——— 14 ———

Pitching and Selling

Pitching Is Just Part of the Game

If you plan on becoming a successful producer, writer, agent, manager, distributor, development or production executive—you will undoubtedly have to master the art of pitching. Pitching is the first step in selling a screenplay; a story; a concept; a completed film; a pilot; an actor for a specific part; or a writer, director, cinematographer, production designer, composer or editor for a specific project. And if you’re not pitching a project or talent, you’re pitching yourself in an effort to line up your next job. It’s done a gazillion times every single day, at all the studios, agencies and production companies; during office meetings; over lunches, dinners and drinks; at parties; at film festivals; at pitch fests; over the phone; via websites and by e-mail. It’s a huge part of the Hollywood game, and those who are good at pitching have an enormous advantage.

A pitch can be a door-opener, an ice-breaker, an introduction, a relationship-builder. It can create intrigue, curiosity and excitement. And it’s a great way to disseminate information.

To simplify matters, I’m going to limit this chapter to the discussion of pitching projects (completed screenplays, book rights, treatments and life-rights packages) as opposed to talent or completed projects in search of distribution. In this context, a skillful pitch will grab a buyer’s attention within the first few moments, and those accomplished in the art of pitching will have the ability to ace a sale based largely on his or her passion for the project being sold. Suffice to say, however, the basic principles are the same, no matter what or whom is being pitched.

On the Lookout for Good Material

While there are some companies that will only accept completed screenplays, and some agents who will tell you that you can’t sell a project without a script, it’s done every day. There are many producers who sell ideas and concepts, backed up often by just a short treatment. Some can sell an idea with just a verbal pitch, and many make very good livings by selling compelling stories they’ve found in newspapers or magazines. It could be a story heard on the radio, a television magazine show or even a news broadcast. Good stories are all around us, and many producers routinely have others helping them scout for material. They’re always on the lookout for fascinating, gripping, touching and larger-than-life true stories that would make good films. One of the projects I’m currently out pitching came to me via my brother Peter, who knew a man who, during WWII, had been a hero and had an awe-inspiring story to tell. You never know where it’s going to come from, so those who are writers, passionate about producing or just want to help bring a quality product to the big (and little) screen—keep your eyes and ears open for good material. Remember, though, you won’t have the right to shop these stories around until an option agreement is in place with the person (or persons) whose story it is, but once secured, the story’s yours to shop.

The same would hold true for a book. If you read a book you feel would make a terrific movie, find out if an option is available. You would start by calling the publishing company, and they couldpoint you in the right direction. If an option is available, if you can negotiate an option price that’s fair and affordable to you (I suggest doing this through an entertainment attorney) and you secure a signed agreement from the author (or whomever else may hold the rights), then you have the authority to shop the book around as a potential film.

If a production company or studio finds the idea, story or book you bring them riveting and commercial and your passion for the project contagious, the sale can be made, even without a completed screenplay. Then either the studio, network or production company will retain a writer of their choosing to write the screenplay; or sometimes the producer will come in with a suggestion for a writer he thinks would be right for the assignment—someone who is already interested in the material.

Scripts, Scripts and More Scripts

If you’re not a writer but a producer who’s searching for good, completed screenplays you’d like to option and attempt to sell, just start putting the word out that you’re looking, and don’t forget to state the genres you’re interested in (or you’ll be overloaded with submissions). Let your friends know, your relatives, the people you went to school with, people you meet at networking functions, find the appropriate websites to post on, take out a small ad in a trade publication or screenwriting magazine, put up a notice at some film schools and contact instructors of screenwriting courses. There are countless numbers of ways to get the message out there. A good script doesn’t have to come from an established writer. It could come from anywhere. In fact, the less known the writer, the less expensive the option fee.

Once the word is out, be prepared for an onslaught of scripts coming your way. You’ll have a lot to read, and most won’t be well-written enough, compelling enough, commercial enough or something you can get behind. You’ll be lucky if you can find one or two that will knock your socks off. And if you do, grab it up before someone else does.

