1)If you sell a screenplay, do you have to move to Los Angeles? What if you're from another country?:)
2)How do agents/managers talk to people? Are they(acting) nice to writers or cold and distant, business-like?
3)I am still afraid of assignments(mentioned this on other forums), but if they come, how often do you "receive" one? Could you just rely on spec screenplays(if this is more of a passion of yours, the dream to have them read by people who do something with them, and not writing because you want to get a lot of money or fantasize about living a dream life)? Do some screenwriters do this?
I apologize for posting so many topics here...:( Thank you for taking your time to read this.
No moving Victor!
Sell then worry.
these are really dumb questions, especially in year 2017.
1) No. If you sell a screenplay you do not have to move to Los Angeles.
2) Agents sometimes act nice but they are all business-like. They are only interested in writers who can make money.
3) If you do not want to write on assignment you don't have to. It limits how much work you get which limits how much money you make.
Victor, all of this is relevant and determined on a case-by-case basis by those directly involved. It depends on specifics. It depends on context. It depends on an individual situation, project, job, circumstance, etc, etc, etc. ;)
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You’re assuming the person who buys the script is from LA. People make film all over the world so unless you just market to people from LA you don’t know who will buy your screenplay or where they happen to live. However, the person that buys it won’t give a rat’s rectum where you live.
My agent talks nice to me because she wants to keep me as a client. I don’t have a clue what other agents do.
You can do whatever you want but it would be difficult to make a decent living off of your spec screenplays. By the time you get an assignment you should have enough confidence in your writing by then not to be afraid. I’ve only received a few assignments over the years, but I don’t go out looking for them.
If someone wants to make a lot of money and living the dream they are going to be disappointed because it is hard to make a lot of money writing screenplays and there is no living the dream. Screenwriting is not glamorous work.
Yeah, danG is right. I was communicating with a working WGA screenwriter of comic book movies and I asked him if he gets a cut of movie merchandise residuals and he replied back NO with a crying emoji face.
Don't know why folks think Agents are bad people or robots. They are your champions, they're on the street working for you. They don't get paid until they sell your goods.
So this is great group for everyone in The World : https://www.networkisa.org/about-us.php
I most recently got to chat, and network with The Founder of The Group Craig James Pietrowiak. Craig is an amazing guy.
Question 1:
Just because you live in LA it doesn't necessarily follow you will sell a spec script or be hired by someone. Most agents, producers and directors don't accept unsolicited material and I don't think showing up at their office, their favorite coffee hangout, or a social function will mean that they will listen to your pitch. I live in Texas and have signed all my option and right-to-shop agreements while living here. And though I had a meeting with one of my producer contacts while visiting LA, I already had established a working relationship with him while in Texas. Additionally, I've have multiple meetings with interested parties via phone or video chat.
Question 2:
Just like any other human beings, there are nice agents/managers/producers. I had an LA literary agent call me about pitching a thriller script I wrote that won an award. He wanted to pitch it to some of his film and TV contacts. He was really cordial until I pissed him off by making an editing error. I also became good friends with the first Hollywood producer I met and we hung out, went to concerts, dinners and talked all the time for two years, until I pissed him off over a difference of opinion. We haven't spoken much lately. So try not to piss off your contacts and instead build long term relationships with people who can get your work into the hands of filmmakers.
Question 3:
I wouldn't rely on selling a spec screenplay. I've had better luck with writing assignments. Including my most recent option agreement in August. Assignments don't "just come" unless you are an established heavy hitter and even then, there's always competition for paid work. Without doing copious amounts of pitching to producers, directors and other industry types, you have little chance of getting work for hire gigs.
Question 4:
I don't spend time daydreaming about living "a dream life". I spend time trying to find someone interested in making a film.
Question 5:
Unless they're selling scripts to known industry people, particularly scripts I think that have artistic merit; and or can get me a gig for paid work, I don't give a rat's posterior about what other screenwriters are doing. If they want my help or support they typically have it.
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I'm sorry, but the only "dumb questions" - regardless of year - are the ones you don't ask. Everyone is at a different level here on S32, and to characterize anyone's questions as dumb is contrary to the spirit of this website
Respect, Victor Titimas for putting your uncertainties on your sleeve. And yes, listen to Beth Fox Heisinger - her words are always wise and encouraging, yet based in the realities of the biz.
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Victor Titimas Victor, John Ellis is right. There are no dumb questions. It's wrong for someone to make you feel like you're not at the right "level" to ask them. Don't let anyone's negative remarks keep you from learning.
Having said that, I asked all of these questions once. I got my answers by spending time reading these threads, blog posts, going to TV or Film festivals, and hiring a writing coach to help me get this shit straight.
Just keep showing up, never give up, and write your little heart out. Best to you.