Screenwriting : Is real life networking really necessary in this day and age? by G.R. Barnett

I think your agent friend is wrong. With the internet and a phone you can connect with people anywhere.

Hey G.R.; Dan & I are going to disagree on this for sure. I take it that you're pretty much a newbie to the industry which means (to me) that you need to get out and make acquaintances with industry participants. Dan & I are/have been in the industry for years so we have contacts - you need 'em.

Interesting topic of discussion especially amongst this diverse group of skill levels and professional success. Here is my personal experience thus far.

I've been writing screenplays since my time in the Air Force starting in the year 2000. By the time my enlistment ended in 2004 I had two completed feature length screenplays (good concepts extremely amateur execution).

After the A.F. I began studying Writing and Media Production (double major) at Northern Michigan University and I also began my first attempts at finding a production company or an agent interested in my work. In early 2005 I began sending what ended up being a few dozen properly formatted and professionally written inquiry letters ("query letters") to various agencies and production companies I'd researched. To these letters I received zero responses.

For a couple years I just worked on new screenplays and sent the occasional letter or email in the hope to find someone looking for my type material. Again still to no avail. In 2008 after completing a couple more screenplays and feeling much more confident in my writing I went back on the hunt again sending a round of letters and emails (a majority emails this time) and received a smattering of email responses, some 'auto-rejects' or short thanks but we are all full up here.

In 2010 I had a couple 'close calls' after completing one more screenplay and a series of comedy sketches (and the oldest of my 'good ones'). I had the interest of the son and former wife of the former professional athlete my biopic screenplay was about and I began corresponding with a producer from the show my sketches were patterned after. In the end neither lead to anything but finally having some serious back and forth with people was extremely uplifting.

Work and life keep me from writing as much as I would've like for several years but I was able to complete another two feature length screenplays that I am very proud of. For the last year and half I've been aggressively shopping myself and my body of work but yet have to receive anything more than a polite no thank you.

Since I began writing I've read several books on screenwriting and how to 'break into the business' as well as attending a couple workshops and watching tons of online videos on the subject and time and time again I've read or heard, "you have to be in L.A. to get noticed." And time and time again I thought to myself that there were exceptions to that rule, that something great, that someone supremely talented could make it happen. Well, after 13 years of trying, countless hours of research and letter writing, and literally hundreds of letters sent....I am headed to LA in April where I will meet that right person, put my work in the right hands, and manifest the dream.

This is just one persons experience but maybe your friend, all those books and videos, and to a degree good old common sense are right; to make it in Hollywood....you have to be in Hollywood.

Vehemently disagree with Dan on this one, you ABSOLUTELY have to have a presence and make connections. Nearly 17 years ago I went to a Drive-In to see a documentary about drive-ins, followed by the Spider Man movie starring Toby Maguire and there I met a producer named Sam Sherman, who became one of my best friends. He made a lot of money on B horror films and was part of said documentary. He bought me breakfast the next morning (we were all staying over in various hotels as the Drive-In was in Pennsylvania). Years later after producing several projects with me, he introduced me to a two-time Oscar-Winning producer who also became a mentor to me. I also met actor Keith David at a screening and he narrated one of my own docs, as well as acting in another film as a favor to myself and another producer (Eric Rosenberg). I can recount countless tales, but I think you know the answer to this already. Most contacts on the internet eventually want to meet in person - be it if they are in your state, traveling there or you going to them. In addition, as for there being no hands to shake in your state, a quick search of Film Festivals in Alabama revealed no fewer than eight. One of them, the Sidewalk Moving Picture Film Festival, I am familiar with and likely in the Top 100 in the world. Now, granted that's not Top 10 or Top 20, but still worth it. In the smallest of local festivals are where you'll meet independent filmmakers who might fund or co-fund your script be it for animation, narrative feature or short. And, you NEVER know who knows who. And, if you have any hopes of getting to the semi-highest levels of this business, you will absolutely need to network, go to festivals, get out there and meet with people. I hope this helps.

