Screenplay Guru
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I want to option a script for...
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David W. Richardson
Chapelgrove Films
Gotta agree with Alveraz. If you're looking for scripts, go to a screenwriting or scripts website, not a general filmmaking site. You're going to find far more to choose from. Sure, there will be a lot of crap -- but you don't go to Lowe's to buy a diamond ring.
As for asking about the budget -- there's no point in sending you a script that's set in World War II Paris if your budget is $100,000. When you go to buy a car, the salesman wants to know the price range you're trying to stay within, so he won't waste your time and his by showing you cars that are more -- or less -- expensive. It just makes sense.
As for asking about the budget -- there's no point in sending you a script that's set in World War II Paris if your budget is $100,000. When you go to buy a car, the salesman wants to know the price range you're trying to stay within, so he won't waste your time and his by showing you cars that are more -- or less -- expensive. It just makes sense.
David W. Richardson
Chapelgrove Films
I assume you've read the unproduced scripts on www.simplyscripts.com.
Not to belabor my point (which I'll do anyway), when someone gives you an open window without restrictions, you take it! You don't thumb a nose at an open invitation to read a script, regardless of the "potential" budget which in this case is clearly not set. What was 100K could easily turn into 20 million if your WW2 script blew their mind including the investors, who in-turn take it to Paramount for a green-light. I'm exaggerating of course but you get my point. You never now, and you should never turn down a read due to a potential budget restriction.
David W. Richardson
Chapelgrove Films
Assuming, of course, that the person soliciting for the script has the kind of connections and 'pull' to dig up that kind of money. Considering he gave no info at all about himself or the company, I was wary.
The claim that, essentially, nobody is going to bother stealing anybody's script also rubbed me the wrong way. Having had an entire feature production stolen out from under me in the past, I tend to be cautious.
Bottom line for me is, there's no point in wasting anybody's time by sending scripts that are clearly going to be outside the range of what they can fund. All I was trying to do was narrow the parameters a bit so I didn't have to ship my entire inventory.
You've contradicted yourself, you just said you know nothing about him, how do you know he or his investors can't find additional financing? It sounds to me like you've been jaded by a bad experience which should not be the reason to make platitudes for other new screenwriters to follow.
I just want to insure other writers around here that your jaded past (no offense) is not a premise to base their judgments on. If someone requests a spec regardless of the proposed budget, you send it in, period. That's the way to becoming a sold or optioned screenwriter. Never shortcut your opportunities. Unless, like you, you've had an entire production ripped off, but even then, lighting never strikes twice
You must also keep in mind that it's NOT a screenwriters job to judge potential budgets when a read is requested, the producer will make that determination. I've seen high-concept 50 million dollar projects rewritten for 3 million dollar budgets by other WGA writers who do this for a living. I myself have been hired to rewrite scripts to meet restricting budgets, it happens all the time.
Mattykins
Cute Member
I don't care if this guy is professional or not. Not my point.
But really - most places you send a script - it won't get read. Fact of life. Unsolicited scripts get tossed in the garbage. No one even looks at it. Having had the ex-vp of development in Viacom as a teacher - the realities of script are that, if they are unsolicited, they won't get read.
No one cares about a writer who hasn't validated his/her work. And if it is read, an intern typically does coverage on it. And that will determine the fate of the script. Rated low or marked as past - wether the intern had a bad day, or just didn't like your script. It's fate is marked in two sheets of paper. Intern loves it? Or coverage person loves it?
It might get read by another reviewer. They will read the script and do the same thing. Rated high? Someone else might read it and do coverage, or it might get read by someone higher up. If they think it sucks. No point. Gets tossed. If they can't figure out how to market it? It gets tossed.
That is the way the industry works. Just a clarification for those assuming they will get 10mil on their unsolicited script.
But really - most places you send a script - it won't get read. Fact of life. Unsolicited scripts get tossed in the garbage. No one even looks at it. Having had the ex-vp of development in Viacom as a teacher - the realities of script are that, if they are unsolicited, they won't get read.
No one cares about a writer who hasn't validated his/her work. And if it is read, an intern typically does coverage on it. And that will determine the fate of the script. Rated low or marked as past - wether the intern had a bad day, or just didn't like your script. It's fate is marked in two sheets of paper. Intern loves it? Or coverage person loves it?
It might get read by another reviewer. They will read the script and do the same thing. Rated high? Someone else might read it and do coverage, or it might get read by someone higher up. If they think it sucks. No point. Gets tossed. If they can't figure out how to market it? It gets tossed.
That is the way the industry works. Just a clarification for those assuming they will get 10mil on their unsolicited script.
David W. Richardson
Chapelgrove Films
I don't. That's why I was trying to QUALIFY the guy, as well as narrow down what it was they were looking for. How is that a contradiction?
You said he couldn't finance a high-budget script but also admitted you know nothing about him, that's a contradiction. And, qualifying him could have been done on your own without hammering a point that is invalid.
To clarify, I'm not trying to kick sand at anyone, in fact my only point has nothing to do with this guy or your response, just the attitiude of paranoia in general of new screenwriters which is self-defeating. That's all I'm trying to demystify here.
David W. Richardson
Chapelgrove Films
Read again. I didn't say he couldn't. I said the original post included NO information about him or his company, so we had no way of knowing what kind of budget they could come up with.
All I did was ask "Genre? Budget?" The 'hammering' started in response to those questions.
