Screenwriting : Do movie producers think about the writer, or just the screenplay? by Victor Titimas

They are human, they are influenced by their own opinion of the writer. Do we assess every Rolls Royce model or is there assumed quality?

Gee Craig, someone's doing okay with their script sales ;)

It depends, but, yes, they consider the writer. When you pitch you are not only presenting the work, but you are also presenting yourself as a potential collaborator. Are you someone they may wish to work with? Someone they could work with for the next year or more on this project? Are you someone they could hire for assignments? ...Or not?

Sure, sometimes.

The Producer absolutely thinks about the screenwriter and the screenplay. The very first question that comes to mind - is this a compelling story/script suitable genre for my production audience. If so - is the writer easy to get along with and can/will s/he continue to provide usable scripts. Answer no to either question and you're out. But there are many other Producers out there.

Screenplay 1st, writer second....I gotta say none of my pitched producers ever asked how did I came up with my story? Then again in six minutes, not much time to get into too much into the pudding. Good question.

I'm going to say both. I just signed one work-for-hire and an option with two different producers who couldn't be more different in personality. One kept me hanging after I was assured he was going to send me the contract, I waited almost a month, found out he went with another writer, changed his mind and came back to me. After several weeks the contract came, (with a section asking for UNLIMITED REWRITES with a time limit that would have meant if it was the last day of the time limit, he could ask for a page one rewrite and make me reneg- so I asked for a limit of three rewrites and got it!) I was paid the upfront fee with instructions to wait until he contacts me to start writing it. (He wants to get with the director and work out exactly what they want in the plot) A month later, I'm still waiting. I was warned he can be a little difficult to work for, so I'm sure this is the way it will go and I'm fine with that. I like a challenge. The other producer called me before sending the contract out, we had a nice get-to-know -you conversation, then he texted me when the option was delayed to let me know his lawyer still had it, then texted as he sent it and stayed in touch, answering any questions I had promptly. I'm looking forward to meeting him if I go out for a set visit. Funny enough when he called he said he would have liked to meet with me but he was just back from the east coast. I laughed and said he should have called sooner because I AM on the east coast. (Both producers are used to working with LA writers because both pages that were to be notarized had to be changed to reflect a NY State Notary! ) As far as the producer/director I work with, Johnny Martin, he ALWAYS thinks of me because he's made me his go-to writer and is responsible for getting my name to these producers and has my best interests in mind! I'm a very lucky writer to have that connection/friendship.

Lisa Clemens is Da Goods!

Claude I have a few folks I go to for advice on contracts when needed. I wish there was an entertainment lawyer near me but the nearest is 7 hours away!

You've got a lot of patience, Lisa! Gods bless you, gurl!

Victor - Speaking from my experience as an ex-editor for a couple of small press publishing houses, the experience of the author is usually taken into account. Peers in any industry talk. In my example, if an author is difficult to work with, makes a lot of demands and wrestles with simple edits, the word definitely gets out to other editors and those authors get put on the "do not contract" list. Sure, we give people the benefit of the doubt, but if multiple editors are complaining about a single author, that author is avoided like the plague. The job is tough enough without dealing with a self-appointed diva.

[deleted final part of comment] I'm relocating my final comments to my own thread. I don't want to hijack this one.

So my final answer is I would wager the above info about publishing editors and agents can apply to movie agents, managers and producers.

Pierre, I wish it was from script sales. Writing is my passion not my profit.

Dan MaxxXx your reply is true and humorous. It's like the treatment Henry Tudor dishes his wives after every consummation.

Hi, Dan!! I'm actually going to disagree with you on the point of "a lot of them will look for a reason not to read the entire screenplay."

I've not only known a lot of readers, having worked for Sony Pictures and 20th Century Fox on the corporate side, but as an ex-editor for two small press publishing houses, that same thing was said of editors and literary agents. The truth is the vast majority of people who have the profession of reading WANT to find that gem. They WANT to keep reading.

The goal of the writer is make the script/novel so damn compelling, the reader absolutely cannot put it down.

And I'd wager the silent treatment writers get from the gatekeepers in the movie industry is just the desire of the rejecter to avoid having to deliver bad news. I HATED having to write those rejection letters and only on rare occasions did I have the time to give personal feedback. "Form Letters" are the silent treatment in the publishing industry. They actually feel worse than the silent treatment, from the writer's POV.

Just an FYI of a perspective I've had the honor to experience. ;)

Arial - I have to agree with you. If I'm being paid to read a script; my job is to read it - all of it. I always approach each as a potential gem (hasn't happened so far.) I read for agents only, so I don't have to write the bad news - the agent does. Over the years, I've seen a few "considers" and very few "recommends" Being a reader in today's world is very disheartening.

Doug...Yep! They don't call it the slush pile for nothin', huh? :(

No problem, Dan.

I know a few readers from smaller production companies, too, and they've said the same thing, but it seems I'm only talking to the exceptions to the rule.

And again, I beg to differ regarding your take on publishing vs. film industries. 90% of what I've experienced in the publishing industry is very much in the film industry. As I said in my bio, I'm no stranger to the film industry and the inner workings. I've been in it since I was a kid - my father was an actor, I was an actor, done voiceovers, stand-in, bit parts as well as student films, been on production crews, on and off the sets, corporate side, production side, yadda yadda. Just because I'm new to screenplay WRITING doesn't mean I'm completely ignorant of the movie industry.

I've never tried submitting a script of my own or been in the industry AS a writer. Never tried to look for agent or management representation for my scripts. These are the gaps I'm filling in.

Sorry if you've had a bad experience with readers. It's all good, though! We each have our own tales to tell and none of those are wrong...just different. Namaste!

Nice response Ariel

I guess I must be the exception. The scripts that I get have already been through the interns so I don't see the stuff that they've already passed on I only see scripts that they've marked as "consider" or "recommend". I don't have the luxury of a slush pile so I have to read every script all the way through - most times, it's very hard.

Interesting thread. Had to read Lisa's experience several times and make notes from it.

Thanks, guys.

Roger roger!!! :D