Ha! I was just wondering this myself (I live in Wisconsin)...debating how many times I need to fly to LA this year. But networking has always resulted in the best connections and ripples for me as well. It might be worth investing to attend a few fests, GR.

Sara - you don't need to go to LA and suck up all that brown air. I'm sure you have local film festivals in your neighborhood where you can meet and mingle with regional indie filmmakers (who by the way are always looking for crew). I know that Chicago has lots.

Hahaha - I'm heading to LA next week, but I'll try not to suck in the brown air (true - it's clearer here, but COLDER!) hahaha! We do have some fests in Milwaukee, and Chicago. The LA one might happen this year as well. I have several projects in multiple stages...and am always up for shopping around my metalsmith talents. ha! Thank you for your supportive thoughts, Doug!

Sara, While I agree you can network anywhere, I happen to think it's a POSITIVE you are going to L.A. It helps to meet new people out there and build your contacts. The more you build them ... the longer you know them, the more chance you will work on something really cool together. ;)

From your mouth to the screen god's ears, Sam! :)

YOU CAN DO IT, Sara - I did. I remember 15 years ago working on a project in L.A. - dreaming of getting the credit on IMDb. Over the course of that decade and a half, I completed said project, eventually got distribution on it, have worked with two Oscar-Winners and built many connections, including a two-time Oscar-Winning producer who has given me much such advice and encouragement. One of my good friends was a regular on LOST and has been in five of my projects. Going to L.A. will only INSPIRE YOU MORE and help you BUILD CONNECTIONS, as will going to the local Film Festivals in your area. This business is at least 50 percent networking - it really is. So GET OUT THERE AND DO IT! ;) GOD BLESS and STAY FRESH!

*who has given me much SAGE ADVICE, not such advice - LOL ;)

Why wouldn't you listen to advice from Agent-friend? Agent is in the business. You're not.

With the internet, frankly you can have both. You can have physical networking (which yes still is the best route) but also you can network with social media. And funding has always been tricky really. I live in Colorado and we have almost the same thing when it comes to funding with the state film industry. One of the keys I have learned is build some rapport first BEFORE asking for cash. It's what Richard "RB" Botto has preached and frankly he is right. And to be real if you want it bad enough, you will find a way to do it. Just keep the faith G.R. and you should be okay. All this is my thoughts here. You can do what you will with your career.

I just posted this on a different status: I have been building my "resume" for years now. But it does you absolutely NO GOOD if no one gets off their computers and works with people face to face. I have heard, "Send me your profile/ resume in an email...." more times in the last 2 years then I have since I got on line in 2009. Then I SEE people places who I have "spoken" to on line and they don't even "know" who I am. HELL, I went to a networking event on Sunday and had that happen. People in my area that I know and have worked with, and I could tell that looking at me they had no idea who I was! I have not "had coffee" with a possible client or project manager in over a year. And when I do finally get a face to face scheduled they CANCEL, and cancel, and cancel...... I have people ask me all day long in PMs "Do you work over Skype?" I make freaking costumes/ clothing for God's sake... NO I can not work through the computer or over the phone. That is not how this works. THAT IS not how any of this works!

Richard, While I agree that in this day and age, the internet, email SKYPE all helps - I'll be honest with you - and I can only go by my personal experience. If you DON'T get out there and network, you can't have it both ways. You have to go to Film Festivals, take meetings. And, if you're seeking funding, it would be hard to do without meeting the person. Often when a person LOVES your script and you have a name or two attached, you still have to have several meetings. I only say this, because I take my credits - and this business - extremely serious and if I can help by offering what others have said to me, I certainly will pass it along and pay it forward. My point is, you do need to do some network - even the agent friend who is in the business, as Dan MaxXx pointed out - said it. Personal connections - I promise you - can take you a far way in this business. Do you know when I go to L.A. in addition to meetings I do countless coffee gatherings, lunches and dinners with friends/fellow directors and producers/actors. You really can't network too much and that just can't be done all over the internet. You can building strong friendships, business relationships and lifelong connections that way. I've learned this from others, who have mentored me and I was compelled to offer this advice to you. Hope it helps. GOD BLESS and STAY FRESH! ;)

