Producing

Isn't the East Coast higher than California?

Must-watch video, Pat Alexander! Thanks for sharing it. New Jersey sounds like a great place to make films!

You have 10 minutes per session but what people want from a pitch is not consistent. There is no magic bullet; some want more, some want less. There was one that timed for 6 minutes at the start so they can ask questions afterwards, which I found very helpful.

I have found the verbal pitch sessions very underwhelming, generally, and I've done about twenty. It's all over the board because you're not really pitching your movie, you're pitching your personality. You're pitching to many other personalities that all believe they're right about what makes a good movie and, some of them, you just won't match wavelengths with. It's been incredibly disheartening because the comments from pitches you don't succeed in, many will go into diatribes about your script off of what you can do within a few minutes, nevermind actually having read your script for themselves to judge. The ones that say I need to change the story off of a 3-6 minute pitch, I just outrightly ignore. The first few pitches I did, I wasn't very good, but I did get someone requesting my script based on conversation alone. One executive I pitched to gave me the exact structure to what most are looking for in a pitch and that's what I've been working off since. It netted me 3 more requests from following that pitch beat sheet. I've altered it by some common notes I received from some other pitches but, again, it doesn't work for everyone.

The worst thing I've taken away is the kind of people who are holding the keys to the company and whether or not you impress them with a good pitch is almost arbitrary. The people that you primarily pitch to are pencil-pushers and bean-counters. If you have something that's a bit dangerous, or something a little more nuanced, it's almost guaranteed they're not interested. They want a pitch that's as simple and binary as your story; something that sounds like a modest investment for a great ROI. They're looking for similar things to what's working currently. These people are some of the most banal, unimaginative, arrogant, and frustratingly thick people I've ever encountered. The worst are the heads who are looking for "strong franchise and IP potential." What they're really saying is that they want something that's an easy sell, but they really don't know what that is or what works so they're looking for buzzwords. The biggest cliche I've picked up on is that many are currently looking for things with a "sensational twist" because that's something they can frame selling the movie on. My worst pitch was my last one where I was pitching to what looked to be a 26 year old girl who had seen very little movies and did not understand my comps. She had a hard time following the pitch and I needed to reiterate points I just made a number of times. The whole affair was like talking to a petulant teenager. It. Was. Awful.

So, I guess what I'm trying to say is that it's been a mixed bag, where you're pulling at straws for most of the time. I have a good script that has market potential; I've been told as much from the consultations I've done. You don't need to impress them all, you can't and you're not going to, but if you can get the attention of that one--that right one--and you can impress them; that's the start everyone's looking for.

Oh, anyone telling you need to buy into more membership subscriptions throughout the site to get better; it's a con, man. If you're small beans and starting out, just jump into it and work your way through by just doing pitches. You'll learn as you go and refine what your pitch naturally. You may even snag a request for your script just by natural conversation. Again, it's all up in the air with who you pitch to and how they respond to you. You have no control over that. You're already spending money, why spend any more when the odds won't change?

Thanks so much -- all three of you! This is really good feedback and I will research everything that you are talking about. I am quite grateful for all of this.

I have been on the receiving end of pitches for another big company - and I will tell you that the ones that go over 5 minutes are usually too sprawling and unfocused - leaving no time for conversation/feedback. A tight 2-3 minutes is preferable in a room or on a Zoom.

You do want to save time to answer questions and exchange contact info.

You're welcome, Randy Schein.

Stage 32 has Producing Education and Blogs I suggest checking out, Srabon Ghosh.

Producing Education: www.stage32.com/education/search?term=Producing

Producing Blogs: www.stage32.com/blog/tags/producing-22

I feel like this kind of investment is not to bring Saudi films to the US or create a bunch of Saudi content, yet. I would guess that they would want to break into the industry with original content with mass appeal. Establish themselves and build a reputation. The opportunities should be there for producers with solid original projects. What good would it do them to come out of the gate with the same remakes and sequels that are flopping for current studios.

Matthew Jobe. Yes, I entirely agree. This strategy feels like a strategic move to build global credibility, not just to export local stories. Original content with mass appeal is precisely what they’ll need to stand out, especially if they want to avoid the remake/sequel fatigue we’re seeing now.

And that’s where I see real opportunity for producers and screenwriters who understand how to craft fresh, resonant narratives. If the themes align with cultural expectations and the storytelling is strong, this could be a powerful gateway.

Interesting Sandra Isabel Correia - I wish I had kept the article for posting but I did read that the Saudis are one of the entities that are interested in WB/Discovery.

