I've mostly been shooting independent music videos, but I'm very interested in making a film... however, I haven't written a story in years and I don't really feel like being a writer, I rather focus on directing/film-making.

I don't have a ton of money to pay a "professional" writer or pay thousands of dollars for a screenplay....is there any good way I could go about finding a script from an up and comer? Are there any community forums or venues where I could find someone with a good script or screenplay that I could make a film out of?

I'm interested in making a "feature" film, not a short.

Thanks for any help.

legendsfilms.com

First, let me say that I am kind of in the same boat: I like directing more than writing and, try though I might, I have the most difficult time writing a story that makes sense and flows from point to point. Very frustrating.

Now to answer your question with another question: why are you making a feature film? Do you intend to pitch a story to a group of investors and get backing so you can make and distribute it to the masses? Are you planning to take it onto the festival circuit? Are you just trying your hand at something new?

How you go about getting a script or a writer will be determined primarily by your answer to this question. If you're just intrigued at the thought of being the director of a 'feature' film but aren't really serious about marketing it for profit, I'd turn to the writer in your family, or a friend who's good at storytelling. Collaborate with them on the story if they'll let you- it'll help give you a sense of ownership of the story, and sharpen your vision for bringing it to the screen.

If, however, you're undertaking this to leave your mark on the big screen, you might consider optioning a script. If you're not familiar with the term, optioning is putting a downpayment on a story to retain exclusive rights to produce it for a certain period of time. Maybe you can get your hands on a few treatments stored away in some movie studio basement, or call up the author of one of your favorite novels and see if they want to turn their story into a movie. You find out how much they want to sell the rights for, and you pay them a percentage (usually ten percent) now with the promise to pay the rest later.

There's more that goes into this, and I suggest you read Dov Simens' book From Reel To Deal, as well as Feature Filmmaking at Used Car Prices and Extreme DV at Used Car Prices, both by Rick Schmidt, for further insight.

Good Luck,

Chris

Speaking as a filmmaker, and a screenwriter - Christopher's advice is dead-on. You're not likely to be able to get a polished script from an agented writer (or even one that's been optioned) unless you have the backing to show that you can get the job done.

Screenplays can be written very quickly - the fastest for me was three weeks - or they can take years to gestate and evolve - the longest for me was fourteen years. (And it won a Platinum Remi Award at Worldfest Houston Intl. Film Festival)

A family member or friends IS a good place to start. Or perhaps approach the local community college creative writing program. EVERYONE I know is 'working on a screenplay'. It's a cliche, that's why the boat rower hands his script to Shakespeare in "Shakespeare in Love." Doesn't mean it will be a good script, but you never know where you'll find a diamond in the rough.

Think about shooting a couple of shorts first though, get you sea-legs under you before you take on the HUGE undertaking of helming a feature. ESPECIALLY if you plan to produce it yourself. You're smart enough to know you don't want to wear both hats of Writer and Director - IF possible, avoid wearing the producer hat - in addition to caterer, stunt co-ordinator, costumer and transportaion supervisor. You'll typically have to wear at least three hats on a short.

IF you're bound and determined to find a script to option, you can TRY to register as a producer at INKTIP.COM. This is where I list my scripts. I've gotten querries from Major Studios, and Indpendents - but the owners of the site do a fair job of "Vetting" those who are registering as producer/directors/agents. You have to have some credits before they allow you access to browsing the site.

Good Luck!

Douglas.
Check your PM's.

I'm in the same boat as Douglas, I want to make a film, but don't want to write a script. While searching around on the 'net, I came across the site just before the holidays TriggerStreet.com (http://www.triggerstreet.com). From their "About Us" page:

TriggerStreet.com was founded in 2002 by two time Academy Award winner Kevin Spacey and producer Dana Brunetti as an interactive mechanism to discover and showcase emerging filmmaking and writing talent. With the legal--and attendant procedural--restrictions on outsiders in Hollywood, Spacey and Brunetti sought to democratize exposure, providing an avenue of communication between Hollywood and emerging talent everywhere, thereby working to overcome the barriers they so often encounter.