Oh no doubt Sam Borowski. That is if you see I said the physical networking is still the best route. Because yeah going to those festivals and coffee get togethers is still the best way. But the internet does give an alternative option to networking. Not taking anything away from the physical, just adding a little something to it. And if the young lass sees her first point, she already has a great physical network with her agent friend. I think now if she can use that a little to her advantage, who knows how far this young lady will go. It's all up to her frankly.

Totally agree with all points being made. To that note, who wants to hang out in LA next week? ha! I have meetings and such scheduled, but there is ALWAYS time outside of that, especially as I'm between edits. ( This has been a great thread, GR. :) )

Sara, Would love to, but I'm based in the NYC area and not scheduled to go to L.A. until mid-to-late April. However, if you do visit the City that never sleeps and I'm not in L.A. would be happy to meet up and grab coffee, lunch or dinner. ;)

I made my contacts by sending out query letters and calling people. I never went to LA until I had a meeting with someone and felt it was going to be worth my time.

Ha, Dan, I would love to call people, but no one has numbers easy to find it seems like...they're guarded with huge secrecy. (or I'm too cheap to pay for a subscription that may offer the right ones?) Either way, I'll post on here in the chances someone is around in LA next week/end and we can coordinate. :) And Sam, dang it! I will certainly get to NYC at some point within the year, I'm guessing! We'll hang eventually!!

Sara. They are probably hiding from bill collectors.

Ha!

But, Dan, aren't we all? ;)

GR--I think you can see people have strong opinions about this subject. I'm gonna weigh in. The "biz" part of the film biz is about people. Period. Wherever you are, whatever your skill level, go out and get to know people in the biz. Anybody, everybody (except the creepers and stalkers and wannabees). Even if a miracle happens and you sell a script via the internet (as an example), the producers will want to meet. They will want to know they can work with you (even if it's just to negotiate the contract). I personally know of a couple of deals that looked good, but once the producers met the writer, interest disappeared. Poof! The quality of the script didn't change, but the producers got a "vibe" from the writer and the producers moved on. So get out there and chat, drink coffee (or your personal equivalent), work on local projects - so that you'll feel comfortable with networking for when that "miracle" time comes!

How could this work(except online) if you live in another country?:(

Having worked in customer service environments all my life, I can tell you that face-to-face networking breaks down barriers, perceived or otherwise, that no amount of emailing/Skype/Social Media/Telephone interaction can ever do. There are body language signals that are subtle and not registered by ourselves that add a significant amount to how one is perceived. It's not the be all and end all, but it will certainly give you an edge. If I've ever had a job interview and it's been a telephone one, I always tell them I'm happy to attend the office because I know I come across better face-to-face than those other applicants who only half-represent themselves via the dog and bone.

David, absolutely agree. Meetings, and hitting the pavement, are the only way to really build any business. I've learned that so many times, and honestly, networking is FUN. It's a wee bit hard to do these days with little ones. Granted, maybe I should bring my kids to festivals. They'd probably actually help with networking... hahahaha I can see the 7yo "You know, if you build a skyscraper in a movie, that's non-fiction" or the 5yo "Every movie should have kitties" or the 3yo "CLOUDY WITH A CHANCE OF MEATBALLS NUMBER TWOOOOO!"

Okay! I'm all in! What's the business plan for moving to LA, taking meetings and making business contacts? Anxiously rubbing my hands together.

Hey GR:

Does that agent friend want to sign and represent you? If not, I'd be flabbergasted that he won't sign you just because you have no track record. But if you have an animation project, I'd Call Pixar to see if they'll take a meeting with you. Of course, you might want to shoot lower and do some research on folks that do those kind of projects, pay your 15 bucks a month, join IMDb Pro and begin reviewing any available contact information, sending out some professional query letters or God forbid, even calling them up and seeing if they can point you in the right direction. But what is the right direction? That could be the subject of it's own thread. But I digress...