First Things First

Before you commit to any property, and even if it’s your script, make sure you have a basic understanding of what constitutes a good story. Next, is it structured and formatted properly? Is it the right number of pages? If you’re not sure, go to www.samuelfrench.com or www.writersstore.com, and order one of the many books available on proper screenplay structure. Most of the books will also give you a rundown of the screenwriting software available that will allow you to write (or convert) your script into the proper format.

Then, make sure you’re using white 8¹⁄2 × 11, three-holed paper, a proper script cover and brads in the top and bottom holes to bind your screenplay together (don’t use three-ring notebooks or spiral bindings). And check your spelling and grammar, and then recheck it. If your screenplay isn’t submitted in the proper format, presented correctly or deemed professional, it could very well be tossed before one single word is read.

Your next step would be to register your project with the Writers Guild of America, which you can now do online by going to www.wga.org.

And once again, if you plan to pitch a script or treatment based on a book or on someone’s life story, make sure you have a signed legal agreement proving that you have an option on the rights. If not, you’ll have to find out if an option is available and then negotiate a mutually agreed-upon price. If the property belongs to someone you know well, and you both agree, you can option it for the outrageous sum of $1, as long as some money changes hands. I don’t suggest taking options for less than a year and would extend that to 18 months to two years if possible. The agreement should be prepared (or at least approved) by an entertainment attorney, and once prepared, it will most likely have to be sent to the other party’s attorney, publisher or agent for approval.

You can’t sell anything until it’s properly structured and formatted and unless you have the legal right to do so.

Becoming One with Your Material

Before you can sell your project to anyone, you have to know it intimately yourself—the story, the characters, the setting. If it’s based on reality, know the history behind the story. Do your research and be ready to answer questions that are bound to come your way.

Be able to explain what it is that makes this project unique and compelling. Be able to convey the irony, the humor, the conflict and the heart of the story. If you’re not excited about what you’re selling, how can you expect a buyer to be? Why does this story have special meaning to you? Who do you envision as your lead cast? What type of audience would it appeal to? What makes it commercial? How do you see it being marketed? One of your main goals is to be able to make your buyers see the movie poster in their minds by the time you’ve completed your pitch.

What other films could you equate your project to? This industry is big on high concept comparative descriptions, especially when you’re comparing your project to others that have done big box office numbers. Examples would be Agent Cody Banks, which sold as a teenage James Bond, or Alien, which sold as Jaws on a spaceship.

A pitch should start with a succinct, compelling logline (the essence of your story in one sentence) that will grab someone’s attention. You can’t underestimate the significance of a catchy logline, because it’s the first thing a buyer will hear (or read if you’re writing a query letter) and could mean the difference between immediately grabbing someone’s attention or losing that person’s interest on the spot. My producer-writer-friend Graham Ludlow likes to give the example of what he thinks the perfect logline for Liar, Liar might be, which is: A lawyer suddenly discovers that he can no longer lie.

Your pitch should have a beginning, a middle and an end, although you don’t have to compress the entire story into the pitch. The goal is to be able to convey the essence and heart of the project, just enough to entice the buyer to want to know more, to ask questions and to want to read the script.

Some experts will tell you that a pitch shouldn’t last more than 15 minutes; others will tell you to get it down to five minutes. My feeling on this is that you should have a 30-second pitch, a one-minute, five-minute and 15-minute version. That way you’re prepared, no matter what your time allotment or circumstances.

Memorize what you’re going to say ahead of time, so you don’t have to read from notes, and practice. Practice in front of friends and family members, in front of a mirror, in front of your dog; just keep practicing until what you have to say sounds natural!

Perfect your pitch to the point where your audience can visualize the action, the characters and the setting. If it’s a comedy, you want them to laugh. If you’re selling suspense, you want them holding their breath. If you’re describing a battle, they should be ducking bullets and shrapnel. Make them see, feel and experience your story.

Knowing the Market

Many writers write screenplays based on what they know and create stories that are very personal to them, but they’re not necessarily properties that are marketable. Do your research and know your market. Know who you’re pitching to and what they’re looking for. What type of product does this company produce? Who are the producers and directors they generally work with? What do they currently have in development, on the air or in release? Know what’s selling and who best to sell to.

