Just Give Them What They Ask For

By Danny Manus

Today’s column comes from the “live and learn” files of Hollywood.  I recently had a client, who will remain nameless, who had sent her script to an executive, who read it and liked it and asked the writer to come in for a meeting. During that meeting, my client pitched the exec a couple of other projects she was working on and was also pitched BY the executive a couple of projects their company was looking to develop.

This is what normally happens in a pitch meeting. Most production companies have internal story meetings where they come up with and pitch (to each other) story ideas that they may want to develop and find writers to work on. When I was at Clifford Werber Productions, I’d say at least one-third of our projects were self-generated between the two of us. Some were winners, some weren’t. But since A-List writers don’t write on spec and they usually only pitch their OWN original material – this is where YOU come in!

So, my client was pitched this one idea (which will also remain nameless) and given a few specific (but basic) notes on what they were thinking. It was basically a “reversal” of a concept of a popular movie from years ago (and that is ALL the information you’re getting). Now, here’s what you need to know about executives – they usually don’t really know what they DO want – they just know what they DON’T want. 

I had this original project idea at CWP that I had written a 3 page pitch document for which basically had the set up, much of the first act, and premise to the story and characters.  We pitched this to tons of writers and had 3 or 4 (over a year’s time) come up with a nicely-fleshed out treatment and pitch, but for one reason or another – Clifford didn’t like them. They just didn’t match with his vision for the project, even though he and I weren’t sure EXACTLY what we wanted that vision to be.

But a good take on our story is like obscenity – we know it when we see it.

Anyway, my client came up with a take on the project and presented it to the executive – but it wasn’t right for them. It wasn’t what they were looking for. But she was given one more chance. So, she came to me and we re-worked it and re-wrote it (No, I do not take co-writing or story credit), and I thought the idea that resulted from our 3 hour in-person consultation – was pretty damn solid. If it came to ME as an executive, I’d probably be pretty happy with it, though it was only a 4 page pitch and not an extended treatment. There were still many story specifics not worked out.

Unfortunately, once again, the executive did not think it was what they had envisioned. And she’s right – it wasn’t. In my eyes, it was better. It took the one-line concept they had given my writer and (in my opinion) expanded it, gave a different twist to it, made it more castable, etc. But that’s not what the exec wanted.

All too often, writers try to do something totally new and different – when all the executive really wanted was for you to basically regurgitate exactly what they asked you to do but in a more stylized and interesting way.  Sometimes this takes great control on behalf of the writer, but it could mean the difference between getting the job and not.  If an executive tells you they want a 16 year-old female protagonist, don’t change it to a 25 year-old male because you think it’s better – just give them what they asked for.

What I tell my writers to do, and what I would have done with this client if we had more time (the meeting was in 2 days), is to come up with at least 4 or 5 different takes on the concept so that if the executive shoots down your first take in the meeting, you have fallbacks and options that you can immediately follow up on and pitch instead. They will be impressed that you gave it so much thought.  Perhaps in one, the focus of the story is on a different character, or it’s set in a different location, or there’s a different catalyst and inciting incident that sets up the story. It’s never a good idea to ONLY have one idea.

It was frustrating when I got the call from the executive, who was nice enough to give me a heads up because she is a personal friend of mine (yes, she knew I was working with the writer as a story consultant).  She didn’t love the pitch we had come up with – I was honestly very surprised. But it wasn’t my place to fight the points she raised – it was my job just to listen, smile and nod and hopefully learn a bit more of what they actually did want.  I could have argued, but I didn’t want to screw my client over, who was meeting with her the next day. Know your place in whatever situation you’re in.

But the phone call I received also illuminated a few things I did not know previously, including how my client had actually been pitched this project THREE months ago and was finally getting back to the exec.

Here’s the thing – if an executive tells you they want to hear your take on their project – they want to hear it SOON! Not the same week, of course, but probably about 2-4 weeks later. If you are taking more than 4 weeks to come up with a take, that exec is going to expect much more than a 3 page basic treatment. They will want a fully fleshed out story and characters and probably a 10 pg document.

