Day 3 Assignment

[Larry Ridlen]

Larry Ridlen Producer/Manager

I would say to the producer: “I have a great script with intriguing characters and a catchy title that would fit in well with the genre of movies you make. I am committed to getting this movie made. I’m happy to do any rewrites. Just tell me what YOU need.”

I would say to the manager: “I have several great scripts with fascinating characters. I am committed to a career as a successful screenwriter. I’m happy to do any rewrites. Just tell me what YOU need.”

What I learned today is:

Successful collaboration is dependent on the flexibility of the writer.

[Frank Livorsi]

Producer for short term, Manager long term. Cooperation is the key for both.

[Jeff Hall]

Jeff Hall Producer/Manager

Understand who you are selling to when you pitch a project.

Producer:

I would stress the fact that the screenplay will be easy and relatively inexpensive to produce. There are no special effects or outlandish stunts. The locations are limited and not regionally specific so the production could be shot anywhere that’s economically advantageous. The cast is small and several key parts are older, which might interest senior A level talent looking for roles.

Manager:

I have a series of screenplays that are topical, easy to produce and well suited for the streaming market.

I have worked in television, so I understand production. I am open to revisions, rewrites, staff positions or writing assignments.

[William Leiren]

To the Producer, I would present myself as intelligent and capable, a workhorse who is savvy enough to know that someone else (the Producer) may know more about the business than I do, and that I am certainly flexible in revamping the work in such a way that they would have a much easier time selling the script. While I would want to maintain my integrity about my work, I also recognize that a story can be written a million different ways, and constructive criticism is always a good thing.

To the Manager, I would present myself as a long-termer. Someone who has studied the film industry from the angle of a seasoned writer, and who has stepping stones in their career path already in mind. An array of various scripts in different styles and genres, and an openness about delving into new areas. Recognizing that the script is merely the first blueprint to the building to come.

What I learned in lesson 3 is the strong reminder that the writer who wants an actual career in the film industry must look at their own work as forever malleable. If you want to die on the sword that only you, the writer, knows the best story, then you’re better off writing poetry for seasonal college journals. Nobody in the biz will want to work with you.

[Joan Dougherty]

Meeting with a producer

I’m happy to tell you about a script that I think may interest you.

Over the Edge is about a young man’s struggle to keep his past a secret and a storyteller’s efforts to help him reclaim that past and finally tell its story.

Overcoming childhood trauma by telling your personal story is not a new concept, but entering a world of stories that perpetually and daily renew one’s spirit is new. The entry point involves going “over the edge” of the rim of the world once you’ve become a part of a story told either by or about you.

The script involves magic realism (an amalgam of drama and fantasy) that can be achieved without CGI. It’s set in a small rural village on the edge of a large forest with a relatively small cast. It’s unique mythology involves creatures known as NightCatchers.

If you’re interested in reading the script, I’ll be happy to send it to you.

Meeting with a manager

I have only one script and no ideas for another. I cannot in good conscience write as if a manager will have enough work from me to represent.Meeting with a producer