No. I am not talking about myself. I am talking about other people. You know how you meet some people and instantly your hackles are raised? You get a sense that there's something just not right with this person. I met a person like that tonight.
In my 37 years on this planet I've learned it's best to simply avoid people like that. Don't try to engage them. Don't try to fight them or get sucked into their black hole of despair. It's best to simply smile at them and walk away, knowing that it's them, not you, that has the problem. I've learned that people like this want others to join in their despair by bringing you down.
When they enter the room, it's like all of the oxygen has left the room. When you tell a joke, they look at you blankly. You smile at them and you're greeted with nothing other than a blank stare. Others have told me to stick it out, try to make it work. But my gut is telling me it's not worth it. My gut is telling me to run away so that I am not forced to spend the next ten weeks with this person. My experience has been to ignore my gut at my own peril. It's been a hard earned lesson.
I also practice this at work. I work in sales and prefer to do business with happy and well adjusted people. You run into people like this occasionally in the line of work. And frankly I think it's better to say "I'm sorry. Doesn't seem like our two companies are right for each other" and walk away. If there's one thing I've learned is that if people are difficult in the buying process, they're going to be just as difficult down the line when you try to fulfill their orders, get the contract signed and get paid. It's money not worth taking. There are other people who are more than willing to give you their money and do it with a smile. Life's too short to deal with people like this.
So I am in the process of trying to change things so I won't have to do with this person ever again. Sometimes it's just not worth the hassle and frustration. I have to ask myself, is it worth all the pain of dealing with this person in order to get what I want? I'm at a stage in my life where I have the luxury to avoid people like this. It's a wonder what having money does. It gives you enormous freedom to walk away from things that don't make sense for you.
But I guess this goes back to what I have said before about turning down jobs that don't seem right. The things that bug you in the interview are going to become huge fucking obstacles if you decide to work there. So weigh your decisions carefully. Sometimes it's just not worth it.
Wednesday, March 30, 2011
Thursday, February 10, 2011
Tips On Pitching
Recently we had a lecture in class from Michael Colleary, the writer of such films as Face/Off, Tomb Raider and Firehouse Dog.
Part of his lecture was several useful tips on pitching. Pitching is an important part of being a writer in Hollywood.
The ritual of the pitch:
1. Show Up. (Get there early.)
2. No drive on. (You'll get there and they won't have a drive on pass for you. It's not personal. But give yourself time for them to sort this out.)
3. Water - If they offer it to you, take it. They will take you to the reception room, where you will wait.
4. Conference Room - They will usually take you to a conference room. The person who comes in after you is the one who can say maybe. (The real decision maker probably won't be at your initial pitch.)
5. Chitchat. Don't dive directly into your pitch. Get to know them as people before starting.
6. Eventually someone will say "Okay." From then on, the room is yours, you are in control. Just remember that you are there to convince them that your idea will make them money and will make them rich.
7. Start by laying out your plan for the pitch. "I'm going to..., then I will answer questions." That way they won't interrupt you during the pitch and mess with your rhythm. Start with Act 1 "We begin in..." Set the time and place for the story. Orient them. When you get to the end of Act 1, then say "End of Act 1. Act 2 begins with..." Otherwise, they might get lost and not know where in the movie they are. When you are done, say "The end." Don't pitch every little detail. Leave room for questions. Entire pitch shouldn't take more than 10 minutes.
8. When you are done, get out. Say "Thank you." and leave. Don't leave anything behind. No outlines or anything else. If they need to tell someone else, let them know you can come back any time to pitch their boss or whoever else needs to hear it. But don't dawdle. Make them feel you are very busy and on to your next meeting.
That's it. Simple. The more you pitch, the better you get. Most writers I know hate pitching. But it's an essential skill that can be the difference between being a working writer and being stuck working at a coffee shop.
Part of his lecture was several useful tips on pitching. Pitching is an important part of being a writer in Hollywood.
The ritual of the pitch:
1. Show Up. (Get there early.)
2. No drive on. (You'll get there and they won't have a drive on pass for you. It's not personal. But give yourself time for them to sort this out.)