Research the studios, networks and companies that do the types of projects you have to sell. Some production companies, for example, only do big action pictures; some specialize in comedies and still others are always on the lookout for true-life stories. There are production companies that specialize in reality TV and others that do only sitcoms. Do your research by reading the trade papers as often as possible, go through the Hollywood Creative Directory and check out various industry websites to find out who’s buying and who’s selling what.

What happens if you’ve got a project that isn’t the right genre or period du jour, and no one seems terribly interested in looking at it? In that case, you have a couple choices. You can either sit on it for a while hoping that trends will start shifting in your favor, or you can just tenaciously keep plugging away. If the project is powerful, well written and something you’re unwaveringly passionate about, your chances may be fewer, you may not get in nearly as many doors with it and it could take a whole lot longer to sell, but if it’s that good, and you’re that patient, it could happen for you.

Targeting your market also means researching the budgets of projects produced by specific companies and being able to ascertain whether a similar-sized budget would accommodate your script. It also means knowing which companies have studio development deals. In television, you’ll want to know who the most successful show runners are—the producers and writers who create a majority of the popular series.

Not every project is right for every buyer, and just common sense will often dictate the best fit for your project. If you know what’s out there by going to movies, renting videos and DVDs and watching television, your gut will usually tell you if what you have is studio or major network material or a cable movie or a smaller, independent feature. Don’t waste anyone else’s time or yours trying to sell your project to the wrong buyer.

Should you choose the independent route, there are companies that produce features and documentaries by securing their own financing and distribution. If you decide to raise funding for a project without the benefit of working through an established indie company, you’ll want to thoroughly research everything you can get your hands on pertaining to creating a business plan; raising capital; completion bond companies; setting up a new entity and becoming legally compliant; production, post production and standard delivery requirements; and film festivals, markets and distributors.

Packaging

You will always increase your chances of selling a project if it’s packaged well. Packaging means “attaching” talent. The higher profile the talent, the better.

Development executives who greenlight scripts that don’t do well at the box office or in the ratings are not likely to hold on to their jobs for long. Consequently, they’re going to be extremely selective about what they buy. Not that anyone has a crystal ball and knows for sure what’s going to be a hit, but if they’re fairly certain a project will generate a decent return, they’re more likely to consider it a possibility.

So what’s going to convince them a particular project’s worth buying? How about if Jennifer Aniston was attached, or Tom Cruise? Yep . . . that’ll do it, because it’s a pretty safe bet that any film either of them would star in would attract a good-sized audience and generate considerable revenue.

But you don’t always need a Jennifer Aniston or a Tom Cruise. Any time you can attach any A-list talent, you increase the salability of your property. And while the attachment of a popular actor is always the most appealing, the inclusion of a well-known director or writer could also mean the difference between a sale and a pass. As good as a project may be, the buyers are going to take as few risks as possible. Add to that equation the odds of getting your project read, bought and produced compared to the number of projects submitted each year, and you’ll know why smart packaging is so valuable.

Why “smart” packaging? Because if you attach an actor (for the lead role) who doesn’t have enough name-value to draw people into theatres or your package includes a writer or director that no one’s ever heard of before, you run the risk of making your project more difficult to sell. If you’re pitching a project as a movie for television or cable, then attaching lesser known or unknown talent shouldn’t affect the sale of your property quite as much. But even if you’re doing a low-budget indie feature, the more recognizable the talent, the better your chances of attracting a major distributor. Needless to say, the more you can bring to the table, the more desirable your project will be.

Makes sense, right? Okay, but now you’re probably asking yourself, “So how would I go about attaching talent to my project?” Good question, and unless you have some terrific connections, it’s not quite so easy.

If you go through an actor’s agent (especially one who doesn’t know you), most will want a firm commitment and some big bucks up front before they’ll even read it. Not a good way to go, since you probably haven’t even sold the project yet. Going through an actor’s manager, publicist or attorney might be a little easier, if you can get to them. The best way, however, is to get the script directly into the hands of the actor. But since you probably don’t know him, you’ve got to find someone who does. Your agent (if you have one)? A friend? A friend of a friend of a friend? All good, if they can get it there. I recently heard of someone who was able to submit a script through an actor’s nanny. Sometimes, the actor you want may have his own production company; and if so, your submission could be made through his development executive.