Also, if it’s not an idea that you truly spark to – DON’T force it. I know you all want to make the executives happy and get on their good side and create that relationship. But they will respect you even more if you say “that’s a great idea, but I’m honestly not sure it’s an idea that’s right for me or one I can connect to enough to do a great job.” They would rather find something else you both agree on and have a vision for than waste their time hearing a take on something you don’t even like.

You need to know the politics and expectations of meeting with executives. You have to respect what they are asking you to deliver, you have to deliver it within an acceptable amount of time, you have to be incredibly prepared, and you have to know when it’s not a good fit.

How do you do this? Well, much like my client did, you live and you learn.

The Ultimate Do’s and Don’ts of Pitching at Pitchfests!

By Danny Manus

DO:

1. Have a FINISHED script in proper format.
2. Know your target. Do your Research.
3. Embrace the “Alternate” and use it to your advantage.
4. Try to get a pitch session before lunch, but not the first session of the day.
5. Know your story!! Backwards and forwards. Characters, arcs, plot, story, ending, act breaks, etc. No using Cue Cards!
6. Be open to constructive criticism on your story, characters, pitch, and even your personality.
7. Have an excellent and visual one sheet with your contact info, email, title, genre, 1-2 paragraph synopsis, additional project loglines, any relevant background info, etc.
8. Ask us if we want to take your one sheet if we haven’t asked for it already. Or at least leave a business card with contact info and your project’s title.
9. Dress appropriately. No costumes. No flop sweat. No spittle. Bring some hand sanitizer too!
10. Make us think you’re from LA, or at least would move there.
11. Make sure you can pitch in English. At least coherent enough to understand.
12. BE NORMAL!!!
13. Know what the hook to your story is, what the original twist to your story is, and highlight that.
14. Make sure your first minute contains: your name, your project’s title, any pertinent background info, whatever sets you apart, your project’s genre, the logline and hook, one or two comparison films, etc.
15. Make sure the rest of the pitch contains: your main story line, descriptions and arcs of your main character(s), some of your big set pieces, funniest/scariest moments of your script, etc. The most commercial and original parts of your script. The trailer moments!
16. Prepare to answer questions about you, your story and your writing process.
17. Make sure your TV show idea can last 4 seasons before pitching your premise.
18. Gear your pitches to agents/managers so that it’s more about YOU and your vision for your career than a specific project.
19. If we ask for it, send us your script within 2 weeks.
20. Respect the pass if you get one at the table.
21. Say hello if passing us in the halls after your pitch. Act normal and smile.
22. HAVE FUN! RELAX!

DO NOT:

1. Set yourself up for failure.
2. Cry while pitching.
3. Use Cue Cards. You should know your own story better than that.
4. Act your pitch. Just tell a story and have a conversation. Also, no singing, dancing, or funny voices necessary.
5. Tell us that this is the first time you have ever pitched this to anyone. We shouldn’t be your first pitch.
6. Use a gimmick. No posters, toys, props, etc. Trailers are okay and drawings are okay if you are a professional FX Artist.
7. Fight with fellow attendees, even if they are taking up your time.
8. Fight with execs and argue about their take on your story or pitch. Don’t tell them that you don’t think they’re right. Keep it all inside and just smile and nod.
9. Start your pitch with something incredibly personal or embarrassing.
10. Start your pitch with a rhetorical question!
11. Ask execs to take your script at the table. And don’t beg.
12. Ask execs for their card more than once.  
13. Pitch projects that are not appropriate for pitchfests (period epics, sci-fi trilogies, Hollywood insider movies, Oscar-type Prestige Dramas, Autobiographies that haven’t been published/covered somewhere – a book, article, short film, doc, etc)
14. Deny execs your big twist ending.
15. Have typos or grammatical errors on your one sheet!!
16. Insist on directing or acting in your script.
17. Make execs regret saying yes. Don’t be annoying or email/call incessantly.
18. Under any circumstances, pitch execs in the bathroom or on a cigarette break.
19. Become a horror story.

