Breakfast with Sharks Read online

  Table of Contents

  Title Page

  Dedication

  Acknowledgments

  Foreword

  INTRODUCTION

  PART ONE - Basics— Your Decision to Go Pro

  Chapter 1

  OVERVIEW OF HOLLYWOOD

  WHAT DOES HOLLYWOOD WANT?

  “WHAT JUST HAPPENED?”

  EFFORT, ACCESS, TIMING

  PASSION VS. PA$$ION

  Chapter 2

  ADVICE ON REJECTION FROM A SEASONED, AWARD-WINNING WRITER

  HOW TO HANDLE REJECTION

  REVISING YOUR WORK IN THE FACE OF REJECTION

  Chapter 3

  WHAT ARE YOUR CRITERIA FOR COMING TO L.A.?

  HOW DO YOU KNOW WHEN YOU ARE READY TO MOVE TO L.A.?

  THE PROS AND CONS OF LIVING IN L.A.

  THE THOMAS GUIDE

  WHERE TO LIVE

  WHAT IS A WRITER’S “VOICE,” AND HOW DO YOU MAKE YOURS STAND OUT IN HOLLYWOOD?

  LEARNING PATIENCE ONCE YOU GET TO L.A.

  BUILDING YOUR SUPPORT COMMUNITY

  THE MOST IMPORTANT VIRTUE: COMMITMENT

  FINAL NOTE

  PART TWO

  Chapter 4

  A SNAPSHOT OF THE ACQUISITION PROCESS

  WHY EVERYONE WRITES AND YOU SHOULD, TOO

  WHAT YOU SHOULD BE WRITING

  WHERE DO PROJECTS COME FROM?

  LOW-BUDGET FILMMAKING AS ANOTHER WAY IN

  THE PITFALLS OF TRYING TO WRITE FOR THE MARKET

  WHO OWNS WHAT YOU WRITE?

  Chapter 5

  WHAT IS A SPEC?

  SPECS VS. ASSIGNMENTS

  HOW TO TURN SPECS INTO ASSIGNMENTS

  WHAT KINDS OF ASSIGNMENTS SHOULD YOU TAKE?

  THE WEEKEND READ

  POST-WEEKEND-READ NOTES

  FINAL THOUGHTS

  Chapter 6

  WHAT IS A PITCH?

  THE MEET-AND-GREET

  THE ACCORDION PITCH

  HOW NOT TO TAKE A BEATING AT THE MEETING

  WHY YOU SHOULD HAVE YOUR OWN AGENDA AT ANY MEETING

  HOW NOT TO MISTAKE THE SIZZLE FOR THE STEAK

  TYPICAL RESPONSES YOU WILL RECEIVE FROM THE STUDIO

  WHY SOME DEADLINES CAN BE APPARITIONS

  Chapter 7

  HOW TO REGISTER WITH THE WGA TO PROTECT YOUR WORK

  WHAT IS THE MINIMUM BASIC AGREEMENT?

  UNDERSTANDING THE SPEC-SALE CONTRACT

  FINAL THOUGHTS

  PART THREE - The Hollywood Game and Its Players

  Chapter 8

  A CRASH COURSE IN THE STUDIO DEVELOPMENT PROCESS

  THE FIRST-LOOK DEAL

  WHAT KINDS OF PROJECTS DO STUDIOS LIKE?

  STUDIO DEVELOPMENT BUZZWORDS

  STUDIO NOTES: WHAT THEY ARE AND HOW TO HANDLE THEM

  Chapter 9

  WHO ARE STUDIO EXECUTIVES?

  WHAT DOES IT TAKE TO BE A STUDIO EXECUTIVE?

  HOW TO THINK LIKE AN EXECUTIVE

  Chapter 10

  WHO ARE PRODUCERS?

  WHAT ARE THE DIFFERENT KINDS OF PRODUCERS?

  HOW PRODUCERS STAY IN BUSINESS

  PRODUCERS AND CRITICISM OF YOUR WORK

  PRODUCERS AND THEIR RELATIONSHIP TO STUDIOS

  A FINAL WORD

  Chapter 11

  WHO ARE DIRECTORS?

  THE RELATIONSHIP BETWEEN DIRECTORS AND WRITERS

  DEALING WITH DIRECTOR’S NOTES

  A FINAL WORD

  Chapter 12

  HOW ACTORS FIND WORK

  ATTACHING ACTORS TO YOUR SCRIPT

  MOVIE STARS AND ACTORS

  QUERYING AN ACTOR

  Chapter 13

  WHO ARE AGENTS?

