"I enjoyed it but it's not for me..."

[lache]

Do you believe them when producers say that? Do you think they're just being polite? Do those responses get you down? I'll say reject the rejections...



Lache...

[writerman]

I only believe them if I'm invited to send another script.

[RGF]

"I enjoyed it, but it's not for me" is one line I've never been able to figure out. You'd think that if they enjoyed it, so would a broader audience. I've heard that line a hundred times. I personally think that's it's a brush off. They just weren't wowed by it and don't have the time/interest to explain specifically what they didn't like about it. It's a default response that's just vague enough to misinterpreted by writers as a compliment, yet is a complete rejection as well. And it's depressing. You'd think they could come up with 1 or 2 sentences about what they didn't like, or why they don't think they can sell it, etc. Gee, I guess I did figure it out. :(

[Scripted77]

I've found that if someone enjoys it (but it isn't for them), they usually know someone it might be right for. A former manager of mine often does this to me, and offers to pass it along to a friend in the biz who might be right for it.

I also agree with writerman. If they ask for something else, that's a good indication.

[lache]

I've found that if someone enjoys it (but it isn't for them), they usually know someone it might be right for. A former manager of mine often does this to me, and offers to pass it along to a friend in the biz who might be right for it.

I also agree with writerman. If they ask for something else, that's a good indication.


I've gotten a few people who want to read another one of my script based on the one that wasn't for them. The line does confuse me because it makes me feel they disliked it but they're just being nice...:rolleyes: I guess I can tell myself they did like it but it's not for them! lol

[EnterUserNameHere]

It could mean, "I enjoyed it but it's not something I can get made with the investors I know...", or "I enjoyed it, but not as much as the stuff I've currently got on my plate..."

[Writer1]

If he asks, "What else ya got?"...that's a good sign.

Also, just because he/she likes it doesn't mean that enough moviegoers would enjoy it enough for him to spend time/money producing it. Movies are business.

[lache]

If he asks, "What else ya got?"...that's a good sign.

Also, just because he/she likes it doesn't mean that enough moviegoers would enjoy it enough for him to spend time/money producing it. Movies are business.


I think my script sounds high concept, but it is a dark comedy. It has very funny moments, but it deals with a somewhat serious matter. I think when they read the logline...they may think broad audience, but it may not be that. Anyway, I've gotten over 30 request to read my script and about 5 rejections...with the "I liked it, but..., I enjoyed it but...I loved the concept but...great job with it but..."

[LIMAMA]

If I had a dollar for every time I've heard that....

:rolling:

[geozero]

It's a small town. No one wants to P.O. anyone. It's a polite way of saying "no" but at the same time keeping the door open for future. This of course is a 2-way street. Follow it up with a call or letter and FIND OUT what they're looking for. Ask to take them out to lunch and just chat. Rome wasn't built in a day.

Research them. If they produce comedy and yours was a horror script, perhaps you can send them a comedy piece when you have one.

[artisone]

The "I liked it but..." line is a line I have heard plenty of times. Usually, it's the hollywood way of saying they did not like the material.

[sasqits]

Not in disagreement with what has already been said but some producers are very specific in what they are looking for.

I prefer a polite response than none at all - at least I know the opprotunity is dead.

[lache]

read this if you ever been rejected:


http://www.dangutman.com/pages/rejection.html

[Pandoraisme]

I'm with Sasquits on this, a polite response allows me to move on.

When I shopped my first script I heard this quite a bit. It was less depressing than silence and at least they all invited me to submit future work.

Since I hate knocking on doors, I decided to write a few more scripts before I knock again. Next time I get one of those rejection letters they won't get off so easy. That day, one of my other scripts will be in the mail with "Requested Material" on the envelope.

They'll either have to be honest, or read more scripts. :D


lache -- Thanks for the perfect link.

[kidcharlemagne]

This line covers all bases. He obviously didn't love it but he didn't hate it either otherwise it would probably just be a case of 'Thanks for the read, unfortunately this one wasn't for me'.

So I'd say he liked it, didn't love it but wants to keep the door open just in case.

Of course I could be wrong, it could be his standard cut and paste pass line.;)

[AnotherWriter]

Yeah, what others have said. More to the point, anyone ever hear, "I didn't like it." or "There are lots of problems with the writing, so it's a pass." etc? Doubt it.

In some ways, I see it as them covering themselves to avoid hassle from writers asking for feedback on why they didn't like it, or to avoid backlash from writers that can't handle rejection all that well. There are lots of characters out there. But, also, just in case they accidently passed on the next American Beauty and didn't want to burn themselves for negatively commenting on the quality of the writing.