Perception is Reality

By Daniel Manus

The key to getting someone to like your script…is finding someone else who likes it first. Hollywood is an institution that runs on word of mouth and is basically based on jealousy, insecurity, and the need to prove oneself.  So the best way to entice someone to read your script is by creating the perception that it’s a hot piece of material.

What – you mean just lie?  Noooo, not LIE. Not…exactly. It’s just using the truth to your advantage.

Subconsciously, people will be more hesitant to say something sucks when they know someone else loved it.  

But the person who loved it has to matter – it can’t be your family, friends, trusted writers group or anyone on your payroll. One of the biggest turn-offs for me is when a writer tells me they gave their script to their kids and colleagues to read and everyone loved it. Now, instead of creating the perception that someone in the industry likes your work, you have created the perception that you are so far removed from the industry that you actually think that matters.  It doesn’t.  

But I digress…

Do you know why some of the scripts on the Blacklist were so well-liked? It’s because the writers were rep’d by powerful agents and managers – and they must know what they’re talking about…right? Some were well-known, A-List, produced writers…so what they write has to be good…right?  Some scripts tackled really important subject matter – so it must be powerfully written…right? 

Well that’s the perception so it must be true…right?

Personally, I thought there were a few downright shitty scripts on the Blacklist this year (I will cover the Blacklist in more detail in a future column).

Do you know why so much shit gets made in Hollywood? Because someone important with bad taste reads the script and likes it, and so many others just fall in suit.  Or because when it’s dressed up and advertised as something GREAT, you feel like an idiot if you think it sucks – and no one ever wants to be the one to rock the boat in a room full of execs that “love” a script – so they keep quiet and shit gets made that no one actually thought was good.

The studio exec doesn’t want to piss off the agent, so he says it’s great even though he hated it. The agent tells the junior executive their boss loved it, so the jr. exec is forced to say they loved it too. Now a script is being developed that everyone actually hated.

So, what’s the key? Make your shit look and sound great. FOOL people.

There’s a trick producers use to garner interest in their projects from studios and/or talent. We’ll call up a TALENT AGENT and pitch our script for one of their clients and they request it.  Then, we call up STUDIO GUY and pitch them the same script, except now we get to say that A-List Actor Man is currently reading it. So the studio requests it. We hear back from the agent that they like the project but want to know where the money is. We tell them that Studio Guy really likes the script (which is a pre-mature stretch, but they liked the pitch and requested the script, so whatever). Great. So, we call back the studio and tell them that A-List Actor Man really likes the project and is interested (he’s not yet, but his agent is – and that’s good enough). Now, the studio is even more interested in the project because they see the packaging opportunities.

No one ever said they want to make the script or that their client even read it – but they requested it and have shown some level of interest in the project. So we leverage that perceived interest to garner interest from others. And that’s what you should be doing.

There was a script called “Pierre, Pierre” which sold in 2008 for a MILLION dollars. It now has Jim Carrey attached. And it’s awful. Awful. But Ivan Reitman liked it and attached himself, and it sold. Reitman has since fallen out, but this was one of those projects that most execs actually hated, but we didn’t want to seem like the stupid kid in class who didn’t “get it” – so we all said it was brilliant.

It’s all about perception. Advertising executives learned this a long time ago – People like what they are told to like.  If someone more important than you liked the script, then there must be something you’re not seeing, right? You don’t want to look stupid, so you say you like it too…and it goes from there.

The Amazon Studios screenwriting contest recently announced their first winners, and one of their winners is a man named Richard Stern, who was VERY active on many boards and websites talking positively about the contest and (in a not-so-subtle way), was promoting his script and talking about how he’s gotten really high ratings and votes and people seem to like it. This caused anyone reading his posts to go check it out and if they saw that 100 people voted it the best, chances are…they will vote that way too.  And guess what – he won! He created the perception (whether true or not) that his script was a favorite so far and people really liked it (btw, it is a good script).