Responding to the enthusiasm and high quality of work produced by its burgeoning film community, TriggerStreet.com evolved as a social networking utility to provide an evolving platform for emerging artists in different media: the strength of the peer-based review system and the positive impact of the resultant constructive criticism catalyzed the addition of several new specialized communities. Beyond its Short Film and Screenplay sections, TriggerStreet.com now provides opportunity for feedback and exposure for Short Stories, Books, Plays, and—most recently—Comics. By nurturing an environment where users collectively strive for creative excellence by reaching out to others, TriggerStreet.com has grown with the mission of facilitating the kind of collaboration and communication necessary for success in the entertainment industries.

I've signed up, but haven't explored it very much.

I'm in the same boat as Douglas, I want to make a film, but don't want to write a script. While searching around on the 'net, I came across the site just before the holidays TriggerStreet.com (http://www.triggerstreet.com). From their "About Us" page:

TriggerStreet.com was founded in 2002 by two time Academy Award winner Kevin Spacey and producer Dana Brunetti as an interactive mechanism to discover and showcase emerging filmmaking and writing talent. With the legal--and attendant procedural--restrictions on outsiders in Hollywood, Spacey and Brunetti sought to democratize exposure, providing an avenue of communication between Hollywood and emerging talent everywhere, thereby working to overcome the barriers they so often encounter.

Responding to the enthusiasm and high quality of work produced by its burgeoning film community, TriggerStreet.com evolved as a social networking utility to provide an evolving platform for emerging artists in different media: the strength of the peer-based review system and the positive impact of the resultant constructive criticism catalyzed the addition of several new specialized communities. Beyond its Short Film and Screenplay sections, TriggerStreet.com now provides opportunity for feedback and exposure for Short Stories, Books, Plays, and—most recently—Comics. By nurturing an environment where users collectively strive for creative excellence by reaching out to others, TriggerStreet.com has grown with the mission of facilitating the kind of collaboration and communication necessary for success in the entertainment industries.

I've signed up, but haven't explored it very much.

Triggerstreet is a great website. I've had stuff on there before and the feedback is excellent. It's built as a peer-to-peer review site for up and coming screenwriters. You review scripts to be allowed to upload and have your script reviewed.

I haven't used it as a site to gather material for, so I can't comment on how it would work like that, but it's a great site.

Wow, a filmmaker who wants to make someone else's script? That's the equivilent of spraying Axe Body Spray in a room of attractive women (or so the commercials say). Just say it out loud in a crowded room a few times and you'll get some bites.

Besides the advice already posted, might I suggest thinking of an issue, genre, or topic that is important to you and start the path to find a script that shares that with you so that there's a connection, a passion, that you and the writer both share thus creating a better relationship.

Lots of cities have screenwriting workshops and meetings at public libraries and other venues which would be a great place to look as well.

Agreed. There are plenty of screenwriters out there that would be willing to work with either of you. Heck, I'm one. I not only direct, but write as well. If either of you can't find what you're looking for, PM me and let's talk. :)

Now to answer your question with another question: why are you making a feature film? Do you intend to pitch a story to a group of investors and get backing so you can make and distribute it to the masses? Are you planning to take it onto the festival circuit? Are you just trying your hand at something new?

I think that since I posses all the equipment/crew to shoot a film and I know how to edit, color correct, I'm good with compositing, etc... outside of getting or writing a screenplay and finding some aspiring actors, it really shouldn't be that expensive for me to make a pretty good film... as long as the script doesn't include extravagant locations, stunts, etc.

I rather do a feature instead of a short because after putting all the time and money into making a film, I'd like to have something that I can potentially make money off, and I don't feel that you can do that with a short. Once the film is completed, I will be looking into finding distribution and/or look into entering it into film festivals.


If, however, you're undertaking this to leave your mark on the big screen, you might consider optioning a script. If you're not familiar with the term, optioning is putting a downpayment on a story to retain exclusive rights to produce it for a certain period of time. Maybe you can get your hands on a few treatments stored away in some movie studio basement, or call up the author of one of your favorite novels and see if they want to turn their story into a movie. You find out how much they want to sell the rights for, and you pay them a percentage (usually ten percent) now with the promise to pay the rest later.
.
There's more that goes into this, and I suggest you read Dov Simens' book From Reel To Deal, as well as Feature Filmmaking at Used Car Prices and Extreme DV at Used Car Prices, both by Rick Schmidt, for further insight.