  THE AGENT ROSTER

  MEETING AN AGENT

  FIVE WAYS TO IMPRESS YOUR AGENT

  HOW TO BECOME A CLIENT

  BEING A POCKET CLIENT AND RISING ABOVE THAT STATUS

  THE ROLE OF QUERY LETTERS AND QUERY CALLS

  FORM FOR ALL QUERIES

  KEEPING AN AGENT

  HOW TO AVOID STICKING WITH A BAD AGENT

  DECIDING WHETHER TO LEAVE YOUR AGENT

  MARKETING YOUR SCRIPT WITHOUT AN AGENT

  THE BENEFITS OF A GOOD AGENT

  Chapter 14

  WHAT IS A MANAGER?

  THE DIFFERENCE BETWEEN MANAGERS AND AGENTS

  HOW DO YOU KNOW IF YOU NEED A MANAGER?

  AVOIDING BAD MANAGERS AND FINDING GOOD ONES

  DOUBLE-DIPPING

  Chapter 15

  SCRIPT READERS

  SCRIPT CONSULTANTS

  ASSISTANTS

  PART FOUR - Ways Into the Hollywood System As a Screenwriter

  Chapter 16

  THE POWER OF NETWORKING

  WHERE TO GO TO SEE AND BE SEEN

  WRITING GROUPS

  COLLABORATING WITH WRITING PARTNERS

  SCREENINGS

  JOIE DE VIVRE

  Chapter 17

  WRITER’S BLOCK

  AGEISM

  “PEOPLE WHO NEED PAPER” BY SONIA LENT

  THE JOURNEY OF A THOUSAND MILES BEGINS WITH BASKETS OF EGGS

  9 TO 5 . . . A.M.

  CALL FOR BACKUP

  Chapter 18

  WRITERS AND THE INDEPENDENT FILM SCENE IN HOLLYWOOD

  CREATIVE CONTROL IN THE INDIE SCENE

  MY OWN EXPERIENCE AS AN INDEPENDENT FILM PRODUCER

  BUSINESS CONTROL IN THE INDIE SCENE

  MARKETING YOUR INDEPENDENT FILM

  PART FIVE - Advanced Career Planning

  Chapter 19

  HOW TO MEET WITH AN EXECUTIVE OR PRODUCER

  SETTING UP THE MEETING AT THE BEST TIME FOR THE BEST RESULT

  HOW TO PREP FOR A KNOCKOUT MEETING

  THE MEETING ITSELF

  USING MEETINGS TO LAND ASSIGNMENTS

  Chapter 20

  WHAT ARE SCREENWRITING COMPETITIONS?

  WHAT YOU NEED TO KNOW TO DO WELL IN SCREENWRITING COMPETITIONS

  Chapter 21

  YOUR FIVE-YEAR PLAN FOR SUCCESS AS A HOLLYWOOD SCREENWRITER

  POTENTIAL JOBS TO SUSTAIN YOU DURING YEARS 1–4

  OUTSIDE THE INDUSTRY (DOESN’T HAVE TO MEAN STARBUCKS, BUT IT CAN)

  PART SIX - Extra Credit

  Chapter 22

  AGENTS

  ATTACHING TALENT TO YOUR PROJECT

  SHORT FILMS

  ANSWERING TOUGH QUESTIONS

  COLLABORATION

  FILM SCHOOL

  PRODUCERS

  PROTECTING MATERIAL

  QUESTIONS ABOUT THE CRAFT

  BUSINESS QUESTIONS

  THE INTERNET

  FOREIGN MARKETS

  LIFESTYLE ISSUES

  AUXILIARY MATERIALS

  Chapter 23

  TOP TEN FILM FESTIVALS

  TEN MAJOR SCREENWRITING COMPETITIONS

  TEN ESSENTIAL BOOKS ON THE CRAFT OF SCREENWRITING

  TEN KEY PERIODICALS FOR SCREENWRITERS

  TEN VALUABLE ORGANIZATIONS, UNIONS, AND GROUPS

  ELEVEN IMPORTANT INTERNET RESOURCES

  FIVE VALUABLE INDUSTRY DIRECTORIES

  AMERICAN FILM INSTITUTE LIST OF THE 100 GREATEST AMERICAN MOVIES OF ALL TIME

  Chapter 24

  About the Author

  Copyright Page

  TO MY WIFE, SONIA.

  YOU ARE THE BE-ALL, END-ALL,

  LOVE OF MY LIFE AND LIVING PROOF THAT

  BESIDE EVERY GOOD MAN IS A GREAT WOMAN.

  AND TO OUR BEAUTIFUL NEW SON

  WILLEM SPENCER

  ACKNOWLEDGMENTS

  Carrie Thornton, my editor.

