BEATS - Point Break = Gone in Sixty Seconds - beat out. Made money. For Point Break, that director won an Oscar for Hurt Locker. THE BEATS were the same. Here's the way we at our agency see it; it's about our use of time of which we are not paid for (reading scripts) and thus when we read we are not pitching and when we are not pitching no one makes money. So for us, and after meeting Blake, after reading the book we thought: "hmm. we may be able to help NEW WRITERS HERE!" So, we determined for OUR business model; we want a beat sheet. Why? Because too many writers, to us, appear to not fully understand the blueprint of a screenplay. It's that simple. Formula? Maybe. Why? Because the stockholders LOVE predictable. So do investors. But here's where it's good NOT to poo poo beats; While Pirate of the Caribbean may BEAT OUT (oh, yeah, it does), it's THE DIALOG AND STORY which is SO SPECIAL and terrific. And different. And yet the beats of POTC are THE SAME for the Dirty Dozen (one of the best scripts ever written). OK ON TO the real quicksand... coverage. COVERAGE - This is a cottage industry that seemed to blossom to help writers. Notes are typically internal from prods and directors to writers (or their reps in our case, both happens.) There a few solid companies which can assist writers is seeing what they MAY have missed. It's a great way to get a 'reading' on how market ready (not DONE, market ready --HUGE DIFFERENCE) the story and spec script happen to be. We ask for it for a few reasons; 1. the hook from the pitch may be there but the writer is unproduced. So what would you have me tell the President of Relativity Media: "The writer is unproduced, and hook is there but the script isn't really market ready for you to pitch to YOUR talent but you should BUY IT ANYWAY?" Can't do that. It's as much about the agent's 'taste' as the story that's hitting us. That said, it's easy to get on these posts and differ about big and small agents and big and small firms but please know this; MOST AGENTS won't even read unproduced writers anymore. WE. DO. But we have a protocol, so please my door IS WIDE OPEN, but that's the way we work. We may not be huge, but our passion, dedication to new voices (as well as produced) writers is HUGE! Respectfully, BABZ
Screenwriting : A note about beats and coverage and the why of same. by Babz Bitela, President
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at your service!
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Well written. Well explained. Thank you.
Hey Babz, I also wanted to say thanks for your article about beats and coverage. Great job! Seems you already know what you are talking about, so another thought, being that we are always getting so many scripts, to discuss you proofing some and giving us feedback, as at present I am our only reader, along with my many other hats I must wear in setting up the foundation for such a company.
Yes, thanks for educating us, Babz. It seems to me that structure is liberating -- once you've got that in place, it's easier to get on with all the other elements. And then, we've all sat thru movies that wandered all over the place.
All business models vary. They ask? They ask to see a script? They slam doors. WE open them. To ALL. And we open them carefully. Why? We've learned. Here's another thing you didn't factor; WRITERS LIE. OMG! Really? Yes. They do. We were working with one writer who, after us spending over 160 hours working with him and his 'manager' we went to vet them to take the next step through our legal department and SPLASH! Not only did he lie about his work he lied about HIS IDENTITY. So spare me your lecture, as I say; all companies vary in terms of their business models. I take exception to you use of the word legitimate, too. And that's fine; I've got thick skin. You had your say and I've had mine. But please do come here and pontificate that you know it all. No one knows anything. Learn that, and it's positively zen. Respectfully, BABz
Well, I am a writer and ... apparently there are quite a few posers out there who claim as much -- but who have nothing to back it up. On a number of occasions, people I've just met have demanded that I justify my claim on the spot. Well, rudeness aside, this is an odd state of affairs. Does this kind of thing happen to doctors and lawyers? Perhaps it does, but ... I'd guess not so much. I suppose this is all due to the glamor attached to the profession -- and the relative ease of faking it among people with inadequate bs detectors, but... There are also people who seem to genuinely believe themselves to be writers, but who do not read, or who cannot be bothered with rudimentary grammar. I'm curious to hear others' thoughts on the matter.
I feel like this: we learn as we go. So if I learn why not try to help someone else avoid the fender bender I did. Folks can and will disagree so what; but if I see a solid review from an independent source other than say the writer's mom, I may time permitting sit up and take notice. We get so many pitches that yes, we can pass on; it's easy. The writer pitching makes it easy. But I also get some great stuff, like for example from Cops. So I tell them, 'ok, before I take my time you take your time and money and you go find me coverage and send it.' if then I see there's promise, we go into reading etc. There is simply no time to give NEW writers a look at scripts: I'd HAVE NO TIME TO PITCH. When I work with prods and they supply notes we can then get the writer where the prod wants the story to go. Gotta get 'em there first and thus here's the MONEY LINE; if we see writers respond to coverage, we feel a little more certain that they can HANDLE an actual production.