Good Luck,

Chris

I've heard about optioning, but I don't know how where to go to view these scripts.

I'm in the same boat as Douglas, I want to make a film, but don't want to write a script. While searching around on the 'net, I came across the site just before the holidays TriggerStreet.com (http://www.triggerstreet.com). From their "About Us" page:


Thanks for the link, I'll definitely look into it.

Wow, a filmmaker who wants to make someone else's script? That's the equivilent of spraying Axe Body Spray in a room of attractive women (or so the commercials say). Just say it out loud in a crowded room a few times and you'll get some bites.

Besides the advice already posted, might I suggest thinking of an issue, genre, or topic that is important to you and start the path to find a script that shares that with you so that there's a connection, a passion, that you and the writer both share thus creating a better relationship.

Lots of cities have screenwriting workshops and meetings at public libraries and other venues which would be a great place to look as well.

That's a good idea too, I'll definitely check that.

I think that since I posses all the equipment/crew to shoot a film and I know how to edit, color correct, I'm good with compositing, etc... outside of getting or writing a screenplay and finding some aspiring actors, it really shouldn't be that expensive for me to make a pretty good film... as long as the script doesn't include extravagant locations, stunts, etc.

I own a pretty good pair of hiking boots, but I'm not going to tackle Mount Everest the first time I wear them (or the second, or the third)..

I rather do a feature instead of a short because after putting all the time and money into making a film, I'd like to have something that I can potentially make money off, and I don't feel that you can do that with a short. Once the film is completed, I will be looking into finding distribution and/or look into entering it into film festivals.

You can't make money with a badly-made (or unfinished) feature either, but the difference between a crappy short and a crappy feature is the amount that you've sunken into it.


J.

I own a pretty good pair of hiking boots, but I'm not going to tackle Mount Everest the first time I wear them (or the second, or the third)..



You can't make money with a badly-made (or unfinished) feature either, but the difference between a crappy short and a crappy feature is the amount that you've sunken into it.


J.

I've studied much of the technical aspects of it, so I don't see how I won't be able to do a decent job of filming it and post production. I already know I can do a much better job than some of the independent films I've rented out of blockbuster. The biggest tasks to handle in my opinion, is having a good script and decent actors.

If I can combine those two, I'm sure I'll be able to handle the rest, so I'm not too worried about making a crappy film if I have those on lock.

I've studied much of the technical aspects of it, so I don't see how I won't be able to do a decent job of filming it and post production.

That's why practical experience is so valued. Studying basketball isn't going to get you in the NBA until you've actually played.

I already know I can do a much better job than some of the independent films I've rented out of blockbuster. The biggest tasks to handle in my opinion, is having a good script and decent actors.

Funny thing is, even the makers of crappy films have lots of experience - and that wasn't enough.

Screenwriters who write good scripts and decent actors want to work for someone with a proven track record, unless they get paid. And investors won't finance a movie unless experienced people are on board.

Kind of a catch-22.

If I can combine those two, I'm sure I'll be able to handle the rest, so I'm not too worried about making a crappy film if I have those on lock.

I guess you could always be the first one in the history of the world to prove everyone else wrong...


J.

AS mentioned, I list my scripts on INKTIP.Com. Additionally, I get a 'tip sheet' every week, that has leads for producers, production companies and agents looking for very very specific scripts.

Sometimes, they have particular needs - "Looking for a script set on an WW2 Submarine..." or "Looking for a script set in a lakehouse in the woods..." - Obviously, they have already secured these assetts and are looking for a script to fit them. Additionally, they may specify 'No more than five actors, two locations, no car scenes... etc.' - in an effort to keep the budget low.

Low as in under a hundred or hundred fifty grand.

Finding scripts for directors, I mean.

It's actually fairly simple. You want to start by taking an inventory of locations that are available to you for free or that would be inexpensive. Seriously - this will make your job a lot easier. Some locations, like schools and courtrooms, are just outrageously expensive unless you have an in - schools frequently run over $3k a day. Ask your friends, ask your family, ask your family's friends if you can shoot in the house/garage/business, etc. Familiarize your self with the local permit process and with how much city/county/state facilities are in your region. Double check the requirements. LA used to make a big deal about how you could shoot on county property for free but then would hit you with needing to have electricians, fire marshal and security officers that would cost you hundreds per hour. Don't get caught off guard.

