Pitching a project you know a studio owns?

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  • Pitching a project you know a studio owns?

    How would one go about pitching a take on a project that a studio owns the rights to, but isn't actively looking for writers for -- most specifically when one has no sales or representation to their name?

    Even if one did have reps, how would one go about getting a pitch meeting for this specific project? 20th Century Fox recently bought the rights to a biography that I absolutely want to adapt. I'm almost tempted to adapt the book on my own and find a way to get it to into an exec's hands.

    INT. PINEAPPLE - DAY



  • #2
    Re: Pitching a project you know a studio owns?

    Do you have an agent/manager with a solid resume and work sample?

    You might think you have a great idea, and you just might, but what makes you so special to be able to be given a expensive rights to pre-existing property?

    There's no way to get to this, or no reason you really should without a work sample, unless you're rubbing elbows with a studio executive or high ranking producer who is.

    You could always buy the rights to a book like this one yourself, but that'd cost you a few cars. And if it's a decent novel, again, what makes you so special as to why you should get this shot? If it's a decent novel then the author's agent would probably just hire a well established writer then spec it.

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    • #3
      Re: Pitching a project you know a studio owns?

      What makes me so special is that I can relate to this real life story.

      I have an email into an exec I have corresponded with a few times before, whom I believe works at the studio that owns the book rights. I also have an email into the author of the book, which has not even been published yet.

      INT. PINEAPPLE - DAY


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      • #4
        Re: Pitching a project you know a studio owns?

        Originally posted by 12916studios View Post
        What makes me so special is that I can relate to this real life story.
        Unfortunately that only makes you special in your eyes - it counts for nothing as far as the studio is concerned. Getting a studio to let an unproven writer adapt a property they own is extremely difficult - I've never heard of it happening. It's no easier than pitching an original spec. Depending on who your exec contact is and what your relationship with them is, you may have an outside shot at it but unlikely.

        For an unproven writer the studio has no interest in going through the hassle of making it happen. It costs them time and money, the legal affairs dept always argue that it's more trouble than it's worth and everyone knows the odds of it resulting in anything of value to the studio are too low for them to be interested.

        The fact that the book has not been published yet makes no difference - studios routinely buy the film rights in literary work long before they are published. The more you convince them the work has some value the less likely they are to let anyone play with it. You say the studio owns the book rights - don't you mean the studio owns the film rights? Either way, if the studio owns the rights then the author can not help you.

        There's nothing encouraging to say about this situation and the best advice is to work on something original or that you have the film rights to.

        I'd love to hear a success story from someone in your position because many writers have a favorite literary work they'd love to adapt.
        "Friends make the worst enemies." Frank Underwood

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        • #5
          Re: Pitching a project you know a studio owns?

          Originally posted by 12916studios View Post
          How would one go about pitching a take on a project that a studio owns the rights to, but isn't actively looking for writers for -- most specifically when one has no sales or representation to their name?

          Even if one did have reps, how would one go about getting a pitch meeting for this specific project? 20th Century Fox recently bought the rights to a biography that I absolutely want to adapt. I'm almost tempted to adapt the book on my own and find a way to get it to into an exec's hands.
          If they bought the rights then obviously they have plans to adapt it. Just because you've not heard about them actively seeking a writer doesn't mean they aren't.

          As someone above said, unless you already closely know someone who's at the top of 20th Century, or know someone who knows someone who is and would do you the biggest favor on the planet by hooking you up, then your chances of being involved in the project are about .01%. You seem passionate about it so I know that's hard to hear, but it is just the reality of the situation, especially, as someone said above, if you have no samples that they've already seen where they'd already know who you were and liked your work before handing over an adaptation they're probably hoping will either clean up at the box office or win them an award.

