Is it true that Hollywood won't buy any big budget movie screenplay...
- Thread starter justine
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Barry_Green
Moderator
Of course not. If it's brilliant they'll buy it. And they're far more intersted in big-budget screenplays than they are in little no-budget character dramas (because, obviously, anybody could make a no-budget character drama, but only Hollywood can marshal together a big-budget extravaganza).
Go win the Nicholl screenwriting contest with a big-budget screenplay and yeah, you'll sell it.
Go win the Nicholl screenwriting contest with a big-budget screenplay and yeah, you'll sell it.
They might buy it. But even if they buy it, it's about 1 in 7 that it gets green lit.
Matt Gottshalk
Resident Preditor
They bought Grand Torino from an unknown writer. You just have to have the right connections.
I'm asking this because I do not want to waste my time in the story that I am working on...
"Sorry to say, it is highly improbable for a new and as yet unproven screenwriter to get a high budget fantasy film sold and produced. This is because investors don’t want to invest the millions and millions of dollars it would take to produce such a film when written by a writer who has no track record. "
"Because of the high budget problem mentioned in this coverage, even if this were rewritten to excellent standards, it’s still highly unlikely it would garner a producer or studio’s interest. It would behoove the writer to first write some low budget films and get them sold and produced, thereby giving him some moneymaking credits. Then, if this high budget project is still one of his passions, and while there’s no guarantee, those in the industry may take more notice."
What do you think?
Thank you for your replies.
"Sorry to say, it is highly improbable for a new and as yet unproven screenwriter to get a high budget fantasy film sold and produced. This is because investors don’t want to invest the millions and millions of dollars it would take to produce such a film when written by a writer who has no track record. "
"Because of the high budget problem mentioned in this coverage, even if this were rewritten to excellent standards, it’s still highly unlikely it would garner a producer or studio’s interest. It would behoove the writer to first write some low budget films and get them sold and produced, thereby giving him some moneymaking credits. Then, if this high budget project is still one of his passions, and while there’s no guarantee, those in the industry may take more notice."
What do you think?
Thank you for your replies.
Nobody in the audience knows or cares who wrote the piece. They care about who is in it and whether the trailer catches their interest. Then, you might have a small percentage - very small - who puts some importance on who the director is.
Who writes (and rewrites and doctors) the picture is at least secondary in most instances to who the producing and releasing studio is for most viewers.
Studio heads and development personnel (readers and so forth) are another thing. They do care whether you're known. Unknown isn't a deal-breaker, but being known (and pre-qualified with a box office history) certainly opens doors.
e
Who writes (and rewrites and doctors) the picture is at least secondary in most instances to who the producing and releasing studio is for most viewers.
Studio heads and development personnel (readers and so forth) are another thing. They do care whether you're known. Unknown isn't a deal-breaker, but being known (and pre-qualified with a box office history) certainly opens doors.
e
Who told you that? One of the Zoetrope knowitalls?
So what, writing, selling, and getting a low budget feature produced is something you do as an after thought? It's all hard, there are no "Gimmes", gimmicks, or gravy trains. Write the best script you can, if it's good enough, someone will notice and you may get an assignment or an agent.
10s
Veteran
The only question is, will it make money? That's what Hollywood and everyone else is concerned with. Movies are a business.
Let's say we are going to make a movie, it's obvious that if we spend less making our film than another equal drawing film, then we will make more money than they will. But the problem is with cheapie productions is that it's really difficult to create great compelling pictures with a low budget. Audiences want to be transported to another place other then a set that looks like their neighbors house for two hours. Audiences want to be blown away with a absolutely engrossing story that has then sitting on the edge of the seat. Something that is as boring as your neighbors house isn't going to help too much so we better have something more allurring, how about some exotic locations, i.e., space, center of the earth, a fight on the face of Mount Rushmore, etc... I'll bet that will help get the audience engaged and draw in their friends when they hear about this outrageous movie. El cheapo productions will have a tougher time producing that effect then a bigger budget film.
Who writes it? who cares. Hollywood is built upon no-name-talent that hit it big and then they became the Names everyone talked about. Currently the trend is to produce Franchise pictures: Batman, Oceans 12 13, 14..., etc... why? because it's much easier to get someone to come and see another picture from an already familiar story than to convince them to come see something they haven't ever seen before. Therefore the idea is to make pics that are easier to fill seats with. They happen to use well established writers for these jobs. It's only a matter of time before they dwindle down the inventory and wear out the veiwing public with franchise pictures.
Think big, if you only hit half way you're better off than if you aimed low.
Look around, this is what practically every successful person says when they win big, they tell everyone else, it can't be done anymore, those days are over, and the only reason they did it was because they didn't know any better. It's pure hogwash. Unknowns will always become tomorrow's overnight success.
Let's say we are going to make a movie, it's obvious that if we spend less making our film than another equal drawing film, then we will make more money than they will. But the problem is with cheapie productions is that it's really difficult to create great compelling pictures with a low budget. Audiences want to be transported to another place other then a set that looks like their neighbors house for two hours. Audiences want to be blown away with a absolutely engrossing story that has then sitting on the edge of the seat. Something that is as boring as your neighbors house isn't going to help too much so we better have something more allurring, how about some exotic locations, i.e., space, center of the earth, a fight on the face of Mount Rushmore, etc... I'll bet that will help get the audience engaged and draw in their friends when they hear about this outrageous movie. El cheapo productions will have a tougher time producing that effect then a bigger budget film.
Who writes it? who cares. Hollywood is built upon no-name-talent that hit it big and then they became the Names everyone talked about. Currently the trend is to produce Franchise pictures: Batman, Oceans 12 13, 14..., etc... why? because it's much easier to get someone to come and see another picture from an already familiar story than to convince them to come see something they haven't ever seen before. Therefore the idea is to make pics that are easier to fill seats with. They happen to use well established writers for these jobs. It's only a matter of time before they dwindle down the inventory and wear out the veiwing public with franchise pictures.
