Moving to LA

[John E Clark]

The problem with Hollywood is that everyone has a screenplay or story they want to tell. Since there are so many people already working in the industry here, it's much easier for them to get their script onto the desk of someone who matters, then a random person coming in from the outside.

 

Well, a little known passage in the California State Constitution provides every Californian whose residency spans decades if not from birth (natural born Californiano...). with the right to at least one good script story... so, people who come from out of state, are at a disadvantage right off the bat...

[Tyler Purcell]

Sounds about right! :D

[joshua gallegos]

 

And I suspect a lot of people who aren't screenwriters have written screenplays worthy of attention and got nowhere at all.

 

P

 

That's not exactly true, good work is found out if it's put out there no matter what. If the work is ignored or doesn't even make it into the "quarter-finalist" list in a contest, it's very likely the script wasn't good at all or not good enough. You have to realize that there are many emerging production companies who are looking to find that one unproduced gem that will get their company rolling- they might be looking for an awards contender or the next Judd Apatow who has a wealth of ideas that will bring in the cash. They usually look at important film/writing contests and ignore the bunch who are trying to "slip in" their scripts. There are no shortcuts, it's a matter of coming up with exceptional work. Having said that, the reason why most aspiring screenwriters move to LA, is that if by some chance they get a manager or agent, they're going to have to live in the area for pitch meetings or important meetings to land assignments or ghost writing work etc. All film production companies are based in LA and if they want to meet face to face, it's going to be a big issue if you live somewhere else. Just because you know someone in LA who can do wonders, it doesn't mean that you'll get a free pass- the talent needs to be there one way or another.

 

The road to becoming a professional screenwriter is incredibly difficult, but it only takes that one script to break things open- it's certainly not impossible.

Edited October 30, 2015 by joshua gallegos

[Tyler Purcell]

That's not exactly true, good work is found out if it's put out there no matter what. You have to realize that there are many emerging production companies who are looking to find that one unproduced gem that will get their company rolling

I wish that's how it worked. Production companies only care about making money. This is why most of the stuff in theaters today is poorly written crap. Most of the good stuff comes from writer/producer/directors, guys who get their own projects produced, not people trying to sell scripts to studio's.

[Phil Rhodes]

Couldn't agree more, Tyler.

[JD Hartman]

The road to becoming a professional screenwriter is incredibly difficult, but it only takes that one script to break things open- it's certainly not impossible.

 

And....aside from posting here what are you doing to get that one gem, that perfect script, in front of the people who can turn your ideas into the moving image? I don't see how living in LA makes that possibility more likely. You can online pitch from anywhere in the world. A script can be requested, optioned and purchased without the people involved ever being in the same room. No?

[joshua gallegos]

I merely asked for advice and the conversation evolved to this... :mellow:

 

I plan on entering all the important writing contests in the coming year, since most of them are closed for entry. That's truly the only way to prove yourself. Unless you can manage to successfully produce your own work and write and direct them, which is even harder to do. And then there's The Black List- which evaluates your work with professional readers. Some of the scripts on The Black List ( a small margin) have been produced, some of which includes Nightingale which won an Emmy- and a lot more which have landed writers agents/managers.

 

My first script got some attention as it scored a little high-

 

http://dixiefilms.tumblr.com/post/132268299982

 

That was last year's script and this year I made a new one- which scored just about the same. So, maybe I'm not so bad at it, and it's my best chance of somehow breaking in and then truly I can try to finance my short films and make them right. That's the idea- but who knows what will happen. if it all goes wrong, I'll keep making 200-300 dollar short films and that's the end. I'm too stupid to like filmmaking and cinema, but it can't be helped.

Edited October 31, 2015 by joshua gallegos

[JD Hartman]

No dude, it didn't evolve into any one thing. Your post discussions are all over the map. What does script writing, pitching and successfully selling a script have to do with crew work or living in LA or working in the mail room or .....? Why the need to produce and direct? How can you possibly be objective about the dialog and action? Your screenplay will certain need modification to fit the restrictions of the "real world", locations, and budget. That's where every screenwriter I've met fails.

 

Pick one thing and be great at it.

 

What is the link you posted?

Edited October 31, 2015 by JD Hartman

[joshua gallegos]

The link is one of my professional evaluations from The Blacklist.

 

And most of the screenplays I've written have fallen well under the 5 million dollar budget mark. I know how to break down and budget. I underestimate me, that's fine. I didn't post here to prove anything to anyone. I keep repeating myself- moving to LA is crucial for any ASPIRING screenwriter- if by some chance any aspiring screenwriter lands an agent, etc. You have to be based in LA to get work. It's common sense.

 

I shouldn't have brought up the subject of screenwriting in a cinematography forum. It's something not many people in here know much about.