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          • #6
            Re: Pitching a project you know a studio owns?

            actors do this all the time. they read books and when they see a character that they absolutely love and believe they could do they wait until someone picks up the rights (unless they have their own prod co) and starts casting. then they beg for the part and oftentimes get it.

            it's so much for unknown writers to do this. but i did ask a similar question at this year's GAPitchFest and was told (by a panel of producers and a literary agent who specializes in adaptations): you need an excellent writing sample in that genre but also you can write a few sample pages of how you would adapt the story to submit as well. if they do take a look then i can only think the next thing would be is to have a treatment ready. you need a detailed treatment for an adaptation.

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            • #7
              Re: Pitching a project you know a studio owns?

              I just did something similar, after the disappointment of seeing my first script optioned for good money but not produced. I just optioned, as producer-writer, the movie rights to a unique literary property (a true story with iconic historic value). I am now functioning as a would-be producer -- and finding it much easier to get people on the phone (I am a major-media journaloist and magazine writer by profession).
              My plan is to go ahead and write a spec script while I pitch studios and production companies on the underlying proeprty and its potential as a film, then say "By the way, I have a first draft script ready to go" if and when someone shows interest in the underlying story.
              That's the only way you could do what you have in mind, based on my knowledge of the industry. And since the movie rights to the novel are already owned or optioned, that route is closed to you. Since that's the case, I'd agree that you'd be wasting your time -- with one caveat: IF you were able to write and deliver a mind-bogglingly incredible script based on the novel AND that coincided with a desire by the studio to begin development of the property, I'd think that would at least give you a shot. So, it's possible, but a huge long shot -- based entirely on your ability as a writer.
              I say go for it. You have nothing to lose. And miracles happen sometimes, even in Hollywood.

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              • #8
                Re: Pitching a project you know a studio owns?

                Originally posted by jtwg50 View Post
                You have nothing to lose.
                Except massive amounts of time, energy, and the opportunity cost of focusing on this to the detriment of other projects.

                Find material that isn't owned by someone else. Create material that is yours and yours alone. I'd only do something like this if I had a prior relationship with the studio or exec on the project. Otherwise you'll be taking away valuable time that could be spent on things you don't need someone else's permission to sell.

                The parenthetical to this answer is -- try to find if there's another book on the same subject or person. Try to get the rights to that book. When you seek the option, say you can't offer much money but you can guarantee a brilliant spec script based on the property in six months' time. Gary Ross made Seabiscuit, but he only owned the rights to the Hillenbrand book. You could option the memoir of the jockey, say, or maybe find a book about Secretariat. Capote and Infamous are based on two different biographies of Truman Capote but came out within 9 months of each other. One does not preclude the other.

                I'd still suggest working on original material, though.

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                • #9
                  Re: Pitching a project you know a studio owns?

                  So far as I know, there is no other book on the subject.

                  I shot an email off to the author (the only way I could contact him) and learned that nothing's even been signed yet, but the studio already has a big name writer attached. My only consolation was that that email was essentially one big pitch, and the writer thought it was great. Oh, that and the fact that nothing is official so far. This means that the writer could be dropped off the project, or that this could get stuck in development hell until SOMEONE (me) comes up with a brilliant take on it.

                  Passion pieces that can never be sold have gotten people work before. Remember Muppet Man and Blockhead? My thoughts are that I should just go ahead an write this on spec. There is so much information about the story that I don't have, but I could probably fill in a few blanks with a lot of heavy research. At that point I would be adapting the real-life story, and not the book itself.

                  The only thing I am afraid of is how keen the studio is on pushing this into production. This "story" was an ongoing...thing...for two years, and it just finally ended two weeks ago in a big climactic way, to much media attention. (Pardon the vagueness.) I wouldn't be surprised if the studio wanted to ride the fanfare and get this pushed through before people forget about it.

                  INT. PINEAPPLE - DAY


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                  • #10
                    Re: Pitching a project you know a studio owns?

                    i would hope the author of the book would have some influence over their decision as to whom they hire to adapt. good luck!

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                    • #11
                      Re: Pitching a project you know a studio owns?

                      Originally posted by 12916studios View Post
                      So far as I know, there is no other book on the subject.
                      You might not be looking hard enough. Perhaps there's someone involved with the incident whose life rights you could purchase or option. That's the same thing. Or a magazine article. If the thing got a lot of media attention, then there are more sources for you than just this one book. (Still, though, write original stuff. Really.)

