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Old 02-25-2011, 09:30 PM   #11
gravitas
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Default Re: Packaging

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Originally Posted by -XL- View Post
When aligning with other elements, the best advice I can offer is try to ensure that you all see the same movie. The script will (likely) change, other people will have ideas, but as long as you all see the same movie, you're all on the same team, working towards the same goal.
Thank you for this post. This is excellent advice and I'm going to follow it.
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Old 02-25-2011, 10:33 PM   #12
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Default Re: Packaging

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A manager has suggested that we try to attach a star to my spec. Anybody have experience with this strategy? I was under the impression that if he liked it he would send it out to prodcos as opposed to talent?
Each script calls for its own strategy. Sometimes, the director is the key (as it was pointed out on another thread, directors usually can bring the talent, which then scores the funding), sometimes the producer is integral to the package, and sometimes talent is the path.

I doubt a rep will specifically pursue just one path. It would seem (and I stand corrected on this) that talent tend to be particularly hard to secure as attachments because they may already have offers on the table to chose from (meaning, projects which are ready to go with $) and they really have to have a reason to want to do your script. And with talent, you have to hop through the rep hoops first - so your script often needs to make it past their agent/manager, and then the star must deign to read your script, like it AND be willing to have their name attached to it. Producers on the other hand need to always be developing, and those with deals at a studio may have a certain number of films they need to deliver to the studios pipeline so they may be more open to attachments.

Be patient, keep yourself informed, be helpful where you can with suggesting possibilities (but only if your rep is open to this) and write another script.
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Old 02-25-2011, 11:22 PM   #13
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Default Re: Packaging

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It would appear this thread may have already run its course; ie. "it happens all the time"

So how about this: What strategies might you employ if you had somebody in mind when you wrote a role for a particular mid-range actor/actress and would like to see him/her get a shot at it?

I'm thinking, if/when I get my first deal, that I'll accept the first offer they make (need the credit, need the cash, and will be so excited anyway) but will play tough to get by saying they have to give so-and-so a chance at the role. I presume this would be okay. It's not for the lead role in the story, BTW.
Honestly, if you are selling your script, that's the financiers deciscion. You're welcome to say "I wrote it with so and so in mind", but playing hard ball, I personally, if I was a writer, wouldn't do that.
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Old 02-28-2011, 10:05 PM   #14
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Default Re: Packaging

What if you are friends with a family member of an A-Lister ( and the Actor a spec was tailor written for) and get get it into their hands. Is that an acceptable business practice, or do you think a pre-pro writer should stick to getting representation beforehand?

I'm sort of in that situation now.
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Old 03-02-2011, 01:23 PM   #15
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Default Re: Packaging

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What if you are friends with a family member of an A-Lister ( and the Actor a spec was tailor written for) and get get it into their hands. Is that an acceptable business practice, or do you think a pre-pro writer should stick to getting representation beforehand?

I'm sort of in that situation now.
The "pre-pro" writer isn't going to get representation. If you have a connection you better use it! Feel it out and try not to abuse the relationship, but this whole business is about relationships. If your friend is OK with it then you should be OK with it.
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Old 03-02-2011, 01:30 PM   #16
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Default Re: Packaging

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Originally Posted by McNamara View Post
A manager has suggested that we try to attach a star to my spec. Anybody have experience with this strategy? I was under the impression that if he liked it he would send it out to prodcos as opposed to talent?
This is where the dog chases his tail. Money wants to know if "names" are attached. "Names" want to know if it's funded. If it's not funded certain names don't want to talk to you. If you don't have "names" attached you don't get money. Someone always gives in at some point or nothing would get done.
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Old 03-02-2011, 01:53 PM   #17
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Default Re: Packaging

I hear you iDV8....
I'll have a damn good shot, three years are leading up to the one toe in the door. I've done my homework and research on this Actor's tastes and the type of material he's producing.

Also, it helps that we're from the same area. Although the script is not Boston specific, it has a decidedly Boston feel to it. I know he'll get, if I've done it right. I'm still going out with it through the normal channels as well.

I never limit anything to a single approach.
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