3. Water - If they offer it to you, take it. They will take you to the reception room, where you will wait.
4. Conference Room - They will usually take you to a conference room. The person who comes in after you is the one who can say maybe. (The real decision maker probably won't be at your initial pitch.)
5. Chitchat. Don't dive directly into your pitch. Get to know them as people before starting.
6. Eventually someone will say "Okay." From then on, the room is yours, you are in control. Just remember that you are there to convince them that your idea will make them money and will make them rich.
7. Start by laying out your plan for the pitch. "I'm going to..., then I will answer questions." That way they won't interrupt you during the pitch and mess with your rhythm. Start with Act 1 "We begin in..." Set the time and place for the story. Orient them. When you get to the end of Act 1, then say "End of Act 1. Act 2 begins with..." Otherwise, they might get lost and not know where in the movie they are. When you are done, say "The end." Don't pitch every little detail. Leave room for questions. Entire pitch shouldn't take more than 10 minutes.
8. When you are done, get out. Say "Thank you." and leave. Don't leave anything behind. No outlines or anything else. If they need to tell someone else, let them know you can come back any time to pitch their boss or whoever else needs to hear it. But don't dawdle. Make them feel you are very busy and on to your next meeting.
That's it. Simple. The more you pitch, the better you get. Most writers I know hate pitching. But it's an essential skill that can be the difference between being a working writer and being stuck working at a coffee shop.
Tuesday, February 1, 2011
Questions To Ask Potential Distributors
Seems I get this question from a lot of first time filmmakers facing the daunting task of what to do after you finish your film. The traditional route is to go to film festivals, then seek out a distributor. This is not necessarily the best course of action for every film. But since I have spent the past decade in independent film distribution, I thought I would take a moment to give some quick advice on how to qualify a potential distributor.
We've all heard the horror stories of independent filmmakers that have been ripped off by shady distributors that cook the books, refuse to pay royalties, or charge weird fees with no explanation. I hate these guys as much as you do. They give the rest of us a bad name. If this does happen to you, contact IFTA, the Independent Film and Television Alliance. The alliance is an organization of independent film distributors and keeps track of the different distributors out there. Also check to see if they already have complaints against them.
Since the world of distribution is a closed world, not many people are well versed in all of the independent distribution companies. I've been doing this for awhile and there are new companies popping up every day.
So if you are seeking distribution, or you have been approached by a potential distributor, here are 5 quick questions to ask them:
1. What are some of the other films that they have acquired? Are they theatrical films or TV movies? Are they films similar to yours?
2. Who do they do business with? Do they sell to theatrical distributors, broadcasters, VOD platforms? Basically, you want to know their level of reach. If they can't point to a successful track record of selling films to major distributors or broadcasters, then what makes them think they can do it with your film?
3. Which film festivals/markets do they attend? You want to be sure that your film will get the exposure needed. If they aren't out in the market selling your film, then how do they expect to sell it? Some of the major film markets include Cannes, Toronto, EFM in Berlin, AFM, and FILMART. The major TV markets are MIPTV, MIPCOM, ATF, and DISCOP. Don't think that only TV buyers go to TV markets and vice versa. Broadcasters go to film markets and Theatrical distributors go to TV markets.
4. What type of company are they? Are they a producer's rep, sales agent, or distributor? Typically a producer's rep or sales agent will take a percentage but offer no money up front. A distributor will usually pay a license fee as an advance against sales and take a small percentage of the sales that they do. One is not better than the other. If you are starting out, it may be difficult to get yourself a distributor without a sales agent or producer's rep guiding you through the process. Whatever you do, do not pay a sales agent or producer's rep to handle your film up front. I've heard of some unscrupulous agents charging as much as a $5,000 fee to handle your film. If they think they can sell it, you shouldn't have to pay them. If they are asking for a fee up front, then they think they can't sell your film. You're better off doing it yourself.