Victor, are there film projects where you live? Volunteer (or get paid) to work on the crew. Talk, listen, drink coffee. Perhaps it's a long way from LA, but the film biz is a surprisingly small community (even globally) and you never know where a relationship will take you.

Phil, no one is suggesting she attempt to get a meeting with Pixar, from your reply, which was dripping with sarcasm, but honestly, should she "shun" the advice of an agent trying to help? How about me? I'm not getting paid anything to offer this advice, so I have no hidden agenda. But, I'm not understanding your point? She should just sit behind the computer with a minimum of effort hoping people will fund her film? This is realistic? Really? Perhaps I misread. But, I will say this to her, you and anyone that will listen: if you're NOT willing to take meetings, trips, attend film festivals, you're kidding yourself. Had I not gone to the Drive-In to see that other filmmaker's film that I was interested in - see my comments above - I would not have met Sam Sherman, who became a close friend and has produced half a dozen or so films with me and introduced me to countless folks, including the two-time Oscar-Winning producer. Three-time Emmy-Winner Keith David did a film with an acquaintance of mine. We went to the screening. Later on, Keith saw the friend I attended with, and invited us to see him in Othello on Broadway. Afterward, we went to dinner - saw Oscar-Winner Timothy Hutton at the restaurant, who came over to our table (he knew Keith). This eventually led to a friendship, which saw Keith narrate a feature-length doc I wrote and produced that received distribution. I said it the other day and I will say it again - Networking is 50 percent of this business. If you've discovered different, I would say you are the exception and not the rule. If I misread your comments, I apologize, but I wasn't sure what you were getting at.

Hey Uncle Phil - stop by on your way & I'll join. I'll throw a couple cases of beer in the trunk that we can use as agent bait.

Why not save up money and make trips out to Los Angeles once or twice a year?

Sam:

1. Congrats your work with Paul and Mira Sorvino. For that, I hail you.

2. I'm not dripping with sarcasm. It's merely a light perspiration.

3. I'm not sure how you came to the conclusion I'm suggesting a person shouldn't take meetings, go to festivals or do networking. I do all those things. As far as trips, I took a few at some Grateful Dead shows, but I'll never admit that on the witness stand.

4. If one can score a meeting with an industry type or meet someone at a film festival that can further their career, I say Malzaltov!

And that reminds of a story my buddy told me after he won a screenplay award at the most recent Austin Film Festival. He went up to a famous producer, who gave him about thirty seconds before he went off to spend much more time with an attractive woman who approached him. But I digress. Though film festivals can be a blast and I've met some friends by going, it can be difficult to get to folks that can help you; and for many shy writers, nearly impossible.

5. I think it's fantastic that you met Sam Sherman at a drive-in theater. Not a lot of those around anymore and personally, I miss them. I'm thinking the Alcove in Los Feliz is a good place to hang out and have coffee. I know a producer who lives right around the corner and frequents the joint. I also had a meeting with a producer there in 2014. And in 2013, I met a German actress there who was producing a low budget indie.

Ah, but enough stories.

6. Sam, you've been doing this a lot longer than me. But in the time I've been pitching screenplays in earnest (I think the first one was September 2012), I've relentlessly endeavored to answer every ad that looked halfway reasonable (yes, even craigslist) and gone down a lot of rabbit holes. Much to my consternation, I found no rabbits in them.

I've spent time working with "producers" that talk a lot of shit, do rewrites based on their feelings and then don't do much work when it comes to finding a buyer. Conversely, I've been blessed to build relationships with a few folks that have gotten my work in front of some big players. I've also made connections with no representation and have signed four agreements since September without an agent. But I do get free legal advice from my wife the attorney. I also had a Skype meeting with a producer in Europe on Monday. He's someone I met via Stage 32 Happy Writers. My 30 dollar investment got two scripts and a meeting. After our chat, this producer passed my script to his two partners.

