You're an unproduced, unrepresented screenwriter. You queried a production company. An assistant emailed back and requested the script. So far so good. Three weeks later you get a request from the company for a ZOOM call. You agree. You're excited. It sounds like your dream is finally coming true! But you're nervous too. What's going to happen? Chances are it will be one of these four scenarios -- and they're all good.
1). Meet and Greet.
They read your script. They didn't care for it enough to option it, but they felt it showed promise or a unique perspective. They are calling to see if you are the kind of person they'd like to do business with in the future. If you are, your name goes into their metaphorical Rolodex (no one actually has real Rolodexes anymore, do they?) Essentially this is an elevator pitch for you as a writer rather than for a specific project.
While this is a thanks but no thanks for your script, it is still a great development. It shows they respect you as a writer. Don't waste this opportunity trying to sell them on your script they have already read and passed on. This is about the future. If you get the opportunity, be sure to mention other scripts you have written or plan to write. However, be sure to listen. Directly or indirectly, they will tell you what they are looking for. Choose your words accordingly.
Here's something I hate: A meet and greet before they read your script. I have had this happen a couple of times. You query someone about a script. Then they call you or set up a meeting with you before they even request the script. Ugh. What's the point?
Any producer or director will know within the first five pages of my script whether I can write and if they like my style. What's the point of talking prior to that? I am a writer. I want to be judged by my words on paper not my banter. Even if they find me utterly insightful and amusing -- which, of course, I am -- they'll still never hire me unless they like my words on paper. Once I spent literally forty-five minutes on the phone with the producing partner of a major Hollywood actor/movie star. Forty-five freaking minutes.... He eventually requested the script. Never heard from him again afterwards. Not even a polite thanks but no thanks.
2). Another Project.
They read your script. They didn't care for it enough to option it, but they loved your writing. So much so that they want you to either execute an idea they have or rewrite an existing property they own. In this call, they want to find out if you've written on assignment before, how you do with deadlines and what you think of their project. Guess what? If you maneuver yourself through this ZOOM call successfully, you have achieved your goal of becoming a professional screenwriter. If they're paying, that is. If they're just giving you an unpaid "opportunity" your answer is no. Keep pitching.
I've been fortunate enough to get a few calls of this sort and some of them have led to produced pictures. Initially, I was always very inclined to say yes. It is exciting to have someone pay you to write something -- anything. Now, I am much more cautious. I have to really like the concept and believe the project has a reasonable chance of meaningful distribution. I have no interest in writing a film no one will see. Plus, they have to pay. I have even less interest in working for free.
3) Chat About The Script.
They read your script. They like it and they want to talk about it. Now, if the first words out of their mouths aren't an offer to option the script, the purpose of this call is to see how you would respond to certain changes they have in mind. My advice: Don't be too quick to say yes or no.
I have written a blog about why you should always make the changes. I have also written a blog about exercising your power to say no. Depending on the circumstances, both options are valid. For you, the key is finding out not only what they want to change and but also why they want to change it. Since the production company is interested your script, they will endeavor not to scare you off or offend you. They might only suggest a few changes that appear somewhat superficial. However, when you dig into the why, you may discover, for example, that they feel the protagonist isn't likeable enough now. That goal of making your protagonist "likeable" might take you on a very painful journey.
My advice: Be open. Listen. They want you to be confident in your work, but they always want to know that you will be a team player. If you throw a hissy fit, they'll either walk away or simply option the script and hire someone else to make their changes.
If you find yourself losing confidence during this call, don't be afraid to ask them what they liked about the script. A spoonful of sugar can help the medicine go down.
4). Option.
They read your script. They love it and they want to option it. That's what you've been waiting for. Your dream finally came true. You've just sold your first script. This is going to be a happy call. Don't expect them of offer any details concerning the deal. You'll see those when they send you the paperwork.
I hate to sound negative, but this call is sometimes the good cop portion of the old good cop/bad cop routine. The producers use this call to stroke your ego and fire you up. They want you so excited that you won't care that the contract you get the next day is strictly non union and consists only of a lump sum payment with no residuals or royalties, etc. Or that they give themselves unlimited opportunities to renew the option at the same price. That's the bad cop. Remember: Every cent they pay you is money they don't get to keep in their own pockets. Never be surprised when people put their own interests ahead of yours!
Here's a piece of advice for this call. You'll be tempted to keep everything happy and light, but you should take this opportunity to ask some questions. First, ask what they like about the script. Not only will that be great for the ego, it will also give you a feel for their mindset. You might discover that something you considered insignificant might have made an emotional impact on them. That's essential to know.
However, you should definitely ask whether they foresee any changes. Chances are, no matter how much they like your script, they will want to make some changes. It's best to figure that out as soon as possible.
A friend of mine got a call from a producer. He wanted to option her script. He was full of praise. He didn't mention the desire to make any changes. My friend couldn't have been happier. The next morning, before the option agreement even arrived, she got a call from another screenwriter. He said he had been hired by the producer to rewrite her script. He was just giving her the traditional courtesy call.
My friend was horrified. Obviously, she didn't sign the option agreement when it arrived.
I hate ending this blog with horror stories because what I said at the beginning is true: If they are calling you, it is good news. Still, you always have to remember that selling your script is only your first hurdle.
Chapel Street - Prologue - My Mother
Chapel Street - Chapter 1 - RestingPlace.com
Chapel Street - Chapter 2 - Elisabetta
Chapel Street - Chapter 3 - The Upload
Chapel Street - Chapter 4 - The Kobayashi Maru
Let's stay in touch:
No comments:
Post a Comment