Getting big-name actors, getting my shit made, timing, business, and other things.

[alexpw]

Alright, I really have no idea where to put this thread, so if a moderator thinks it would be better elsewhere that's cool.

Okay, I've never directed a movie on film, but have now directed a few video shorts that were all award winners at different area festivals. I know that I'm not experienced enough to be considered to direct a feature film yet, and I wouldn't really care at the moment except for one thing: I have just finished the most amazing script that I've ever come across. I honestly think it has the potential to be a cinematic masterpiece, and I'm not ashamed to brag about it--it's truly amazing.

This may not seem like that much of a problem, but it is to me, because no one in their right mind would let me direct it and it's so dear to me at this point that I could never sell it and have some asshole butcher the crap out of my baby. I've poured my soul into this script, and it would kill me to just give it up. Another thing is that I wouldn't make it myself guerilla style because I would want to work with a budget that would do it justice.

So what does that leave me with? I'm not quite sure. But it dawned on me that if I can get a big-name actor or two to take interest in my movie, it could give me some leverage to get it made. What's the best route to go about sending a script to an actor? I would hesitate to send it via their agent because by nature an agent is only concerned with making their client money, and they wouldn't see it as a chance for bringing in the big bills. But that leaves me with a problem--I wouldn't have a clue how to get their personal home address, but I know there MUST be a way to get those addresses.

Basically I just need a Harvey Keitel for my Reservoir Dogs. I just need a leg to stand on.

Now onto my timing question: Do you think it would be wise to file away said masterpiece and bank on the prospect of becoming a credible director in the future via other projects, then having the credibility to get funding for it and direct it?

I've never even come close to writing something this good in my life, and to be honest with you I'm worried that I might never write anything this good again. I've been working on it for almost four years now. I guess I'm just emotionally attached to it, as I poured so much of myself into it, and I have such a damn good idea of exactly how every frame of it should look. That's why I could never dream of handing it over to someone who hasn't lived and evolved with it, because I'm quite certain that they couldn't breathe the same kind of life into it that I could.

I dunno, I guess I'm just asking for some advice.

 

[spinner]

...okay, this is a good place to ask other screenwriters for advice, you should be in the screenwriting forum.

...and I don't know what anyone else thinks, but I think it could be the kiss of death to send your masterpiece off unsolicited, uncopyritten, and unprotected.

...I also thought that actors get sent stuff all the time, whether they do anything with it is anyone's guess.
I always thought scripts had to go through the actors agent.

...ask around the forum, 'cuz I don't think you would be the first writer to have their work ripped off...

--spinner

 

[filmscheduling]

I've never even come close to writing something this good in my life, and to be honest with you I'm worried that I might never write anything this good again. I've been working on it for almost four years now. I guess I'm just emotionally attached to it

My suggestion is that you might consider writing some shorts or other material that you are less attached to. It doesn't matter if your new material isn't as brilliant as the 4 year masterpiece. Successful writers and artists are prolific. They have enough confidence to keep generating new material and to work the system with it. You'll have more material and will be less afraid of getting it "stolen" and other shenanigans.

Believe in the engine that wrote the material, as it can produce more work.

 

[Unknown Screenwriter]

Let it sit...

Alright, I really have no idea where to put this thread, so if a moderator thinks it would be better elsewhere that's cool.

Okay, I've never directed a movie on film, but have now directed a few video shorts that were all award winners at different area festivals. I know that I'm not experienced enough to be considered to direct a feature film yet, and I wouldn't really care at the moment except for one thing: I have just finished the most amazing script that I've ever come across. I honestly think it has the potential to be a cinematic masterpiece, and I'm not ashamed to brag about it--it's truly amazing.

This may not seem like that much of a problem, but it is to me, because no one in their right mind would let me direct it and it's so dear to me at this point that I could never sell it and have some asshole butcher the crap out of my baby. I've poured my soul into this script, and it would kill me to just give it up. Another thing is that I wouldn't make it myself guerilla style because I would want to work with a budget that would do it justice.