7. But I've never listened to conventional wisdom. I've been most successful going after esoteric projects where the competition was thinner than normal. And, I've made big promises and bold statements, and then delivered on them.

Meeting someone like a Sam Sherman is a blessing, inasmuch as you've done multiple projects with him. Those type of connections are hard to come by. Many producers and agents are project centric. When they go to their contacts and can't sell that project, they have a tendency to move on. So that's where the relentless desire to succeed comes in. You have to be willing to constantly look for opportunities and build a pipeline. You also have to be willing to work and write as many scripts as you can. So when opportunity knocks you can answer with product in your hand.

To be a professional screenwriter, you have to be in it for the long haul.

8. The first script I wrote was a gangster pilot based on a true story a friend brought to me. He gave me the real subject's jailhouse manuscript and I decided to copyright it. I also did a press release about the project and over the years, I've received several calls from strangers who knew the subject. One of them was a few months back, from a video producer who lived next door to the subject. He's trying to sell the concept to a major producer with a famous screenwriter attached. This screenwriter is already interested in writing for the project. I came up with a sexy name, wrote and a one-page logline and synopsis and my new partner pitched it yesterday to the aforementioned parties. I'm looking at this as a long shot. But If I make a dime on this, the great irony will be this is the project that got me into screenwriting six years ago.

I'll say it again, to be a professional screenwriter, you have to be in it for the long haul.

For those of you writers who are serious and don't live in LA or New York; save your shekels and do the following:

1. Take a deep breath, you're in for a long and bumpy ride.

2. Look at doing Virtual Pitchfest, Inktip, Happy Writers and though I'm not a big fan of their service, some folks have had success with the Blacklist. Be very selective and look for producers that are a good fit for your work. Project Greenlight is also now doing Skype pitch sessions with credible industry people. Yep, it's pay to play, but if you're a good player, you can make some real connections. I suggest you read my S32 blog about doing written pitches.

3. When you pitch, be bold, confident and ask for the gig or at least tell the producer you're the writer for the job.

4. I'm not being paid for this but I should be.

Doug: Nothing would give me greater pleasure (hyperbole) than to have a beer with you. Let me know if you ever want to visit Austin and I'll definitely make time for a visit.

Phil, I would say we'll agree to disagree, but I'm not sure where you stand on the subject. I'm also not sure if you're being sarcastic when pertaining to my career. I've worked with several Oscar-Winners and several more Oscar-Nominees and yes, I am proud of it. My IMDb page, features, shorts, Awards and movies in distribution speak for themselves. As for 'Awards are nice, Festivals are nice, but they do nothing for you,' well, you said it yourself - to be a working screenwriter - and the same can be said for directing AND producing - you have to be in it for the long haul. AND all of the things I've mentioned can only help you move forward on that long journey. Also, it doesn't matter if you're in a diner in NYC, on the playground shooting hoops (where writer-director Richard Wenk met Andy Garcia and pitched him Just the Ticket. Garcia was very interested. Years later when Wenk sent his agent a script, Garcia remembered and they made the movie. Or where my cousin, Oscar-Nominee Danny Aiello was pitched Do the Right Thing by Spike Lee - Danny wound up NOT ONLY doing the movie but getting Nominated for Best Supporting Actor by The Academy.) at a Film Festival or STAGE32. You are ALWAYS PITCHING, ALWAYS NETWORKING. People are always watching and listening. How YOU BRAND YOURSELF is important. Is it professional? Most producers get pitches every minute of every day, so who can blame them if you catch them in the wrong moment. BUT< my point is you NEVER KNOW when that moment will come. As Martin Scorsese said, being a filmmaker - and this absolutely goes for screenwriting - is like attacking a giant monolith. To do this, you must be relentless. This you seem to agree with. That goes for NETWORKING, FILM FESTIVALS, MEETINGS, STAGE32 - everything. Script contests. They seem never-ending and I do understand money is involved and it's tough. But, I've been there. I've spent and continue to spend X amount on my career. BUT, I promise you this, when you walk out of a meeting with a 2-time Oscar-Winning producer, who talks to you respectfully and offers you sage advice, even helping you, as you begin to put together the biggest project of your life, you almost walk on air as you exit the building. And, for me, when I got to that point, it took years of meetings, networking, film festivals, countless scripts, working on sets. But, guess what? It was all worth it. I don't know any other way to get there. As Rocky Balboa once said, "THIS is what has worked for me."