You have to hype your script without overhyping. Tell people that so-and-so really liked the script, but don’t tell them it’s the greatest script ever written – you can’t live up to that hype.

There is a bias against first time writers who aren’t rep’d and who live in bumblefuck towns outside of LA or NY. There just is. So…what should you do about that?

Well, if you’re at a pitchfest or just making cold calls, there is an easy way to hype your script and change the perception of your work. First, don’t tell them you’re NOT from LA. Second, tell them you used to be represented. If or when they ask which agency, you can tell them it was just a small boutique agency that doesn’t exist anymore or a small agency outside of LA (and that’s why you left). They really won’t know the difference. Just make sure you have a plan for what you’re going to say. And third, slip into conversation (in a subtle and natural way) that so-and-so over at such-and-such company requested the script already.

If you cold-call a company and they tell you they don’t take unsolicited scripts, say something like, “Oh ok, no problem, I understand,  I had just been talking with THIS other company and they requested it, so I thought I would give you guys a try as well.” This MAY make them think twice before hanging up. If you hear them pause or say “oh…well…um…” – that’s your cue to give them one final push on the script in a nice, polite and professional manner. You’ve made them rethink their policy concerning your script, now you have 10 seconds to capitalize.

Companies who know that they are competing for a project are more likely to request it, read it quickly, and get back to you. It’s the basis of how and why the spec market was created and worked for so long. And it creates the perception that you and your project are something special. And in Hollywood, perception is reality.

Bringing Spiritualism to the Screen – God Help You

As I travel the country speaking to new groups of writers and attending pitchfests and conferences outside of Los Angeles, a certain trend in the types of material I hear has become clear and it alludes to a huge cultural difference between those who live in LA and NY and those who live elsewhere.

At an LA-based pitching conference, perhaps 5 out of 100 pitches I receive revolve around spirituality, new age religion or some faith-infused plotline. But at recent trips to Santa Fe, Portland, and Dallas, I would say at least 40% of the total projects I was pitched or consulted on were based on spirituality in some form, including some sort of Native American angle or practice. Since Native Americans currently only make up about 5% of the U.S. population, why do people think this would be a big commercial success?

And why is this observation of the connection between location and religion important? Because if no one in LA connects to this spiritual/new age/true believers movement, then why would we make a movie about it? Now, Los Angelinos are known for being progressive, spiritual and new age, but we’re more the organic, yoga, too lazy for real religion type of progressive. Screenwriters and producers in Los Angeles worship a different deity…and it’s green and fits in your wallet. I am convinced that this difference in attitude towards religion is what’s keeping many writers from writing a commercial project – because they think religion IS commercial…and it’s not.

Religious types will often retort with how successful “Passion of the Christ” was – and it was – but that was an anomaly directed by Mel Gibson. Now, there is a huge book market for these types of projects and most of these pitches would make for great novels, just not movies.

There is also a big and potentially profitable niche market for faith-based movies – “Fireproof” proved that one. However, this is a mostly Christian market and we all know how Christians feel when someone tries to horn in on Jesus. So, there really is no market for new age spirituality or Native American tradition. I cannot think of one company that is actively looking for anything like this. If I’m wrong, please – companies – tell me so because I got about 100 pitches I’d like to send your way.

I respect how important spiritualism is to some people and if there is some sort of religious theme you would like to express through a completely unrelated story, that’s fine. Or maybe you read a passage in the Bible and it inspires an idea for a horror or action movie – that’s fine. Or maybe a character’s spiritual beliefs are a small part of his or her arc – that’s fine too. You just have to be aware of how much you are including the religious/spiritual aspects on the page. I understand trying to bring one’s religious beliefs to a larger audience – but that’s what Republicans are for, not screenwriters. As a general rule, if you want to write a commercial and mainstream Hollywood movie, keep your religious beliefs in your heart and your head, not on the page.