You have to be relentlessly assertive and creative when finding your path to an actor, whether it’s finding someone who knows someone who knows someone who knows the person you want to connect with (otherwise known as the Six Degrees of Separation theory) or by going outside of the proverbial box. One friend of mine, a producer who, after failing to connect with a number of name actresses for the leading role in her indie feature, decided to go to the UK, where performers’ agents don’t require an upfront commitment of capital, and where she was able (without too much effort) to attach a well-known English actress to her project.

Once you connect with a specific actor, and he reads and likes your project, he may commit to doing it whether it’s something his agent would have advised him to do or not. And sometimes, if passionate enough about the material, talent will sometimes agree to perform in a film for scale wages plus a percentage of the profits and/or for a producing role.

Getting Your Material in Front of the Buyers

Once you figure out your market, have your project as packaged as it’s going to get and are ready to get it out there, your next step is to line up your pitch meetings or connect with buyers who will agree to read your project. If you’re going to be submitting directly to a company, check out the Hollywood Creative Directory and find out who the development executive is at that company. If you don’t have a direct connection to the president of the company, someone a little lower on the food chain may be more accessible to you.

There are several ways to get your project out there: Some companies will tell you they don’t take unsolicited material unless the submission is made via an agent, manager or attorney. If you happen to have an agent or manager, great, but you can’t rely on that person, agency or firm to sell your projects for you. Often, though, if you give your rep a list of the companies you’d like to submit to, she can often set up pitch meetings, and may even opt to go with you. Your agent or manager can also handle submissions for you. Since not everyone has an agent or manager, you can also have an attorney make a submission for you. A savvy entertainment attorney with solid industry connections would also be in a position to set up pitch meetings, as many also function as “producers’ reps.”

If you’re a more established writer and you have an agent, your agent may control where your script is submitted. In this case, the agent might also call a producer the agency represents or someone he has a relationship with (someone he thinks would be right for the property) and give the producer permission to pitch it to the studios. The producer would then become part of the package. The agent, who would also have access to top talent, may actually end up packaging the entire project.

If you’re a writer looking for representation, the Writers Guild of America has a list of agencies that will consider first-time writers. You might also contact some literary management firms as well, as it’s generally easier to get a manager than an agent. And ask friends and contacts for suggestions on agents and managers and to make referrals on your behalf. Sometimes a recommendation from a current client is enough for an agent to consider taking on an unknown.

You can partner up with an established producer or company that has the connections you need. It’s a good way to get your foot in some doors; and once your project sells, you’ll discover you have enough credibility to get into those same doors on your own next time.

If you’re looking for a producer or production company to partner up with that has done projects similar to yours in the past, your best reference (again) would be the Hollywood Creative Directory.

Although the majority of shows sold to studios and networks are via individual producers, production companies, agents and managers, there is one company I’m familiar with called The Solley Group (www.solleygroup.com) that serves more as a consulting and sales firm, but in the cable marketplace only. If they feel you have a commercial project, for a fee, they will help you develop and sell your project to a cable network.

Use your contacts, people you work with or used to work with, former schoolmates, friends, individuals you meet at networking functions, your mom’s next door neighbor whose son goes to school with the daughter of a producer you’re trying to connect with—anyone who knows anyone who knows the people you’re trying to reach.

Some people, without the benefit of representation or any connections at all, will cold call various buyers. Under these circumstances, you might want to skip the development executive and skip down a couple rungs to the story editor or development assis-tant; and you’d know their names, because you will have looked them up ahead of time, in what? Right! The Hollywood Creative Directory.

If you’re professional, personable, can speak with a certain amount of authority, can quickly convey passion for your project (a project that would be just perfect for this company), then perhaps the person on the other end of the phone will listen to what you have to say. But you’ll have only a minute or two to grab her attention, so what comes out of your mouth next better be good. Have your logline ready and a very short version of your pitch. If the story editor (or development assistant) doesn’t end the call at this point, solicit her help in setting up a pitch meeting for you, or ask if you can submit your script. If you get the go-ahead to send the script in, she’ll most likely ask you to sign and return a Submission Agreement and Release Form first, which will legally protect you as well as the production entity.