They have money and power Leonardo Ramirez 2. I know the UAE very well, and I did business with Saudi, so for them money isn't a problem. And it's no surprise that "the Saudis are one of the entities that are interested in WB/Discovery." Let's see what happens next :)

Russell Gow, from my experience with their culture, it isn't difficult; you only need to try :)

Crash Bandicoot :) Or Rayman. Love both games.

Raymond Zachariasse Crash Bandicoot would be a great live action using snyder genres I could be a funny dude with a problem + buddy love. Crash at the beginning eats tons of chips and then he discovers his powers eating apples (wumpa fruits)

Wow! The last 3 comments inspired the idea that I have that SLY COOPER IP should be used in a last resort espionage film. I can picture a sly cooper being a mission impossible character spin-off for an animation film.

Oh, love that question. I'm giving up my age now but I'd totally do SimCity. Who didn't love this game? Hours of building houses and farms and factories and handling weather disasters... So nostalgic. So many stories. See? The screenwriter in me already starts plotting. So - who gets me the IP rights?

Short Update (curious) I mentioned someting that actually will became reality... LOOK->

https://www.polygon.com/crash-bandicoot-animated-series-netflix/

Thank you, Shadow Dragu-Mihai, Esq., Ipg! This really helps!

Hi, Shadow, check the (two page pitch for an) unscripted tv showTHE TRUMAN SHOW DELUSION under it's logline, and tell me if it could work? Good stand-up comedians made unrecognizable, and acting. They are stand-up comedians suffering from TSD.

Rutger Oosterhoff 2 That reads like a scripted film to me. What is the unscripted (ie. real people in real situations) part? However, when pitching unscripted, it is important to understand that you must match the kind of show and its themes to the production companies and networks that might consider it. As well, there has to be a fair bit of wiggle room in the concept for the actual producers to put their specific stamp on it. So where would you like this concept to end up being produced by?

Congrats on wrapping! Love the idea of opening this up to the community. Unscripted work is such a different beast—excited to learn from your experiences.

Phuc Quang Vu Dao Thanks!

Such an important topic, Karolina! Distribution strategy can make or break a film. Thanks for shedding light on the sales agent partnership!

Phuc Quang Vu Dao you're welcome!

Well, any of us might be looking for something on a given theme - but it's the storyline that is what is being bought.

Thank you very much, I understand.

I think what’s most important is how those two elements are blended into a fresh, unique form. without both working in unison, scripts get muddy.

Aleksandr, that's a great question! I think both matter, but storyline is usually what hooks people first. The best scripts weave theme seamlessly into the narrative—when theme and storyline work together naturally, that's when magic happens!

I am not aware of any blowback. But I honestly don't know that "inspired by real events" is or is not an actual selling point in any promo.

It has been suggested a few times that I put that reference in on the cover page of the pilot.

This is such an inspiring update, Marc Nelson, congratulations on taking that leap and turning your story into a film with real purpose behind it. Alive sounds deeply personal and incredibly meaningful, especially with its focus on men’s mental health. That kind of vulnerability and honesty can make a huge impact on audiences.

Your point about transferable skills and calculated risk is spot on, producing requires the same courage and strategic thinking as any other business, just applied to storytelling. I hope you’ll keep sharing updates on your journey as production moves forward.

Thanks Ashley. I'm excited to bring it to life. I've setup an Instagram account that will provide updates and photos etc. Search for doublesixproductions.ig and follow us.

As a side note (probably something bigger than a side note actually) I am producing another film. A 30 minute film called Got to be Certain. An aspiring artist falls for both the lead singer and a bisexual drummer of a band. Great music soundtrack (originally Kylie Minogue but changed due to licencing costs). This is a shirt film based on a feature film I have written. We had over 80 applications for the roles. We are down to a shortlist now, and a few have performed a self tape audition based on scenes from the film. It was amazing to see them played out.

Onward and upwards and enjoy the journey.

a great initiative, it will definitely be a film full of emotions. I wish you success, it will be nice to see it.

So inspiring to hear from others taking chances in promoting their creative dreams. It's not aways an easy decision to make. Hope to hear more about upcoming projects as they develop.

That was a fascinating read, Richard "RB" Botto, it really highlights how much strategy and trust go into landing a project of that scale. Rothman’s ability to understand what Tarantino needed creatively, while structuring a deal that prioritized artistic freedom, feels like a masterclass in producer–filmmaker collaboration. It’s a reminder that strong relationships and a genuine respect for the creative vision can still win out, even in a highly competitive studio landscape.

"It’s a reminder that strong relationships and a genuine respect for the creative vision can still win out, even in a highly competitive studio landscape."

This is a great takeaway. And you're spot on about Rothman. He understood both sides of this coin beautifully and delivered on all fronts.