As
a producer, script consultant and former VP of development for production
companies based at Sony, Universal, and Disney, one of the most frequently
asked questions I hear from screenwriters is “How do I get my material
seen?!!” In response to this and other commonly asked questions, I
wrote this article to provide insights into the minds of industry professionals
and their decision-making process when buying material. Having a better
understanding of how executives and agents think may enhance your abilities to
navigate the landscape, get your project seen, and advance your careers.
.
“How do I get my material seen? What is the common denominator to
success? Aren’t a lot of Hollywood executives jaded and simply don’t ‘get’ my
material?!”
It
may be true that many Hollywood executives, producers and agents are jaded;
however, it’s because we read thousands of scripts, books, and pitches every
year. We’ve seen and heard just about everything. Therefore, the
responsibility rests with the creative talent to present material that is fresh
and well-executed.
The answer to “What is the common denominator to success?” is simple and
yet highly challenging: WRITE A GREAT SCREENPLAY. A great
screenplay will get attention and recognition through a myriad of resources
such as:
Pitch fests,
screenwriting contests, submissions to companies and agencies that are willing
to look at unrepresented material, writing an effective query letter,
networking, attending writers groups, and asking a friend who might have
connections for introductions. A great script will start to get
attention. It might make it on industry lists and websites such as
ScriptShadow or the Black List, resources that highlight outstanding
screenplays and are read by executives and agents.
In
truth, every time an executive, agent, producer, reader or assistant sits down
to read a new submission, they are rooting for you.
“But
you just said that most executives, producers and agents are jaded, so why
would they root for me? It seems that a lot of them just can’t even
recognize a good script!”
To
succeed in Hollywood, it is essential to understand the paradox that both
diametrically opposed dynamics exist in the entertainment industry. Hollywood’s
decision-makers are inclined to say “no” to your project and the odds are
stacked against you. At the same time, they want you to succeed.
Why?
We
want the next great thing! How easy our lives would be if your script is
amazing. If we’re an assistant and become responsible for pointing out a
script that will eventually get made and become a hit, that assistant is likely
to get a promotion and move up the Hollywood ladder. If we’re a studio
executive or producer and this happens, we will get a raise, increase our
quotes, our percentage points and our status.
Put
yourself in the executives’ shoes. You come in to their office, you pitch a
project that you think is the most original, most fantastic idea. Maybe
it is. But there is also a good chance that the executive has already
heard a version of it before.
The individuals who ultimately have the power to green light
a film are investing millions of dollars in a movie. If it fails it’s
their ass, livelihoods, and pocketbooks on the line, not yours.
Screenwriters
often get wrapped up in the rejection process and lose sight of the
above. It’s important to make an honest assessment of your work by asking
yourself the following: “Have I done everything possible to create a
compelling story? Is the dialogue fresh and gripping or is it
expositional? Is the situation engaging?
Are the characters interesting? If you cannot
honestly answer “yes” to all of these questions, then ask yourself this next question: “If I had millions of
dollars at stake and could risk it all, would this be a script and story I’d
want to stand behind 100%?” If the answer is no, it might be time to
get back to work.
“Isn’t
it true that Hollywood is reactive?”
Yes.
If a certain type of feature comes out and does poorly, projects in a similar
genre may fall out of favor at the studios and be dropped. Conversely, if a
marginally perceived film does exceptionally and unexpectedly well at the box
office, suddenly the studios may clamor for that type of project. But it
is also true that there are Hollywood executives, agents, managers and
producers who are visionaries and risk-takers, who stand by the courage of
their convictions even if what they are trying to sell goes against the status
quo. It is the visionaries who set the trends. If they didn’t
exist, we would never have movies like “The Artist”, “Up”, “The Hurt Locker”,
or “Juno”, movies which go against the grain of high-concept, commercial
films. Once again, the common denominator to success: START WITH A
GREAT SCREENPLAY.
