Agent/Manager Panel

As many of you know, I am finishing up my year in the Professional Program in Screenwriting at UCLA. It's been a long year but I have two scripts plus hundreds of hours of writing experience to show for it.

The culmination of the program is a panel with Agents and Managers. This is probably the most anticipated class of the year, as we plan our strategy on trying to make the next step in our careers.

I won't mention them by name for privacy's sake. But there were agents from ICM, Paradigm, and Kaplan-Stahler, in addition to managers from Benderspink and Underground. So we had various viewpoints from people in different areas of the agency/manager world.

Here is my usual disclaimer that the following notes are just the opinions of the speakers and may be different from what you have heard or what you read in the trades. These are people speaking mainly from their personal experience in their world.

Here are some notes, in no particular order:
1. Agents/Managers can handle different numbers of clients. The usual number is somewhere between 20 and 60, depending on how many clients they can handle at one time.

2. The bigger agencies will split between TV and Theatrical agents, whereas the smaller agencies might have agents that handle writers of various types. However, most have a team attitude where they will help each other out if possible.

3. The major difference between an agent and a manager is that an agent is more focused on the individual script or project. The manager is more concerned with developing the talent, helping them to find their voice and getting ready for the pitch. It's pretty common to have both but once you are established, it's less necessary.

4. Web Content - There is no money in making web content. However, it is a good way for beginning writers and directors to showcase their talent and get noticed so they can move up to the big leagues. They are constantly looking on Youtube, Funny Or Die, Vimeo, and other websites looking for original voices. They consider how many Twitter followers and how many Facebook fans you have.

5. Consider multi-platform and reverse engineering your script. They are also looking at other formats, books, graphic novels, blogs, shorts. Sometimes it's better to start as a graphic novel and then sell it as a movie.

6. Almost all of them said they do not consider unsolicited submissions. They said the best way to get read by an agent is through a referral. Find someone in the industry to read your script, a producer, a development exec, or even an assistant. If they like it, have them refer you to an agent or manager with which they have a personal relationship.

7. Assistants! I know I've said this before. Be nice to assistants. Get to know them. Because one day they will no longer be an assistant. They will eventually become an executive. If you develop that relationship, your career can grow with theirs. As an added bonus, they are generally more receptive. Their job is to find new talent and find new scripts.

8. The biggest mistake that writers make is being too precious and not being receptive to notes. If you don't want notes, don't send it to anyone. If your script is so precious that you can't change anything, then you should just go out and shoot it yourself. This is a collaborative business. They are there to help you and they talk to the studios and producers all the time. They have an idea of what they are looking for. If they give you a note, it's because they are trying to help you.

9. What are they looking for? A VOICE! They are looking for someone who is unique and original. They are looking for someone with their own style that has something to say. If you don't have this, it can be developed. This is where a manager helps. They can help you to develop your voice and figure out who you are as a writer.

10. Beginning writers also worry a lot about being pigeonholed or typecast. This is a good thing. You want to be the go-to guy for a certain type of film. Once you have a couple of features or script sales under your belt, then you can try to break out of that and try something different. If you want to break out of that rut, the best way is to write a kick ass spec script of the genre you want to try next. But you may have to take a pay cut since they will be taking a chance that you can deliver on something outside of your repertoire. If you try to write a bunch of different genres, they won't know how to sell you. So you will have a much harder time getting meetings or getting any jobs.

11. For TV writers, everyone right now is looking for an original pilot script as a writing sample that shows your unique voice as a writer. (I've said this before.) Another possibility is to write a spec script for an existing show but do a new and original take on it. For example, a couple of guys wrote a Small Wonder spec script but they positioned it as a very dark comedy. Another writer wrote a Jersey Shore spec script. They won't sell these, but they get you noticed.

12. The best way to start as a writer is to find a manager who can work with you to develop your voice and to help you perfect your pitches and to help you get your scripts ready to go out. Then you would go and get an agent when you are ready. (I've heard that sometimes managers aren't for everyone. If you know who you are as a writer and have ppl that can provide feedback, it might not be as necessary.) Managers will sometimes go over a pitch with a writer about 7-10 times to make sure it's perfect before they go to meet with the studios.

13. Some of the larger agencies have in house lawyers that you can use. But they almost all recommended you get your own outside lawyer who is looking out for your interests. An in house attorney at an agency probably has hundreds of contracts they are working on so you won't get an attention from them.

14. Interestingly, they said they rarely looked at film festivals or screenwriter labs. They all said that by the time a project is at a festival or lab, they've probably already seen it. However, they did recommend a couple of screenwriting contests like the Nicholls, Page and the Goldwyn awards.

15. One last note, right now they said no one is buying period or straight drama pieces. But you really shouldn't limit yourself. Write what you want to write. Just because period pieces aren't selling right now, they might come back in style in a couple of years. Don't take production issues into mind when writing. It's better to write a great script, sell it, then have to tweak it to fit the needs of the producer or studio.

Ok. Those are the major points that I got from the panel. So get out there and start networking. Find an assistant to harass. Develop your voice. And sell your script!

Common Mistakes By Independent Filmmakers

I watch a lot of movies for my job. Over the past ten years, I've probably seen thousands of movies. Most of these are from independent filmmakers looking to gain distribution. There are certain mistakes I see independent filmmakers making time and time again. It's not even beginning filmmakers, this is common among people that have made 10 or 20 independent films. They keep making these mistakes and that's a large part of what's holding them back and preventing them from transitioning to the mainstream.

Here are a couple of common mistakes I see all the time:

1. Trying to do it all yourself. When I see the same person has written/directed/produced/edited/filmed the piece, I know it's going to be bad. Find your strengths and stick to them. There are a lot of really talented people who would love the opportunity to work on your film. Let them. Find the best editor you can. Find the best director of photography.

2. Don't get too married to the script. I've seen too many films with stilted and artificial dialogue. Or unfunny jokes kept in that should have been cut. Writing is rewriting. If you see something isn't working, rewrite it. Allow your actors to improvise. Some are better at it then others. If they come up with something good, keep it. Don't let them say whatever they want. But if a certain line doesn't feel right, change it. Of course it goes without saying that you need to lock your script at least a week before shooting. Nothing annoys actors more than constant changes right before they film. But also, allow for discovery and improv while shooting. Sometimes a throwaway line that they come up with on the spot can be better than anything you could have written.

3. No resolution to your film. Too many filmmakers try to be arty by leaving the ending open. It very very rarely works. Try to wrap up the story as much as possible. Then once you have the resolution, end the film as quickly as possible after that. Unless you have an interesting twist or new bit of information at the end, then there's no need to keep it going. Although the end of the film isn't exactly a place to put out new information. Just finish it and move on.

4. Info dump at the beginning. If you start the film with a fourteen minute monologue about everything that has happened before the film, there's no way an audience will stick with you through that. It's best to space out the information over the course of the film. If the audience doesn't absolutely have to know it, then cut it out.

5. Don't depend on your friends. I know this sounds harsh. Unless your friend works in the film business, it's best not to use them. Sure you can have them come in for a day and be an extra. But anything above that is setting yourself up for disaster. I learned this the hard way. It's better to find eager, hard working film students or other people who want to work on films. They will work their hearts out to try and make the best film possible. Your friends are only there to help you as a favor. They don't want to be there. If you want to retain that friendship, let them come to the premiere and leave it at that.

Those are five common mistakes I see in independent films. I'll post more as I think of them. What do you guys think? Are there certain mistakes you guys see in independent films that happen a lot? Let me know in the comments.

A Negative Hole Of Despair

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.

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.

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

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.

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.