5. What sort of marketing presence do they have? Do they have a website with trailers and artwork posted? Do they take out ads in the trades? What sort of an online presence do they have? Do they have a Twitter feed and a Facebook page? Also important to look online to see what people are saying about them.
This is just a start. For a more in depth view of distributors, please check out Mark Litwak's Dealmaking Tips.
Just be aware that if you have a small self-financed film with no stars, that an advance is not likely. When I started out, you could get six figure advances for small films with no stars. Nowadays, that sort of advance is increasingly rare. This is why it is more important than ever to vet your distributor and make sure they are the right partner for your film.
Also, be sure to check out my other post: 10 Tips For Independent Filmmakers Seeking Distribution
We've all heard the horror stories of independent filmmakers that have been ripped off by shady distributors that cook the books, refuse to pay royalties, or charge weird fees with no explanation. I hate these guys as much as you do. They give the rest of us a bad name. If this does happen to you, contact IFTA, the Independent Film and Television Alliance. The alliance is an organization of independent film distributors and keeps track of the different distributors out there. Also check to see if they already have complaints against them.
Since the world of distribution is a closed world, not many people are well versed in all of the independent distribution companies. I've been doing this for awhile and there are new companies popping up every day.
So if you are seeking distribution, or you have been approached by a potential distributor, here are 5 quick questions to ask them:
1. What are some of the other films that they have acquired? Are they theatrical films or TV movies? Are they films similar to yours?
2. Who do they do business with? Do they sell to theatrical distributors, broadcasters, VOD platforms? Basically, you want to know their level of reach. If they can't point to a successful track record of selling films to major distributors or broadcasters, then what makes them think they can do it with your film?
3. Which film festivals/markets do they attend? You want to be sure that your film will get the exposure needed. If they aren't out in the market selling your film, then how do they expect to sell it? Some of the major film markets include Cannes, Toronto, EFM in Berlin, AFM, and FILMART. The major TV markets are MIPTV, MIPCOM, ATF, and DISCOP. Don't think that only TV buyers go to TV markets and vice versa. Broadcasters go to film markets and Theatrical distributors go to TV markets.
4. What type of company are they? Are they a producer's rep, sales agent, or distributor? Typically a producer's rep or sales agent will take a percentage but offer no money up front. A distributor will usually pay a license fee as an advance against sales and take a small percentage of the sales that they do. One is not better than the other. If you are starting out, it may be difficult to get yourself a distributor without a sales agent or producer's rep guiding you through the process. Whatever you do, do not pay a sales agent or producer's rep to handle your film up front. I've heard of some unscrupulous agents charging as much as a $5,000 fee to handle your film. If they think they can sell it, you shouldn't have to pay them. If they are asking for a fee up front, then they think they can't sell your film. You're better off doing it yourself.
5. What sort of marketing presence do they have? Do they have a website with trailers and artwork posted? Do they take out ads in the trades? What sort of an online presence do they have? Do they have a Twitter feed and a Facebook page? Also important to look online to see what people are saying about them.
This is just a start. For a more in depth view of distributors, please check out Mark Litwak's Dealmaking Tips.
Just be aware that if you have a small self-financed film with no stars, that an advance is not likely. When I started out, you could get six figure advances for small films with no stars. Nowadays, that sort of advance is increasingly rare. This is why it is more important than ever to vet your distributor and make sure they are the right partner for your film.
Also, be sure to check out my other post: 10 Tips For Independent Filmmakers Seeking Distribution
Sunday, January 9, 2011
Writing, writing, writing.
Haven't been blogging a lot of the past few months, simply due to overwhelming workload. Between working full time and the UCLA screenwriting program, I have very little time for anything else.
But I have gotten a lot done on the writing side. So far I have finished the rewrite of Dead Joan and it's currently out to a couple of people for their feedback. I'm also about 40 pages into the first draft of Run For The Money, a heist movie that I am writing for class. I'd have more written but they only want you to do 10 pages a week, which takes me about two days to write. (Or one day if I am on a deadline.) I also have a sci-fi action film that I started writing over the holidays, I'm about 38 pages into that one. The title is a secret. I'll just call it AFC for now.
