Packaging Your Screenplay
Saturday, December 10th, 2011
By Diana M. Caldwell

It used to be that a writer had only to create a good script and let his or her agent worry about getting it sold. Those days are gone. Writers now have to know how to "sell" their material, at times "packaging" it themselves by attaching an actor or director to the project. Writers also have to create a "brand" and they have to build industry relationships. And where do nascent writers go for help with all this? They turn to people like the participants in the "Packaging Your Screenplay" panel who gathered at Universal Studios on December 10th. As members of Voyage Media, our panelists' job is to help writers and directors create those packages and "brand" themselves.

The panel consisted of Nat Mundel who founded Voyage Media with the goal of getting A-List and emerging filmmakers together. Voyage Media develops, packages and sells projects for film and television. Gina Resnick worked for Columbia-Tristar and Sony as Executive VP for Home Video before becoming an independent producer. Writer and producer Aaron Mendelsohn has worked in both the film and television world but is best known for the "Air Bud" series. His emphasis these days is in digital media and branding. Katy McCaffrey was the panel's television expert but has worked as an agent and produced both film and television. Elizabeth Kushman worked for Wes Craven, and became VP at Weinstein's Dimension Films before joining Voyage Media.

Nat started the discussion by talking about the writer's changing role, adding that, though it means more work for the writer, it also can mean more control over the final results. Although writers are used to a rather solitary existence, this part of their job requires a team - and a whole new skill set. This is where companies like Voyage Media come in. Voyage does everything from polishing the screenplay to accessing talent, figuring out market strategies (both the main and sub-markets, such as video-on-demand and Internet streaming) and building the right management team.

Aaron explained that up until the nineties there were many more scripts sold on spec, or even on a pitch. Equally, in television, far more pilots were bought for each season that never aired. The spec market has picked up again this year but it is still a buyer's market and the studios often want more than just a script. They want a director or a name actor already committed to the project themselves.

Gina said the indie world is spec script driven but packaging is even more important than in the studio setting. Even the "mini-majors" like Lionsgate and Samuel Goldwyn buy many films as late as the post-production stage, making it harder for the beginning screenwriter with no connections to get his or her script bought and turned into a film.

In television, Katy added, knowing your market is extremely important. Is this a show for broadcast or cable networks? If cable, is it more HBO, TNT or Lifetime? You have to research who is "gettable" and appropriate for the lead. But, sometimes it is best to have only a list of possible talent because, f you attach someone who isn't what the network wants, it'll actually make the sale harder.
Elizabeth noted that adding the wrong element to a feature film can be equally detrimental. Attaching a special effects house to a sci-fi project may be more useful than an actor or director. Gina added that the important thing is to figure out who can help you move your project forward.

Nat spoke of the steps a project goes through at Voyage. Once they feel the script is ready, they start to work on ways to attract the right producer or show runner, using webseries, blogs, comics or graphic novels, and even creating short stories with the same characters or going the self-publishing route to have the material out in another medium. Finally, they generate a "cool" presentation, creating a movie trailer and/or poster.

Aaron said the most important thing is to get people on your team who can help you create interest. The writer of "The Boxer" wasn't getting much attention until his team created a "sizzle reel." Paramount bought it for $600 thousand soon after.

Katy pointed out that sizzle reels take a few minutes to watch, during a lunch break, while a script takes a couple hours to read. If the sizzle reel evokes the tone, explains the premise and gives a few visuals that show why this would make a good film, you're more likely to get a quick response. Equally, a "look book" can be an eight page graphic novel which allows an agent or producer to quickly "get" the characters and plot. Even Jerry Bruckheimer now makes sizzle reels for his new projects. Nat argued that even getting a "no" more quickly is better. At least you know it's not going to work and you can move on.

Gina said that an additional advantage to a look book is that it helps the writer more solidly define the aesthetics of his/her script, even showing up any weaknesses that need to be ironed out.

Although Aaron assured writers in the audience that they should write what they are passionate about, both he and Elizabeth insisted that, once done, they must put their business hat on and think about the market. If it's a mainstream script, a sizzle reel or a look book may be the best way to go. If it's a low concept script, find an actor who is equally passionate about playing the lead. Elizabeth added that, although you don't want to try following the trends when you choose what to write, you should check and make sure that exact same idea hasn't just been sold. You might have to alter or shelve that idea - at least for the time being. Moderator Jim Sarantinos summed it up by saying be passionate but realistic about the material you write.

Nat quoted Marty Seligman from the TED Talks. Look for mentors and advisors who: 1) have already done what you want to do; 2) have helped others do it; and/or 3) are an expert in that field. Make sure the people you put on your team have at least one of these qualifications, otherwise what they offer may be just noise. That's why Nat advises against peer writing groups, writing competitions and coverage services. Often the latter is staffed by very junior production staff who have yet to make a movie. Gina, however, felt film festivals were a good idea, likening it to speed dating for the film. A script or film that has been "accepted" has clout and is automatically taken a bit more seriously.

Katy named "Sit and Spin" at the Hudson Theater and the Bungalow Club as places to try out material, network and get noticed.
Jim asked how one gets connected and become industry "savvy." Elizabeth suggested becoming familiar with Deadline.com, Indiewire and Thewrap.com which are all free on the net. Also, GoToTheMovies.com. Nat seconded that. Learn who just bought what. Know that there's more demand right now for movies budgeted at less than $3 million, and digital producers are more into the niche movies like "Soul Surfer" these days.

This led to a discussion of what was needed for a script to be good. Nat said the first ten pages need to be super strong. He added that television pilots are often written not as a shooting script but to spark interest. Aaron emphasized that any script needs to be unique. Dialogue has to be full of subtext where characters say the opposite of what they mean. Also the characters need to be unusual, and even the structure of the script can be unconventional (a la Tarantino). The story doesn't have to be a classic blockbuster. Think of "The King's Speech." It was a small movie with big stakes. Gina noted that lots of typos say you really aren't a very committed writer. If you can't take the time to clean up the script, why should any reader take the time to read it? Elizabeth also cautioned that if you're going to play with the format, make sure it's clear that you know proper story structure and are altering it for a reason.

Next the panel touched upon the issue of branding. The advice was to stick with one genre because you want producers to immediately think of you when they need help with a script in that genre or with your particular skill set (such as sparkling dialogue). Nat threw out a challenge to the audience by saying that 100% of us could sell a screenplay but 99% won't manage to do it - and that we will only have ourselves to blame. We won't do the work we need to get there. Referencing Malcolm Gladwell, author of "Ten Thousand Hours," you have to hit single after single before you manage to hit a home run. Aaron says he spends about half his time writing and the other half networking, reading the trades, visiting places like LinkedIn on the Internet or calling and emailing agents, producers or their assistants.

Nat finished up by urging the audience to go to TheProfessionalsProgram.com and VoyageMedia.com where there are several examples of look books, sizzle reels (which range from sixty second teaser trailers to three to five minute pieces that take scenes from other movies that invoke the right mood and show what the script is all about) and one-sheets that, hopefully, arouse an agent or producer's curiosity. Elizabeth added that when she worked for Bob Weinstein and she'd bring him something she was interested in, he would immediately ask what the one-sheet was because he wanted to know, first and foremost, how he was going to sell the thing.

So stop writing and start networking, researching, websurfing AND writing.

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