A manager has suggested that we try to attach a star to my spec. Anybody have experience with this strategy? I was under the impression that if he liked it he would send it out to prodcos as opposed to talent?
Packaging
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Re: Packaging
It would appear this thread may have already run its course; ie. "it happens all the time"
So how about this: What strategies might you employ if you had somebody in mind when you wrote a role for a particular mid-range actor/actress and would like to see him/her get a shot at it?
I'm thinking, if/when I get my first deal, that I'll accept the first offer they make (need the credit, need the cash, and will be so excited anyway) but will play tough to get by saying they have to give so-and-so a chance at the role. I presume this would be okay. It's not for the lead role in the story, BTW.
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Re: Packaging
Originally posted by McNamara View PostA manager has suggested that we try to attach a star to my spec. Anybody have experience with this strategy? I was under the impression that if he liked it he would send it out to prodcos as opposed to talent?
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Re: Packaging
Originally posted by McNamara View Post...Sounds like I'm in for more waiting.
EJ
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Re: Packaging
Hey, related question, don't mean to hijack the thread, but hopefully this is similar enough:
Manager and agent are sending the script to directors in hopes of getting a director attached before they go out to studios. But I don't know what directors they're sending to, and I don't imagine if some director wants to attach, that they'll come back to me to confirm that I think he or she is a good fit.
Which feels generally okay, but I patently do NOT want an experience where a director takes it and isn't interested in having anything to do with me ... I know it's the director's prerogative not to have me on set, etc., but as I'd like to direct myself as soon as possible (reps and I agree this script isn't the project for that), I'd like to stay as involved as possible in the process, which my reps know and support ... and involved beyond the standard two steps and a polish before they hire a new writer involvement ...
Does not knowing every step of the packaging process sound familiar to other writers or reps here? And what is the right way to continue to assert oneself's involvement beyond "just being the writer", which I want to do?
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Re: Packaging
Originally posted by Justin323 View PostHey, related question, don't mean to hijack the thread, but hopefully this is similar enough:
Manager and agent are sending the script to directors in hopes of getting a director attached before they go out to studios. But I don't know what directors they're sending to, and I don't imagine if some director wants to attach, that they'll come back to me to confirm that I think he or she is a good fit.
Ask for the names. If there are any you think are completely wrong, talk about it. If you think there are names they've missed, bring them up. There may well be good reasons for the inclusion/exclusion, and if you're on the same page as your reps, chances are their suggestions will be good ones.
In re: to staying involved beyond the early stages, it isn't always something that can be controlled. Still, it's in your (and your reps) best interests if that happens. They'll be working towards that. When aligning with other elements, the best advice I can offer is try to ensure that you all see the same movie. The script will (likely) change, other people will have ideas, but as long as you all see the same movie, you're all on the same team, working towards the same goal.
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Re: Packaging
Originally posted by -XL- View PostWhen aligning with other elements, the best advice I can offer is try to ensure that you all see the same movie. The script will (likely) change, other people will have ideas, but as long as you all see the same movie, you're all on the same team, working towards the same goal.
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Re: Packaging
Originally posted by McNamara View PostA manager has suggested that we try to attach a star to my spec. Anybody have experience with this strategy? I was under the impression that if he liked it he would send it out to prodcos as opposed to talent?
I doubt a rep will specifically pursue just one path. It would seem (and I stand corrected on this) that talent tend to be particularly hard to secure as attachments because they may already have offers on the table to chose from (meaning, projects which are ready to go with $) and they really have to have a reason to want to do your script. And with talent, you have to hop through the rep hoops first - so your script often needs to make it past their agent/manager, and then the star must deign to read your script, like it AND be willing to have their name attached to it. Producers on the other hand need to always be developing, and those with deals at a studio may have a certain number of films they need to deliver to the studios pipeline so they may be more open to attachments.
Be patient, keep yourself informed, be helpful where you can with suggesting possibilities (but only if your rep is open to this) and write another script.
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Re: Packaging
Originally posted by catcon View PostIt would appear this thread may have already run its course; ie. "it happens all the time"
So how about this: What strategies might you employ if you had somebody in mind when you wrote a role for a particular mid-range actor/actress and would like to see him/her get a shot at it?
I'm thinking, if/when I get my first deal, that I'll accept the first offer they make (need the credit, need the cash, and will be so excited anyway) but will play tough to get by saying they have to give so-and-so a chance at the role. I presume this would be okay. It's not for the lead role in the story, BTW.twitter.com/mbotti
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Re: Packaging
What if you are friends with a family member of an A-Lister ( and the Actor a spec was tailor written for) and get get it into their hands. Is that an acceptable business practice, or do you think a pre-pro writer should stick to getting representation beforehand?
I'm sort of in that situation now.He who laughs last is mentally slow
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Re: Packaging
Originally posted by InfiniteJest View PostWhat if you are friends with a family member of an A-Lister ( and the Actor a spec was tailor written for) and get get it into their hands. Is that an acceptable business practice, or do you think a pre-pro writer should stick to getting representation beforehand?
I'm sort of in that situation now.
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