Targeting Specific Actors

[MiladyDaniel]

I've written a cool little fantasy script with a character that would be perfect for Whoopi Goldberg. Since she's a producer as well as actor, could I send it to her and how on Earth would I find an address?

BTW, I'm new here but I've been writing scripts for awhile.

[zeprosnepsid]

It can't hurt to try. If she has a production company it should be pretty easy to track down the address, prod cos don't usually hide these things. Did you try just googling the name of the company?

[RainbowDragon]

Screen Actors Guild 800-503-6737 should be able to tell you the agency.

[Jon-Luke]

Her Production company is called: Whoop/One Ho Productions/Lil' Whoop Productions

You can get the company details on IMDB if you have IMDB Pro (Free for limited time)

[Lillyth]

I've written a cool little fantasy script with a character that would be perfect for Whoopi Goldberg. Since she's a producer as well as actor, could I send it to her and how on Earth would I find an address?

BTW, I'm new here but I've been writing scripts for awhile.
What a GREAT question!

What about targeting specific actors who do NOT own production companies, does anyone know how to do that?

[dpaterso]

If it were that easy, you'd think everyone would be doing it.

I'd venture to guess that your script may not reach Miss Goldberg, whose staff will deal with unsolicited mail (i.e. return it unread).

Best to phone 'em and ask permission first, and if they say yes, they may require a release form to be submitted with the script (so they can't be accused of stealing your material if they already have a similar project in the works).

-Derek

[Mr Sci Fi]

My friend did this with Fisher Stevens before. He put a call through to his production company and they requested a script. He sent a follow-up letter himself afterwards, saying that he loved the script but he was busy with another project at the moment. Judging by his professionalism, I don't think he rejected the notion of sending him a script. He did manage to get the kid who played Donkeylips in a role though.

It doesn't hurt at all to try.

[MiladyDaniel]

WOW!! Thanks for all the info!

[Jon-Luke]

What a GREAT question!

What about targeting specific actors who do NOT own production companies, does anyone know how to do that?

Actors who don't have production companies tend to have Personal Assistants, Managers and Agents who are kind of door keepers to the scripts that come in... Generally the more popular the actor the more scripts get sent to them.

Younger, less accomplished actors may only have agents, but then the chances of them having enough influence to get a script made is less - in this respect it would be a waiting game - target an actor who you think has potential, get them really interested in your script, and then hopefully in a year or two or five when they become really famous and influential they will be able to get your script made.

I would suggest going through an Actor's personal assistant if you can find out who they are. They tend to have a little more time to be able to read your script and they all spend more time with the actor concerned and will be able to "find the right time" to talk to them about your script if they think its worthwhile. Most assistants that I have met are fiercely loyal and will not accept bribes, will not talk to paparazzi and are pretty anonymous and invisible so they would be hard to track down, also its a really intensive and tiring job so many assistants do not last all that long, But the good ones will stay employed for years and almost become part of the family. So if you are able to find out who these people are you don't want to harass them because that could well mean that you will never gain audience with the actor in question, be discreet!

[MiladyDaniel]

I can't get a subscription to the IMDB Pro - no credit card, and unemployed so no chance for one. Does anybody know someone who has one, and might be willing to send me the info on Whoopi Goldberg's company address, number, etc... I could pay them a bit for their effort, maybe five or ten dollars through PayPal.

[dpaterso]

Crazy I know, but I Google'd "whoopi goldberg's production company address phone no" and this plus other links showed up:

http://www.fanmail.biz/1201.html

-Derek

[small axe]

Targeting Specific Actors

And, of course, it may be advisable to avoid using the actual word "targeting" in your correspondence with them too.

:)

[nmstevens]

Crazy I know, but I Google'd "whoopi goldberg's production company address phone no" and this plus other links showed up:

http://www.fanmail.biz/1201.html

-Derek

What is missing from the above, and what is absolutely critical, whether one is querying by mail or calling -- is a contact name.

That's because you can't write to the attention of Whoopi or call and simply ask for Whoopi.

It doesn't work that way. The fact is, she's probably almost never there and anything that comes addressed in this way is going to be tagged as coming from a non-pro.

You need to address your query to the head of the company.

The president/Exec Producer/director of development of the company is Tom Leonardis.

Shannon Schmitt is listed in the HCD as "assistant."

Any correspondence would be directed to Tom Leondaris -- President.

If you were to call -- again, you'd be asking to speak to him.

This is always critical in cases like this. Whenever a star has a development company, somebody is running it -- and that's the person to whom you have to direct your query or pitch.

NMS

[dpaterso]

Good advice! Which ties in with what's always advised when sending query letters, find out who you're writing to, personalize the query.

But that leads me to ask a general question, not necessarily just limited to Whoopi's company: if you didn't have a contact name and couldn't easily find one, is there anything wrong with calling the number and (very politely) asking whoever answers the phone* whether their company accepts query letters, and if so, could they please advise on who the query letter should be addressed to?** Or would this break some unwritten/unspoken protocol rule?

* more likely to be office staff than the prodco's head exec, right?
** and just in case the person who answers the phone is the person to whom queries should be sent, and they say "So what have you got?" I'd have a telephone pitch ready, "Sarah's Rabbit" is a family-oriented urban fantasy adventure in which a lonely orphan girl is befriended by...

Yes? No? Absolutely forbidden?

-Derek

[nmstevens]

Good advice! Which ties in with what's always advised when sending query letters, find out who you're writing to, personalize the query.

But that leads me to ask a general question, not necessarily just limited to Whoopi's company: if you didn't have a contact name and couldn't easily find one, is there anything wrong with calling the number and (very politely) asking whoever answers the phone* whether their company accepts query letters, and if so, could they please advise on who the query letter should be addressed to?** Or would this break some unwritten/unspoken protocol rule?

