Attaching a name director first, then a producer

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  • Attaching a name director first, then a producer

    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!


  • #2
    Re: Attaching a name director first, then a producer

    You will need finance or a relationship with a track-record producer in order to get read by high-profile actors/directors. You may be lucky and get through the door via their prod. co's - for that you'll need an agent/manager or at least a lawyer unless they are okay with release forms.

    It's the same game but a different set of gatekeepers.
    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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    • #3
      Re: Attaching a name director first, then a producer

      Originally posted by peakbeach
      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?
      Contact the directors and/or actors production company and ask if they will read scripts by unrepped, non-WGA first-time writer.

      2. Same as #1, but repped?
      Ask your agent to send it to the director's and/or actors production company.

      3. Same as #2, but WGA?
      Same as #2

      4. Same as #3, but second- or third-time writer?
      Same as #2 and #3. I assume you mean second or third sale. It would be easier if the writer has a track record.

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      • #4
        Re: Attaching a name director first, then a producer

        if this is your first script, my suggestion is don't take it to production companies (including director/actor production companies) yet. the reason is, and don't take this the wrong way, the script is not ready. you may think it is, but it isn't. and you don't want to get shot down and not get another chance.

        for now, i'd recommend you bang on the doors to management companies. find a manager who is willing to roll up his sleeves with you and make the script better. rest assured, it can be made better.

        then, once you two are satisfied, have your manager bang on doors to get you an agent. from there, a lot of doors will open.

        be patient. don't rush the process. give yourself the opportunity to put your strongest foot forward.

        good luck.

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        • #5
          Re: Attaching a name director first, then a producer

          Great replies. Much appreciated. Thanks!

          Yes, I meant second or third sale.

          I'm surprised, though, no one suggested to contact the director's agent/manager/lawyer first, being the director, in my case, the golden attachment needed to make this film. The name actor would be next in importance.

          Apparently, it boilds down to getting the "financiers" first, then the talents.

          Regarding the diversity of questions, I'm speaking for myself and other less fortunate writers.

          Last edited by peakbeach; 09-08-2005, 12:40 AM.

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          • #6
            Re: Attaching a name director first, then a producer

            The problem I see in this approach is the same problem as in all the other get-it-directly-to-the-A-list-actor-type schemes that new writers try in an effort to circumvent the standard procedure: They don't really work.

            Firstly, the standard procedure is there for a reason, and most (if not all) of the way the industry does business reinforces that standard procedure --usually by design.

            Secondly, it's a practical matter. The number of directors who can get a project funded simply by virtue of their involvement is very small. Very small. And the ones that can have real production companies. And they are more often than not going to want rep-submitted only. Which brings you back to square one. Production Companies, managers, agents. Remember, even most A-List directors have some dream project that they can't get made.

            Also, just to nit-pick: in example #3, how is a first-time writer going to be WGA?

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            • #7
              Re: Attaching a name director first, then a producer

              I'm surprised, though, no one suggested to contact the director's agent/manager/lawyer first
              Yep. My bad. I was going to add agent/manager/lawyer to â€production company†but thought it was just too many words.

              Joeâ€TMs advice is great. I read for a big name director for about 6 weeks. Most of them already have 5 or 6 scripts they really want to make, but either canâ€TMt get funding or just donâ€TMt have the time due to previously booked jobs.

              Hard to believe that someone like Tim Burton, Rob Marshall, Rob Reiner, Ron Howard, Bryan Singer or Spielberg has scripts they canâ€TMt get made - but itâ€TMs true.

              The romantic idea that a new writer gets their script to a bankable director who loves it so much they agree to attach themselves, thus securing financing is just that - a romantic idea.

              I guess it has happened - or else the urban legend is so strong that we believe and hope it has happened - but itâ€TMs not terribly likely.

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              • #8
                Firm Offer

                You have to remember, any director or actor worth having attached to your script is already getting a stack of scripts from producers and studios. And the scripts from producers and studios have money attached - a firm offer.

                The money offered is usually the director or actor's "quote" - what they are normally paid.

                After the actor or director sifts through those offers, there are other scripts from studios and producers for *less* than their quote - but these are also firm offers (money is attached, they get paid when they say "yes"). These are pet projects like CRASH - where the script may be more important than the money... but there is still money attached.

                Probably next in line are personal relationships & pet projects. Either the director or star hs a pet project they will take to the studio or producers, or a friend of the director or star has a script with no money attached that they will take to producers and studios.

                Eventually we go all the way down to some total stranger with a script and no money. Imagine the odds of doing that script instead of any of the others?

                Unless you are the best friend of a director or star, I'd suggest doing things the old fashioned way. Get the script to a producer who can make a firm offer to a star or director.

                - Bill
                Free Script Tips:
                http://www.scriptsecrets.net

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                • #9
                  Re: Attaching a name director first, then a producer

                  Originally posted by JohnDoe79
                  Sometimes people who have personally connections. The screenwriter could be married to the director, could be his/her high school classmate, could be a sibling or cousin, etc.

                  Look at the credits in a movie and you'll often see similiar last names...............

                  It may not be terribly likely, but each individual situation is different.
                  I'm sure that happens. I wonder how often a new writer without family, marital, school or business connections gets a script to a name director or actor who loves it so much they attach themselves, thus securing financing?

                  People sure believe it happens. I wonder how often.

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                  • #10
                    Re: Attaching a name director first, then a producer

                    Originally posted by certified instigator
                    I'm sure that happens. I wonder how often a new writer without family, marital, school or business connections gets a script to a name director or actor who loves it so much they attach themselves, thus securing financing?

                    People sure believe it happens. I wonder how often.
                    I admire your restraint certified.
                    http://wasitsomethingiwrote.blogspot.com/

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