Then, put an ad on Craig's List Writing Gigs LA for a screenplay with only a handful of characters and locations. Leave out your budget because some writers have bizarre ideas about how much their script would cost to produce. If you have a particularly spectacular location that you are dying to shoot in, list that. This is important - state that the script must be WGA registered, and that you only want a 3 sentence pitch. Good writers will send you well-written letters (either formally or informally so) with three sentence pitches. Bad writers will send you badly written letters and will not be able to restrict themselves to three sentences. If someone's pitch letter is badly written or they do not stick to the three sentences, skip it. Their script sucks - trust me. For payment, write "negotiable". If someone writes demanding to know what your budget is, or who you are (if you don't identify yourself), ignore them. I've indulged some of these people and they remain a pain in the ass. One of my all time favorite scripts, came with a one sentence pitch that had nothing to do with the script - it was something about how sexy the writer was - but made me laugh out loud. That was a great script. So, if someone sends you a pitch actually unrelated to their script, but it's engaging, take a chance on it.

Then just start reading. Set a goal of reading 100 scripts. It's easy to settle for the first lovely one that comes along, but don't do it. Read. Read. Read. Read online, if it doesn't drive you nuts, because that way the writers don't have to spend money mailing you the script and you don't have stacks of scripts sitting around your house that you're too guilty to throw out.

When you find the one you like best, talk to the writer. See if you two click because you aren't going to be writing him/her a big check to walk away. This is their baby, and they'll wind up being involved. Tell them it's ultra low-budget project and tell them how you intend to produce it. See what they say. Most of the writers who respond will be eager to get something produced and they will work with you. If they are a WGA writer, you won't be able to afford them, but call them and see what they say. But trust me, there are so many beautifully written scripts out there, that you don't need to buy one from a union writer for your first time out. And the quality of the writing can be just as high. Then option it for $5 while you put your money together. Agree on an affordable sum either when you go into production or when the feature sells. If they are an unproduced writer, they will likely be content going for the latter if they don't think that everyone else is going to be racking up big paychecks. Most indie directors who produce their films don't get paid upfront either because the money isn't there for them to do so. Make clear that if you won't get paid either until they do.

Craig's List is great. I've had Academy Award winning writers respond to me from my ads. You will get flooded with responses so figure out a way to organize what it is you're doing.

My last piece of advice is this - look for a perfect script. You should be able to find something that you don't need to change anything on. Most projects go awry when either the producers or the director decide to tinker with script. Don't do it. Most scripts that Hollywood buys are beautifully written, and then fall apart during development. Until you have a lot of experience as a story teller and a director, leave the screenplay alone. On our last feature, we changed one word of dialogue - adamant to adamantine. It was just funnier. Brad staged things differently than the writer envisioned, but the story remained absolutely intact. And Brad is a professional writer with a dozen for-hire scripts to his name, who has done an enormous amount of directing. And that's one of the things I've seen over and over again - experienced indie professionals are much more likely to be horrified by the development. Newbies are much more likely to think they can make the script better. The truth of the matter is that people who have the talent for making scripts better, rarely need to buy a script from someone else.

Best of luck. I am happy to be of assistance in any way.

That's why practical experience is so valued. Studying basketball isn't going to get you in the NBA until you've actually played.



Funny thing is, even the makers of crappy films have lots of experience - and that wasn't enough.

Screenwriters who write good scripts and decent actors want to work for someone with a proven track record, unless they get paid. And investors won't finance a movie unless experienced people are on board.

Kind of a catch-22.



I guess you could always be the first one in the history of the world to prove everyone else wrong...


J.

I'm not sure what bar you are determining "crappy" to be... but I've seen people who have made pretty decent films on their first attempt, in my opinion. Thanks for the feedback though.

Wasn't Sex, Lies and Videotape Soderburgh's first feature?

Yeah, Sex was his first feature, after making a couple of docs and a short specifically to raise money and potential investors in Sex Lies and Videotape.

