A really interesting question was asked in yesterday's class about who we should send our query letters to. So far, I have been pitching to both producers and managers but this doesn't seem to be a good plan. Ashley explained that producers are only interested in making the film and don't care about the writer. Managers/agents, on the other hand, care about the writer and their long term partnership. Ashley suggested that the problem with sending to producers who read the work but then reject it causes an issue if you get a manager/agent in the meantime because if he/she approaches the producer (s) who passed on your script, that would reflect badly on you and who is representing you. But do we wait for a response only from mangers/agents? Would our chances be limited... I am about to begin pitching a new script so would appreciate your ideas on this.
Ashley Berns' Screenwriting Class (Feb 2021) : If we are unrepresented, who should we submit our query letter to? A producer or a manager/agent? by Selma Karayalcin
If we are unrepresented, who should we submit our query letter to? A producer or a manager/agent?
Other topics in Ashley Berns' Screenwriting Class (Feb 2021):
Check out Trending Discussions
Register / Log In
1 person likes this
Personally, it depends on whether you consider the story you're pitching to be a wide release or a limited release.
The studio system, for the most part, only produces movies for a wide release (opening in at least 600 theaters in the US, according to the Wiki). Everything else is produced by the independent system.
Independent movies almost always are released in a limited number of theaters and if they perform well, they will be expanded into a wide release. Fargo (1996) is a good example of this. It started as an independent release in just 36 theaters. When it became popular, it expanded to 716 theaters. Jojo Rabbit (2019) is another example. It opened in 5 theaters and eventually expanded to over 1,000 by the end of its theatrical run in the US.
Studios have so much talent at their disposal that they won't look at a script unless it comes from an agent or manager. Same goes for production companies with "first-look deals": An example of this would be Ron Howard's company Imagine Entertainment, which has a deal with Universal.
Independent production companies who don't have first-look deals will sometimes accept queries. Two examples of these types of companies (both available on Stage 32) are Whitewater Films and Cold Iron Productions.
There are also independent companies that are owned by studios. Searchlight (if they're still around) is owned by Fox, which is now owned by Disney. Screen Gems (Ashley sold Until Death to this company) is owned by Sony. I assume that studio-owned companies have the same resources as the studios and probably don't take submissions from anyone but agents or managers either.
I think it all depends on what type of release you think your script has the potential to be. My advice is to pick up to three movies released in the past decade that are comparable to your story, then look up their domestic distribution on the website boxofficemojo.com
If your comparables are limited release, agents and managers may not be interested in your story because it will most likely option for a low price and not sell.
If your comparables are wide release, companies like Whitewater and Cold Iron, even if they like the script, may pass because they don't have the resources to create and market a wide release.
In my case, I have a romantic comedy that involves male strippers, so my comparables would be Magic Mike and almost any female-driven rom-com. Romantic Comedies can be either wide release or limited, depending on who is attached. Magic Mike was a wide-release, so this story could go either way. It all depends on who attaches to the project.
Initially, I took my story to Whitewater Films. They passed because they consider the story to be wide release potential that should attract A-list talent, so now I'm querying managers. If no A-lister is interested, it very well could go back to being something a smaller company would make. Wish me luck.
PS - This is the Wiki that explains wide release:
https://en.wikipedia.org/wiki/Wide_release
1 person likes this
Wow, Tom! Another detailed, comprehensive and generous response which I very much appreciate - and I certainly do wish you luck - tell us first when your project gets accepted :) I's only a matter of time. It looks like I will focus my pitch on managers and agents as my most recent project is it's that sort of story - a true story based on the lives of Carole Lombard and her husband Clark Gable. I sent it to the Black List yesterday which was very scary !!! but I have to know how it stands before I pitch - I looked at a great blog -- https://nofilmschool.com/how-to-use-the-black-list -- and if it scores well, I can write it into my pitch.
1 person likes this
Thank you for all the information, Tom. I was familiar with the terms "wide" and "limited" release only on short notes of newly released films. How little did I know!
Regarding Selma's initial topic: I've seen it from this perspective: If I send my script to producers while being unrepresented, what happens if someone actually wants it? I have no idea of pricing, value, and negotiations. It could only work, if I get at least two positive replies at once to actually negotiate anything.
I'm not represented and I'm not a member of any guild. No one could speak for me and back me up. To a producer, I don't have much to offer and he/she knows that I'm not represented. It all sounds as if I'd be at severe disadvantage in any form of conversation.
Lastly, I know that managers and agents are not lawyers, but I bet they know more of contracts and what they should look like than I do.
All in all, I'd rather have some sort of representation before selling anything, but that's just a plan I made in my mind that sounds logical. You both have a clear plan yourself and from what I've heard from you, it sounds elaborated. And I see no reason, why it wouldn't work the way you've planned it.
I wish you both the best of luck. You're putting all the work in, I hope it pays off for you soon.
1 person likes this
Hi Thomas, I think - but guys please correct me if I am mistaken - let's say a producer is interested in your work - you could call a manager - say, Ashley - and explain the situation and ask him to represent you in this instance. Since you have done the work in fining a producer, it would be a win win situation.
1 person likes this
True, Selma. Valid point. It makes sense to me. If you also consider what Tom wrote to create your selling strategy, you can tackle the issue from two perspectives.
I think most people who have broken in have done so without an agent or manager by submitting to production companies (and sometimes actors). If a company or actor with pull in the industry likes your script, it'll generate heat that will attract an agent or manager. I started this way until one of the producers who read my script said it had wide release potential and a lead role that will be attractive to A-list talent. You can't get to A-list talent or studio-level production companies without representation.
The catch-22 to going to producers first is that if they make an offer, you usually have a limited time window to then find a lawyer/agent/manager to look over the contract (sometimes as little as 24 hours). Entertainment lawyers are pretty easy to get on the phone, especially if you have the cash to pay them right away. Agents and managers (even Ashley) may not get back to you right away as their existing clients come first.
If you go this route, always have enough cash on hand to hire an entertainment lawyer to read the contract ASAP.
No Film School has great articles and videos, as does Film Courage. Below is the link to an interview with Christine Conradt on the path she took to break in:
https://youtu.be/sgahPm0C81s