Going in to the studios... wish me luck

[Clyyde]

Thanks Copywriter.

It's actually not so much a fantasy script but rather a high concept comedy with a fantasy element (in the vein of say a "Bruce Almighty"), but I definitely hear what you're saying. It would need CGI in lots of parts, so it's definitely not a low budget.

The funny thing is this is actually my first shot at a higher-budget spec. The last two that went out would have been relatively cheap to produce, and that's what I normally do when writing specs. But this time around I liked the idea enough to try to take a shot at something different... oh well.

Good luck to you as well!

[BROUGHCUT]

Originally Posted by Clyyde

I don't know if he really knows what he's talking about or if he's just telling me that because now that the idea of a sale is dead he's not as interested in spending the time looking for assignments for me where he won't be producing...

if that's right, it's far from unusual. Pimping specs and not representing writers is typical manager modus operandi.

[BROUGHCUT]

Originally Posted by creativexec

It's all about concept.

I think we're going to see more of these "fantasy" scripts in the pipelines. But the ones that get picked up will offer a twist on the genre.

Instead of giving us another NARNIA or RINGS chronicle, Hollywood will buy the likes of KILLING ON CARNIVAL ROW - an original screenplay.

That story is set in a world where humans cohabitate with fairies (that are second class citizens - mostly whores). When a cop is implicated in a string of "fairy" murders, he sets out to find the real killer and prove his innocence.

It's a competent storyline but it's set in a unique world we've never seen before. The script sold on spec from a first time writer.

CE I was going to post this on 2A in that thread but forgot. Really fascinating, you'll love it (first 4 minutes):

http://www.bbc.co.uk/radio4/factual/...y_20051015.ram

Needs Real Player.

Ever since I heard this interview last year I've been wondering if it's possible to twist it into a sellable concept.

You can immediately visualize the Tim Burton world in Carnival Row, but I can't get past the fact that fairies as whores is a cheap, nasty idea. Reducing a complex mythology to the commonest, most prosaic "human profession" in order to get a rise out of buyers... I guess one lesson from this sale is don't be afraid to put your head in a sewer to come up with that unique "twist".

Another is don't look down on unpaid interns, they can occasionally take in specs that sell!

At the same time I can see how it's a great Hollywood concept and a colid logline. No arguments there. I would pay to see it. Someone would have to pay me to write it, though.

Maybe that's where I'm going wrong.

[Jcorona]

Clyyde, don't'chu dare go leavin' me all depressed all alone and stuff. Straighten up in that chair and move them fingers . . . writer! Gimme at least fifty characters a minute. Let's move, move it!

Corona

[mad_r0]

Clyyde... isn't that why we write? to be shot down in this world by sharks in suits only to get back on our feet and write something that kicks the shark's asses?

I use it as motivation all the time. All the people that never beleived in me... i will stick it to them via my stories.

Once the grieving period is over, use it against them.

We know we'll see you again Clyyde. Keep your head up hombre.

[Copywriter2]

I just noticed that Killer on Carnival Row was repped by William Morris (and another firm). Sure, it's about concept and quality -- but it's also about who brings in the project. The vast majority of studio sales (at least those listed on Moviebytes and such) seem to be repped by one of the bigger firms. Clyde, just out of curiosity, are you repped by a big, medium or small firm?

[Clyyde]

Hey Copywriter, I'd definitely say my current firm hovers between small and medium -- with the move to medium only happening in the last year or so.

The good news for them is they just had a few nice sales in the last few months and have projects set up with some big names... the bad news is the last film they produced totally tanked at the box office only a few months ago.

When it comes to managers, I've actually had experiences on both sides of the fence. My previous manager was a VERY big name -- probably one of the most recognizable names when people talk about literary managers. He's a great guy and definitely respected around town, but he had so many deals going on at once that he didn't have a lot of time to spend working on script notes or nurturing careers. His modus operandi was to solicit tons of queries and pretty much throw as many new writer specs as possible out there and see what sticks. For those that didn't, he cut ties and moved on pretty quickly to fresh meat. In total, we spent about nine months working together before parting ways... but we remain on good terms. The truth is I learned a tremendous amount from him about pitching ideas and about what sells as a spec and what doesn't. For that alone, the time I spent with him was worth it.


Broughcut -- I definitely hear what you're saying about manager's wanting to produce, and I knew that going in. Regardless of what a manager tells you -- any manager -- their single most important professional goal is to set up projects that they can also produce. That is ALWAYS where their true passion lies. But the good ones don't see it as an "either/or" proposition. They are at least willing to balance it out and try to help the client's career as well, because they have the foresight and confidence to realize that helping a client get assignments may lead to more lucrative opportunities for them down the road.

I guess my real question right now is whether my current manager falls into category I or category II.

[RoscoeP]

There was just another fantasy script on the sales page, though it was a much different situation than the new writer one mentioned by creativexec since Peter Lenkov has been around a while.

Title:R.I.P.D.Logline:In the Rest in Peace Department, where the dead police officers patrol the beat of the deceased who refuse to go quietly, a newly dead cop joins up after being murdered. This cop searches for the man who set him up as he does his duty fighting fiendish creatures.

More:To be adapted from Dark Horse's comic book written by Peter M. Lenkov. Original Film's Neal H. Moritz and Dark Horse's Mike Richardson will produce. Lenkov will executive produce. David Dobkin will direct.

[writer0825]

Hey Clyyde, anything more happen? Maybe something more happened and I just missed it in all the threads....that happens when you start to get old or spend too much time in front of the laptop! (lol)

[BROUGHCUT]

Originally Posted by Copywriter2

I just noticed that Killer on Carnival Row was repped by William Morris (and another firm). Sure, it's about concept and quality -- but it's also about who brings in the project. The vast majority of studio sales (at least those listed on Moviebytes and such) seem to be repped by one of the bigger firms.

Actually, the writer weant to school with Kopelson's intern. The intern brought it in.

obviously Kopelson then took it into the studio. The vast majoity of studio sales have prodcos or producers already attached. The writer may or may not have an agent at that stage,