If you’re a writer you’ll find that your cold call will receive very little consideration, if any. If you’re calling as a producer, you may be given a few minutes to quickly pitch your project.

Because cold calling is not always the best way to go for those new to this game and frequently requires nerves of steel to successfully pull off, many people will submit query letters to their targeted buyers. A query letter should be no more than one page, and it’s a way to introduce both you and your project and to request permission to submit your project. Just as with the cover letter you submit with your resume, make sure to address your query letter to a specific individual (most probably the development executive). Call first to make sure you have the name and title spelled correctly and you know the gender of the person you’re addressing. When introducing yourself, you want to include any information that might pertain to your experience (or accomplishments) as a writer or producer (like if you’ve won any screenwriting contests, sold other projects, etc.). When it comes to a description of the project, start with the title, genre and the logline. Make sure you mention where you can be reached. For useful tips on writing an effective query letter, go to www.wga.org/craft/queryletter.html. If the producer or development executive is impressed with your query letter and intrigued with your description of the project, you’ll be contacted.

When you look in the Hollywood Creative Directory or find contact information for a specific production company on a related website and an e-mail address is noted, it means that company is open to e-mail queries. In that case, you have a better chance of your letter being read if it’s e-mailed, as opposed to sending it through the postal service.

Producers and production companies that accept queries generally receive so many, they rarely have time to respond to them all. So if you don’t hear back from a company you’ve queried, assume they’re not interested. If someone does respond to your query or logline, you should have a short synopsis ready to send as a next step. A one-paragraph synopsis and a more detailed one-page version are good to have, and I would send both. Copy and paste your synopsis into the body of an e-mail, and send it that way instead of attaching it as a separate document. (A lot of people won’t open attachments for fear of viruses.) If the buyer is still interested, he will (if you’re not represented) ask you to sign and return a release form and return it along with a copy of your project. If you don’t hear something within a couple months, you’re entitled to follow up and find out the status of your submission.

Monitor the various screenwriting magazines, networking organizations and websites (www.moviebytes.com in particular; www.scriptforsale.com is another good one) for screenplay competitions. Producers, agents and managers will routinely take note of winning screenplays for option consideration. Be careful, though; there are so many out there now, you’ll want to look for the competitions that have developed solid reputations.

Pitch fests and pitch marts are becoming increasingly popular. They’re the perfect venue for less-experienced screenwriters (and producers) and those with no representation to pitch their project to established producers, development executives, agents and managers. The fees to attend vary, but the valuable exposure along with the networking opportunities they afford are generally worth the cost. It’s sort of like speed dating. You’re generally given five minutes per pitch; and when the bell rings, you’re out of your chair and pitching to the next buyer. If you plan on attending a pitch fest, walk in prepared to pitch more than one project or concept. You could be seconds into your primary pitch when a buyer tells you it’s not what they’re looking for and she isn’t interested, but then in the next breath, will ask what else you’ve got. Get your money’s worth out of your allotted time, and come prepared with three or four pitches.

Handing a buyer a screenplay during a pitch fest while they’re frenetically being bombarded with concepts and stories is not a smart move. Most will appreciate being handed a one-page synopsis of the pitches they like, to which you can follow up with a polite e-mail several days later. You want them to be sold on the idea of your project and to request the screenplay (or more info) once they’ve had a chance to digest it.

There are many pitch fests held each year, and a lot of people pack up their dreams and travel from far and wide to attend them.To make sure you’re attending one that’s legitimate, do a little research before you sign up. Find out if the entity sponsoring the pitch fest is an established organization that’s been around for a while, check out reviews from reputable sources, such as the trade papers, the Writers Store and some of the bigger screenwriting magazines. And find out the level (and names) of the executives who will be attending to hear the pitches. If they’re not top-level executives and established producers, you might want to pass on that one.

Here are some pitch fests to check out.

