BREAKING INTO HOLLYWOOD PT 1: SAMPLES

I'm deep into the novel right now. The TV pilot I wrote last fall is out to producers and I'm getting some positive and some not-so-positive-but-don't-stop-writing-just-maybe-do-another-draft types of comments back. It's hard not to stop and go back to the pilot, but until I get answers back from the three big production companies that I'm most interested in, I've vowed to work on the book.

Hard to sit on my hands and not second-guess this plan, but it's important to stick with the plan, at least until it's clear that a course correction is necessary... which is what led me to this blog post.

What does it take to get some attention in this town?

I've blogged about this before (here, here, and a couple other places I'm too lazy to find. LOL) but now I'm going to get back into the nitty gritty of what types of samples, the numbers, the quality, the subject matter, all the good stuff that we, as writers, fumble around trying to figure out... sometimes for years. **Le Sigh**

Samples:

You need 'em. Don't disillusion yourself into thinking you can move out here with a hope and a pitch.

NOBODY IS BUYING PITCHES.

Those pitches you read about in the trades, or hear about on some blog somewhere, those pitches aren't real. They don't exist. They are FANTASY PITCHES. In today's marketplace, there may well be an idea or two IN A GIVEN YEAR that sells based entirely on its "hotness", but the vast majority of buyers are holding out for a package, an engine, something they can put their money on and defend around that long table, or maybe just to their boss, or their boss's boss. This means that even though a writer may not have a completed script, the pitches that are being purchased nowadays are essentially ready to go to script once the deal is inked. Sure, there might be some perfunctory passing around of outlines, etc. once the ball is rolling, but for the most part, buyers are demanding, and getting, fully worked out stories. This means a LOT of work has been put in before feet hit pavement.

It wasn't always like this, and for certain market segments there is some leeway, but for you, the novice writer, or maybe mid-career writer who is changing formats (TV to Film) or genres, the pitch without a celebrity attachment is basically just another way to work on spec 3-6 months and then face outlining on spec for 3 more months if people are interested, and THEN finally getting paid to draft... at which point you've listened to a lot of cooks tell you how to make the soup. Unappetizing if you ask me.

All of this assumes, of course, that you have at least ONE high-quality sample -- preferably one that's been purchased and/or produced -- but a well-liked spec can get you in the door for the meeting that leads to the opportunity to pitch -- again, more free work you are giving away but some folks like to do that....

There are a lot of fair to middling folks out there in development land. They will believe that your sample is the second coming. DO NOT TRUST THEM. You're sample may well BE the second coming, trumpets, horseman, many-headed beasts, the whole nine, KEEP WRITING. As writers, we have the unique advantage of being able to make more acreage. If you have a sample that gets a strong response, great, it will make selling your next script easier. A writer's power lies in the ability to generate and execute story. At some point, a buyer will realize that you are an endless supply of ideas that have been committed to paper in script form, and will reward you with a wonderful overhead deal like the ones enjoyed by the big A-List writers (who are coincidentally all White men, but that's a post for another day...). Until that deal is signed, KEEP WRITING.

I know I sound like a broken record here, but, seriously, KEEP WRITING. Write script after script. When your newly acquired agents call you to pitch job opportunities, imagine their delight when you tell them you have another script that will be ready soon. Trust me, they will piss themselves with delight. As will your producer friends who have just found a nice foreign financier and need something to wrap a check around.

WHAT SHOULD YOU BE WRITING?

Hmm... it's pretty late and I have a chapter to finish, so I'm going to leave off here and write a lengthier post after I talk to a few folks. Remember: KEEP WRITING.

Foreign Markets

I still haven't made it out to see DARK KNIGHT. I know, I suck. I'm probably going to go tomorrow morning or afternoon. I was in Tahoe last week with my writing group working on the novel. It's going pretty well, but there are still tons of things to do. Anyway, as I work on my pitch document for this remake idea, I've been thinking a lot about foreign market concerns.

The reality is that the movie business is 60-80% driven by foreign financiers who are purchasing rights for sale overseas. Movies that don't have a strong foreign appeal are far less likely to be purchased and greenlit. What are the elements for a globally-appealing film?

First and foremost, genre. Action films don't require very much by way of translation. Sub-genres like heist films, gangster movies, detective stories, thrillers or horror films are all solid bets. As an artist, it's important to keep these things in mind when deciding to spec out a story, since you're spending months at a time on something with no idea where the market will be once you complete it. Also a strong genre sample helps a baby writer to get re-write gigs.

Movie stars run a very close second to genre. Most films are marketed with pictures of the lead actors on the poster. These actors do not have to be stars in the US, in fact, when casting is done on films supporting roles are often re-written, or created with specific foreign stars in mind.

Budget -- the US is still the only country that creates mammoth spectaculars like DARK KNIGHT as a matter of course. Studios sell of pieces of films (usually as part of a slate) to foreign financiers, but very few foreign financiers venture into the blockbuster movie-making business themselves (and, yes, I know about CHRONICLES OF NARNIA and ERAGON, but those are specific cases that have strong US executive elements driving them). This means that another important element is understanding the budgeting process and what different talent elements will bring in terms of a market return.

All of which is way down the road for me and my little pitch document. I'm still doing competitive research reading and trying to decide if I'll bring in a writer or writer/director before I go back in to visit the studio.....

Fund Your Film: Grant Money

Just skimming my emails quickly and I came across one from the IFP New York. I don't have any idea who is where in the funding process, but if you are shooting at least 60% NYC, IFP has a grant to pay for a newbie. Up to 10K, I think, to hire a crewmember who has never served in a particular job-title before. For example, a grant like this could be used if you have an art director stepping up to Prod designer or a PA stepping up to AD, etc.

The film's budget has to be under $3 Million.

This may be worthy of a post on its own, but independent film financing can come from any combination of sources. Financiers who specialize in it like Newmarket Capital or Deutsche Bank, "angel" investors who are typically individuals or groups of individuals, loans, self-financing, and whenever you can dig one up, grants. I think New York is smart to put these kind of film dollars on the table because it increases local production which spreads loot all over town, and it also could potentially help to build up local talent. I hope some other film commissions pick up on this idea or similar ones. Reminds me of that Canadian Content tax break (is that even still available?) which made it mandatory for productions to hire Canadian nationals in above-the-line positions in order to get money from the film commission. The details escape me, but as I remember it the money came in the form of a tax "rebate" which essentially added 10-30% of the budget back into your film. All those movies shot in Toronto, Vancouver and Montreal took advantage of this -- which explains why New York and Detroit look so much cleaner in movies. :-)

When you are putting together your film, assuming it isn't something that is locale specific (e.g. MY SUMMER AT GRAND CANYON probably can't be shot in Minnesota), the process benefits from a producer with her/his eye on tax breaks, grants and incentives all over the world. Some of these are publicized, some can only be found through word of mouth. A solid working line producer is worth his/her weight in gold when you are rooting around for this information.

I'm always encouraging folks to get out there and put those words you type up on the screen. The best way to learn how to make movies is by making one. So, here's some loot. No more excuses. And then drop a note by the old bloghouse so I know what happened. Good luck.