And speaking of Soderburgh, editing a few feature films for other directors will teach you an enormous amount about what to do and not do when directing your own feature. You will be a fundamentally different and better filmmaker just for the experience of the editing.

I, like Douglas, have the equipment and the experience of doing shorts, local commercials, business videos and the like. I have actually written quite a few scripts, a couple of which have gotten great reviews, coverage, and placement in high end competitions. My issue is always with money. Finding financing. It would be nice to find a producing partner that could help hunt these out, but my networking skills have proven to be, um, lacking. :)

I need to work on those more if I really want to get somewhere.

Lori - Right you are.

Douglas, I think you SHOULD make a feature if that is where your primary interest lies, and apparently it does. I think most people here are just trying to warn you off the pitfalls of taking on the project without knowing the dangers.

Since making money off this project is your primary goal - you're not interested in making a self-indulgent piece of crapola... Then you have to approach the project with a cold, business accumen. You can't affort to make mistakes. "Cutting Corners" in the wrong areas can cost you much more than you think.

With 'volunteer' cast, crew and locations - you can manage to get enough footage on tape to cut together a ninety minute 'film'. Your challenge is to make those ninety minutes shine far and above the other thousand or so 'ninety minute wonders' being shot in garage's and back-lots across the nation this year.

So, what is going to make your movie special? That's your challenge. What is going to make you want to spend all your hard earned cash on feeding a cast and crew for 20+ days, renting the gear you need but don't have, paying for unexpected costs and permits and the cash you'll need to enter festivals.

That script had better be AWESOME - and the Actors had better be AMAZING - or the approach has to be totally NEW (No one wants another "Blair Witch")

(Side Note: For another amazing 'first feature' - check out Ridley Scotts "The DUELISTS" - Of course, he had been shooting and directing commercials for years too. )

Richard,

I have produced six low budget features, and what I like about it is that you are free to have a great, intact script, great acting, and great directing without interference from people who have money at stake. I can cast a film better when there is little risk than when there is a lot at risk.

As for Heath's concerns about raising money, shoot your first feature on your own dime - seriously. It's incredibly important that you not burn through exterior financial resources first time out. Making the first feature is easy. It's getting the money for the second one that is tough. So, get a second job and save up $10k. Make the movie and get it into festivals. Don't write the script yourself - find a beautifully written one from some writer who really wants a movie made. Get it through post and into festivals - then you will have something to show investors. Don't even take money from your parents because you'll learn a lot more on your own dime. Then you hit your friends and family up for $5k to $10k each - and you string a bunch of those people together. A series of $1500 checks saved my butt on my last feature and the crew got paid.

Lori

What was the average budget expenditure on each of those features, and the average ROI? They all turned a profit I assume? Douglas is mostly concerned with making money on his first feature.

Richard,

LOL - When you're writing me a check to finance a feature, we can talk ROI.

At no budget level is anyone even close to guaranteed to make money on a feature film - whether you have millions and lots of celebrities or thousands and none. There are no guarantees. Along this line, a friend of mine bailed out Orion years ago. They led her to the film vault where they had finished films they'd never released. Her job was to watch all of them and figure out which one to market. She picked Blue Sky and Jessica Lange won an Academy Award. The rest of the films stayed on the shelf - several of which were never released.

If someone really wants to make money on a feature, then there best shot is doing cheesy horror and direct-to-video action films. Other than that, there are no guarantees. Until then, to satisfy your soul, buckle in and make the best film you can.

I am asking specifically what the return on investment was on the features you mentioned you produced. I think it's insightful real-world experience like yours that makes this forum so valuable to its members.

Sure, 'money can be made' from low-budget features - as a generic statement, one needs only point to the success of "Blair Witch". What's really valuable is knowing how it works MOST of the time. You've produced six low-budget features. I'm asking what the average (ball-park) budget was for each of these features, and how much of a return on investment it provided the investors - again, ball-park is close enough.

Douglas is interested in producing his first feature film. He's asked for advice on how to go about finding scripts. Members have chimed in to give their real-world practical advice on exactly where to go to find scripts. They've also endeavored to point out some obstacles, and offer encouragemnet to make shorts first. He's pointed out that he's really not interested in shorts, as no one makes much money off of them. It is very important to him that this feature, his first ever, MAKES money.

