed.

To a manager I will present myself professional; Three strangers decide to help some kids escape from a slave-labor camp in downtown LA. The three are reminded their current struggles pale in comparison to the majority of others’, but they’re strong-willed, good-natured people with a common goal. I’d be patient wanting to pitch a manager my other scripts and be excited to hear a career strategy to begin from there. I’d absolutely commit to work on paid writing assignments and approach this relationship being open to other high-concepts and trust their guidance how to present and pitch in meetings. I’ll work and build a long-term and mutually rewarding career.

[Margaret Doner]

Lesson 3 Producers and Managers

Margaret Doner

I learned that producers and managers must be pitched to slightly differently because a producer is looking only at the one script and a manager is looking at a career. I understand that both producers and managers want something to the point as they receive many submissions and their time to consider new writers is limited. I always struggle with how much personal information to put into the pitch.

Down to Heaven

Logline: When a medical student’s wedding takes an unexpected turn, his guardian angel intervenes with a daring plan to save him: hopping into the body of the dead bride and facing off against her vengeful ghost

Different pitches…one for producer…one for manager

Pitch for producer:

Guardian angels becoming too attached to their human charges is a subject that film-goers have loved ever since Heaven Can Wait, City of Angels and Meet Joe Black. Annabelle, a guardian angel who struggles with the detachment her role demands, finds herself falling in love with her charge, Charlie O’Hirn. When Charlie’s bride, Betsy, dies moments before the wedding, Annabelle hops into her body, to bring it back to life and save Charlie the heartache of finding his dead bride’s body. Betsy, on the other hand is furious that she is stuck in the astral plane as a ghost, and is desperate to evict Annabelle from her body. Instead of saving Charlie the pain of finding his bride dead, Annabelle discovers that she is now “stuck” on Earth, and is faced with the impossible task of letting go of Charlie while still trying to protect him from the truth. All the while, she is desperately trying to fight off Betsy’s ghostly advances. There are no easy answers in this heartfelt tale of love, loss, and betrayal. Will Annabelle choose the right path, or will she make a mistake that could cost them both their lives?

I am a twice optioned screenwriter, and have written several novels including, Lies and Lust in the Tudor Court: The Fifth Wife of Henry VIII. I adapted this novel into a screenplay and it placed in the top 5% out of 6,044 scripts in the Nicholl Screenwriting competition.

I would love to send you my newest screenplay, Down to Heaven.

Thank you for your consideration,

Pitch for manager:

Logline: The same as above

I am the author of several novels and a series of books based on the wizard Merlin. My screenplay, Portuguese Love Letters was optioned twice, and I adapted my novel, Lies and Lust in the Tudor Court: The Fifth Wife of Henry VIII, into a screenplay which placed in the top 5% out of 6,044 scripts in the Nicholl Screenwriting competition. I would love to send you my latest screenplay, a romantic comedy in the vein of Heaven Can Wait, City of Angels and Meet Joe Black.

Annabelle, a guardian angel who struggles with the detachment her role demands, finds herself falling in love with her charge, Charlie O’Hirn. …

Same as above after this…

[Vincent Saia]

Producer

I would emphasize the marketability of the material as compared to movies such as TOP GUN: MAVERICK and SAVING PRIVATE RYAN and the fact that it is unique in that it is a true story of the hero overcoming his personal demons while he is going on the hero’s journey

Manager

I would emphasize the quality of the writing. It takes place long before I was born in an environment I have never been in and places I have never been to yet the characters are believable and I have established the atmosphere which shows I would be able to handle a variety of writing assignments.

I learned the difference between presenting something to a producer and presenting to a manager and their individual needs.

[Elizabeth Cochrell]

Elizabeth Cochrell, Producer/Manager I would pitch myself as an established fetish video producer that is upgrading to mainstream features and series and with a AA degree in film I have a few projects ready for development.

I would find the producers of similar movies like 2015’s Southpaw, starring Jake Gyllenhaal, with many producers like Jason Blumenthal who is a partner of Escape Artists Production Company in Culver City, CA a few miles from where I live. Southpaw has similar components of my movie: After a fatal incident sends him on a rampant path of destruction, a champion boxer fights to get custody of his daughter and revive his professional career. I would pitch my movie Mother Love as somewhat similar only with a female fighter instead where a young mother chooses to fight to keep her adopted daughter who ran away from her foster parents. I’d also bring up that the daughter almost gets trafficked in the process, which is a hot issue as seen in the social media talk frenzy of the current flick Sound of Freedom.

I would also compare Mother Love as a lighter version of 2020’s Bruised with Halle Berry as actor producer, which brings to light the popularity of females in MMA, and that my movie Mother Love although it contains the dark aspect of the teen sex abuse issue it is made more alluring than Briused by the beauty and grace of the lead actress’s pole dancing and the cuteness of her daughter’s dog whispering.

FOR A MANAGER: I would pitch them that I am a survivor of divorced parents had a twin sister who was murdered and that I was a stripper fighter who has a lot to say about underdogs bringing criminals and wrongdoers to justice, whose protagonists transform weakness’s, save the day and fall in love. Then I would share the logline and concepts of my completed features:

A family sports drama Mother Love

A crime romance Curse of the Scream Queen

I would also share the fact I published a self-help book Hot Romantic Escapades for Lovers, in which I plan to write a ten-episode tropical island reality show for couples with a concept that is a mixture of two other popular reality series Marriage Bootcamp and Survivor.

What I learned from this exercise is that it’s not as hard as I thought to explain my projects and that paying more attention to other shows like what I write is essential. I just bought the discounted year of IMBD Pro because of this realization!

• This reply was modified 1 year, 9 months ago by  Elizabeth Cochrell.

[Roger Stone]

Roger Stone’s Producer and Manager lesson

My project’s logline to a Producer: A 14 year-old girl helps her neighbor search for his missing dad– the pilot of a UFO that got shot down.

My Project’s logline to a Manager: A 14 year-old Piute Indian girl helps her new neighbor find his missing dad – a UFO pilot – and brings down a corrupt County Sheriff in the process.

What I learned today is Producers need to hear a logline that is High Concept.

Managers need to hear a good story.

[Edward Etzkorn]

Ed Etzkorn’s Producer/manager

To producer: I anticipate my horror film would appeal to teens as well as adults. Expect PG-13 rating. Main character is a black teen girl, and three of the six main characters are teens. Would appeal to folks who loved The Sixth Sense and Stranger Things.

To manager: The above, plus I would point out that a second screenplay is also completed and would appeal to the same potential viewers. A third screenplay is in the works, and because of more violence and a more mature/questioning outlook, would appeal more to adults. As it relates to climate change, it is more timely than the first two projects.

What I learned from this assignment: Working with people whose outlooks are different from mine as the writer requires viewing my potential film from quite different perspectives.

• This reply was modified 1 year, 9 months ago by  Edward Etzkorn. Reason: Forgot to include "What I learned..."

[Susan Arnout 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.

• This reply was modified 9 months, 1 week ago by  Susan Arnout Smith.