So what does that leave me with? I'm not quite sure. But it dawned on me that if I can get a big-name actor or two to take interest in my movie, it could give me some leverage to get it made. What's the best route to go about sending a script to an actor? I would hesitate to send it via their agent because by nature an agent is only concerned with making their client money, and they wouldn't see it as a chance for bringing in the big bills. But that leaves me with a problem--I wouldn't have a clue how to get their personal home address, but I know there MUST be a way to get those addresses.

Basically I just need a Harvey Keitel for my Reservoir Dogs. I just need a leg to stand on.

Now onto my timing question: Do you think it would be wise to file away said masterpiece and bank on the prospect of becoming a credible director in the future via other projects, then having the credibility to get funding for it and direct it?

I've never even come close to writing something this good in my life, and to be honest with you I'm worried that I might never write anything this good again. I've been working on it for almost four years now. I guess I'm just emotionally attached to it, as I poured so much of myself into it, and I have such a damn good idea of exactly how every frame of it should look. That's why I could never dream of handing it over to someone who hasn't lived and evolved with it, because I'm quite certain that they couldn't breathe the same kind of life into it that I could.

I dunno, I guess I'm just asking for some advice.

Shop it around for the next 4 or 5 years and I would be willing to bet you'll end up being a lot less attached to it.

Obviously, you want to copyright it and register with the WGA... I'm sure you're already doing so...

If the script is as good as you say, then it should sell, RIGHT?

That being said, start off by creating a binder of your film. Storyboard it. Create a shot list. Find ways of SHOWING how you would want certain scenes to look... i.e., if you want one of your scenes to look like a scene in another movie, describe it in your binder... This binder should be an ongoing process... A work in progress... Clip photos from magazines that depict ANYTHING in your screenplay. Use as much visual documentation as you can to portray your vision to someone else... Someone with money.

While you're doing the above, take filmmaking workshops... Take them all. Action Cut. Dov Simens, etc... Keep making short films...

I say to do all the above so while you shop your perfect script script around, you will be ready to FIGHT for your right to direct the film. Yes, it is possible. I've mentioned this before but a few months ago, I attended a New Mexico Filmmaker Guest Speaker event. The event was with first time director, Mark Fergus who had just wrapped FIRST SNOW I was able to talk to the director as well as Guy Pearce for about a half hour after the event... Just us three. You are right in your assumption that the screenplay was greenlit for production as soon as Guy Pearce said he wanted to do it. But Guy told me he could have cared less who directed it... He went on to tell me that the only reason he decided to do it was because he liked the story but more importantly, he felt it would be a GUY PEARCE INFOMERCIAL... Meaning that he is in every scene apparently. LOL.

I then talked to the director, Mark Fergus...

I asked him how he got to direct the movie... He told me that he knew he was the ONLY person to direct his screenplay (*NOTE: he does have a screenwriting partner who is not interested in directing thus far). When he started having meetings with studios, he simply kept telling them that... A lot of studios turned him down because they just wanted the screenplay but he wouldn't budge. They even kept offering more and more money but Fergus kept explaining that he just wanted to direct it... The money wasn't that important.

One of the ways he was able to convince the studio (that purchased the screenplay) to believe in him to direct the film was his binder of visual documentation. Inside this binder, he had pics he had clipped from magazines that showed ways of lighting a particular scene. He storyboarded the screenplay. He took the spec script and wrote a shooting script... Complete with camera moves. He created a shot list. He then showed this binder to everyone and eventually, they caved and let him direct.

I asked him if he had ever made anything before i.e., a film... Short, feature, video, whatever... He told me NO. He said he had never even shot a home movie on videotape. He just said you can't have my script unless I get to direct.

Some studios passed but eventually, one bought it and he directed it. The studio of course made absolutely sure that he had the best crew for the job and he admitted to this... He had all the right experts to make his vision come to life. The studio even sent him to several weekend filmmaking/directing workshops.

So while you shop the script around, try to get all your visualization of your screenplay down in some kind of form that you can show to others when the time comes. Know your story/screenplay/film inside and out. Be able to answer ANY question that comes up when a prospective producer asks you about it. That's how you get to direct your own script...

I should add that his agent sent the script to Guy Pearce...

