All I ever read is that this is extremely hard and it's getting harder by the minute. It's very discouraging to hear this and it seems like the hardest task ever. Do you think this will ever become a little easier now that the economy is recovering, or will this still be the stuff of dreams?
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Will it ever be easier to sell screenplays?
- Thread starter victortiti89
- Start date
It's easier to sell a spec screenplay if you've already made a popular feature film, or two.
http://www.indietalk.com/showthread.php?t=51111
Especially post #25.
http://www.indietalk.com/showthread.php?t=51111
Especially post #25.
well, the amount of features being made is going up because the equipment is getting cheaper. I'm assuming the amount of scripts being written isn't going up at the same rate. The biggest increase is in the ultra low budget range. So if you are writing low budget scripts,it should theoretically be getting a bit easier. Having credits and doing writing assignment for producers will also increase the changes of your writing being turned into a film. My guess is that the easiest way of having your first feature writing credit is to produce the film yourself or find a director/ producer to partner up with and write their story.
There is one sure way to guarantee that your script will be purchased. It is an incontrovertible truth. Anyone who says otherwise is flat out lying to you. It is based on a very simple Capitalism-based philosophy:
"If you write an excellent movie script, one so good that it oozes profit potential, ...then someone will buy it.'
-Birdman
Another alternative is to look online for filmmakers who have uploaded their works and evaluate whether you like them or not. If you find many that you like try and think of what type of screenplay you could write for them.
It may not be paid work to begin with but at least you would have a good chance at getting your work shown, that is if they like what you can come up with.
It may not be paid work to begin with but at least you would have a good chance at getting your work shown, that is if they like what you can come up with.
No. It will never be easier than it is today. Not even a little.
As others are point out the path to selling is getting easier by
the minute. There are more opportunities for screenwriters
today than there were even twenty years ago. A writer has
more options than ever before to break in. More content is
needed than ever before. There are more areas where content
is being produced than ever before.
It was never easier. It will never be easier.
It is not easy for a screenwriter to break in. In my opinion it is getting significantly more difficult unless you can film your own material, or have access to people with that capability.
TV writing is growing. More and more screenwriters are moving over to penning teleplays. Why? Because there is so little work in screenwriting these days.
The screenwriting jobs go to those with experience penning production work, or the exceptional few with no-prior experience who write a killer script with a great concept that Hollywood wants. Want an example of the latter, see below:
Universal Buys ‘The Disciple Program’ As Mark Wahlberg Vehicle
http://www.deadline.com/2012/05/universal-buys-the-disciple-program-as-mark-wahlberg-vehicle/
The killer for screenwriting is that Hollywood wants movies with an already established fanbase in the millions. That's why we see so many best-sellling-books-to-movies, comics-to-movies, sequels and other unoriginal content.
There is still some original screenwriting getting through but from the big studios, it's becoming increasingly less.
You can understand the logic - get a best selling novel (with hopefully a great story) adapted for the screen and you'll capture the fan base, and they'll bring in others.
The billion dollar revenues of Twilight, Hunger Games, Iron Man etc prove that logic.
But original content can also bring in huge revenue. The Saw franchise, Fast and Furious etc made billions too.
Is it all about the money? For the studios yes. To survive they need revenue and a lot of it. Never forget that.
Can you grab a cell phone and film your own screenplay? Yes you can but the probability of breaking in that way is ultra-low. Sure a few do it, but they're the exceptional few.
Many of the shorts in Sundance etc have substantial money behind them, many have named talent too. For every micro-budget Canon DSLR accepted entry there are many many more shot on Arri Alexa's or RED's with $$$ behind them, great crew, cast, post-production $$$ etc.
.
TV writing is growing. More and more screenwriters are moving over to penning teleplays. Why? Because there is so little work in screenwriting these days.
The screenwriting jobs go to those with experience penning production work, or the exceptional few with no-prior experience who write a killer script with a great concept that Hollywood wants. Want an example of the latter, see below:
Universal Buys ‘The Disciple Program’ As Mark Wahlberg Vehicle
http://www.deadline.com/2012/05/universal-buys-the-disciple-program-as-mark-wahlberg-vehicle/
The killer for screenwriting is that Hollywood wants movies with an already established fanbase in the millions. That's why we see so many best-sellling-books-to-movies, comics-to-movies, sequels and other unoriginal content.