All About Instinct

What is it that would propel a writer to jot down one hundred and thirty pages about the one-legged woman who married the inventor of the soybean? Or a story about the quadriplegic midget who falls in love with a gold miner in 1886? Or a nice sentimental drama about a man who was raped be a seal?

The answer – bad instincts. That thing every writer has inside of them that basically serves as their navigation tool – their story compass – that points their script in a certain direction. They can kill a writer’s career long before it ever starts. If your instincts drive you to a completely noncommercial, ridiculous, boring, inappropriate, or confusing place – there’s not much we can do for you. And by the way, I have been pitched at least ONE of the stories in the first paragraph.

One of the most common remarks you’ll overhear an executive say at a pitchfest, is “we can tell the writer just has bad instincts.” We can usually tell if you have the right instincts, but often bad instincts can be disguised by a great pitch. I’ve had pitches that blew me away but when I started reading the script, the characters were downright despicable and the story went into odd, random directions that were never even discussed in the pitch.

It’s THE dreaded comment really, because most other things can be fixed or improved upon with a little hard work and dedication, but we can’t change a writer’s instincts. Sure, we can change the story your instincts have driven you to write, but to change a writer’s instincts is like pushing a 10 ton truck up a hill. It’s just too hard to try. There’s too much resistance and not enough upside, because a writer with bad instincts is like dead weight on the page. It’s also the most frustrating comment for us to give, because we can see that you have a spark of a good idea or something that COULD work – if it were in another writer’s hands. And we want to take that idea from you and make it what it SHOULD be – and sometimes we are tempted. But we know that giving you notes to change your whole story is only going to anger you and waste our time. There’s nothing we can do but show you alternate directions for which to take your story, but ultimately, if a writer wants to write a story about a quadriplegic midget who buys a horse, nothing we say is going to make him reconsider.

There are a number of things that go into shaping a writer’s instincts. Much like how one’s upbringing and relationships growing up affect their future relationships, it also affects their writing. If you were born on a hippy commune, your first script might be an anti-government conspiracy tale. If you come from a home with divorced parents, your first script might be an “American Beauty” wannabe (as my first script was). This is because when you start your writing career, everyone tells you to write what you know. I always tell people to write what is in them to write – and then put it aside and write something that can sell.

How do you know if you have good instincts? Well, let’s say you have a great general set-up but you’re not sure what direction to take your story in. For example, your set-up is a guy falls in love with his lifelong best friend’s girl. Common enough right? What’s going to show us you have good instincts is your take on how this occurs, why this occurs, and where it goes once it has occurred. If you have poor instincts, you go to the same place everyone else goes – the men fight over the girl trying to best each other being nice until she gets sick of both and they learn that friendship is more important.

Someone with better instincts will put a different twist on that story. Perhaps instead of the girl realizing she doesn’t love them, THEY discover they don’t love her, but neither wants to lose, so they keep dating her trying to drive her to the other guy. That’s a new twist on a really old concept. I’m not saying it’s a great idea, but it’s a new twist. There are a hundred ways to go with this kind of concept, so I suggest a writer sit down and list 10 different directions you COULD go with your story – even if you have your whole story figured out. Give yourself options. Because invariably, some studio exec is going to give you the note, “we love the set-up, but is there another direction this story could go in?” And you will already have 9 more ideas to pitch them.

Everyone says that a person’s first instinct is usually the right one – that is not the case with writing. Often it takes the rewriting and editing process for a writer to realize his or her story’s true potential!

How do you know if it’s your concept that isn’t working or your story instincts? Pitch your story two different ways. First, pitch your project as just a high-concept logline. Then pitch your project more in depth with more of your story. If you get bites for your concept, but your story gets you rejected, then your story instincts have led you astray.

Improving ones instincts is a great deal harder than just rewriting a script or improving your dialogue, because it goes deeper. It’s not just a line on a page, it’s what you feel in your heart. However, in order to get past your writer’s block, repeated rejection, or repetitive story rut, it’s your instincts that you’re going to have to examine.