Sam:

I'm not being sarcastic. If you read my post again, you'll see I made the statement about making connections like your friend Sam are great and hard to come by. I'm pretty sure we're in agreement on nearly everything. But I appreciate you going through your resume in your last post. I read it before I posted my other post and was impressed. That's why I hailed you and with no smartass intent. And, I too am here to help and frequently do with many writers. I'm glad your methodology has worked. Mine seems to be paying off too. So, one size doesn't fit all. Good luck with your latest venture. When you're winning your Oscar for best picture, I hope you'll remember we shared this moment together.

And, that last one was genuine, right? Not a smart-ass remark? Because I'll tell you, it certainly comes off like that.

Sam:

Me thinks you're a sensitive soul who doesn't recognize good-natured banter. PS, if you need a good comedy writer, I work cheap.

Well, Phil, let me say with no anger that perhaps I misread. That is because I have friends that have won Oscars, one of whom won the Oscar for Best Live-Action Short five years ago. The same year, they used a picture from one of my films when my dear friend Ernie Borgnine passed for the "In Memoriam" segment for the Oscars telecast. I still remember when The Academy called and asked how much, I said, "No charge." Proud to be a part of honoring a professional - that I worked with, looked up to and called friend. So, when you joke, "When you're winning your Oscar ..... " to me it came off as a dig at some "unrealistic goal." I'm going to say I misread. But, know that I take my work and my credits very serious. And, when I hear someone say in a post as the O.P. did, say they want to just be the writer "without the pesky addition of going to events. networking, etc." I am floored. Screenwriting, producing, directing. It's all hard work and takes time. Matt Damon once said, "To be a director, you have to work harder than you ever have in your life." The same can obviously be said for producing AND screenwriting. One of the reasons Elmore Leonard didn't enjoy screenwriting was because he didn't like taking ideas off the tops of people's heads. As you must know, it's not easy. Elmore said, "You're just serving too many masters." Scott Frank - a truly GREAT screenwriter who adapted several of Elmore's stories, including my favorite, Get Shorty, as well as Out of Sight (he was Nominated for that) - spoke about how sometimes it's hard to please all the people with your revisions. But, my point is if you can't handle going to events and networking, (and I don't mean you per say, speaking in the abstract), how can you handle taking all those notes and personalities? So, when I read this original post, to me it was a slam dunk answer. No harm, no foul. Also, in case you're interested, here is the photo that they used of the great Ernest Borgnine in Night Club at The 2013 Academy AWARDS.

Obviously, that's the Night Club still on the left. On the right, it was a moving image of a much younger Ernie in his Oscar-Winning role of Marty, written by another truly GREAT screenwriter, Paddy Chayefsky, who also won Academy gold for that movie.

Sam: Thanks so much for sharing your Ernest Borgnine story and beautiful photo. He was such a versatile actor. One of the best scenes he ever did was his character Dutch's reaction shot in this scene from The Wild Bunch. It's one of my favorite films and Borgnine turned in a magnificent performance. He conveys so much emotion without saying a word.

https://www.youtube.com/watch?v=CYP38A-nwLY

Phillip E. Hardy, Prolifique Haha, I'm not kidding myself. I know Pixar wouldn't spit on my corpse.

And for the record, I forget who asked off the top of my head but the agent friend is my agent. They live in Texas and we've never met but he agreed to rep me this past summer and that was awesome of him.

However in this case...