My writing schedule is pretty intense. I write two hours a night Mon-Thursday and about 4 hours on Saturday and Sunday, which gives me Friday as my night off if I want it. Although I sometimes write that day as well. This week was a little different. I wrote Friday night and took Saturday off.
I'm really enjoying it. Although I am not sure I can keep up this schedule indefinitely. It's pretty intense. I think taking some time off to do rewriting is probably useful. By this summer, I should have 3, maybe 4 scripts that are completed. Of course, they'll still need to be rewritten. But that's for another day.
But I have gotten a lot done on the writing side. So far I have finished the rewrite of Dead Joan and it's currently out to a couple of people for their feedback. I'm also about 40 pages into the first draft of Run For The Money, a heist movie that I am writing for class. I'd have more written but they only want you to do 10 pages a week, which takes me about two days to write. (Or one day if I am on a deadline.) I also have a sci-fi action film that I started writing over the holidays, I'm about 38 pages into that one. The title is a secret. I'll just call it AFC for now.
My writing schedule is pretty intense. I write two hours a night Mon-Thursday and about 4 hours on Saturday and Sunday, which gives me Friday as my night off if I want it. Although I sometimes write that day as well. This week was a little different. I wrote Friday night and took Saturday off.
I'm really enjoying it. Although I am not sure I can keep up this schedule indefinitely. It's pretty intense. I think taking some time off to do rewriting is probably useful. By this summer, I should have 3, maybe 4 scripts that are completed. Of course, they'll still need to be rewritten. But that's for another day.
Saturday, October 16, 2010
Dead Joan
This summer I finished the first draft of a supernatural thriller entitled Dead Joan. I'm currently rewriting the script. It deals with the concept of redemption and being forced to go back and clean up the problems that you have caused.
Wednesday, September 15, 2010
Some Old Scripts
Just for fun, I thought I'd go back over some of my previous attempts at feature film screenplays. I'm currently doing my first internal rewrite of my latest script and thought it would be fun to go back over what has gone past. So here goes:1. Down The Road - My first feature length film script. I wrote this in college. It was a road movie and it is embarrassingly bad. I rewrote it several times but it ultimately went nowhere.
2. Reflectors - Kinda of a quirky indie comedy about a love triangle between a guy, a girl, and a male Japanese exchange student. I wrote this during a class I took at AFI. Finished a couple rewrites but could never get the ending right.
3. We Always Lie To Ourselves - A big sprawling film about a group of college students coming to terms with what happened the night before during a raucous college party. I think I wrote this because I had seen Pulp Fiction and was playing with non-linear storytelling. Wrote several scenes and a sprawling treatment. But never finished a full draft.
4. Evil Is Never Fun - Trippy film about a guy trying to find a girl that goes missing after having a one night stand with her. I wrote several scenes but never got past the first Act. I modified this opening for the novel I started writing.
5. The Hunt - Basically two lost souls in the city find each other. Basically Barfly in the 90s. Wrote about 30 pages then lost interest.
6. The Summer Of Our Discontent - A quirky comedy based on a short script I wrote in one of my screenplay classes in college. That short script wound up becoming my short film Coffee. I've still thought about going back and writing this one. Got as far as a treatment and that's it.
7. Glamour - Stupid idea for a film I had about a female singer leading a double life. Never got past a short synopsis.
8. Art Murder Film - Came up with this idea in high school about a painter who kills women and paints with their blood. Kind of a stupid idea that didn't go anywhere.
9. Carjacking Pirates - I still love this idea we came up with in high school about a bowling team called The Pirates that got hit on the heads while bowling and thought they were real life pirates. It was a slapstick comedy about a bunch of pirates that instead of sailing the seas, they would sail the highways and take over other cars. I still think it has potential. Maybe one day I'll write it.
So there you have it. I'm sure there are dozens of other ideas I've had that I've never developed. Just thought it would be fun to list them all in one place.
Am I worried about people stealing these ideas? Not really. These ideas aren't that original. And it's the execution not the idea that counts in this industry.