Odds are, he'll be spending his own money, probably some friends. He doesn't have a slate of award-winning shorts to show them he can do it. He doesn't have the first ten minutes of the film already done - or a trailer shot as a 'proof of concept' to raise money. He'll have to figure out how to set up an LLC or a Limited Partnership at the very least, if he's got other peoples money involved. (This is really true with friends and family, if you want to be able to sit across the table at Thanksgiving).

He understands he has to find a script that is 'limited' in locations, actors, effects - etc. He is going to have to rely on the INCREDIBLE script and KNOCK OUT performances of his volunteer actors, in order to make money.

I'm asking you how your six features made money utilising GREAT scripts, small casts and low/no pay crew. It CAN be done... that's the point right? That's the point of this thread.
WHat was their budget? What was their ROI? What script elements made them successful and attractive to INVESTORS and DISTRIBUTORS? These are the numbers and facts that are going to illustrate to Douglas, exactly what he's up against. How much he can realistically be expected to spend, and how much he can realistically be expected to make - based on your experience producing six successfull low-budget features.

Lori, I would like to know the answer to that question.

One issue I see with searching for a script, is finding my particular genre. I want to make an urban film... something along the lines of Hustle & Flow, Friday, Baby Boy or She's Gotta Have it....but it there doesn't appear to be many scripts along those lines in the links you guys listed.

The one fear I have as far as getting a writer to make one....what if I don't like their script? I was on the newspaper staff in school and was considered a pretty good writer, but I'm not really crazy about writing my own script right now....but I may have to go down that road.

Douglas,

Put the ad on Craig's List Los Angeles Writing Gigs. It will cost you nothing and you will have, easily, 150 responses and maybe far more. As I said before, I have had Academy Award winning writers respond to my queries. Specify that you want an urban script - there are hundreds and hundreds of them floating around Los Angeles and New York. Read the query letters that you get and only reveal yourself to the writers whose pitches interest you. Set a goal of reading 100 scripts. That's going to take some doing (which is how I wound up getting hired repeatedly to do it), but it's worth it - you'll learn a lot about what you're looking for in that journey. Most of them we'll be mediocre. Several of them will be good. And a few will be knock outs. Compare the knock outs to your resources. Talk to the writer and see if you click. Reread my post above because the details of what goes in the ad will help you weed out badly written scripts from the get go.

Honestly, no one is going to talk about budgets and ROI on an open board. I'm stunned that I'm even being asked. That's information that goes into business plans with an NDA.

This is my best work here:
YouTube - THE WATERMELON (http://www.youtube.com/watch?v=vAcG9qtYN48)

Lori, I would like to know the answer to that question.

One issue I see with searching for a script, is finding my particular genre. I want to make an urban film... something along the lines of Hustle & Flow, Friday, Baby Boy or She's Gotta Have it....but it there doesn't appear to be many scripts along those lines in the links you guys listed.

The one fear I have as far as getting a writer to make one....what if I don't like their script? I was on the newspaper staff in school and was considered a pretty good writer, but I'm not really crazy about writing my own script right now....but I may have to go down that road.

Douglas.
I got your email today about the urban story you wanted, but as you've found already, there are not a lot of those types of stories out there.

I'm not a pro, and maybe Lori can chime in here. If money is the ultimate goal, maybe finding something in a commercially viable genre is the answer. Find a script in a genre you know does well. Get the best script you can and shoot that. Then maybe once you have that under your belt, you can find the perfect urban story and have that as your next project.

Just a thought.

If numbers are what you're looking for, just scroll down the list here: The Numbers - Movie Budgets (http://www.the-numbers.com/movies/records/allbudgets.php)

The numbers won't help you, really. In the end it is the finished product that has to 'earn' the return and that may well depend on far more than the content. Comparisons between different productions are fickle at best.

George/

Richard,

In point of fact, his original post was about how to find a script. That's what I responded to.

Again, when you're considering writing me a check to finance a picture, and you've signed an NDA, you can have those numbers. Jeeez.

Lori,

No offense intended, I apologize if it came off that way. And in point of fact, Douglas is interested in those numbers, so we're still 'on track' in this thread.

