Had a stage 32 script consultation on Tuesday and as we finished up the producer said "Netflix would love this. Send me your proof of concept video and Look Book." A few minutes later she had it. I was wondering how many people have a Look Book ready? As important as it is I was thinking people new to this process might not be aware of what they are.
You've got your sales pitch and your script ready to go, great, just to add another layer to your portfolio a Look Book can really help your project. It gives you a chance to show a producer the feel of what you are doing. It can give them more details about your project than the pitch sessions have time for. It's especially useful if you're working on bigger projects, limited series, etc. It's not quite as extensive as an actual series bible but it's step in the right direction. Photos, character notes, plot points, other things to help build the world you imagine your story would take place in.
Originally Look Books were developed in the fashion industry but have also been used in other forms of entertainment like what we do. Found this online:
Cinematography
Whilst the lookbook term has become more prevalent in recent years through fashion vloggers, lookbooks have long been associated with cinematography. Whereas a fashion lookbook has more in common with a portfolio, cinematography lookbooks will contain a collection of reference images illustrating scene layout, setting and lighting. This may be used to be shown by a cinematographer to a director to illustrate or communicate the intended result from a scene, or vice versa when the director has something particular in mind.
Look Book or lookbook? I've noticed different places spell it differently.
Either way, just something to have in your arsenal to help you sell your work.
For the time being hoping Netflix loved like she predicted.
Good Luck.
Bill
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I've started my lookbook, but I want to make sure I have everything I need in it. Can you suggest any online sites for me to have a list or can you suggest a list of your own?
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So first of all, good luck with your tv series Bill! And this is a cool thread. Sometimes all those marketing tools confuse me. They all feel somewhat the same. For "Vincent" we did a lookbook; it was called "DOSSIER-ARTISTIQUE-VINCENT". Part of it was a few drawings. Cool because this whole short film idea started with this basic "what if" question: "What if a talented but unrecognized painter would go into the past to sell his/her paintings or visa versa. The first basic idea never was making a short movie, it was making a a few paintings whit this basic "what if" idea. Now at least some art was/is part of the pre-production and in the finished film.
Donna L Hinkley Sometimes it's also called a pitch deck. Jason Mirch did a webinar here at Stage 32 that can give you some really good advice on putting one together. Hope that helps you get a really good idea of what you need.
Rutger Oosterhoff Thank you and good luck. Sounds like you have an idea that keeps growing. Part of mine was trying to convey the images of the characters and how they would feel. I'm hoping that would help fill in the gaps that a producers needs to get familiar with the world it takes place in.
Yes, it is about "emotion" about the "feel" of the world you are creating.
Nope, I think Look Books is the new script guru rabbit hole waste of money & Time. Maybe if you’re a writer-director physically making a movie but for screenwriters writing spec samples- no.
Look Book is something you do together with a team on board first. It’s kinda ridiculous to make look books for every spec script. Now, if you got an assignment writing job, that’s on the Employer to hire, pay, and make.
I agree with the sagacious-as-usual Dan MaxXx. Writers write. The primary part of a producer's job (in the beginning) is to raise the money. To that end, it's their job to create whatever materials are needed to acquire that funding.
No offense, Bill Albert, but lookbook? POC? Sounds like that producer is asking you to do the work for them. If you already have those materials, why do you need the producer? Do some research and find a way to get to Netflix directly,
Hiring an entertainment attorney to contact Netflix is one way - I mean, you've already spent $$$ on the materials, hiring an attorney to take it out seems like it's in your budget.
Just to avoid being called a hypocrite, I do have some of those materials for some of my projects, and am working on a POC for one. But I consider myself a writer-producer, so having these materials makes sense for me because I'm the one seeking funding. These materials have also worked well in finding collaborators - creative/business partners.
But if I was just a writer, I wouldn't waste a second or a dime on anything but writing.
IMO.
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A pitch deck and a look book are not the same thing. Sometimes a pitch deck includes a few look book-type pages.
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If you use scripthop it does everything as pitch deck without all the graphics. Simply not as fancy but free easier and complete
Christiane Lange Thanks for straightening that out.
John Iannucci Will check that out.
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Bill. You will need a code so if you want PM me and I'll send you one. And yes I agree with Christiane however it seems like a lot of people are making the mistake that they are the same.
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I really appreciate all the information. Bill, you are a kind soul. Straight up information is the usable kind. Thank you, everyone.
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Bill, I'm using both ScriptHop and Prewrite in order to add extra layers (especially visual ones) to what I'm trying to write.
Great post...and all the VERY BEST to you!
