The story of my spec thus far...

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  • #76
    Re: The story of my spec thus far...

    Originally posted by abiqua View Post
    No offense meant, SB, but why would a script go out wide with a producer already attached? Am I missing something here?
    Yes. Scripts often go out to studios with producers attached.
    "Take the thing you love, and make it your life"--Californication. [email protected]

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    • #77
      Re: The story of my spec thus far...

      abiqua,

      Often the prodco wants the studios to cut the check for the writer, hence becoming attached and wanting 'daddy' to foot the bill so they can go and play.

      EJ

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      • #78
        Re: The story of my spec thus far...

        Originally posted by abiqua View Post
        No offense meant, SB, but why would a script go out wide with a producer already attached? Am I missing something here?
        Here's sort of how it can work. I developed a project with a writer and, as the producer, I control the rights, i.e., I am attached. Producers might attach to projects at different times during the process. Some attach when it's just an idea which they agree to exclusively develop with a writer. Some attach when an agent sends it to them before going to buyers, or if the producer finds the script through other means, their own company, whatever. Some attach when a script goes out wide to the town in order to take it to specific buyers, i.e., "properties".

        The "going out wide" element isn't all that relevant. Going wide was my and the manager's strategy for this particular project. Very often, managers or agents will partner with producers (in fact, it's almost always the case) who have deals or track records that will convince buyers that the producer can execute the movie. Sometimes, a producer with a project, like me in this instance, might partner with an agent or manager in order to take a script out and partner up with bigger producers who will have more credibility with buyers, which is exactly what we did.

        In this particular case, we partnered up with bigger production companies to take the script to some buyers with whom I don't have a personal relationship at high enough levels. Where I did have relationships, but no bigger producer to take the territory, I went directly. For example, I partnered up for companies like Overture, Rogue, Screen Gems, and Fox Atomic, and I went directly to companies like New Line, MGM, Dark Castle, because I knew that, if they liked the material enough, they would buy it from me even though I'm wet behind the ears.

        Kind of a long winded explanation but your question was pretty broad.

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        • #79
          Re: The story of my spec thus far...

          Originally posted by EJ Pennypacker View Post
          abiqua,

          Often the prodco wants the studios to cut the check for the writer, hence becoming attached and wanting 'daddy' to foot the bill so they can go and play.

          EJ
          The prodco always wants the studio or financing entity to cut the check, not often, because production companies rarely fund films.

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          • #80
            Re: The story of my spec thus far...

            Originally posted by SBScript View Post
            Here's sort of how it can work. I developed a project with a writer and, as the producer, I control the rights, i.e., I am attached. Producers might attach to projects at different times during the process. Some attach when it's just an idea which they agree to exclusively develop with a writer. Some attach when an agent sends it to them before going to buyers, or if the producer finds the script through other means, their own company, whatever. Some attach when a script goes out wide to the town in order to take it to specific buyers, i.e., "properties".

            The "going out wide" element isn't all that relevant. Going wide was my and the manager's strategy for this particular project. Very often, managers or agents will partner with producers (in fact, it's almost always the case) who have deals or track records that will convince buyers that the producer can execute the movie. Sometimes, a producer with a project, like me in this instance, might partner with an agent or manager in order to take a script out and partner up with bigger producers who will have more credibility with buyers, which is exactly what we did.

            In this particular case, we partnered up with bigger production companies to take the script to some buyers with whom I don't have a personal relationship at high enough levels. Where I did have relationships, but no bigger producer to take the territory, I went directly. For example, I partnered up for companies like Overture, Rogue, Screen Gems, and Fox Atomic, and I went directly to companies like New Line, MGM, Dark Castle, because I knew that, if they liked the material enough, they would buy it from me even though I'm wet behind the ears.

            Kind of a long winded explanation but your question was pretty broad.
            Thanks for the explanation, SB. What's interesting, and depressing, is that you can have companies like Overture, Rogue, and Screen Gems in your court and still not get a deal.

            When you partner up with companies to go wide, are written agreements drawn up or is it all on a handshake?

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            • #81
              Re: The story of my spec thus far...

              Originally posted by abiqua View Post
              Thanks for the explanation, SB. What's interesting, and depressing, is that you can have companies like Overture, Rogue, and Screen Gems in your court and still not get a deal.

              When you partner up with companies to go wide, are written agreements drawn up or is it all on a handshake?
              It is still in play at a couple of those companies, so it ain't dead yet.

              Handshake on partnering on a spec in this sort of situation, though I of course would secure the underlying rights long before taking a script out.

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              • #82
                Re: The story of my spec thus far...

                What's interesting, and depressing, is that you can have companies like Overture, Rogue, and Screen Gems in your court and still not get a deal.
                Nothing surprising there, just because you have very good relationships doesn't guarantee that you will get a deal on every script that goes out. It's all down to whether the script is something they want to get involved with. Of course if they do then that's where the relationship bit kicks in because they are working with a known quantity.
                Blog: http://writinglounge.blogspot.com
                Email: kidcharlemagne108[at]yahoo[dot]co[uk]

                "What is your greatest ambition? To become immortal and then die." - Breathless

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