I wrote a treatment that is a biopic with a (historically) little known twist of betrayal. Through a contact I was able to pitch it to a reputable producer about a year ago. A dialogue started and continued for months. Then there were several producers involved and they informed me it was too long and needed clarification. For the past four months I rewrote it for them - maybe as many as fifty times. I know they are interested or they would have passed - long ago. Finally they asked for a submission of all material. Now, one of them wants me to "tighten the narrative." My question is - when do I say - "wait, I need to be paid something. I need a commitment from you. Option and we'll all get back to work and write the script." This has become nearly full time - never mind the fact that I have decades of work that led me here in the first place.
Screenwriting : When do I push for [them] to option? by Michael D. Lancaster
When do I push for [them] to option?
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Be careful here. If you're rewriting based on their notes without a contract, you might be muddying the waters of ownership. I'd start by getting a lawyer, then get SOME sort of contract. If they decline to option, you at least need a document that says, oh, and by the way, I own every note you've sent me and just because I'm doing rewrites for you this is not a work for hire. Even the slightest question about chain of title could interfere with deals you might want to make with other companies in the future. I mean, I'm sure they're nice people and you won't have a problem, but... in cases like this, lawyers are very very useful.
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Thanks Kerry Douglas Dye - Yes - I am cautious. They have deferred to me to write based on one sentence critiques always through my contact - one of my oldest friends. They always defer to me being the creative. They might say, "You need the reader to fell passion about..." and later "still not getting the reader's passion.." etc. There has never been more than a few adjectives thrown back at me - too long - someone's character is milk toast, etc. Then I attack it and start over. If it wasn't for the fact that my friend of 40+ years was in the middle and is very close to one of these producers I would go straight to a lawyer. They have asked me to repeatedly cover my copyright. However - a copyright on a treatment is far more vague than a script. I also have always been told to check the history of producers. If they have done major work (these guys have) then it may be injurious to the relationship to not be (somewhat) trusting. But now I want someone to cover me. Lawyers are $700-$1000 an hr.
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Good deal. Then I shorten my answer to... "now?"
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Thanks - honest and to the point.
Thanks Lisa - I do have an IMDB pro acct and track anybody I am curious about. They have many projects - some big. They have made films over 100m. Some have made money. They are for real. That being said I am following some of Ron's advice. Time to seek an endgame!
Kerry and Ron are both right. No producer will ever be honest with you. They will always lie to you, come up with some explanation why you need this, that, change that part, use more of this..... simply to lower the price. But here's something else. Why would such BIG PRODUCERS even be interested in script (Yours, mine, any script at all) unless it's good material. I'm not saying it's not but when they find something like that, they will try to make a deal with you ASAP without even mentioning OPTION. Once you do sign option, you have placed yourself in LIMBO, for how long, a year, two years and if the deal don't go down, you probably locked your script in SUPER MAX security prison, from which even papers rarely escape. Please don't get me wrong, it's just my opinion, not a rule or even the fact.