Idea Paralysis

[gravitas]

I've come up with more than a few commercial ideas I'd like to write. My manager has liked a few in particular that the agents have passed on.

Do most of you give your ideas to your reps prior to writing? Do you ever run with a spec, then give it to them? I know many here have suggested write what you want to write, and I think there's so much merit to that.

[fanatic_about_film]

I don't personally know how it all works. I don't have a manager or an agent myself. Hopefully that will change this year.

But it does sound like your in a prison of your own creation or at least your agents creation.

It doesn't sound very healthy and it's a shame that your agents don't seem to like any of your current ideas.

All I know that is telling someone an idea for a script, and presenting them an actual feature script of that idea are two very different things. And in the end they may like or even love the script, despite not originally liking the idea.

My advice, go with your instincts. Surely that's what got you this far. Prove to them that these recent ideas are good scripts.

[ATB]

I too don't have a rep. So take my advice with many grains of salt.

But from what I've heard, it's common for rep'd writers to bounce ideas off their reps. If they don't like 'em, then keep trying. If you've really fallen in love with one, write it on spec while you also work on one that they're in like with.

Maybe you should ask them what kind of story they're looking for. If their only advice thus far has been to come up with a commercial idea, then you're not likely to find something that suits them. Sounds like even they don't know what they're looking for... So maybe you should write one of those ideas you're convinced has potential.

EDIT TO ADD: I remember recently learning that David Seidler once told his manager that he was thinking about writing a script about a king with a speech impediment, and his manager advised him not to... And look what happened. Granted, it wasn't really the "commercial" idea you're describing but it did turn out to become a commercial film with great box office success. There's probably many other examples of managers/agents not having the best instincts at the idea stage, but I can't think of 'em.

[gravitas]

Yeah, those are good points. I read in the trades about Zorro Reborn, I literally pitched this same concept a year ago and they passed on it for various reasons. And they're smart, great reps, with great instincts. It's just tough to find fresh things to spec.

[gdubs]

I tell my reps "Here's what I'm working on..." And give them the one idea. I don't give them the option to choose because I need to work on what I'm excited about and not what they're excited about.

And unless there's a huge red flag I didn't know of (ie, this same exact idea is coming out next month), I don't much worry about what people 'are looking for' because I know that most of my ideas are pretty commercial. That's my taste. That's what I love to do. Seems like you're the same way.

Which means you probably already ask yourself "Is this a movie I can see being made?" Which is a good thing to ask. But more importantly, it sounds like you don't answer "Yes, I can see it being made because it's important that people know about the lives of the Amahuaca."

No, man. You probably answer "Yes, I can see it being made because it's got a couple great roles for some great ****ing actors (or even actors who aren't great but bring in bank) and there's some cool **** going down in Act Two and everyone loved Inception and this is like that meets Fast and Furious. And it also has nothing to do with the lives of the Amahuaca."

Like imagine I asked my reps -- before Inception was on the radar -- "Should I write a movie about a guy who can steal ideas out of people's dreams? " They'd probably be like "I don't get it. I don't understand." I'd hang up thinking I was a failure. But in my head I had DiCaprio and Paris folding in on itself and spinning tops and ****. But all they heard was "dreams".

How cliche is that, right? Dreams. Bah. Next.

I guess this is a long way of saying to trust your instincts and own your ideas. You didn't have these reps when you decided to write whatever got you representation. And obviously that was a smart decision.

Now move on to the next one.

[EJ Pennypacker]

It would be very wise to get the blessing of a concept before writing it.

That way you can't be upset when you do write something they didn't like in the concept stage itself, and then refuse to sell it.

It can be frustrating, but often a solid golden idea will win over all parties.

You can always ask just why some reps don't like an idea vs some that do.

Often times it can be attributed towards something that's similar in development.

EJ

[EJ Pennypacker]

I will also add to the above, that you are always free to write want you want.

I think it would be wise though to work on a passion project 'on the side' and keep your reps happy with pursuing ideas that everyone agrees has a chance of selling.

Nobody is suggesting that reps force you to write ideas.

The ideas should all be your own in the first place.

So if anything, they are forcing you to write ideas that are your own, and also have the best chance of selling.

Of course, having great reps who know what's going on at each studio helps tremendously in this court.

EJ

[LauriD]

Originally Posted by gdubs

I guess this is a long way of saying to trust your instincts and own your ideas. You didn't have these reps when you decided to write whatever got you representation. And obviously that was a smart decision.

.

I'm in the same boat -- submitted dozens of what seemed to me to be commercial ideas and can't find one that my managers like.

(For "commercial" I rely on the Concept chapter of "Writing for Emotional Impact.")

I disagree with the advice above because I don't want to waste my time writing yet another script (#7) that's good enough to get me representation (plus win contests, etc.) but not "marketable" enough for my managers to send out.

How many ideas do other repped writers typically throw out before they find one their managers like? I've sent about 25, including both loglines and synopses -- are we talking hundreds and over what period of time?

[gdubs]

Originally Posted by LauriD

(For "commercial" I rely on the Concept chapter of "Writing for Emotional Impact.")

Really? For commercial I rely on actual, y'know, movies. Playing on my TV. Or down at the multiplex. Or on my iPad.

[jonpiper]

Originally Posted by LauriD

I'm in the same boat -- submitted dozens of what seemed to me to be commercial ideas and can't find one that my managers like.

How many ideas do other repped writers typically throw out before they find one their managers like? I've sent about 25, including both loglines and synopses -- are we talking hundreds and over what period of time?

It seems to me you need to get some notes to understand what your manager is looking for. A little brainstorming secession might push you in the right direction. Are your ideas completely on the wrong track or do they need some drastic modifications?