ASK & DISCUSS INDEX

9 years, 10 months ago - Marlom Tander

Are they putting money down for an option? Even something notional like a few hundred for a year?

Have they got any track record in getting something funded by third parties to say 1/3 of what your film needs?

If they're a wannabe producer with nothing but home brew shorts, but they're your only option then how much do you like/trust him?

The less you are paid, the more you need to be the project management team leader that they report actions and progress to on a regular basis.

If they have PAID you then if they mess around, they're entitled. But if they haven't, then the least they need to do is show commitment through action.

9 years, 10 months ago - Paddy Robinson-Griffin

Make sure any deal is time limited and that they have an incentive to do stuff (and not just sit on it to keep it out of the way whilst they pitch a similar script). Even, as above, a few hundred quid for a year with a clause that the second year would be £15000 will help focus attention ;-)

9 years, 10 months ago - Nick Goundry

Hi Rickardo. There's obviously a lot to consider, but it varies from case to case. It depends what your specific goal is. Do you want to sell the screenplay, or try to get it made? You have a producer interested in your work?

9 years, 10 months ago - Nick Goundry

Hi Rickardo. I think the ways of dealing with producers are so complex with so many possibilities, that it's probably best to approach specific challenges as they come up.

If you haven't actually got specific producer interest right now, the more immediate challenge is how to hook them. That's the first thing to tackle. Contracts would probably be a more distant concern.

9 years, 10 months ago - Nick Goundry

If you've had producers reach out to you, the opportunity's there to be seized! Meet up with them and see what they have to say for themselves - that way you have more chance of being paid to do rewrites.

Just don't sign any contracts until you're happy you trust the person you're dealing with, and their experience. Research them, figure out who they are, what kind of industry reputation they have, and what kind of movies they make.

I've been in the situation before where a producer wanted me to sign an option agreement within a few short days, but that's the kind of pressure you have to try to resist. If your script is genuinely good, a producer is likely to make more allowances to work with you, as they'll be wary of their competitors reaching out to you as well.

9 years, 10 months ago - Dan Selakovich

@Rickardo Beckles-Burrowes Not any more, as that was years ago before life beat the living shit out of me. I still write, sure, but spend more time fixing films than writing them (the pay is better!). But if I got a producer interested in something I'm writing, then absolutely yes, an attorney is everything. You'll get screwed without one. And even if the producer is above board and a nice person, they may not know they are screwing you if they don't have a lot of experience.

So yes, on every contract from a producer I ever signed, an attorney read it first and there were ALWAYS changes. Often several go-arounds. A big mistake I see a lot are option contracts that don't deal with screen credit. Deal with it!!

With fixes and completion bond work that I do, no. Those contracts are pretty standard non-disclosure agreements. Though I do tend to trade time for money. If I can push for more time, I'll take less money. If there's a hard release date, I push for a lot more money. But you aren't dealing with points or a screen credit, so those contracts are simple, and no need for an attorney.

9 years, 10 months ago - Dan Selakovich

I've been through this process 3 times now. Twice on one script, once on another.

First, get everything in a contract. Do you want to direct? Put it in there. Will you be paid for re-writes? Can the producer give it to another writer as soon as you hand it to him? If so, what is your screen credit situation? If it's studio funding, can the producer just sell them the script, and take a huge percentage? And a thousand other little points. Just make sure that you can live with anything that is in the contract. Maybe it's worth the money, just to get a screen credit. Maybe not. Go to a literary lawyer with the producer's contract before you sign. You need someone that is aware of writer's issues.

Keep in mind, I optioned my shit years ago when option money was real. 15k (dollars) for a 6 month option. 15k for the 2nd 6 months. Those days are long gone. Not only is option money something token, but the option periods tend to be about a year. But hey, if Luc Besson wanted to option my screenplay for a dollar, I wouldn't think twice about giving it to him for that.

Personally, I don't mind Wannabe Producers. If they have a good head on their shoulders and have contacts, why not? Everybody started somewhere. Just make the option period 6 months. And if they've made progress, you can always renew the option.

Those of us that have been around awhile (like Paddy, who's advice you should take to heart), have a finely honed bullshit detector. There are Wannabe people that will simply be a big time suck. Be very sure about the kind of person they are, because once you give someone an option, you can't show your script to anyone else. It may very well just sit on a shelf for 6 months. Or they'll ask you to keep re-writing it for Mr. Big Shot Actor. Ask what they want changed before you sign that contract!

9 years, 10 months ago - Rickardo Beckles-Burrowes

Fair point r.e.a producers back catalogue of work though I would still consider it with other checks. It wouldn't be the deciding factor.

9 years, 10 months ago - Rickardo Beckles-Burrowes

Thanks for your feedback Lee.

9 years, 10 months ago - Nick Goundry

I agree with Wozy that an option agreement helps you stand out from the crowd, but that's pretty clear-cut. But you shouldn't sign just because a contract is there to be signed. If one producer is trying hard to get you on board but you're not happy with the contract, that's the point where you need to have confidence in your script. While ALSO being aware of the realities of the industry and what you should be expecting from it at this early stage.

But if one producer is coming after you, it means they like the script. If one person likes the script, others will too.

Also, I think making a decision based on the type of films a producer makes is possibly too narrow when you're starting out. Are they making movies that are getting released and being seen? I'd argue the quality and genre of a producer's back-catalogue doesn't matter so much when you're starting out. Get involved with someone who gets movies made and pays you. Your good work will eventually get you noticed by the right people.

9 years, 10 months ago - Lee 'Wozy' Warren

One IMPORTANT thing to bear in mind - if you're not a produced or optioned screenwriter, getting an option on one of your scripts moves you up the ladder of success. You're now an 'optioned screenwriter' whereas you weren't before. People will look at you differently. They will know that someone else has taken a risk on you. In many cases its the difference that makes the difference going forward.

Something to think about.

Wozy