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View Full Version : How hard to push a script?


chinaboxer
06-19-2004, 12:31 AM
Is it true that you should limit how many industry people have access to your script?

Or is it just the opposite, and you should push your script to actors/prodco/agents/directors etc...?

Chinaboxer

filmcarver
06-19-2004, 08:46 AM
Taotropics made a comment a few months ago on this subject. Unfortunately, a correct answer without details is "it just depends".

The knee jerk would be to say, "I want everyone on Wilshire reading my script today", and it would be hard to disagree with such a elevated thought, but....

It depends on how good the work is, and who may want to work with it. A good agent would market such a thing with the distinct strategy of creating a bidding war if it's a really hot work. Or any number of other avenues.

This is why I strongly support and comment that you should get quality, verifiable industry feedback or coverage on any script before you send it anywhere. You just might have something very good that needs to be tweaked up a few notches. That tweak might be the difference in success or failure. Most ignore this advice of course because they know their work is great without any outside input.:D

And no, I don't provide such a service.

I would love to have more access to actors, but it's just about impossible without a bonafide producer/agent/funding. Most of the ones you would want have layers of folks every script goes through before they ever read it. A personal connection is pretty much the only way I've seen to break that particular firewall....who knows? If they have a prodco, then you at least have a side avenue for a great pitch.

If you are unrepped and unknown, then you simply roll your sleeves up and go to war. I choose bold over analytical every day of the week IMO.

Best of luck. Someone is bound to give a better answer.

cromagnon
06-19-2004, 12:29 PM
The reason why some people say that you should limit the amount of people you send your script out to is that the exec community is relatively small and once word gets out that someone passed on a script you're going to have a hard time getting someone else to read it. I'm referring to the tracking boards, of course. Unfortunately, it is a double edged sword. The only time you want to shotgun out a script is when an agent takes it out on the spec market. Even then agents have a tier they follow. The majors, mini-majors, indis, etc,. Keep in mind though that just because someone passes on a script it doesn't mean the script is no good. People pass on scripts for many different reasons. My advice is to have a clear strategy, a solid concept, and always go out with the best possible script so that no one in their right mind will pass on it.

jimjimgrande
06-19-2004, 12:59 PM
I save my reads and use them with care. You are only going to get so many looks and once people have read you, they will likely remember you.

If you are getting passed without feedback, that means they didn't see the movie and didn't like the concept.

If they see something in your script, they'll offer some notes. If they see something in your writing, they'll leave the door open for your next work.

That's my approach with agents anyway. Once I get a couple passes from agencies, I quit knocking on those doors and hand the script to indie producers or talent as opportunities present themselves and seem appropriate.

When you've done the work, people call you and ask if they can show it to somebody else

wcmartell
06-19-2004, 01:20 PM
Once you send a script out, it's "used" - whether you send it to ten people or a hundred people. Word gets out about your script (good or bad) and that impacts what happens next.

- Bill

filmcarver
06-19-2004, 06:15 PM
What Bill said:

As usual, the more talented writer can take four paragraphs and squeeze it into 2 sentences.

Moral: Have a battle strategy and live with the usually all too quick results.

cromagnon
06-20-2004, 11:27 AM
As usual, the more talented writer can take four paragraphs and squeeze it into 2 sentences.
Two words for you. Bite me.