Like I pointed out, with a little investigation on your own you could have uncovered everything you wanted to know about him and his company. I did it within five clicks. Just another tip for screenwriters, do a little homework before slinging unnecessary questions at a producer. As for genre, why limit yourself with finding that answer?! He's giving you a window with little restrictions, that's an opportunity to jump on, genre is irrelevant in this situation. And I've already addressed the "budget" concern into the ground.
Mattykins
Cute Member
I made that post to try and explain the ratioality to those who assume they have amazing work and deserve to get paid amazing amounts of cash. I thought it was totally valid.
But then again - why should I even bother. Alveraz - do you work for him? I just don't see why you are going off at some people over this. Just let it be - let the writers do what they may. I don't see your actions, nor the actions of the original poster helping the case to submit at all. In fact - reading through this, I wouldn't submit either (if I had work).
But then again - why should I even bother. Alveraz - do you work for him? I just don't see why you are going off at some people over this. Just let it be - let the writers do what they may. I don't see your actions, nor the actions of the original poster helping the case to submit at all. In fact - reading through this, I wouldn't submit either (if I had work).
David W. Richardson
Chapelgrove Films
I went to his website. Frankly, I found nothing there that told me one way or the other what potential these people have for coming up with a significant budget to make a movie.
Like I said, I was just trying to narrow down the criteria a bit, rather than using the scattergun approach. Not sure why that set off this whole debate. I wanted more information -- that's all.
People do steal stuff. And I think it's always prudent to have a strategy who you send your work to. Yes, it has to get read in order to get made. But I don't know that a great script should be sent out blindly everywhere on the Internet without proper consideration and representation. Just my opinion.
And I think the best writers have honed their craft over several years. They've proven they're talented by a lot of trial by fire. So they're probably not going to send their hard work to vague cattle calls on the Internet. There are always talented new writers out there, though, who don't yet realize the value of their material. And they will send their scripts to people making this kind of request. But you're going to get 1000 really inappropriate scripts before you get a truly great one. Happy reading. It's gonna be a lot of work, I would imagine.
Chapelgrove, I think you're wise to ask for more information. It's not a one-way street where writers are supposed to be so thankful someone wants to read them. A writer should respect his work as much as he expects producers to respect it. And that means knowing something about the people and places you're sending it to for consideration.
At Alvarez's suggestion, I tried to drill down into some more information about the guy making the request. I found nothing either. My bigger question is why more information isn't just put into the request up front, so I don't have to do cyber sleuthing to figure out if the guy making the request is legitimate.
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David W. Richardson
Chapelgrove Films
I agree with you Sean. Would a skilled, seasoned actor respond to a casting notice that just said "Caucasian male, mid-20s, needed for movie"? No. He'd want more information before deciding whether or not it's a role he wanted to spend his time and energies trying to get. He'd at least want to know more about the basics. Feature or short? Genre? Lead or supporting? Paid or deferred? And he might want to know more about the people producing, to determine if they're likely to produce a quality film or a piece of crap -- or nothing at all.
It was a very vague request, followed up by a vague request with attitude because people dared to ask for more information. It doesn't bode well, as far as I'm concerned.
Others can do what they want. Alveraz's approach is fine for him -- it's just not for me.
It was a very vague request, followed up by a vague request with attitude because people dared to ask for more information. It doesn't bode well, as far as I'm concerned.
Others can do what they want. Alveraz's approach is fine for him -- it's just not for me.
David W. Richardson
Chapelgrove Films
And you're right Sean -- people do steal stuff. They might not steal your script, because that's risky -- but they can easily steal your idea and have some hack bang them out a script based on it. That is much harder to pursue legally, though not impossible. But it happens.
Screenplay Guru
Member
Just to clear up a couple of things. I did not mean to set off a debate in this forum. My company's name was on my profile the whole time. My request was vauge because I needed a script quick to prevent the loss of my base financing of $300,000 and was willing to consider almost anything. I already explained that my attitude was out of fustration and not meant at anyone in paticular. Very quietly while you guys have been asking me questions senior (and well respected members) of this forum have been e-mailing me their scripts.
In my opinion, and you are all welcome to yours, once a writer gets paid for his/her script nothing else should matter. If you believe your script is worth $40,000 and you sell it for $40,000 does it really matter what happens to it after?
I come from a place where writers have to write to pay their bills and eat and clothe their kids. I did not mean to offend anyone in this forum I just didn't understand the mentality.
My company recieves dozens of query letters everyday and since I have been working for them I never had to go look for a script before just choose which ones I wanted sent to me. I apologize if I offended anyone in anyway.
In my opinion, and you are all welcome to yours, once a writer gets paid for his/her script nothing else should matter. If you believe your script is worth $40,000 and you sell it for $40,000 does it really matter what happens to it after?
I come from a place where writers have to write to pay their bills and eat and clothe their kids. I did not mean to offend anyone in this forum I just didn't understand the mentality.
My company recieves dozens of query letters everyday and since I have been working for them I never had to go look for a script before just choose which ones I wanted sent to me. I apologize if I offended anyone in anyway.
David W. Richardson
Chapelgrove Films
Please understand, the question about budget had nothing to do with trying to determine how much you were willing to pay for a script. It was about determining which scripts were most appropriate for your project. As I said, it would be pointless to send you a script for a period piece set in World War II, or a story set in some other country (or countries), or an epic outer space saga, if your budget was more modest than any of those required. It was all about narrowing the scope of what you actually needed, so only scripts that actually fit your needs would be sent.
I wish you the best of luck with your project!
I wish you the best of luck with your project!