|Entry: “Excellent Initiative!”|
|= Official Comment|
|From Rick |
|Jimmy Buffett said it best..."Math Sucks"|
|From Stef |
|I got that same comment from my Alg 3/Trig teacher. He sucked. So does math.|
|From Dariush |
|I will not suffer fools, fools.|
|From Chris |
Website: http://www.24hourcomputeronline.com (biz)
|I'm a diamond.|
|From Robert |
|From Unsomnambulist |
|After twelve years in LA, I think I've learned a few tricks to getting your script read by someone that matters.|
1. Suck up to the assistants. The assistants to the producers, directors, actors, developments execs, agents, or whoever else you really want to dig your script. Inflate the assistants ego, gain their respect, and get them to read your script. Once they like your script, they'll be your champion - because they'll want to be able to gloat that they discovered your project.
2. If you can type, get a gig with a temp agency the caters to the film industry. Especially around the holidays, assistants take off and need people to fill in for them. You don't always end up at a desk you want, but its in the temp agencies interest to get you into departments that may fill your long term goals (just say you really want to work in production or development)... Alas, if you can gain the trust and respect of your temp boss (a producer, agent, or exec), they may eventually ask you what you REALLY want to do. Mention you're a writer. Mention you've got a script. Be subtle, but mention that its getting great feedback. They'll likely ask to read it, or have their REAL assistant read it.
3. Never, ever, do one of those silly attempts like sending your script with flowers, or other gimmicks, to get someone to read your script. Its a sign of desperation. Besides, post 9/11 it may frighten the mailroom.
4. While you're pitching one script, start working on the next. The single greatest screenplay may never get made, albeit read, just because it doesn't fit the needs or vision of the whoever's in power at the moment. These people still need to be convinced otherwise - but that next script may be more in line with what they're looking to produce next time around, your next script may even be better, and lets say the first script does sell -- it'll make your next one that much more valuable to bid on NOW.
All from me.
| From Jessica Mae |
|Unsom, that's rookie. Don't you know my shit is upper level? I mean, come on, I earned a "fabulous job"! That says something.|
But really, thanks for posting that comment. It is good advice (esp. the assistant note) for screenwriters who are pursuing the writer's path in Hollywood. (Which is most of them. Butnotme.)
|From Eddie |
|My boss at the trig factory is such a jerk. I'm so putting in my two weeks notice and not working to my potential for the remainder of my employment. |
You may want to put a disclaimer on your assumption so as not to disrespect anyone using this site to learn how to read.
Learning to read is important, so all you managers and agents should stick it out, sound it out, and figure it out.
|From jellyfish |
|Cute post, La Sto.|
My favorite report comment was from a fellow-geek English teacher in 9th grade, who wrote 'Her absences in Homeroom are worthy of an investigation by Mulder and Scully.'
Hey. It was 1997. 'The X-Files' was still cool then, okay? And we never did anything in homeroom anyway, except throw stuff at the boys.
|From Naiah"dot" |
|Next time I run into anyone fresh from Hollywood mines, I'll toss 'em up against a wall and check their pockets for you.|
|From krisitna |
|I only have one year left in math. We dont need it in grade 12.|
|From dusty |
|Actually, Unsom, your #4 is pretty good advice. From comments I've picked up over the past couple of years of being in LaLaLand and hanging with a few industry (underlings)players, I've seen that it's very very hard for an as-yet untested screenwriter to get a screenplay picked up right out of the gate if it's large and requires lots of cash to get made. It's best to tease them with a smaller character-driven piece that could get made on a shoestring budget and come out of nowhere as a sleeper hit because of its incredibly strong writing - and THEN try to tackle the big dream project. |
Take for instance, Peter Jackson - if he had never written and directed Heavenly Creatures and been nominated for an Academy Award for original screenplay, he would never have been given a chance to do LOTR and then had the opportunity to FINALLY write and direct his dream project of King Kong - which he'd been wanting to do for practically his entire life - he'd been working on that screenplay, hoping that one day he'd get the chance to bring it to life, for like 20 years or something.
It's all about patience. Or luck. So yeah, if you know the right people and they are willing to take the chance - that's good too There's definitely no set-in-stone "How to Get Your Screenplay Picked Up" set of guidelines. It's trial and error...
|From AJ |
|I can't believe NOBODY mentioned this:|
|From Q |
|"Simply, things move much faster if you have a solid referral to someone who is not an idiot. "|
Suddenly, I see exactly where I've gone wrong in life...
|From Jennifer Lankenau |
|The only "C" I got in college was in college algebra. If they had required trigonometry of me, I would have dropped out. Fortunately art majors are not equired to take trigonometry. What IS trigonometry anyway? A geometry derivative? I'm so confused! A^2+B^2=Whaddaheck????|
|From Russell Barrie Vlaanderen. |
|Jessica. I like your website alot-|
Keep up the good work. Friend You-
r. Russell Vlaanderen.------------
|From Kevin McD |
|What about LGF? Would that work?|
Sorry I've been MIA for a while, by the way.