As a producer, your practical experience is invaluable to new filmmakers. I certainly wouldn't ask for specifc numbers, just some ballpark figures that work in your experience. For instance your are credited on SCHOOLED Lorenda Starfelt (http://www.imdb.com/name/nm0823092/)
which has a listed budget of 500k. Now, I understand that the budget is typically inflated for distribution purposes, but you could let us know that the 'average' budget of the six features was between - what? 100k and 500k? Something along those lines.

Did the other five go straight to video? Did half of them make money and the other half fail?Were overseas sales done pre-production? Things like this aren't really giving away the store - anymore than mentioning craigslist as a source for finding talent.

Here are couple of links about distribution models, and how they are changing. No NDA required.

indieWIRE: FIRST PERSON | Peter Broderick: "Welcome To The New World of Distribution," Part 1 (http://www.indiewire.com/people/2008/09/first_person_pe.html)

indieWIRE: FIRST PERSON | Peter Broderick: "Welcome To The New World of Distribution," Part 2 (http://www.indiewire.com/people/2008/09/first_person_pe_1.html)



Real practical experience from people on the front lines is what this forum is about.

Douglas,

Put the ad on Craig's List Los Angeles Writing Gigs. It will cost you nothing and you will have, easily, 150 responses and maybe far more. As I said before, I have had Academy Award winning writers respond to my queries. Specify that you want an urban script - there are hundreds and hundreds of them floating around Los Angeles and New York. Read the query letters that you get and only reveal yourself to the writers whose pitches interest you. Set a goal of reading 100 scripts. That's going to take some doing (which is how I wound up getting hired repeatedly to do it), but it's worth it - you'll learn a lot about what you're looking for in that journey. Most of them we'll be mediocre. Several of them will be good. And a few will be knock outs. Compare the knock outs to your resources. Talk to the writer and see if you click. Reread my post above because the details of what goes in the ad will help you weed out badly written scripts from the get go.

Honestly, no one is going to talk about budgets and ROI on an open board. I'm stunned that I'm even being asked. That's information that goes into business plans with an NDA.

This is my best work here:
YouTube - THE WATERMELON (http://www.youtube.com/watch?v=vAcG9qtYN48)

This definitely seems like the best idea. So you're basically saying that I should go to the L.A. craigslist specifically, there will be a writing gig section, and I put that I'm looking for an urban script to film an independent film? Should I be specific in what I want or paint with a wide brush?

thanks for the help.

Doug,

Yes, go here and place you ad:
los angeles writing gigs classifieds - craigslist (http://losangeles.craigslist.org/wrg/)

You'll easily get 150 responses to an ad there - quite a number of which will be good scripts. I've probably read 1500 scripts from queries on Craig's List and you will get a huge range of submissions. But scroll up to the top of page 2 and read my first post on the subject. There are a number of things that you can do that will make your job easier - seriously.

I would simply say that you are looking for an urban script, with a limited number of characters and locations. Your specific idea, whatever it is, may be your second film rather than your first. Avoid scripts that call for lots of extras or night shoots - unless you already have the lighting for that. Kids are to be avoided as well. Don't lock yourself down into anything because it's very hard to make a successful indie that way. Indies call for flexibility and inventiveness. You have to be after quality but not necessarily the way it is typically done.

If you fall in love with a script and want me to take a look at it, to assess how do-able it is on your budget, I'll do that.

Lori, I've followed your advice and posted an ad. I'm receiving some interesting scripts and my post isn't even a few hours old! Thanks for the tip.

Lori.
Thank you for the tip as well. I checked it out and found a production company looking for a character based drama. Exactly what I just finished writing and having covered/reviewed. I sent them a query email and they asked for the script.

Thank you again. Here's to hope! :)

You're very welcome. What a cheerful way to start the day. Best of luck to both of you.

BTW, flaggers can get out of control on Craig's List and get perfectly good posts deleted. If your post gets deleted, simply repost it. Do not say it's ultra-low budget, that you're a first time feature director or that you can't write a big check. Under payment, write "rate" or "negotiable". Sometimes you have to put it up a couple times before it sticks.