  I am truly fortunate to work with an excellent editor like Carrie. Thank you and the terrific Three Rivers Press team for all your hard work on behalf of this book.<
br />
  Erik Bauer, my long-suffering editor at Creative Screenwriting magazine.

  In addition to being the most even-keeled publisher I have ever met, you are a good friend.

  Daniel Greenberg, my agent.

  Thank you for making this project happen.

  Mary Lent and Walt Heinbach, my grandparents.

  Both had an extraordinary work ethic and truly believed in the power of knowledge.

  Inez Bauer, my copy editor at Creative Screenwriting magazine. Thank you for your help proofing and correcting this manuscript.

  Masako Oshiro Beckwith, my mother-in-law.

  You have taught me the true meaning of perseverance and determination against all odds.

  Domo arigato.

  Janet and Joseph Hirschoff.

  Thank you for being the sister and brother who encouraged me day in and day out.

  Paul Lazarus III.

  Thank you for sharing your experiences, which inspired me.

  Norma Brokaw

  Thank you for your words of encouragement when I needed them most

  Playwright David Rambo

  Theodore Heyck, Esq.

  Dr. Valarie Clemente-Crain

  Lee Hamilton Knight

  Dr. Nitin Patel

  Thank you for your friendship, wisdom, and encouragement throughout my journey in Hollywood.

  FOREWORD

  Navigating the depths of the Hollywood shoal is as difficult as venturing into a Minoan cave without a ball of string, especially if you weren’t born into a place of wealth or position. My own start in this industry was in some way the norm. I started at the bottom, like most people who gain entry into the business of moviemaking by delivering mail or as readers at a studio. However, to succeed here, you will need—among other things—help and guidance. Breakfast with Sharks will provide that help and guidance, but nothing beats jumping in headfirst and starting your career yourself.

  This business, more than any other industry, is constantly changing; tastes change and people in power change positions frequently. Many who come to Hollywood and make a go of it are driven out by the undertow and the vicissitudes of time. The sine qua non is the passion for their craft, lots of patience, and the ability to stay at the table long enough to get people to notice you. You have to know that a career in Hollywood is a marathon and not the hundred-yard dash.

  Millions of people are trying to open doors in the movie business, but only a few will make a living at it. Luck and, most of all, talent are the most important ingredients. Experience comes after that. The thing to remember most is to find a friendly ally quickly. Also, think about what is important to you. In my opinion this isn’t money. That will come if you love what you do. You have to keep your priorities in order. In my view, family and a few friends come first. These values and what you do for others will determine your character and will put you in good stead. Be honest, first to yourself, then to others. If you take the easy way in, you will suffer the easy way out.

  That said, read Breakfast with Sharks, learn, and then go ahead with it and enjoy the journey.

  —Mike Medavoy, Chairman of Phoenix Pictures

  INTRODUCTION

  Hollywood is one place in the world where you can die of encouragement.

  —DOROTHY PARKER

  Graduate film school was the best two and a half years of my life. The next three years that followed were definitely not. Since way back, I had focused on this singleminded dream of writing movies for a living. All was going according to my master plan until just after my relocation to Hollywood in the autumn of 1993. Upon arrival, I hit the ground running with three completed specs and three student films made for under $1,000 each. Luckier and maybe more persistent than most, I quickly landed my first production company writing assignment, along with a high-profile agent at one of the Big Five literary agencies (those being CAA, ICM, WMA, UTA, and Endeavor) in Los Angeles. A studio executive at Disney was also championing my spec script. Life was sweet. Indeed, my Barcalounger was oiled and ready for a victory lap down Sunset Boulevard. But wait . . . within my first forty-five days, the assignment project was dead, the executive was fired, and my agent let me go with a blunt 7:30 a.m. phone call saying, “I shopped your spec, but couldn’t find a buyer. I read your new spec. It’s okay, but frankly I was unimpressed. You had one friend in this town [the aforementioned exec] and now you don’t. I don’t think there’s any more I can do for you.” My first thoughts were Who conducts business at that ungodly hour? and Now what the hell do I do? While the questions came quickly, the answers took years. In the difficult days and weeks that followed, it would hit me like a brick hurled from hell that although I had watched both Eraserhead and The Seventh Seal frame by frame seventeen times, and understood as much about binary character theory and restorative three-act structure as anyone else, I was still desperately unprepared for this brave new world of trial and many, many errors. Unfortunately, writing a script, or making a short film, or taking a dozen film theory courses in no way prepares you for what Hollywood is really like.