PS. This doesn't include any scripts I am currently working on. I have probably a dozen more in the hopper, including the one I am currently working on. And there's that novel I've been working on as well...
Sunday, September 12, 2010
100 Movies in 2010
I made a point of keeping track of every movie that I have watched this year and where I watched it. Since I travel a lot, I do watch movies on the plane quite a bit. Plus I watched a bunch of movies on Netflix Instant. I made no indication of the quality. I'm not a critic, so I don't do film reviews. Here's the list:
| 54 | DVD |
| 2012 | Airplane |
| A Single Man | Theater |
| Alice In Wonderland | Theater |
| All Boys | Film Festival |
| American Psycho | DVD |
| Art School Confidential | DVD |
| Assassination of Jesse James | DVD |
| Bear City | Film Festival |
| Being There | On Demand |
| Best Worst Movie | Theater |
| Big Fan | On Demand |
| Bitter Feast | Film Festival |
| Black Dynamite | DVD |
| Blade | DVD |
| BlowUp | DVD |
| Broken Embraces | Theater |
| Brotherhood Of The Wolf | DVD |
| Brothers Bloom | DVD |
| Bruno | DVD |
| Cactus Flower | Airplane |
| Charlie Bartlett | DVD |
| Children of Men | DVD |
| Chocolate | On Demand |
| Code 46 | DVD |
| Contempt | DVD |
| Creatures From The Pink Lagoon | On Demand |
| District B13 | DVD |
| Domino | DVD |
| Election (2005) | On Demand |
| Everything is Illuminated | DVD |
| eXistenZ | DVD |
| Eyes Wide Open | Film Festival |
| F For Fake | On Demand |
| Factotum | DVD |
| Fantastic Mr. Fox | Airplane |
| Fisher King | On Demand |
| Funny Games | DVD |
| Futurama: Bender's Big Score | On Demand |
| Girl Who Played With Fire | Theater |
| Girl With The Dragon Tattoo | Theater |
| Grey Gardens | DVD |
| Grey Gardens (2010) | DVD |
| Helvetica | On Demand |
| Howl | Film Festival |
| Hurt Locker | Airplane |
| Inception | Theater |
| Inglorious Basterds | DVD |
| Inside Deep Throat | On Demand |
| Into The Wild | DVD |
| Invention Of Lying | Airplane |
| Jules and Jim | DVD |
| Kick Ass | Theater |
| Layercake | DVD |
| Le Samurai | DVD |
| Lord of War | DVD |
| Machete | Theater |
| Maxed Out | On Demand |
| Mothman | On Demand |
| Once | DVD |
| Out At Annapolis | Film Festival |
| Outrage | DVD |
| Outsourced | On Demand |
| Paranormal Activity | Airplane |
| Paris Je T'Aime | DVD |
| Parting Glances | On Demand |
| Peaceful Warrior | On Demand |
| Plaguers | DVD |
| Ponyo | DVD |
| Pop Star On Ice | TV |
| Pursuit Of Happyness | DVD |
| REC | DVD |
| Rock N Rolla | DVD |
| Running Scared | DVD |
| Salt | Theater |
| Scott Pilgrim Vs The World | Theater |
| Second Skin | On Demand |
| Session 9 | On Demand |
| Shutter Island | Theater |
| Sicko | DVD |
| Sukiyaki Western Django | DVD |
| The Crazies | DVD |
| The Expendables | Theater |
| The Fountain | DVD |
| The King Of Kong | On Demand |
| The Machinist | DVD |
| The Men Who Stare At Goats | DVD |
| The Modernism of Julius Schulman | On Demand |
| The Naked Civil Servant | On Demand |
| The Warlords | Theater |
| The Wrestler | DVD |
| Transsiberian | DVD |
| Trick R Treat | DVD |
| Tropic Thunder | DVD |
| Underworld Evolution | DVD |
| We Live In Public | On Demand |
| Word Wars | On Demand |
| Wristcutters | DVD |
| Zack and Miri Make A Porno | DVD |
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