There is still some original screenwriting getting through but from the big studios, it's becoming increasingly less.
You can understand the logic - get a best selling novel (with hopefully a great story) adapted for the screen and you'll capture the fan base, and they'll bring in others.
The billion dollar revenues of Twilight, Hunger Games, Iron Man etc prove that logic.
But original content can also bring in huge revenue. The Saw franchise, Fast and Furious etc made billions too.
Is it all about the money? For the studios yes. To survive they need revenue and a lot of it. Never forget that.
Can you grab a cell phone and film your own screenplay? Yes you can but the probability of breaking in that way is ultra-low. Sure a few do it, but they're the exceptional few.
Many of the shorts in Sundance etc have substantial money behind them, many have named talent too. For every micro-budget Canon DSLR accepted entry there are many many more shot on Arri Alexa's or RED's with $$$ behind them, great crew, cast, post-production $$$ etc.
.
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From IndiePaul's link:
"In a mid-six figure deal, Universal has acquired The Disciple Program, a spec script by first time screenwriter Tyler Marceca, in a package that has Mark Wahlberg starring and producing with Stephen Levinson."
For every Screenplay writer selling their scripts today there MUST HAVE BEEN a "First time screenwriter" scenario found somewhere in their past.
I am totally dumbfounded by the many people who post, "The best way to sell a script is to have already sold scripts in the past. You have to have a reputation."
...I don't think I need to point out the blatant error in logic in this.
However, it is good to see the slight increase in "optimism" in some of the "Doom and Gloom" posters. As little optimism as it may represent, at least they are saying that it CAN be done. Even if it is only in the most exceptional cases that a "first time screenplay writer" scenario pans out, at least people know that it CAN BE DONE!
Write a script that defies all of the odds. Make it so good nobody wants to put it down. Never settle for anything mediocre or average within the body of your script. Instead, keep hammering away until perfection is achieved.
....Be the next name associated with one of IndiePaul's "First time screenplay writer" internet links.
-Birdman
"In a mid-six figure deal, Universal has acquired The Disciple Program, a spec script by first time screenwriter Tyler Marceca, in a package that has Mark Wahlberg starring and producing with Stephen Levinson."
For every Screenplay writer selling their scripts today there MUST HAVE BEEN a "First time screenwriter" scenario found somewhere in their past.
I am totally dumbfounded by the many people who post, "The best way to sell a script is to have already sold scripts in the past. You have to have a reputation."
...I don't think I need to point out the blatant error in logic in this.
However, it is good to see the slight increase in "optimism" in some of the "Doom and Gloom" posters. As little optimism as it may represent, at least they are saying that it CAN be done. Even if it is only in the most exceptional cases that a "first time screenplay writer" scenario pans out, at least people know that it CAN BE DONE!
Write a script that defies all of the odds. Make it so good nobody wants to put it down. Never settle for anything mediocre or average within the body of your script. Instead, keep hammering away until perfection is achieved.
....Be the next name associated with one of IndiePaul's "First time screenplay writer" internet links.
-Birdman
The bottom line is this: amazing scripts get sold. Scripts that aren't amazing don't
Screenwriting will always be a difficult career to break into "statistically", but not because it's difficult to sell an amazing script. On the contrary, if you have an amazing, commercial script, it becomes quite easy to sell it. The numbers are the way they are because, simply put, most aspiring screenwriters aren't good enough. Regardless of what they think of themselves, their work will never be good enough to play in theaters and win awards. Their scripts may be decent, or good, but not amazing. It's harsh, but it's true
If you're an amazing writer, you will make it, regardless of the economy. Hollywood has been making more movies than ever, and spending more money than ever. They want talent. This isn't going to change any time soon
Screenwriting will always be a difficult career to break into "statistically", but not because it's difficult to sell an amazing script. On the contrary, if you have an amazing, commercial script, it becomes quite easy to sell it. The numbers are the way they are because, simply put, most aspiring screenwriters aren't good enough. Regardless of what they think of themselves, their work will never be good enough to play in theaters and win awards. Their scripts may be decent, or good, but not amazing. It's harsh, but it's true
If you're an amazing writer, you will make it, regardless of the economy. Hollywood has been making more movies than ever, and spending more money than ever. They want talent. This isn't going to change any time soon
I tried (and continue to try, but not as much anymore) really f'ing hard to sell this feature horror spec, complete with pre-viz images, a trailer, a scene, poster, key art, etc.... but writing in too many SFX was its death knell. I've since been trying to come up with a prequel that is budget conscious and super light on locations, but I haven't managed to hatch a concept that has taken root.