• Screenwriting Expo 3 (www.screenwritingexpo.com/pitchfest.html.) Held once a year at the L.A. Convention Center and billed as the largest conference and trade show for screenwriters in the world, they also offer a wide selection of seminars and workshops.
• The Great American and The Great Canadian Pitch Fests (www.pitchfest.com)
• Ken Rotcop’s Pitchmart (www.pitchmart.com)
• NATPE (The National Association of Television Program Executives) now offers a “Pitch Pit” at their yearly national conference (www.natpe.org.)

Then there’s the ability to submit your project online. There are several websites where you can post your logline and/or a short pitch. Here are a few of them.

• www.Moviebytes.com
• www.ScriptShark.com
• www.Inktip.com
• www.Hollywoodnet.com

If you regularly monitor these websites, you’ll also find posted listings of producers and production entities looking for specific types of projects.

If your project is as good as you believe it is, then any company that agrees to read it or allows you to pitch it to them is giving you a terrific opportunity. But keep this in mind—they’re not just doing you a favor—you’re doing them a favor as well, because you’ve got a great property they’re going to want. So don’t be timid, and get it out there!

Pitching Tips

• After creating a list of potential buyers, plan on pitching first to the company least likely to take your project. You’ll benefit from the practice and any notes they might give you.
• Before going out to pitch, do some research on the buyers you’ll be meeting. Be familiar with the type of projects their company has previously done or is developing and on what individual buyers have produced.
• Bring no more than one or two people to a pitch meeting.
• Be warm, friendly and professional. (It’s okay to be a little nervous.)
• As in the general information meeting described in Chapter 10, start by acknowledging the person you’re meeting with (good time to mention how much you enjoyed one of her past films), and then tell her a little about yourself. Next, instead of, “Let me tell you why I’m here . . . ” (which is what you’d say in a general information meeting), you can say something like, “Let me tell you about this terrific project.”
• The more excitement, emotion and passion you can generate, the better. Passion sells big time! I can’t tell you how often I’ve heard stories of pitch meetings where afterward, the buyer had commented that the project was just so-so, but the seller’s passion was what won him over.
• Be able to convey the key elements of and turning points in your story, such as the enormous obstacles your hero must overcome, the conflict, the irony, an outcome that defies all odds.
• It’s always good to bring in a prop or two, photos, charts, etc. to support your pitch. It helps a lot!
• Take notes during pitch meetings, tweak your project and resubmit it if the door is left open to do so.
• Be open to buyers’ suggestions for changes.
• Don’t ramble or oversell.
• Don’t bad-mouth other projects, writers or producers during your pitch.
• Don’t interrupt when someone else is talking.
• If you don’t know the answer to a question you’re asked, don’t fake it. Promise to get back to the buyer with an answer.
• If you’re asked for further information pertaining to your project, plan on sending it in, e-mailing or delivering it in a timely manner (before the buyer loses interest).
• As in any other meeting, thank the person you’re meeting for his time. And if this is a contact you’d like to develop further, send a hand-written thank you note.
• If you don’t hear back from the individual(s) you pitched to, wait at least a week to follow up. You can follow up by phone or e-mail, but if you send an e-mail, make sure your subject line clearly indicates who you are and that you’re following up on (the name of your project).

Taking This Route to Become a Producer

For those of you who want to be producers and don’t want to start in a typical entry-level position, for those who have been in the business for a while and want to move into producing, and for those who have an alternate source of income to see yourself through until your first sale is made—this is a good way to go:

First and foremost, you need to have found and secured some good material. Next, you have to know the market: who the buyers are, what they’re looking for, how to reach them, what’s selling and what’s doing well at the box office. You’ve got to have the ability to recognize what constitutes a good and commercial property, know as much about packaging as you can and how to pitch. And don’t forget to network, network, network! Get to know as many development types, producers and writers as you can, and give them the opportunity to get to know you.

Next, come up with a name for your new production company. Research the name to make sure no one else has it, and file for a DBA (doing business as). All this can be done on the web (see Chapter 8 under Shameless Self-Promotion); and at this point, you don’t have to incorporate. For a more professional-looking address, think about renting a small mailbox on a major street. Also, make sure you have access to a capable entertainment attorney.