I had a friend who posted an ad for an editor for a feature film a few months, and was paying $6000 - a perfectly reasonable fee for a low budget indie and it got flagged off. I have no idea why. So, don't get miffed if it happens to you.

thanks, I was just about to ask you about that, this is what I posted and it got flagged twice:


Date: 2009-01-10 11:00:18
PostID: 987635348
Title: (writing gigs) Urban Screenplays Wanted for Independent Film
I'm looking to make an independent film with an urban environment and characters. I'm looking for something along the lines of: Hustle & Flow, Baby Boy or Spike Lee's early flicks. The story could be very different than those, I'm just referring to the type.







I'm searching for a script that hopefully only involves 2 or 3 main characters, while the other roles could be played by extras. Also, as I'm not looking to make a big budget blockbuster, I can only consider scripts that don't include too many locations or that possesses scenes that would be very expensive to shoot. It's going to be shot in the Miami, Florida area.







I'm looking to make a full "feature" film that I can shop at festivals and/or seek distribution for, not a short film. If you are interested in working with me, please email me your script and if it meshes with what I'm trying to do, hopefully we can make something happen.







legendsfilms.com




* it's NOT ok to contact this poster with services or other commercial interests
* Compensation: I'm seeking to option the script.

Douglas.
Might I suggest something like this?

We are currently looking for a great feature length script in the same vein as: Hustle & Flow, Baby Boy or Spike Lee's early flicks.

Script should involve 2 or 3 main characters and locations must be limited. Script must be in a completed state and not work in progress. Please email logline and a brief synopsis.

legendsfilms.com

As a screenwriter, I would never send a script blindly to a post on Craig's list without knowing more about who I'm sending it to.

Plus you can wade through loglines faster then full length scripts and it will help you weed out who is a good writer and who is not. Also, you want to make sure you have them sign a submission form or release form of some kind and you'd state that when you email them back and ask for the script, if the logline and brief synopsis applealed to you.

Just a thought.

thanks for the suggestion, I posted it just like that.

I have one script that I received that I'm interested in so far, but I would like to have more to choose from....hopefully whoever it is that keeps flagging me will stop.

As far as optioning a script with one of the people that hit me up, what would be considered a reasonable arrangement?

Whatever is determined to be 'reasonable' between you and the writer. My options were for a little over WGA minimums, but this was an established production company.

Basically, you'll be offering an option for a specifc ammoun of time to develop the script. How long do you think you'll need to get it made? Six months? Twelve? Eighteen? You offer a cash payment against the total price, for the specified time. Lets say you offer to pay twenty thousand for the script, (Which is FAR less than WGA minimums)... and you want twelve months to develop it. Typically ten percent is offered but you could offer less... but say two grand for twelve months. You then have twelve months to develop the property. IF at the end of twelve months, the script doesn't get made - the rights revert back to the writer and they get to keep the option money. (The balance is due if the script IS made...)

I've made quite a bit of change off of options that didn't get made. I'd RATHER the scripts get made - but if they are going to be 'off the market' for a specific time, then I want to get paid for it.

All of these numbers and details are negotiable. For instance, you could offer a 'step deal' for re-writes, but you generally want a script that's as close to ready as you can be from the get-go in an indy situation. Payment might be negotiated for start of production, or as a 'back end' deal.

Read up on it, and download some sample options. http://www.encyclopediapro.com/mw/Screenplay_option_contract_(Sample_1)

http://www.absolutewrite.com/screenwriting/screenplay_option.htm

(My google-fu is strong)

And if a script is REALLY HOT, be prepared to negotiate for it. You might have to either increase the option money, or shorten the option period, depending on what the writer wants.

(I'm fortunate in having an IP attorney who negotiated my options.)

Good luck!

thanks for the suggestion, I posted it just like that.

I have one script that I received that I'm interested in so far, but I would like to have more to choose from....hopefully whoever it is that keeps flagging me will stop.


That's awesome. Keep this thread going. I'd love to hear how you're doing with it. Oh yeah, don't forget to send out the submission/release form to them when you ask for the script.

Douglas,

Check your PM. I sent you some stuff.

Lori

Just wanted to say thank to Lori for helping us like this. Us up and comers need all the help we can get. :)