Take
another example, “The Ex-Files”. There had been nothing like it on
television before. Once it became a huge hit the networks were flooded with
copycat or “Ex-Files” wanna-be’s. None succeeded because almost nothing
is ever as good as an original idea that comes from a true sense of creativity
(as opposed to a replica that stems from a calculated vs. inspirational
place.)
Because
Hollywood often operates from a reactive rather than purely creative place
doesn’t necessarily mean that everyone who doesn’t “get” your script is a
jerk. The submission process is often a numbers’ game to find the right
person who eventually will “get” your material and want to fight for it
and use their resources to get it made.
“But
doesn’t Hollywood make bad movies? I’ve seen Hollywood make lots of bad
movies! How do they get made?!”
When I hear screenwriters ask these questions, it puzzles me. I
recognize the frustrations of getting turned down, but it’s almost as though these declarations are license and justification for not having to write a good screenplay.
Just because Hollywood makes some bad movies, do you want your script to be one
of them? Ask yourself, what is it you really want?
Do
you want the fame and glamour of getting a movie made? Or do you want to
create a great piece of writing that will make a
lasting impression? If you’re diligent and committed to the task of creating
excellent work, the fame and fortune should be the by-product. If your
focus is fame and fortune and not a commitment to your craft, chances are you
might not obtain the fame and fortune.
While
bad movies might be useful guides to help you avoid certain similar pitfalls in
your own film, using negative comparisons as a barometer for your own work is
not productive or constructive. There are a thousand random reasons as to why mediocre
and bad movies get made, or start out with good material but then wind up
poorly executed. Rather than look at the negative examples of such films, it is
best to look at successful models of the types of movies that you are writing.
If you look to these for inspiration, they may trigger your imagination
further, and stimulate new and exciting ideas for your own movie.
“What
if I write a great script and it still doesn’t get sold or made? How does this
serve me?”
In
spite of all the glamour we see 24/7 in the media about Hollywood fame and
fortune, the truth is that this is one of the most difficult businesses to
break through. It is not for the faint of heart. It is for those
who are diligent and persistent and have the ability to sustain themselves
while pursuing their craft and passion.
If
you do write a great script and that script gets exposure – even if it doesn’t
get made -- there is a good chance it will lead to screenwriting jobs where
executives and producers will want to hire you.
Many
screenwriters forget that the screenwriting idols they look up to have worked
on projects for YEARS before they ever got made. A few examples include
critically acclaimed, Oscar-winning films such as: “Crash”, “Shakespeare in
Love”, “Ghost”, “In the Line of Fire”, to name just a few. If it’s taken
brilliant filmmakers such as Paul Haggis years to get some of his movies made,
why should a writer starting out expect to hit a home run without having put in
his or her dues? A writer/director/producer such as J.J. Abrams is
another example of someone who did not achieve success overnight. If you
look at his bio, it’s clear that even though he is relatively young to have
such a successful career – he has in fact been working at his craft for a long
time.
In
1991, nearly 21 years ago he wrote a very strong “spec” script, “Regarding
Henry” which attracted Harrison Ford. Nine years later Abrams created his
first TV series hit “Felicity”. He then went on to create “Lost”, direct
“Mission Impossible” and “Star Trek”. He is one of Hollywood’s most
in-demand directors but again, his success did not happen
instantaneously. It happened through hard work and a continuous
commitment to evolving his craft.
**
The above
are a few examples that are intended to provide “tough love” and a realistic
assessment of the business with respect to insights that can help you better
navigate the Hollywood landscape.
That
it can be both the most magical, inspiring, and rewarding, while at the same
time difficult, fickle, and disheartening businesses in the world is a paradox
that exists within the entertainment industry. If you are looking for immediate gratification, you are
probably in the wrong business.
If
on the other hand, you have the discipline and perseverance to painstakingly
hone and refine your skills, and you are armed with good sense and
self-awareness, the entertainment industry can be the greatest business in the
world, and a myriad of possibilities awaits you.
