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WHAT HAPPENS AFTER SCRIPT PITCH? Shooter Experiences Wanted.

Hi everyone

My name’s Adem and I’m caretaker of the Script Pitch part of the site (and the Screenwriters Bulletin).

A Shooter wrote to me saying that one of the problems with Script Pitch is that it’s conducted in a bit of a vacuum - we never find out which pitches gain interest, or result in a successful collaboration. I agree this is a problem - and what happens after Script Pitch is something I’m very curious about.

So Shooters, whether you browse Script Pitch as an intrepid Producer, or put your work up there as a brave Writer, or just found yourself there once and got a bit confused, I want to hear from you. Did Script Pitch spark something? A meeting? A script? A fully fledged real world film? Or has it borne nothing but hair-tearing frustration and soul crushing disinterest?

I want to hear it all - the good, the bad and the ugly. Let’s share our truth and let it run rampant over this website. I'll make sure it leads to a brighter tomorrow.


  • As it happens I'm currently trying to get traction on a script I saw on script pitch and thought might have legs as I saw a possible financing opportunity that would suit the project. Plenty of people think it's a good idea, script will need some reworking when we get engagement, but everyone is aware of that.

    I can't say I do it often, but I've seen some interesting work on script pitch.

    1 year ago
  • Thanks Paddy, that's great to hear. Script Pitch bringing creatives together.

    Would you be able to keep me updated on the project? I'm sure it would be of great interest to our members and particularly inspiring for our writers.

    1 year ago
  • Adem,
    I think another question is about money changing hands.
    I am aware of quite a few people who had their scripts "optioned" but that means nothing if no money (or only a token amount) changed hands.

    And, of course, the money should go in the writer's direction, unless they specify otherwise.

    1 year ago
    • A fair day's wage for a fair day's work - that's how it should be, even for writers! Having said that, I recently did a short film where neither myself nor the producer took a wage, but we went in knowing that was a risk. Ultimately it's about transparency.

      1 year ago
  • Hi Adem,
    In response to your question; what happens after script pitch?... in my experience.... nothing ( sad face )
    I've been lucky enough to have been mentioned three times in script pitch, but to date have had no responses or enquiries, however, and I must stress this, the confidence boost that it gives is immeasurable. The fact that someone out there is interested keeps me going. Keep up the good work and thank you !!

    1 year ago
  • Hi Adem,
    Could I make a suggestion? When we set up script pitch, think like a professional producer, or a professional agent, not a microbudget producer nor an aspiring screenwriter. (Nor an academic who doesn't understand inflation.)

    The budget is totally unnecessary. When you write a query letter to an agent or producer, you don't specify the budget.

    But, if we must include budgets, there's another site that has these categories: under 100k (which are mostly writer-directors) 100k to one million (more confident writer-directors looking for crowdfunding) one to five million, 5-10 million, 10-30 million and 30 million plus. (These are dollars, but with the way the pounds going...)

    I really think there should be a 100 million plus category too. I've seen pitches here for films that may need that kind of budget.

    Agents will not bother with a website that gives them ten percent commision of a writer's cut for a film with a total budget of 100k. What does the writer even get from that?

    Perhaps at least an "unspecified" category?

    1 year ago
    • I agree... I marked my pitch as <£500k and that classes my screenplay as high cost... Which seems misleading in the grand scheme of a film production world where $200m is considered normal

      1 year ago
    • Ultimately, I think budget is a bit of a side show. The pitch content is what counts. And while $200m films are the norm in the cinema, script pitch is never going to be the incubator for this scale of project, so changing the site to accommodate them seems unnecessary. Having said that <£500k is far from 'high' cost for a feature film in this world. So a re-jig could be in order...

      1 year ago
  • Sadly there was no response to Dead Soul Music... Such is life :)

    1 year ago
  • False starts are emblematic of any collaborative venture, so we tend to ignore them: connections that go nowhere, dialogues that end before they ever really begin - who hasn't been there...? The real value of a network becomes clearer once those who feed in decide to trust their instincts and take a chance on a project they might not have initially considered.

    We had some false starts. Some dead-end dialogues. Then we connected with a script seeker on SP who'd never directed or particularly considered comedy. The script she was curious about was a comedy, but it had an indirect appeal. We met for a beer at the BFI. We talked. We committed. Rewrites were made to develop a shared vision and accommodate production values. People were drafted in from the real-life production world to work on 'something fun', and within the year, we had 'Snug As A Bug' [] filmed, screened and earning laurels on the festival circuit.

    Immediately after, we began working with Snug's producer on 'Making A Killing' [ where all the necessary production ducks fell into their rows in less than five months. This screened for the first time in late September.

    More dialogues. More connections. Four more shorts were made in the calendar year with the director of 'Snug'. A feature's being pushed. Some very interesting people are getting to know what we're about... and it's no word of a lie to say that it all fans out from that one connection on Script Pitch for a project that wasn't necessarily 'the one' for a director we've now made five films with.

    If I'd say anything to anyone coming into this diverse collaborative network, it's open your mind a lot further than you've opened it up until now. All of our successes, major and minor, feature collaborators who've made major comfort zone or preference concessions to see these projects through... quite a lot of which has rubbed off on us.

    1 year ago
    • Andy that's brilliant - thank you for sharing your positive SP experience and long may your collaborations continue. Very inspiring. Please keep me posted on your future shorts and feature, and if the screenwriters bulletin can help in anyway let me know.

      1 year ago
  • I had two bad experiences. Some years ago I went to pitch a short film of mine, in Soho. I forgot who was organiseing it but there were quite a few film VIP. We were about ten. I could see that the panel was bored to tears and sometimes they made unpleasant remarks. I was the last one. To my amazement, they woke up and they laughed. One said he loved it, it reminded of his childhood. They said it was a good idea and their attitude let me think I had a good chance. Then no follow on.
    Another time, it was for the theatre. Plays were read and performed on the stage. The audience was voting with their hand. I knew nobody in the audience and yet nearly all the hands were up, so my play was selected with eight others but not performed because they were short of directors... I'm French, is that why? Well, nobody is perfect!

    1 year ago
    • Claudette - thanks for sharing your pitch experiences (as far as bad ones go, they were actually pretty positive I reckon) but just to let you know this thread is specifically about people who used the 'Script Pitch' service on this site. If you haven't already, go check it out!

      1 year ago