You should get the Hollywood Creative Directory and start querying producers that have made films in the same genre... If the script is really good, they will notice and you'll start getting meetings. It's that simple but again, the script HAS TO BE GOOD.

Good luck with it...
filmy

 

[Satire]

Hi Alexpw:

Great advice from FilmJumper. I should follow the same advice.

Satire

 

[directorik]

Excellent post filmy!

 

[DeceptionA]

If you really think your script is really great:

1) Get an agent.


With the agent, you can get your stuff looked at for real. Agents are paid on commission. if an agent wants money up front, move on to the next one.


edit:

Also, write some more scripts. Give your agent some ammo to use.

 

[clive]

Filmy's posting is superb and I think with a hot script and reel of award winning shorts you have a better chance than most of pushing your way into the business.

There is another way to go with this and that's to hunt for a relativiely new indie producer who is looking for a project and then make the film with them as a totally indie project. You just decide that having creative control is more important than opening doors into the industry.

You can use your existing skills by deciding to shoot on a ProHD format instead of film and in many respects it handles just like any other form of video.

In terms of getting a name actor, well, I've always found that many TV actors with a series that is no longer in production are open to low budget indie productions because a good film has the opportunity for them to step back into the public view. This works particularly well if the character is very, very different from their TV persona.

My first approach is always via the agent and is usually an e-mail or letter telling them that I've got a film in development and I'm considering their client for the lead and asking if I could send a script. If they request a script I always feel that I'm halfway there.

I think the up side to just making the film yourself is that you end up making the film you wanted and learning a massive amount in the process. The downside is that it is always a gamble, no one is there to provide a paycheck for your efforts and when it comes to distribution you've no guarantee that distributors will share your enthusiasm. This can mean three years work on a production only to see it gather dust on a shelf. The truth is that you ahve a better chance of distribution if the industry has supported the project from the start.

Personally, I went down the HD indie production route and although I've made a lovely feature film I have no idea whether I'll ever see a penny for the three years that went into it. I did, however, get to direct my own script and I have made exactly the film I set out to make. I ahve no idea if I could have done it via agents and it the industry, but what I do know is that a freind who wrote his feature script a year before mine and has a very experienced producer on side is still trying to get his film into production. I guess it's a choice between having a script gathering dust or a completed feature.

 

[Boz Uriel]

My first question, who told you your script was good? Did you workshop it? Has anybody read your script who will give you an unbiased opinion? Not trying to sound like a smart @ss just wondering.

1) Get an agent.

I totally agree with this. First of all, show me an "A" list actor, director, producer who actually reads scripts and I'll eat his/her hat.

These people don't read scripts, they employ professional readers. The readers have degrees (English majors, usually in literature) and get paid to read scripts then write a two or three paragraph synopsis. When you hear an actor or director say, "I read the script and liked it." What they're really saying is, "My professional reader read the script, liked it, passed it to me and I read the reader's digest version."

DO NOT send your script to actors, directors or producers. Get a good agent. The reason is, agents make money off writers so their professional readers are, on average, more skilled and have a better eye for talent. The professional readers employed by actors and directors have one thing in mind, finding a script for that actor or director. Professional readers for producers have one single goal, find something that won't loose money. Marketing your script to an agent gives you a two fold advantage, better readers and wider market.

I would suggest you market two screenplays, both of them around 120 pages long, one of them should be low budget ability. Small cast, simple and few locations, zero or easy special effects. Then write one huge cast, multi-locational, world wide, exploding cars script. This will allow agents to see that you can do both extremes and therefore anything in between. I don't know which extreme this 'awesome' script of yours is but I'd have more than one script handy.

If you want to make the film yourself take a lesson from Kevin Smith. He wrote Dogma early in his career but he waited until he had the juice and the budget to do it right. In the meantime he did Clerks, Mall Rats, Chasing Amy and he got what he wanted by waiting. Total control of the movie he wanted made the way he wanted to make it.

 

[Satire]

Hi Boz Uriel

I have completed six screenplays, One very low budget, four mid budget anad one $100.000.000.00 plus. I haven't given up on production of a film, but for insurance have converted all to novels.

So your advice above is sound.

Satire