How much power does a creative exec have?

[justwrite]

I'm asking this question because a creative exec at a major Hollywood
production company really likes my script, and he's pretty much
behind it 100 %. Basically in a nut shell, he wants his company to take
it on as a project.

How much pull does a ce have when it comes to a script being
bought? I've never got to this level before, so any feedback is
definitely appreciated.

[BROUGHCUT]

When it comes to the script being bought? Probably non whatsoever, especially if it's a large company and a studio is involved. Most CEs are glorified readers. Some are promoted to positions with "pull".

Is he/she asking for anything in exchange at this point? Like a free rewrite? The cynic in me assumes most low-level CE's won't stake much on a script that doesn't have other people buzzing... I defer to the experts, I'm being captious. Don't get your hopes up for a sale, but work with the CE and see where it leads. It's about relationships.

[BlindChicken]

It depends on the CE. You need the support of the CE to get the higher ups on board. It's a good start...but just the first step. They usually have a group meeting once a week. He'll pass it to other CE's for the weekend read and get their opinions. If he can get enough people behind it, he'll hand it off to the real decision makers.

[Hasil Adkins]

How much pull does a ce have when it comes to a script being
bought?The prodco is not going to buy your script, it's more likely they'll option it. And yes, the CE has a lot of say in what gets optioned.

First they'll probably work with you developing the script. Then they'll take it around to studios (do they have a deal somewhere?) and begin the long road toward selling it.

Most CEs are glorified readers.Say what???

[justwrite]

I'm not sure if the Prodco has a first look deal or not, but they do
have relationships with a few MAJOR studios. The CE is really
excited about the project, and he's going right to the VP of Dev
with this.

I should know more very shortly.

[BROUGHCUT]

Say what???

What do CE's do that readers don't?

Hasil, Ever heard of title inflation were an exec takes a title in lieu of a pay rise? CEs are the lowest rung to begin with. They can facilitate access, sure, and push material to the right people, but I don't think the average CE is going to have a vote on what gets optioned or sold at a major prodco or studio once they send a script upstairs. The director or VP of development (the CE's boss) might have pull, but there's the producer or studio brass above them and these are the guys that count. I think studio HEADS actually have to personally approve most studio options and sales these days(?). CEs track, read and recommend, but at the end of the day most aren't going to be able to punch above the weight of the material (and it's aggregate buzz), and recommending it to their boss is probably as far as it goes.

I didn't say don't approach the opportunity with enthusiasm, just to bear in mind that whilst you can't get in the door without them, a CE at a large co/studio really isn't integrated into the actual decision making process any more than a reader is.

Poison or someone can shoot me down in flames on this point, but I think you will find that for the large part this is simply the reality of the situation.

You realise that by "CE" I do not mean execs such as creativexec. I'm talking about young CEs who are just starting out and who are not yet in career positions. There's a high turnover in the business. I heard that most don't last longer than a year?? They have a short time to make their name and are going to be very careful spending the little capital they have.

I am not in any way being derogatory towards CEs. To get an option/sale, you need to impress a reader (who may be a CE next month) and you need to impress the CE (who may be a VP next year).

If it's a small company with a low turnover the CE may have much closer relationship with the senior execs and producers and may indeed have some "pull". Like I say, it's all about relationships. And relationships with good jnr CEs are probably the most valuable of all, because they will take their writers with them as they become the decision makers.

[writorman]

I agree with Broughcut. CE's are important in that they are essentially the "gatekeepers". But as far as power goes, they often hold very little, if any.

[Hasil Adkins]

Broughcut is dead on. CEs are one step above readersBut that's not what he said. He said they were glorified readers.

I think you will find that for the large part this is simply the reality of the situation. Not in my experience.

[darrylyo]

The title means different things at different co.'s.

At some co's, it holds water. Most though, it is largely a gatekeeping position.

[English Dave]

The title means different things at different co.'s.



Yep. It can be like the difference between 'Assistant Manager' and 'Assistant to the Manager'' Depends entirely on the company. I've had meetings with 'Vice President's' when there are only three people in the company.

The point is - you have someone on the inside championing your script. Unless you are talking directly to the producer there will always be hurdles to overcome [ and even then some!]. What will be will be but worst scenario you have a good contact and an open door for future projects.

[BROUGHCUT]

But that's not what he said. He said they were glorified readers.

Not in my experience.