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I have LB for important pitches and always make one if producer shows interest outside boardroom. I write and direct but would not do look book for just what I write, only ideas shown seeds of interest to grow. A look book portrays the director's vision and final execution of film. @Jack has point, a look book should have own copyrighted material for legal reasons but I don't discount LB's cos it never harms to guild the lily and have one up your sleeve. @John good tip, do research to connect with Netflix directly. @All Page from vintage noir LB, cop and hood in war tunnel spotlight, old fashioned but got results for transmedia funding. Had I not turned up with LB would not have funding. @Rutger love your examples.
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Haha --Debbie,it is made by the Director Alexis Neret. Not sure what this guy can't do? He also acts. Looking at your photo, is it Bogard? Because of an eye infection I can' see well.
Debbie Croysdale Well done. They are a fact of life. If you want to try and convince a producer to get involved and invest in your work the "Look Books is the new script guru rabbit hole waste of money & Time" attitude probably won't help.
I have to say that ScriptHop has some potential. It's free for now and it does a decent job of making a script more attractive. However, the writer still has to provide advanced materials like a poster, etc., which gets back to a writer paying for things they don't need to pay for. Too, it remains to seen if ScriptHop actually generates sales, options, etc. Free or not, if it doesn't produce career-advancing results, it's a waste of time.
Sorry, Bill Albert, but the way to get a producer involved is to develop relationships with producers (takes time and honesty) and have a KICK-ASS story. Look books and so on are just ways to shortcut this hard, time-consuming, but proven process.
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Just put down scripthop as a free choice. I work on mine sporadically. When They’re done , they’re Done. Posters I do myself with “stock” photos. Only reason is I have been asked for “A pitch book and the like” so I keep the arrow in my quiver just in case. (Both accepted these in place of a script book” But as was said - nothing beats relationships and A GREAT SCRIPT.
John Ellis So you are saying the script consultations through Stage 32 are a waste of time. Personally, I disagree with your claim.
Bill, not a "waste" - we will all (everyone who achieves even modest success in this biz) pay our dues, either in time or money or both. I choose to spend more time and less money.
The one issue I have with MOST (not every one) "consultants" is that they're not working pros. They're either working off of credits from decades ago or have little to no credits in writing/development/production. I have more credits than a lot of them, and mine are definitely no big deal.
S32 consultants tend to come down on the side of more creditable people, but I choose to spend the time and find the free resources and do the work (of honing my craft) myself, rather than spend the money.
Personal choice, just as my earlier posts are my opinions. Everybody's got their own path.
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@Rutger Hope your eye infection soon clears, no it's not Bogart in my photo and you made me proud thinking that, its my own shoot to try to nail era. Most clothes were hand sewn from hand cut patterns pinned on actors and actress, devil's in detail. Encs pic of hard boiled so you see his face more, been a Keanu Reeves double in films. @Bill thanks for your input and update. @John Agree. Nothing beats a good script and right relationships but it's an ace up sleeve to "show" the visuals on brain's hard disk. In any given scenario, an LB could help sway a favorable decision. They need cost nothing cos most windows packages come with "Publisher" which a child could learn. There are better packages off course but some folk don't want to spend which is understandable.
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Bill, first of all, congrats on getting the interest from someone to act as a champion for you and your project. That is half the battle. I can tell you that the TV show that I just sold to NBC/Universal the lookbook I put together was key in pitching not just to the exec, but then from the exec to the president who bought the show. We've revised the look book a couple of times as we're preparing for the shoot next month and it's our central document for the show. Additionally, I met a writer here on Stage 32 several years ago that I loved the concept of a script he wrote recently. I read the pilot and didn't love it but I knew it had potential and asked if he'd put together a look book to show the world. He did. I wouldn't have pitched the script blindly to my colleagues because I knew it wasn't there yet, but was excited about the concept. Once I got the look book I then pitched the script and the look book to 2 managers I know - with the caveat that the script needs work - and they are now both reading. Additionally, I'm pitching another pilot right now that I've packaged with an A-list showrunner and director. The look book has been instrumental in getting us meetings to pitch with mini-major studios, two who have asked us back for 2nd meetings. So, my vote is on the side of yes to having look books. Everyone is different, but I've sold a show, gotten writers meetings and gotten myself pitch meetings as a result of them.
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Amanda Toney Thank you so much. Congrats on your NBC/Universal project. It just felt that, especially in the case of a series, having a Look Book would be a real bonus. Usually the questions asked are "Where do you think this could go?" or "What's it really about?" Being able to show exactly where it could go can really get their confidence and attention. Looking forward to seeing your projects.
As Amanda said, everyone is different. I've acquired investors, gotten active producers attached and gained studio interest - all without look books - by having killer stories and taking the time to develop relationships (long before I pitched them anything).
John Ellis, I believe that was clear the first 3 times you said it. No offence.