As a pathway to increase the chances of selling your spec script, a few of our members have spoken about attaching a name star or director to the project. Now, if I still lived in LA, I might consider hanging out at the Ivy or the Alcove, and wait to stalk somebody I wanted to attach to my screenplay. And since I'm still a fairly unknown writer with no features produced, I'm quite certain that based on my charm and good looks, well-known directors and actors would pile up in a stack for a chance to work with me. So apart from hyperbole, I did a little research on this subject and am attaching what I thing were interesting articles on this subject. The most realistic approach to doing this involves the use of social media being mentioned in the script magazine article. Otherwise, if you have fifty grand to play with, you can go the pay-to--play route (rolling my eyes) some people have suggested.
http://www.scriptmag.com/features/whats-motivation-getting-a-list-actor-...
http://www.chrisjonesblog.com/2015/03/attached-screenplay-amalou.html
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Probably the most realistic way for an unrepresented writer to attach A-List Talent to a script is by pitching the A-Lister's production company directly. I did that in the past with several A-Listers. I didn't get the result that I was looking for, but based on the first "pass", I did get the opportunity to present them future scripts. In today's Hollywood, I don't think as many A-Listers have their own production companies like they did ten years ago, though, but some still do.
Bill C:
Great suggestion and observation.
Dan M: Let's double team a good B-lister then.
I know a couple of producers with good track records that have attached name talent to screenplays. But the simple truth is unless you can get a producer that can raise the money, you won't get a movie made.
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Dan G: We have no disagreement on attaching talent giving you an edge. But the average aspiring screenwriter can't just say okay, I'm attaching Oliver Stone to my script. It ain't my first day at the rodeo. I've had four screenplays optioned and none of them had talent attached. Producers with films under their belt pitched the work to folks like Anonymous Content and Tyler Perry, WIlliam Morris and several others and never got past other execs reading the work. So for unrepped folks, getting to the talent is the trick. Easier said than done. It always cracks me up when someone says, "Hey, why don't you send that civil rights script to Oprah Winfrey or that Sci-fi screenplay to James Cameron?" Sure, will do!
Dan G:
Having a good agent was definitely a blessing for you. And, I congratulate you on your success. I worked with Barry Perelman Agency for a short time and he certainly helped me get a project in front of some well-known directors. Currently, Philly is repping himself and will continue writing spec scripts, which occasionally nets me a work-for-hire gig, like the one I did a proposal for last week. However, IMHO, the odds of an unproduced, unrepped screenwriter getting name talent attached to his spec script are akin to a salmon swimming up Niagara Falls and reaching the top.
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Dan:
I think you've offered up some really good suggestions regarding lesser-known directors or second unit directors or up-and-comers. Excellent post.