I said *most* CEs are glorified readers (I stand by this), and the question was in relation to a "major" prodco. Readers are gatekeepers, too. They inform high-level decisions. Ergo, CEs are glorified gatekeepers. Is that more PC?

My new year's resolution is to marry a hot American girl and become a CE (and one day, perhaps, get an on-lot, en-suite WC). That doesn't change the answer to the (rather general) question, though...

Like I said, I was being (just a little) captious. Some creative execs--perhaps the ones you have dealt with--do have pull (ie experience and results).

[The White Album]

I don't see how anybody could say CE's are just glorified readers.

Creative Execs not only read, they track, they develop, give notes, hear pitches, find new talent at film festivals, meet with dozens of writers weekly, try to set up projects, and have assistants (who usually do most of the reading for them).

Readers simply read and do coverage. Hell, they usually don't even have a desk.

[BROUGHCUT]

I don't see how anybody could say CE's are just glorified readers.


Maybe someone succinctly answering a question like this: "How much pull does a ce have when it comes to a script being bought?"

I already pointed out "CEs track, read and recommend", you added that they have a desk and busy up their schedule taking meetings and contributing notes. "Glorified" has it covered.

Assistants also track and read material, it's how they get promoted to CEs.

No offense was meant by "glorified reader". A reader for a major/studio is quite a respectable baseline.


try to set up projects, and have assistants (who usually do most of the reading for them).

Try to set up projects... Not pull the strings to get projects set up.

btw, CEs who don't read voraciously probably number highly among those who don't last a year. Senior execs usually have people to do most of the reading for them... they're called overworked CEs.

I doubt many CEs farm out the important reading to ambitious assistants who are waiting impatiently in line to take their job, so they can have free time to meet with no-mark writers. A jnr CE is a reader in a suit who gives the writer his notes and also takes meetings. But a reader, first and foremost.


Readers simply read and do coverage. Hell, they usually don't even have a desk.

Does such coverage inform decisions more or less than a CE's recommendations?

They don't have a desk--well, the problem with having a desk is that you can be asked to clear it. Does it follow that union readers actually have more secure jobs than CEs?

The CE is really excited about the project, and he's going right to the VP of Dev with this.

woops, the OP already answered his own thread. Good luck with it, justwrite.

[jbr]

I'm asking this question because a creative exec at a major Hollywood
production company really likes my script, and he's pretty much
behind it 100 %. Basically in a nut shell, he wants his company to take
it on as a project.

How much pull does a ce have when it comes to a script being
bought? I've never got to this level before, so any feedback is
definitely appreciated.

I'd imagine it depends on the ce.

You will find out first hand, I think, what pull this ce has http://scriptsales.com/boards/images/smilies/wink.gif

[Copywriter2]

A good friend of mine was a CE at a mid-size production company with several produced features to their credit. He was payed about $500 per week and said his boss never cared what he thought of any scripts, although he still had to read them all. He said his boss made deals based on his relationships with peers in the business. In this case, the CE was basically there as a reader/gatekeeper.

I had an experience myself with a CE at a top level production company (with a studio deal). He loved my script, but had me do several free rewrites based on his notes. He then took it to his boss (the owner) -- and she promptly passed.

Bottom line: I agree with others here who say that the CE usually doesn't have much clout in the scope of things. On the other hand, CE's do sometimes grow into more powerful positions -- so it's certainly wise to nurture relationships with them if they like your work. But just don't count on them getting one of your projects made while they're a CE. Seems like most of the real deals are made higher up, based on relationships.

[PoisonIvy]

Are like apples and oranges. CEs usually fall under "development" division while readers are under "story" - these two never overlap unless the company is tiny. Story people are never allowed into weekend reads and do not participate in any of the company's development activities to preserve their ability to be impartial to projects. CEs are in the midst of it all - project development, politics, etc. Sure, they are at the bottom of the hill, but they are assigned to projects and can even oversee smaller ones solo, especially at a mini-major or a studio.

As for their purchasing power, they can't buy anything on their own. But they can put a project on a weekend read, and if their president of production likes the CE and the script, it can be bought. CEs function is to bring in material (something readers or any of the story people are not allowed to do). And once in a blue moon, stuff they bring ends up being bought.

[pike bishop]

Perhaps you should ask one to find out for sure. I suggest trying Chris Lockhart--who is the exec. story ed. @ ICM, and a poster to this board.