Suppose the near impossible - a powerful medium-to-big budget spec script from a screenwriter is ready to make its journey to the big studios.
Suppose the writer's first strategy is to get a name director (say, Tim Burton) attached, and then perhaps a name actor (say, Johnny Depp) attached. (Or vice versa.)
The rest doesn't matter as long as the movie gets made by a WGA signatory production company (or individual producer) that has dealt before or is dealing now with a big studio. Reason: the writer is totally unfamiliar with those important production companies or individual producers.
How would you proceed?
1. If you're an unrepped, non-WGA first-time writer?
2. Same as #1, but repped?
3. Same as #2, but WGA?
4. Same as #3, but second- or third-time writer?
Thanks!
Suppose the writer's first strategy is to get a name director (say, Tim Burton) attached, and then perhaps a name actor (say, Johnny Depp) attached. (Or vice versa.)
The rest doesn't matter as long as the movie gets made by a WGA signatory production company (or individual producer) that has dealt before or is dealing now with a big studio. Reason: the writer is totally unfamiliar with those important production companies or individual producers.
How would you proceed?
1. If you're an unrepped, non-WGA first-time writer?
2. Same as #1, but repped?
3. Same as #2, but WGA?
4. Same as #3, but second- or third-time writer?
Thanks!
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