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Old 01-05-2006, 05:21 PM   #11
BROUGHCUT
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Default Re: How much power does a creative exec have?

Quote:
Originally Posted by Hasil Adkins
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).
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Old 01-05-2006, 11:55 PM   #12
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Default Re: How much power does a creative exec have?

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.
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Old 01-06-2006, 08:58 AM   #13
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Default Re: How much power does a creative exec have?

Quote:
Originally Posted by The White Album
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.

Quote:
Originally Posted by The White Album
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.

Quote:
Originally Posted by The White Album
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?

Quote:
Originally Posted by justwrite
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.
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Old 01-07-2006, 08:13 AM   #14
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Default Re: How much power does a creative exec have?

Quote:
Originally Posted by 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.
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
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Old 01-10-2006, 11:03 AM   #15
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Default Re: How much power does a creative exec have?

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.
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Old 01-10-2006, 12:51 PM   #16
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Default CEs and Readers

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.
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Old 01-11-2006, 08:16 PM   #17
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Default Re: How much power does a creative exec have?

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.
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