Think big, if you only hit half way you're better off than if you aimed low.
Look around, this is what practically every successful person says when they win big, they tell everyone else, it can't be done anymore, those days are over, and the only reason they did it was because they didn't know any better. It's pure hogwash. Unknowns will always become tomorrow's overnight success.
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A coverage service? While they may be reputable, is it them making the decision? Producers pick what scripts they are going to make, not coverage services.
Put yourself out there, you have nothing to lose and everything to gain. Perhaps this is their sly way of working out who is serious and who's just skylarking waiting for things to fall in their lap, those who are serious would take no for an answer.
Put yourself out there, you have nothing to lose and everything to gain. Perhaps this is their sly way of working out who is serious and who's just skylarking waiting for things to fall in their lap, those who are serious would take no for an answer.
wcmartell
Well-known member
No.
MR & MRS SMITH was a first sale.
There are too many to list them all... but what's important is that you have a script that is worth the big budget. The idea has to be as big as the budget. I've read many scripts with big budgets and small stories - and nobody wants those. You need a great idea that will attract a huge audience. The concept needs to match the budget...
And a big budget spec... in fact, *any* spec, needs to be something that has been proven profitable in recent years.
So what big hit fantasy films in the past 5 years began as specs? Make your list.
Actually, always better to make it before you write the script.
- Bill
MR & MRS SMITH was a first sale.
There are too many to list them all... but what's important is that you have a script that is worth the big budget. The idea has to be as big as the budget. I've read many scripts with big budgets and small stories - and nobody wants those. You need a great idea that will attract a huge audience. The concept needs to match the budget...
And a big budget spec... in fact, *any* spec, needs to be something that has been proven profitable in recent years.
So what big hit fantasy films in the past 5 years began as specs? Make your list.
Actually, always better to make it before you write the script.
- Bill
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I think you should run away from this service. Try my boy Scott the Reader.
http://alligatorsinahelicopter.blogspot.com/
RallyMonkey
Active member
The major difference between producing a script by a first time author, and hiring a first time director, is when you pay for the script, you already know it's good in the context of what you're putting money into. Hiring a director is a gamble, but producing a really good script is a no-brainer, regardless of the author.
Lt_Col_Wade
Active member
If I may play devils advocate for a moment...
I think several different things are being talked about here. The term big budget is being tossed around without really talking about what it is... I would certainly not call Gran Torino a big budget screenplay. In execution, the film may have grown to a substantial budget, but based on the script itself it doesnt demand a huge budget.
On the other hand, the coverage that Justine quoted called the script a fantasy, which hasnt been brought up yet. Its certainly true that relatively large budget spec scripts do get sold, and that if the story is excellent enough the script will sell no matter what, but fantasy scripts are a bit of a different beast. Just look at the types of fantasy films that succeed - LoTR, Narnia etc. etc. - theyre franchises, based on established and well loved lore. Not only are these the fantasy films that succeed, theyre just about the only ones that get made, often for good reason (see Delgo).
The main difference here is that fantasy scripts often demand a huge budget, regardless of how they are produced or who is attached to them. This is one of the reasons that they tend not to sell as spec scripts, and tend not to get made unless they are based on an established story. And for this reason, I would say there might be some credence to trying to sell a few other scripts first to establish a writer (despite not agreeing with how this was said).
Its hard to say for sure without knowing more about the script, but dont let the coverage get you down. It often takes some small sales and achievements before you get that one movie that you really want to do made, but that doesnt mean you should stop working on this one, or that it wont ever sell.
Best of luck!
I think several different things are being talked about here. The term big budget is being tossed around without really talking about what it is... I would certainly not call Gran Torino a big budget screenplay. In execution, the film may have grown to a substantial budget, but based on the script itself it doesnt demand a huge budget.
On the other hand, the coverage that Justine quoted called the script a fantasy, which hasnt been brought up yet. Its certainly true that relatively large budget spec scripts do get sold, and that if the story is excellent enough the script will sell no matter what, but fantasy scripts are a bit of a different beast. Just look at the types of fantasy films that succeed - LoTR, Narnia etc. etc. - theyre franchises, based on established and well loved lore. Not only are these the fantasy films that succeed, theyre just about the only ones that get made, often for good reason (see Delgo).
The main difference here is that fantasy scripts often demand a huge budget, regardless of how they are produced or who is attached to them. This is one of the reasons that they tend not to sell as spec scripts, and tend not to get made unless they are based on an established story. And for this reason, I would say there might be some credence to trying to sell a few other scripts first to establish a writer (despite not agreeing with how this was said).
Its hard to say for sure without knowing more about the script, but dont let the coverage get you down. It often takes some small sales and achievements before you get that one movie that you really want to do made, but that doesnt mean you should stop working on this one, or that it wont ever sell.
Best of luck!
aurantaurant
Well-known member
DUBAI was written by a 27 year old first time writer and Paramount bought it for 1mil. He had friends who got the script read at Paramount, but I guess that might be hardest part.
Getting a script read by the right people is really hard.
Getting a script read by the right people is really hard.
Randall_Oelerich
Veteran
I like Scott, he has done coverage for me on two feature screenplays, well worth the cost, detailed critique and specific suggestions for improvement.
Are you serious? I can't believe Paramount paid $1 million for that script.
If you want to know if your script is any good drive down the 405 in LA, throw it out the window and if it finds it's way into a studio exec's hands it's a good script.
He only charges $80. That's pretty good deal. I don't know how the guy makes anything off that service. Maybe he's a speed reader. Reads a script 40 seconds by fanning the pages.