I am a woefully slow writer and should have way more completed scripts collecting dust on my desk!
As I see it, and I'm only speaking for myself, the only way into the business is writing (and possibly producing, maybe directing) a knockout script that is very produceable AND marketable. Maybe 2014 will be the year.
I am a woefully slow writer and should have way more completed scripts collecting dust on my desk!
As I see it, and I'm only speaking for myself, the only way into the business is writing (and possibly producing, maybe directing) a knockout script that is very produceable AND marketable. Maybe 2014 will be the year.
A majority of those articles were released in 2012. Now, I might be wrong, but from the lack of information on the project (and the 'in development' status on IMDB, it appears the film is stuck in development hell.
If you type in 'best screenwriters ever' you'll come up with some interesting results. Many screenwriters started writing and directing. Screenwriters who did achieve success by just writing either had adapted their novels due to studio request, had connections, got their script seen a couple decades back, or started on an indie level. It's hard, and I mean hard to find an unknown screenwriter that achieved success in the last 10-15 years.
IndiePaul said:
I agree, like Mara said:
mlesemann said:
It's definitely not impossible to get into the film industry, and it doesn't have to even be that hard. The problem doesn't lie within the industry, but people's approach to get into the industry.
From what I've heard from articles, as well as a studio executive (whose name I'd like to refrain from giving), many studios don't even read the scripts. They get hundreds of thousands each year. Studios don't scheme and are hellbent on keeping unknowns out... they just don't care, simple as that.
...If there are studios that won't look at a blockbuster script because they just don't care, all that does is open the door for new, emerging, more "hungry" studios to cash in. If there is a dollar to be made, someone will find a way to make it. If there is a script floating around that translates into cold hard cash...someone will buy it.
BTW: If I walked into Google or Apple with a new "Anti Gravity Device", but they didn't have time to look at it (or didn't care) ...you can bet your sweet ass some other company WILL be interested!
-Birdman
If you could present some examples that would be fantastic.
It's one thing to present a product, and another to present the blueprints for a project.
It's not a fairly well known movie
, but at least it's an example:“‘This is the worst thing ever written. It makes no sense. Someone’s dead and then they're alive. It’s too long, violent, and unfilmable.’ So I thought, That's that!”
According to co-writer Roger Avary, this was what Columbia TriStar thought of the script for Quentin Tarantino’s multi-part crime movie, Pulp Fiction. For Columbia boss Mike Medavoy, Tarantino’s violent, fitfully funny concept was simply “too demented” to risk, and he promptly put the script in turnaround – meaning that it could be sold off to another studio.
Miramax’s Harvey Weinstein was far less perturbed by the script’s depiction of heroin use and sundry acts of violence, however, and Pulp Fiction became the company’s first deal after its acquisition by Disney.
Pulp Fiction would presently reward almost everyone who took a risk on it; Miramax scored a hefty $214 million on its $8 million investment, actors John Travolta, Samuel L Jackson and Bruce Willis received a major career boost, while Tarantino’s reputation as a wayward darling of US filmmaking was assured.
-Birdman
That list is what I'm talking about.
American Graffiti was made by George Lucas, who had already completed a feature.
Same goes with Star Wars, although this time Lucas had two features behind him.
Same for Star Wars, both with a successful Lucas and Spielberg.
And again, ET was made by the successful and well known Spielberg.
The makers of Back to the Future had previously worked on well known projects.
For Home Alone, Hughes was already a known and respected director.
