I was on my way from lunch to meeting at Paramount when my agent at the time called to inquire if I’d be interested in meeting a particular movie star to discuss a picture he had in mind. My agent said it was a passion project for the actor, but with solid commercial prospects in [...]
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Los Angeles is full of thousands upon thousands of aspiring screenwriters desperate to prove they’re talented, creative, and interesting any way they can … including via their business cards.
In an impressive 36 hours, a new R-rated spec comedy, Bastards, by screenwriter Justin Malen, sold to Paramount for mid-six figures on June 14. Reviving the somewhat dismal spec market, this sale has everyone buzzing about the power of the spec. Script sat down with screenwriter Justin Malen to find out what is so special about his two Bastards.
Aspirants often think cold-calling, querying, and unsolicited submissions are viable methods for getting an agent. But they’re actually a waste of time, energy, and postage. So let’s take a look at some methods that work …
Going to a coverage service is like flipping through the phone book to find a therapist. You MIGHT get the exact right person reading your script… but I wouldn’t put money on it.
A reader asks “Will producers steal my great idea?”. The answer may surprise you.
“In order to get on a show as a staff writer, you must understand your voice. Your voice is your calling card as a writer. Your voice is what separates you from the masses.” – Jennifer Grisanti (TV consultant/author)
Almost a spec a day hit the marketplace in 2010. And while both submissions and sales were down (17.6% and 15.1%, respectively), just 62 of the 360 spec scripts that made the rounds in 2010 sold.
Why do people hate thinking of screenwriting as a profession like any other? It may be a “creative” field, but so what? Designing airplanes requires creativity… yet no one expects Boeing to accept designs from amateurs over a website.