TF,
I have to ask something you may know,
1. If you send a query letter to a production company what is an average time before you hear if they want to read the script?
2. If they request a hardcopy of the script what is the average time before you hear back from them?
Thanks, I know I am a PITA but I have a ton of respect for you
One more, I found a video from Warcraft of Leeroy, ever seen it? OMG too funny
BK
Rev,
I have no idea on questions one and two. I've never sent a query letter. I know that when I've written a script for producers or executives and sent it in, the time it takes to respond to me varies every time. I've had a range of responses from hearing back on the same day to never hearing from them again. As for an average, I'd say a week I guess. If I haven't heard from them in a week, I'll call or have my agent call. But all of this is speculation and based on hearing back on projects they have paid for.
As for Warcraft, I've seen several vids, not sure I've seen Leeroy yet.
Never sent out a query!? Wow, how did you break in? I've been busting my ass sending out queries and I'm just now getting read by a few producers. I even queried Mayhem, but they never responded...not yet, anyway. Jennifer Rogers was the contact, if I remember correctly.
Seriously, how did you get started without sending out queries? Or am I insanely ignorant?
I got in by way of friend of a friend. I was attempting a fantasy novel while Mel and I were living in Texas back in...'95 I guess it was. Problem with novels is that they're too long for my poor attention span. Once I had the story all worked out I just didn't have the patience to finish. Then I saw the screenplay for Reservoir Dogs in a book store and saw that it was only 115 pages. I figured I had the patience for that.
So, I got in touch with the girlfriend of a college buddy who was doing the acting thing in LA. She knew a producer who had access to an old castle in England and wanted a low budget script for the setting. So, dumb as a rock I started writing a fantasy script. Of course, nothing ever came of it, but my actress friend gave it to her roommate who worked as an assistant for Dean Lorey. Dean cut his teeth on Jason Goes to Hell and My Boyfriend's Back for Sean Cunningham and had recently wrote Major Payne with Damon Wayans and was writing Doom for Rietman, They for Ron Howard and Nothing to Lose for Disney. I did a guh-zillion rewrites for the assistant and she passed it along to Dean. Who read it and trashed it after 40 pages because I had yet to establish a plot. Of course, you'd think the little assistant would have picked up on that. Might have saved a ton of work. Oh well.
Normally that would have been the end of it but although Dean junked it, I guess he saw some raw creative talent, at least that's what he told me, you'd have to ask him for the exacts. He called up and asked what other ideas I had. I told him I wanted to write a movie about bigfoot. He mentioned there was already a Harry and the Hendersons but I told him I was thinking horror flick. So we roughed out an outline and he optioned it. My first paying gig. He also mentioned if this is what I really wanted to do then I was fooling myself by staying in Texas. If I wanted to write needed to move to LA. So I, loaded the old Chevy and started driving. Three months later, Mel came out to join me.
I finished the little Bigfoot thriller and then Dean optioned a vampire horror/comedy from me and introduced me to Sean Cunningham. Dean, Sean and I joined forces to write yet another horror/comedy. Dean would direct, Sean would produce and I would write. When it was complete Sean hired me as his staff writer. 30 grand a year. It paid the bills, some of them anyway. Mel worked too, she had to. I spent three years writing dramas for Sean. Not my cup of tea but a paycheck is a paycheck. I wrote 20 or so scripts in that time, even did a draft of Freddy vs. Jason but nothing I wrote got made. In fact, FvsJ was sent back from New Line unopened, but that's another story. It was horrid money but I was paid to hone my skills I suppose (if we want to look at the glass being half full). At the end of three years I wrote Jason X for the simple reason that I was the guy currently writing scripts for Sean. Not that glamourous, eh?
At the end of JX it got shelved for two years and my contract with Sean was up. I suppose I could have re-up'd but we were pretty sick of each other by that time, so I moved into the world of unemployed writer. So, Mel continued to work her butt off while I wrote a spec. After three years in LA I'd made several friends and asked if they'd be willing to give the script a read. Those who did passed it along to their agents. At the end of the process I was rep'd with ICM. Jason X came out to a monstrous box office (in my dreams) and my spec was picked up with Jonathan Hensleigh attached to direct.
And I suppose that's how I got in. Whatever works I guess.
Well, I think I hate you now.
But I do look forward to your latest and greatest on the silver screen.