Seth McFarlane made Family Guy, which was how he made TED.
Same goes for Blindside.
Pulp Fiction was made by Quentin Tarantino...
He had previously written AND DIRECTED his successful feature debut, Reservoir Dogs, and had written True Romance.
American Graffiti was made by George Lucas, who had already completed a feature.
Same goes with Star Wars, although this time Lucas had two features behind him.
Same for Star Wars, both with a successful Lucas and Spielberg.
And again, ET was made by the successful and well known Spielberg.
The makers of Back to the Future had previously worked on well known projects.
For Home Alone, Hughes was already a known and respected director.
Seth McFarlane made Family Guy, which was how he made TED.
Same goes for Blindside.
Pulp Fiction was made by Quentin Tarantino...
He had previously written AND DIRECTED his successful feature debut, Reservoir Dogs, and had written True Romance.
Are we limiting the scope of the discussion to studio made feature movies?
If a writer is limiting the sale of their script to studios, then yes, it's harder now than ever before, and it's likely to get even harder. Studios are reducing the amount of films they are making each year, while at the same time, focusing more and more on branded or established franchises.
If the point of the thread is in regards to selling scripts, there are more opportunities now than ever before.
If a writer is limiting the sale of their script to studios, then yes, it's harder now than ever before, and it's likely to get even harder. Studios are reducing the amount of films they are making each year, while at the same time, focusing more and more on branded or established franchises.
If the point of the thread is in regards to selling scripts, there are more opportunities now than ever before.
Chimp,
You asked for an example of where a top quality script was ruthlessly rejected by a fat-n-sassy studio and then picked up by a "more hungry" emerging studio. I provided you with the perfect example just as you requested. Yes, Tarantino worked on previous projects. Take "Reservoir Dogs" as an example:
Tarantino was working at a video rental store at the time. He was a nobody. He had a $30K budget and a 16mm camera. He originally planned to film it with a bunch of his friends with the actors using their own clothes. It wasn't until Harvey Keitel entered the scene (pun intended) that the film's budget increased to $1.5M.
Long story short, ...Tarantino was hungry! He wasn't taking no for an answer and he never looked back. Keitel saw the potential where others didn't ...and acted accordingly.
However, had he been posting in this forum about his film he would have been lambasted for his entire concept. You, Mr. Chimp, would have crucified him for having a "Heist Movie" where footage of the actual heist never shows up in the movie. Others would have blasted him for having the film contain 272 uses of the word "fuck". ..."Think of the marketing problems, Quentin"! And God forbid he'd want to use Stealers Wheel's "Stuck in the Middle With You" song in his movie. That's a major No-No ...remember? Copyrighting nightmare!
Tarantino represents the raw Capitalistic force that generates success. He was destined for success. Although he's a terrible actor, he's closer to the way I think than any of you.
-Birdman
You asked for an example of where a top quality script was ruthlessly rejected by a fat-n-sassy studio and then picked up by a "more hungry" emerging studio. I provided you with the perfect example just as you requested. Yes, Tarantino worked on previous projects. Take "Reservoir Dogs" as an example:
Tarantino was working at a video rental store at the time. He was a nobody. He had a $30K budget and a 16mm camera. He originally planned to film it with a bunch of his friends with the actors using their own clothes. It wasn't until Harvey Keitel entered the scene (pun intended) that the film's budget increased to $1.5M.
Long story short, ...Tarantino was hungry! He wasn't taking no for an answer and he never looked back. Keitel saw the potential where others didn't ...and acted accordingly.
However, had he been posting in this forum about his film he would have been lambasted for his entire concept. You, Mr. Chimp, would have crucified him for having a "Heist Movie" where footage of the actual heist never shows up in the movie. Others would have blasted him for having the film contain 272 uses of the word "fuck". ..."Think of the marketing problems, Quentin"! And God forbid he'd want to use Stealers Wheel's "Stuck in the Middle With You" song in his movie. That's a major No-No ...remember? Copyrighting nightmare!
Tarantino represents the raw Capitalistic force that generates success. He was destined for success. Although he's a terrible actor, he's closer to the way I think than any of you.
-Birdman
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