Thing is, after submitting a query, if the prodco/agency asks you to send in the material, they're obviously interested in the concept you are offering. Thus, if you're getting a "I like it, but it's not for us." I would see it as an obvious brush off.

'Sides, even if the material wasn't exactly what they were looking for but the writing was good, surely they'd take you on for other projects or refer you at the very least.

[magicman35]

I think it's useful to bear in mind that in the world of feature films particularly, it's a mammoth task to get a film into production, never mind properly distributed. For someone to put themselves through that they're really going to have to have tremendous passion and belief in a script. You don't want someone attached to your work who doesn't have that passion and belief.

Rejection is something all writers have to deal with throughout their careers on some level or other. Even if you sell a script or land an assignment, talent will pass, so will financiers and so ultimately will movie goers and viewers. It'd be a very dull world if everyone like everything. Bear that in mind and it increases your chances of remaining sane along the route of the 'death march'.

[lordmanji]

ya i got that line just this past week. one was open to future material, the other wasn't. which leaves me still very confused.

[Robot17]

ya i got that line just this past week. one was open to future material, the other wasn't. which leaves me still very confused.

Hi lordmaji

I think as writers we need to read something into responses about our material - it's only natural. Having been through this a few times, I just don't read anything into it anymore (or at least try not to). I just try to take it at face value.

The reality is that a producer will only be able to help create so many projects in their lifetime. Just for grins, lets say 15. If they take on a project, they're going to have to consider living with it for 2-3 years minimum in order to get it set up and made. They're going to have to pay money for it, burn favors and contacts, deal with others that have the same considerations (like Directors and Stars) - I could go on.

So my script (or yours and a bunch of others) shows up one day and the anxious writer awaits word. We get antsy, love our material, think it could go on to win an Oscar (maybe it could!) if only they'd get it. Well... the bar is pretty high on the other side of the equation. Really high. They don't get to just "like it" and then "make it" - they have to be blown away by some aspect of the material or have another reason to champion it (based on best selling book, star/ director already attached, interesting true story - something).

For me, the crucial thing is to KNOW that I've done as good a job as I can do. After I'm done, I send it out to industry friends, get it covered by analysts or readers (I'm not working with an agent), have novices with opinions I respect read it. In general, I try to make sure I'm not "smoking my own dope".

So I have a project in at a significant production company right now. I talked to the Dev guy after his read and he said "it's a pass right now". Then we went on and he says "you're writing is great. The concept is great. But before I take it in I would like to see a little more of this."

He wants me to re-submit it. It will be up against other projects that are based on books, have financing and attachments etc. If he takes it in against those projects, right now, the producer will have to have a cardiac event upon reading the first 10 pages in order to take it on as a project (if he survives the event).

I know the concept is great, he knows it too, but we both know a raw script is going to take a year or two longer to set up than the others. That's sho biz.

So I'm tweaking it for that company's Dev guy, but I'm also meeting with a producer this week who wanted to make this thing 2 years ago before I was even done with it! I had 30 pages to go and he wanted to do it then!

I'm convalesing in my home town and I ran into him on the street here a few days ago! He's in a different position now and wants to schlepp it around again. Who knows? May happen. Sometimes you just have to find the right marriage for these things.

For me, I just have to do the best I can, practice due diligence regarding my work, and hope for the best. I try not to take the process personally, because there's a jillion legitimate reasons to say no to a script but only a few reasons to say yes.

Bot

[Minibrain]

"You're great, really. It's not you, it's me. Let's just be friends."

[Farnsworth]

I think that the rep probably did enjoy reading the material. But reps have their specialties, their particular set of contacts. The rep probably concluded that, given his or her particular set of circumstances, your project was not something that he or she could sell or get involved with. Take it as a positive sign. Be encouraged by it. Now move on and look for people who like the writing and think it would be a worthwhile project . . . for them.

[Trutopian]

I've had very little success in asking a producer "what they're looking for". They'e all far too busy to mollycoddle writers! If you do your research properly as to what they've put out, instead of "cold calling", you'll eventually find the right home for your script.

[beerbeastredux]

Put yourself in the producer's shoes. What would YOU say? Now, i have my qualms with producer decisions, but I can imagine what a difficult job they have. There's millions of dollars at stake. Some are skilled at spotting a potential blockbuster...while others are just plain lucky.