Okay, here's the $64,000 question. I'm sure you're busy, but would you be willing to read the work of an unrepresented yet damn talented screenwriter such as myself? I have a fantasy script that is a very good sample and a comdey that I recently finished which is great, IMO. The comedy has generated some interest and is being read by a few producers. Tomorrow Films has also requested it but I need to dig up a lawyer or agent in order to get it to them. I'm still waiting to hear back from a cousin who is a lawyer.
Couple of reasons the answer should be no.
First, I can't help you get it made. I'm not in a place where I'm producing my own stuff.
Second, there are legal reasons. I could steal your idea and you have very little protection OR you could sue me saying I stole your idea. Either way, not much fun.
Third, I don't have time. I said yes to reading a buddy's script and it's been siting on my shelf for a year. Guess that's the biggie. I get ten or so requests to read scripts every week by way of this site or more often email. I barely have the time to read my own stuff.
I'm more than willing to offer advice or glimpses into what I did to get where I'm at but I'm not looking to produce so I'm not set up to read scripts at this time.
However, for $64,000 I'd certainly consider it.
I assumed that was the case, but I thought I'd give it a try.
I've been running into the old catch 22 while trying to break in. Do you know if the request from Tomorrow Films will give me any leverage when trying to get an agent to give me the time of day so that I can get the script into the prodco's hands?
What else can a screenwriting hopeful do to get somebody to pay attention to their work?
Thank you for your time!
Here is the link to the leeroy video, I have never played WoW but this is freakin funny stuff, I remember people like that on Q2.
http://video.search.yahoo.com/video/view...MB&dur=170
The common message I have gotten, from TF and many others is never give up. It has been a year since I started trying to get my script read, I kept running into brick walls. But with encouragement from TF and others I kept my chin up and kept trying, kept on writing, ( I currently have 2 scripts in the works)
My second script is currently being read, in hard copy, by a major. It took a year to get one to request a hard copy, if that runs into a dead end then I have a few other options.
One option is to look at the indies, the money is not good but if the script is good enough, and the indie makes it, that could get some name recognition to you.
Steer clear of internet agencies, check them out on
http://www.anotherealm.com/prededitors/pubagent.htm before you send any of your work, be sure to register your work with the WGA, it is not perfect but gives you some sense of security.
Breaking in is not easy, I beleive something like only 5-10 percent of new writers ever get read, but all it takes is one break.
I have a full time job as a safety instructor for an electrical contractor, I work part time in the Entertainment dept. at Universal Orlando as an actor, those pay the bills, I have been requested to audition for an upcomming serial killer film, and have my name in the hat for a few no paying jobs in film, just for networking, All it takes is one chance and what you do can increase those chances.
Thanks revelation!
I have had some luck this time around with my comedy. When I started marketing my fantasy script about a year ago it was a bust. But my latest script is being read by 4 producers, and 2 of them have major credits to their name. Another is an indie that I'm really hoping will connect with the script. It'll be 5 if I can get the script to Tomorrow Films.
Were you able to get read by TF without representation? If so, how?
Best of luck to you in your efforts!
Well TF is Todd Farmer, he is not who is reading my script, but he has given great insight into the industry for me. I do have representation, thru an entertainment attorney, he is also acting as my agent.
There are several websites for writers but I respect Todd (Wendago) greatly and I know his work has been produced. If he were to tell me to make it big in the screenwriting field I had to do backflips from Orlando to L.A. I would be somewhere around louisiana by now.
my bad
I thought TF meant Tomorrow Films.
Nevermind...
No problem, This is a rough bussiness and every advantage you can get will help.
Wendago has been an inspiration to me, I wrote my first script and trashed it ( well it is still on my PC) got the second to my atty. he did all the footwork, thats what he is getting paid for right? It was done to just pass some time and now I have two others going. It is very consuming, but even if they do not sell I will be happy to know I got alot farther than most. I would say what company is reading my script but I am afraid to jinx it. If I hear any more I will pass it on here.
I worked in Orlando ( for the Mouse, for Universal, and for indie films) for 10yrs awaiting the stillborn birth of Hollywood East in Orlando (It never happened and never will, ergo I moved out west). but you are right in that every little gig counts.
As far as writing goes, I've been out west for years and there are still 'producers' in Orlando that owe me for writing services, so beware