  Aside from my fellow film-school plebes who were scrambling and being cut from the sled dog races just like me, my now ex-agent was right, I was out here alone in the harsh wilderness of botox injections and Chuckie VII. I soon discovered that broken deals and fickle fortune were part of the initiation process for a place where ex-lawyers sort mail at talent agencies while hoping soon to land as agent trainees. In the ensuing months I realized that my formative academic background meant very little in Tinseltown. I was qualified for a place at the starting gate, but not guaranteed a career. The day you finish law school and pass the bar exam, someone will hire you to practice law, but that is not the case with film school. In fact, I had little practical experience or even a reference point to cope with the business and day-to-day aspects of life here. Meanwhile, a tsunami of student loan debt—$60,000 to be exact—threatened to wash away my flimsy thatched hut of patience and self-confidence.

  I remember once talking to an aspiring director who had been out here for three years. She said, “I’m struggling so much here I can’t bring myself to tell people I have a master’s.” After listening to her plight, I promised myself that no matter what, I wasn’t going to be back on the bus, another casualty on Hollywood’s Walk of Shame. What actions I took next would determine whether or not I was to have a career in film. So I scoured the bookstores for material pertaining to my situation. I was a writer who could write but who didn’t have a clue how to navigate the hierarchy of Hollywood—on the bookshelves I found little that pertained to my situation. Unfortunately, to this day, few sources exist for those looking to go beyond how to shoot a movie, how to write a script, how to find an agent. Actually learning how to be a full-time screenwriter, how to make the leap from competence in the art to the business side of the craft, would have to come the hard-knocks way. There was no guidebook to be found. That process for me took more than four years with cumulative writer earnings of $6,500. By then, all but a few from my graduate and undergraduate film-school classes were long gone, back on that bus.

  Each year, upwards of 20,000 films are independently shot and 50,000 screenplays are written on spec by in-the-trenches screenwriters, usually in the wee hours after the tykes are put to bed, or at dawn before classes, or following a ten-hour work shift. And every year, tens of thousands of intrepid souls with so much to offer the world descend upon Hollywood. These hopeful, huddled masses yearn for fame, fortune, artistic expression, and a respectable table at L.A. hot spots. Most of these arrows shot at the sun will hit dirt. The independent films they made that never found distributors to show them will find a place in the family video archive, and the script will serve nicely as a drink coaster. And the dreamers seeking to nibble their chunk of the $6-billion-a-year entertainment industry cheese will instead go hungry and leave town just in time to make room for the next wave of eager beavers. Ninety-nine out of a hundred would-be Spielbergs, Goldmans, Ovitzes, and Bruckheimers fall sh
ort of their aspirations, in part because the stakes are so very high and the knowledge that comes from mistakes, failures, and lost opportunities quickly takes its toll on the psyche and on the wallet.

  Because film is the most dominant art form in contemporary culture, and the need for information, for “a way in,” is so great, more than 2,500 film schools and professional programs with more than 30,000 students currently exist, according to the American Film Institute (AFI). While film school is invaluable for teaching theory and history, most of what is taught is by definition academic. Film is a young art form, and the film industry is constantly in flux. So a cottage industry of seminar-meisters and their books have leaped into the breach, charging as much as $500 a day for promises of secret handshakes granting passage onto the inside track to Hollywood. Many pay it because actual Hollywood experience is relatively hard to come by.

  Every minute of every day, people arrive in Hollywood and want to know where to live, how to get a job, how to get a life and a foothold in the business. There are definitely ways into the Hollywood system. For six of the last ten years that I have been a working Hollywood screenwriter, I have provided such information teaching at Santa Barbara City College and for UCLA, as well as sharing personal experience in my “Belly of the Beast” column in Creative Screenwriting magazine, as well as through two other industry publications, Screenstyle and Tournages. During that time I have optioned, sold, or have received studio assignments on ten projects, as well as co-producing the feature film Hard Scrambled. I have pitched on dozens of scripts, perhaps even a hundred or more. I’ve also been a judge in four writing competitions. If any of the above terminology is baffling to you, don’t worry, it will all make perfect sense by the time we’re through.

  With Breakfast With Sharks, I set out to write a book that would be loosely organized like academic courses, but would provide a real-world education and an intimate glimpse into the movie industry. It would be filled with “take this and use it right now” information, as well as innovative tactics for the business side of Hollywood. Readers will learn such information as

  how to pitch a project to a producer over the phone within thirty seconds

  how to shop a script without an agent

  how to cut through agent-and-producer-speak

  how to turn a spec into an assignment

  how to structure your deal

  where can you meet other creative people to build your community and enhance your chances of success