Edited October 31, 2015 by joshua gallegos

[Tyler Purcell]

One of the things you're missing about The Black List, is most of those films which were produced, were written by people who's films were already produced. Yes, there are a small percentage of films that get picked up, but like everything in life, there are a small amount of college basketball players who wind up on a pro team, a small amount of painters who strike gold and like those difficult professions, you could be part of the 1% that make it through. However, it's such an arbitrary decision on what's being made, you almost need an inside man to tell you what the industry needs right now.

 

As I pointed out earlier, it really has nothing to do with the quality of work, it has more to do with whether it fits what the studio's are looking to produce. So it's really by accident anyone from the outside gets their film produced. Plus... I can't get on the Black List because I'm not a DGA director. So that means, as a small-time filmmaker in Hollywood, looking for great scripts to produce, with good backers... I can't even see your work.

 

A good piece of advice which may help is writing for television. If you wanted to be a show runner, write a killer show bible and the first season to prove how cool the show is, you maybe able to get meetings. Right now, the industry is looking for anything that's long-term, meaning a 7 season (16 episodes per season) show bible. It's a lot of work on your part, but if you could make it cheap to produce, have some great engrossing characters, you maybe able to get somewhere.

 

Once finished, you could bang on some development people's doors and see if anyone bites. You want to be a writer/executive producer (show runner) though, you don't want to hand a script over. You won't make a dime off the scripts, they'll hire people to write YOUR show for you. However, as an executive producer on a good show, you may be able to stick around, write some episodes AND get that big royalty check for the next 30 years as your series goes into syndication. This will allow you to write feature films and make money from your TV show. I know it sounds like a hard road, but honestly most people who go into pitch meetings, don't have a show bible, they don't have a first season of scripts and aren't prepared to make the show fit whatever network they're at. If you are willing to do those things, that path may be more successful.

[JD Hartman]

The link is one of my professional evaluations from The Blacklist.

 

And most of the screenplays I've written have fallen well under the 5 million dollar budget mark. I know how to break down and budget. I underestimate me, that's fine. I didn't post here to prove anything to anyone. I keep repeating myself- moving to LA is crucial for any ASPIRING screenwriter- if by some chance any aspiring screenwriter lands an agent, etc. You have to be based in LA to get work. It's common sense.

 

I shouldn't have brought up the subject of screenwriting in a cinematography forum. It's something not many people in here know much about.

 

And you know all this because?

It's impossible to write and sell a script unless you're in Cali?

 

You may be right. I don't know anything about screenwriting and I'm not interested in reading the screenplays of the people I meet on set. I flatly tell them so, there nothing I can do to get their script produced. Usually the subject matter of the script bores me to tears.

[joshua gallegos]

I've realized I'm doing it all wrong- the idea of somehow chasing a way to make movies. I hope studio films die and collapse. I should just make them on my own like I used to- they weren't any good, but at least I was still making movies. I really think movie theaters will become a thing of the past- how long can people withstand Marvel movies- reboots, prequels and sequels. Streaming is the future.

 

I'll just not worry about chasing something that isn't there to begin with and not worry about finding success- it's the wrong reason to even consider to make movies to begin with. Thanks for the advice.

Edited November 2, 2015 by joshua gallegos

[JD Hartman]

What do the members on Stage32 think you should do? Have you made any of your scripts available for comment?

[John E Clark]

One of the things you're missing about The Black List, is most of those films which were produced, were written by people who's films were already produced. Yes, there are a small percentage of films that get picked up, but like everything in life, there are a small amount of college basketball players who wind up on a pro team, a small amount of painters who strike gold and like those difficult professions, you could be part of the 1% that make it through. However, it's such an arbitrary decision on what's being made, you almost need an inside man to tell you what the industry needs right now.

 

The 'blacklist' use to be the list of scripts that were in circulation around Hollywood agents/producers/etc... and DID NOT GET SOLD... a few because of their 'blacklist' recognition did later get sold... or the writers offered assignments, etc.

 

The current Blacklist site, was an idea on how to get writers to list their work there, make a few bucks for the site owner/staff, and perhaps move some set of writers further along their path to success in selling... the later item is more like buying a lottery ticket than anything else.

 

The 'sage' advice from established writers is that the writer should have a number of spec scripts, like 10 or more finished scripts, before even thinking about getting representation and sending anything out. Further the 'writer' should not send them out with the singled minded goal of getting them produced, but think of them as writing samples that a producer may then say 'hey I need a teen angst based horror story throwaway movie to fill my company with some work, and lookie there a writer writes crap like I want to buy cheap'... or something like that... if it's a WGA signatory, well then, there are scales of pay for novice writers, and so still cheap but not as cheap as the non-union situation...

Edited November 2, 2015 by John E Clark

[Stuart Brereton]

You have to be based in LA to get work. It's common sense.

 

It's impossible to write and sell a script unless you're in Cali?

 

I have two very good friends who are WGA writers, and so I have some knowledge of the process they go through. What JD says is true, you can write a script anywhere, but what you can't do is pitch it from anywhere. A huge part of my friend's working lives is pitching their ideas to studio execs for their own scripts, or pitching themselves for assignment jobs, and for that, you HAVE to be in LA.

