Last week while using a screenplay pitching service, I submitted five written pitches. In response, I received an immediate read request for my spec action screenplay called Gina Jericho. A few days earlier, I had an actress contact me after having the Gina script for more than eight months before reading it. She told me that she's very interested in the script and that she's considering optioning it. However, I received no firm commitment. So when I submitted the screenplay to the pitching service last Thursday, I told the producer I had another actress interested. That producer got back to me within fifteen minutes, requesting the script.
On Tuesday, I had another producer request a script for the written pitch I made where I clearly stated I did not have a screenplay but could quickly write one. I also advised him I would be happy to submit a sample script that reflected a similar topic to what he was looking for. He read that spec script yesterday and now wants to option it. So instead of writing the one he wanted, he wants mine.
So out of five pitches, I've received two positive responses. For those of you that are not math wizards, that's a forty percent success rate. And I'm still waiting to hear back on two of the pitches.
My advice is don't be afraid to ask for the job when you're pitching your scripts. I received this same advice from another writer that did a movie with Steven Seagal. It was sound advice.
Geezus, man, nice week!
Eric: It's a constant hustle.
I think if I have someone looking at my script, I'll say I have this actress that is interested. Then maybe it'll force the producer to buy before I sell it to the imaginary actress. A little white lie.
No, I won't do that! I'm not like that. It's better to be honest. CG
1 person likes this
Claude: Not necessarily. If being a little crooked gets the gig, then I'm all for it. During the Christmas holiday of 2014, there was a producer advertising for a script about Michael Rockefeller. https://en.wikipedia.org/wiki/Michael_Rockefeller. I wasn't sure who the guy was and so I looked him up. Four hours later, I had written a logline and synopsis. Here's the logline:
Michael Rockefeller joins an anthropology team, travels to a tropical island seeking adventure, and is presumed drowned or eaten by cannibals, until a thrill-seeking reporter goes searching for him.
The following day, the producer asked to read the script. This presented me with a small problem. I didn't have a script. So I decided to write one that week. And rather than tell the truth to the producer, I bullshitted him and said I needed time to polish the script. By the end of the week, I had a first draft, sent it to the guy and he optioned it. He optioned it again last year and shopped a much different version of the script to Paramount Studios.
Get 'er done!
Uncle Phil, I read that wikipedia link you provided and you absolutely must pursue the Michael Rockefeller screenplay! There are so many directions this story can go. The fact that it's about someone famous would make it that more appealing to buyers. Just use your imagination. Make it action, or drama, or even sci-fi.
Victor, re-read my last post I did write the Michael Rockefeller script.
"I also advised him I would be happy to submit a sample script that reflected a similar topic to what he was looking for. He read that spec script yesterday and now wants to option it. So instead of writing the one he wanted, he wants mine.
I also advised him I would be happy to submit a sample script that reflected a similar topic to what he was looking for. He read that spec script yesterday and now wants to option it. So instead of writing the one he wanted, he wants mine. "
This is briljant Philip. It somehow proofs that you never know how things will go! The only thing you now is that you have to stay on the bal.
Rutger, thanks my friend.
While I'm a firm believer of the Go big or Go home approach, I've been spoofed by to many big talkers/not doers. Forgive me If I seem a little gun-shy but I have to be to survive.
2 people like this
Doug Nelson::
I've headed down a lot of rabbit holes to oblivion. I really try my to analyze the folks I sign options with. I read one about 20 minutes ago and I'm deliberating whether or not I want to work with this person on this particular project. Whereas someone recently optioned a script that I thought was one of my least marketable. In that case, I'm happy to have anybody who wants to put sweat equity into that script. Strictly speaking that screenplay was sitting around collecting dust; and it's a PDF file.
The first producer I worked with wasted a lot of my time and did jack and shit for me. But I hope I've learned a lot since that happened five years ago.
If you shoot for the stars you might find yourself soaring with the eagles. If you shoot lower you might end up looking like a turkey so don't be a big chicken and shoot for the the stars.
Love the stories above.
Sometimes when you shoot for the stars you lose some propellant along the way. Gobble, Gobble, or is it cluck, cluck! Lol
So if you write a big sci-fi blockbuster and execute it perfectly and it's interesting, will it get picked?
Does the idea that you should focus on your writing and everything else will fall into place still applies at these high levels?
I mean... I apologize for this question and in no way I see myself as a top writer, it's just that I've read many different things, many things that try to limit your beliefs and I have so little information about how this whole "thing" really works.
I mean I love writing sci-fi and fantasy and big action stories, but I always read that it's wrong, that it will lead you nowhere except that maybe if you're EXTREMELY lucky get you an assignment in these genres and I had this dream of writing and getting feed-back and people being interested in these works that I write...
I don't know anything about budgets or commercial prospects, but I can use common sense to see that some(not all) of my screenplays are way too big...:( So, in the end, is it true that no matter how much noise or theories all that matters is... the writing?
It is very difficult to even get people to read a big budget screenplay yet alone selling one no matter how well it is written. This is sort of a who you know business and the bigger the budget the more it does become a who you know. If you really want to continue writing big budget film scripts you should consider attach well known directors who worked on the type of screenplays you want to sell and use their names and credits to try and get people to read them.
When you're pitching, research your audience! Don't send blockbuster scripts to guys doing micro-budget stuff.
Congratulations on your pitches Phil, well done.
1 person likes this
Paul:
Thanks. I just signed another option deal today from a pitch I made last week.
I agree.
Uncle Phil. Congrats!!!!!