Once you have your DBA, have some high-quality business cards made with the name of your new company (and a logo designed if you can) and list yourself as “Producer” or “President” of the company. Now, make up some letterhead and envelopes with your company name and logo, and, while you’re at it, some small note cards you can use for thank you notes.

Once you have product to sell, all your ducks are in a row, you have legal representation and some amount of credibility (because you’re attached to a production entity now, albeit a new one)—you’re ready to get out there and hustle.

Also consider this: several independent producers, knowing that agents and managers don’t have enough hours in the day to shop everything their clients generate, will contact the agents and managers they have relationships with and offer to shop some of their projects around for them, which again, upon a sale, would make that producer part of the package. If you don’t know any agents or managers, figure out who it is you’d like to meet, and set up some general information meetings. And of course, it’s much easier to connect with an agent after you’ve gained some credibility by selling your first project.

Selling a script will get you a producer’s fee. Selling a script that gets produced will earn you a larger fee and a screen credit. Learning how to truly produce a film, however—that takes experience. My advice: learn from others who have been doing it for a while, and if you’re in a position to do any of the hiring, hire the most competent people you can find. Build a great team and learn from everyone around you. The stronger the team, the smoother your film will run and the more you’ll shine.

The Odds

If you’ve been around this business for a while, you’ve walked into studio, production company or agency offices and witnessed the stacks of scripts on top of desks, shelves, file cabinets and credenzas and piled up on the floor, sometimes waist high—lining entire walls and hallways. The Writers Guild of America registers over 40,000 pieces of material per year. And while they can’t give us the exact percentage of screenplays, treatments, synopses and outlines that represent film- and television-related submissions, it’s safe to say we’re talking about tens of thousands each year. Those are the same tens of thousands mentioned earlier in Chapter 4 (in covering the function of a creative team) that studios and production companies (as well as agencies and management firms) collectively receive each year in the form of screenplays, treatments, books and pitches.

If you can get past that first hurdle, and an agent, manager, producer, production company or studio accepts your screenplay submission, whoever is assigned your project will generally only read the first 30 pages. If he likes what he’s reading and it’s holding his attention, he may continue. If he’s not interested, he’ll stop right there. Sometimes, it takes only the first ten pages for a script to end up in the discard pile. Furthermore, I’ve been told that it often takes reading 100 to 150 scripts until one is determined to be worth optioning or buying.

Once a property is optioned or purchased, there is no guarantee it will be produced. Talking before a Film Industry Network group recently, a development executive from one of the smaller studios reported that they buy approximately 10 scripts for every one project that gets made, and the other (larger) studios will buy up to 25 for every one made. The ones that don’t get made get lost in what some refer to as “development hell.” They get hung up on script changes, casting issues, landing the right director—or someone at the studio decides it’s just not that commercial after all.

The last statistic I have to offer is one from the MPAA (Motion Picture Association of America), which reported that in the year 2003, a grand total of 473 films were released in the United States. You don’t have to be a mathematician to understand that the odds of selling a project that gets made and released is minuscule compared to the many thousands that are shopped around each year. That’s why your best ally in this quest is to understand the rules of the game, know what the buyers want, have a fabulous project you’re passionate about selling and be able to deliver one hell of a pitch.

It Only Takes One!

I’m sure you’ve heard stories about certain projects being “out there” for five or ten years before being made, and I’ve no doubt they’re all true. If you’re convinced you have a great project and it needs to be made, then don’t give up. Don’t take “no” for an answer. Sometimes the good ones end up getting buried on a dusty shelf somewhere just because the writer or producer gave up after the third or fifth pass. They didn’t keep going. Every time someone passes on your project, it just means you haven’t gotten it to the right person yet. It’s just going to take one person (the right one) who’s going to love your project as much as you do and be in a position to say “Yes—we’ll buy that!” or “Yes—we’ll be happy to finance your script!” Be patient and persistent, and keep pitching!

Teaching others how to effectively pitch is big business. Numerous books, audio tapes, courses and seminars are available on the topic. Research Samuel French Bookstore, Amazon.com, Script and Creative Screenwriting magazines and The Writers Store (all accessible on the web) along with a multitude of other resourceful websites.