[Justin Hayward]

I have two very good friends who are WGA writers, and so I have some knowledge of the process they go through. What JD says is true, you can write a script anywhere, but what you can't do is pitch it from anywhere. A huge part of my friend's working lives is pitching their ideas to studio execs for their own scripts, and pitching themselves for assignment jobs, and for that, you HAVE to be in LA.

 

It's funny, based on all the books I've read, I was going to say this a long time ago. But, since I live in Chicago I felt unqualified to voice it.

 

I recently read an article about a fairly successful screenwriter whose career went south due to a flop. He lost all his money and became homeless, but instead of moving out of LA to his home town where his family was, he moved into his car so he could make all his pitch meetings.

[Guest]

Yeah it's a good question re LA. I have come down many times and I am amazed at how little I accomplished in all those visits looking back. I have however successfully pitched movies and got bankable pre-sales sitting here at my computer in my basement here in Ontario. Even the people I work with in Toronto, 90 mins away, I have only met maybe once or twice in a 10 year period. I've never met many of the key players I do business with.

 

AFM starts in a few days and many would be indie filmmakers will head there in search of a "deal", but they will be disappointed as this rarely happens at AFM. The companies are there to sell, not to take pitches from up and comers.

 

If I was working in episodic TV I can see the value of being in LA. But as a feature filmmaker, I think I could be on the moon, so long as I have an email connection. In fact I would prefer the moon, it has to be a lot warmer than this freaking country!!

 

R,

[Justin Hayward]

That's true, but from what I've read, working screenwriters are expected to be in the room of studios when pitching, and getting notes, and everything else. I've even read of "hot" screenwriters being flown into the studio by helicopter to avoid traffic.

 

To reiterate, this is only based on things I've read, not personal experience.

[Guest]

If you're in the business of selling scripts, I think that might be the case. Of course Stephen King is up in Maine I think? :)

 

I dunno? Peter Jackson built an entire film industry in New Zealand and the vast majority of Americans could not find New Zealand on a map. When I lived in NZ in the late 80s there was no film activity there of any kind. Then seemingly overnight it exploded thanks to Peter Jackson. Now James Cameron lives there as well. And the two men couldn't get further away from LA if they tried.

 

But Cameron did move to LA to start his career, that is true.

 

R,

[Justin Hayward]

I think the overall point is if you want to deal with the big people green lighting scripts, as a screenwriter, you have to be where the heads of studios are, and that's only, exclusively, and solely, in LA.

[Guest]

LA will always be the centre, no question about that.

 

R,

[joshua gallegos]

I think the sad reality is that most of us weren't meant to create at the capacity that we would like to. I look back at all the great films and filmmakers that inspired me, and at the same time it makes it impossible to live up to their great work. In a way it shrinks you, it's a pit of despair that sucks all the fun out of the work, because you know you'll never be as good as they were. Introspectively, the medium should be left alone if there's nothing that we truly need to say, if we're not burning with desire to tell a story- then film should be respected and left alone. That's certainly my situation, I can't speak for anyone in here. I don't care about making money, if I had money I'd probably spend all of it making films- the sad part about the art form is that it requires a lot of money- even if it's a 50k dollar indie film- how the hell do you raise that kind of money? It might as well be a million.

Edited November 3, 2015 by joshua gallegos

[Guest]

even if it's a 50k dollar indie film- how the hell do you raise that kind of money? It might as well be a million.

 

Well that's another thread all together. 50K can be put on two credit cards these days.

 

Producing tip.....it's easier to sell a movie with a higher budget than a lower one.

 

R,

[Tyler Purcell]

if we're not burning with desire to tell a story- then film should be respected and left alone.

Agreed... and this is something A LOT of producer and directors struggle with. It's as if they're only in the industry because they stumbled upon a job opening and took it. The worst part is, people who DO have stories to tell, are sometimes completely unable to tell them.

 

I don't care about making money, if I had money I'd probably spend all of it making films- the sad part about the art form is that it requires a lot of money- even if it's a 50k dollar indie film- how the hell do you raise that kind of money? It might as well be a million.

I'm kinda in the same boat. It's hard to raise $50k and credit cards aren't the solution because who says a $50k film will ever be sold? Honestly, I've done a lot of budgeting as of recent and the minimal you can spend on a feature is around $250 - $300k. That's paying everyone, that's shooting for a decent amount of time and having the right equipment. Plus, nobody is going to give you that money without a track record. Even if it's a bunch of shorts that are good, you need to have something in the can, IMDB credits, the whole 9 yards.

[Mark Dunn]

 

. In fact I would prefer the moon, it has to be a lot warmer than this freaking country!!

 

R,

 

No atmosphere though, haha.

We're having quite a mild November so far.

Mind you Toulouse was a lot warmer last week, and them Frenchies still seem to have a film industry, but what do I know. Wine they definitely know how to do.