I was honestly thinking that I could find someone that wanted to fund an animated project (perhaps as a tax write-off, hey there are some people that would or could lol), get some animators together, record the voicework (some of which I already have done/cast for the trailer.) and just produce the work myself, I just need the $$ to get it going. Then I could submit the work to festivals and the like.

I've tried doing animation by myself and it is a discipline that I was not cut out for, or else the trailer would've already been done by now.

As for this whole networking thing... this is an aspect of the business that I don't get and that I don't particularly like. It seems to me that the process should be a lot more streamlined by now, like say, you put up a work, someone likes it, contacts you, you two work out a deal over email or skype (or heck, coffee if you really want to meet) and then the deal is done. No muss no fuss.

Networking to me seems like a lot of effort for very little in return. And that's not to throw shade at anyone, I get that you guys are giving me very sound advice, and I do appreciate it, it's just by nature I'm not a social butterfly and the very thought of all of this gives me anxiety. In real life I'm one of those people you either like a lot or hate a lot, and more often than not, it's the latter. I don't want my script passed up just because someone personally hated my guts, you know? Just seems unfair.

I know, life's unfair, but that doesn't mean I have to like it.

-G.R.B.

Phil - Thanks for sharing the clip. I considered Ernie such a dear friend. And, I actually spoke to him about The Wild Bunch. I also asked him was it real whiskey in that scene where they passed the bottle around. "Nooooo, it was tea!" LOL. He was so nice to everyone on set and I remember the caterer the first day he worked made Veal Parmigiana in honor of Ernie. Great man. He would talk moves for hours with you. So generous. So giving. One of the great thrills of my career to work with him. It's why we work so hard to do what we do. GOD BLESS him! Some day I will share some awesomely funny stories with you. What a great man and a great actor! Treated everyone with respect. From Hollywood's Golden Age. They don't make 'em like that anymore. (That was actually one of his lines in RED - lol).

G.R.B. - You seem like a nice person, so here's me giving you some good advice. If it was that easy to get work in the business, investors, financiers, producers and executive producers would just hire someone with a great track record. Like it or not, IMDb is one of the ways they judge you in this industry. You have to build your page - THAT, in effect, is your resume. Also, I've known investors that liked tax write-offs, but most of them still want the possibility of a profit or something in the future. And, sometimes they do projects for other reasons, but those other reasons would include them learning about the business and helping people they believe in get work on said project. Rarely is it like - hey here's some $MONEY$! Enjoy! I mean - LOL - I haven't experienced that yet. BUT, HERE is how STAGE32 can help you. First, yes, the advice. People pay me to consult on their films. But, here you can get GEMS FOR FREE! Second, you're here! You're networking right now. It's no different in person. You still have to put on your best face, best clothes, sit down and make your pitch. But, as I said, you're ALWAYS pitching, whether you realize it or not. And some people may dislike others, BUT no one should ever hate another. And, you might find after sharing a wonderful conversation about film, you might make a new friend or two. And, you might actually enjoy networking. GOD BLESS & STAY FRESH! <3

Sam: EB did seem like a happy guy. I would've have loved to discuss The Wild Bunch with him. Like John Ford, Sam Peckinpah had some stock actors he preferred to work with like LQ Jones, Ben Johnson and Warren Oates. That whole cast was in the zone for that landmark film. You're absolutely right about that era. Those actors were amazing and their great work is embedded in my brain and comes out in my work.

GR: Try doing some of the Happy Writers Written Pitches. Perfect for the shy type. And Pixar wouldn't spit on your corpse. They would mail it back to you saying "We don't bury unsolicited bodies."

Phillip E. Hardy, Prolifique LOL, well played ;)

I might just do a happy writer's pitch one day.

Most of a screenwriter's work is going to be assignments, which require a lot of face to face meetings along the way. I guess there's skype, etc now, but it's still you talking to a bunch of people... and those people want to know you. Screenwriting is being part of a larger team - you are making a movie with a bunch of other people. It's not solitary, it's a team.