                      Originally posted by 12916studios View Post
                      I shot an email off to the author (the only way I could contact him) and learned that nothing's even been signed yet, but the studio already has a big name writer attached. My only consolation was that that email was essentially one big pitch, and the writer thought it was great.
                      What do you think the writer would say? "Gee, thanks for the email, but I thought your pitch sucked." It costs the writer nothing to say he liked it. Besides, it's flattering to have a writer pitch to you when you probably have spent your entire career pitching.

                      Originally posted by 12916studios View Post
                      This means that the writer could be dropped off the project, or that this could get stuck in development hell until SOMEONE (me) comes up with a brilliant take on it.
                      So wait until that happens.

                      Originally posted by 12916studios View Post
                      Passion pieces that can never be sold have gotten people work before. Remember Muppet Man and Blockhead?
                      Remember Star Trek: Dynamo? Remember Tiki Lounge and the Mystery Idol? Remember Haunted Mansion 2? I do. I had to read them. They were all unauthorized. Why write something you know won't sell when you can write something that might?

                      Think of it another way -- a studio has invested a lot of money and time on acquiring this book. They want to fast track it. They want it made yesterday. They'll want someone they've worked with before who has a track record and whom they know can execute exactly what they want. I get your passion, but I still suggest you channel it to an original concept.

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                      • #12
                        Re: Pitching a project you know a studio owns?

                        Originally posted by jcgary View Post
                        Think of it another way -- a studio has invested a lot of money and time on acquiring this book. They want to fast track it. They want it made yesterday. They'll want someone they've worked with before who has a track record and whom they know can execute exactly what they want. I get your passion, but I still suggest you channel it to an original concept.
                        Usually I would take this advice, and I frequently agree with posters who give it to others. But at this point in time, I can't accept it for myself. There is something in this story that I feel connected with on a molecular level, something inside me that says I could write it better than anyone else. There's a desperation about the protagonist that I just can't ignore.

                        INT. PINEAPPLE - DAY


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                        • #13
                          Re: Pitching a project you know a studio owns?

                          If you can bang out a script in three or four weeks, then what the heck -- it's your time.

                          But if you're talking about spending three or four months or more on this, I'd try to pitch your take on it first and try to get a proposal or short treatment into somebody's hands and test the waters.

                          Find out if it's an Open Writing Assignment (an agent or producer could find this out for you.)

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                          • #14
                            Re: Pitching a project you know a studio owns?

                            Originally posted by GreatOz View Post
                            If you can bang out a script in three or four weeks, then what the heck -- it's your time.
                            The problem with this approach is that more than likely the studio will not read it in fear of opening themselves up for a lawsuit.

                            This type of situation probably arises often with a studio. A writer/fanboy gets in touch with them about material the studio controls and tells them they have a great way to adapt.

                            As others have said, why not write an awesome original script that is so good you get put on writer lists to be in a position to adapt something else you love down the road. And in those cases - they'll come to you.
                            https://twitter.com/#!/moviewriterJeff

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                            • #15
                              Re: Pitching a project you know a studio owns?

                              I applaud your passion. I always say dream big, fear little. But you have to balance that with reality and logic. You approached the author, but he's already considering what is likely a million(s) dollar deal with a major studio. Sure, he says he dug it, but aside from a decent idea, you have nothing to offer him.

                              Like you said, your only hope at this point is the slim chance of something breaking down on the overall deal and/or them dropping the writer and seeking someone new and you somehow becoming a contender amidst a slew of their more experienced go-to's. So in preparation for that situation, I'd keep your treatment fresh and ready and try to stay in contact with the author. Because you never know. But like someone else said I wouldn't waste the next several months writing an entire screenplay and winding up with something you've poured your heart and soul into and are profusely proud of, only to then find out the project is going ahead as planned and you're left with a useless screenplay and have just wasted a huge chunk of your life.

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