* more likely to be office staff than the prodco's head exec, right?
** and just in case the person who answers the phone is the person to whom queries should be sent, and they say "So what have you got?" I'd have a telephone pitch ready, "Sarah's Rabbit" is a family-oriented urban fantasy adventure in which a lonely orphan girl is befriended by...

Yes? No? Absolutely forbidden?

-Derek


You can do that, but it is very likely that if you do, you're going to run into that blockade of which I've spoken.

Since they pretty much don't want to look at script from amateurs which, if you haven't sold a script -- that's you, if you call up and ask something like that, there's a very good chance, even if they would read your query letter, whoever answers the phone will tell you -- "Sorry, we don't accept scripts from unagented writers."

And then you're dead in the water. You've just been told, flat out, you can't send anything. No script. No query. No nothing.

That is, unless you're prepared to move forward, as I've laid out, with a phone pitch and you proceed as I've described -- call and ask to talk to the head of development -- why - want to talk about a script.

And then you reply to that question about having an agent with, "No, I submit through my attorney."

Which most times will get you through -- but not all.

But if you're not looking to do a phone pitch and just want to send a query letter, that's a rocky road to travel just to get a name.

I know people are financially strapped, but at some point, people have to be willing to bite the bullet and accept that this, like any genuine long-term job search, is going to involve an investment of not only time, but money.

And that means that you're going to have to invest in something like the Hollywood Creative Directory (which is where I found the name in question).

And while I was willing to look up that one name, I can't do it as an on-going thing.

NMS

[Jon-Luke]

What is missing from the above, and what is absolutely critical, whether one is querying by mail or calling -- is a contact name.

That's because you can't write to the attention of Whoopi or call and simply ask for Whoopi.

It doesn't work that way. The fact is, she's probably almost never there and anything that comes addressed in this way is going to be tagged as coming from a non-pro.

You need to address your query to the head of the company.

The president/Exec Producer/director of development of the company is Tom Leonardis.

Shannon Schmitt is listed in the HCD as "assistant."

Any correspondence would be directed to Tom Leondaris -- President.

If you were to call -- again, you'd be asking to speak to him.

This is always critical in cases like this. Whenever a star has a development company, somebody is running it -- and that's the person to whom you have to direct your query or pitch.

NMS

I don't entirely agree with this... I would suggest phoning the company and asking the receptionist who you should send information regarding a new script to. If the receptionist doesn't know then you should ask if you can speak to someone who does know. That way when you send correspondence you have a reference person, even if its the receptionist who pointed you in a specific direction - if you just send stuff through to the president or exec there's a strong chance that you will have your stuff shelved with the rest of the day's unsolicited mail.

[MiladyDaniel]

Thanks again for the help. I'm pleased to see my question turned into an interesting thread, at least to me, anyway, and I hope, to others.

Peace,

Milady

[Lillyth]

Thanks again for the help. I'm pleased to see my question turned into an interesting thread, at least to me, anyway, and I hope, to others.

Peace,

Milady

Hugely interesting, as I, like many aspiring screenwriters I suspect, end up envisioning a specific (and big name) actor for certain parts.

It is nice to know that while it is near impossible, it IS feasible.

Thanks for starting this thread!

[zeprosnepsid]

Actors who don't have production companies tend to have Personal Assistants, Managers and Agents who are kind of door keepers to the scripts that come in... Generally the more popular the actor the more scripts get sent to them.

This is a good point. There is some screenwriter...I forget who actually...who before he sold a script was Matthew Broderick's personal assistant. And he got him to do Election. The script was sent and he read it and then really, strongly encouraged him to do it. Personal Assistants are definitely influential gatekeepers.

Good advice! Which ties in with what's always advised when sending query letters, find out who you're writing to, personalize the query.

But that leads me to ask a general question, not necessarily just limited to Whoopi's company: if you didn't have a contact name and couldn't easily find one, is there anything wrong with calling the number and (very politely) asking whoever answers the phone* whether their company accepts query letters, and if so, could they please advise on who the query letter should be addressed to?** Or would this break some unwritten/unspoken protocol rule?

First off, google. A lot of this information is available. Secondly, yes, you can certainly call and ask. Third, if you come across a situation like NMS mentions or fear that you will, then you lie. This is how things work in this town. Call and say you are a lawyer and you are submitting for a client, you haven't submitted to them before, whose attention should you make it to?

Or what I do all the time, whenever I'm doing anything, is play dumb assistant. My boss wanted me to call and find out. If they ask who is your boss, say he's in Post Production or some unrelated field (you can make up a name, they won't know anyone in post production) but he needed to know for someone else or some reason and he really doesn't explain things to me I'm just the assistant. Most likely you will be talking to an assistant who will totally understand and sympathize with you. I always call and ask things and say I don't know why I'm asking I was just told to ask. I started doing this after being an assistant and finding that this was often the actual case.

But there are about 100 ways to do this. Sounding confident goes a long way. If you sound like a newbie writer, they won't let you through. But if you call and even say with confidence, this is Marie Smith of 'made up Production Company name', can you just tell me blah -- like you've made this call 10 times today and you could care less -- then they will be so concerned about not offending you, because you could be important, that it will get you whatever answer you want.

When lying it helps to know as much info about the industry as possible. When contacting people for various other reasons, 10 years ago you would want to say you were from a German investor and make up some German name. German investors were huge and no one knew their names. Now, you want to say you are calling on behalf of an Indian investor or entrepreneur. With Indians buying Dreamworks, no one wants to turn away the new money on the block. And when you give an Indian name for your boss, they won't have any idea who it is, but they'll believe it's someone.

[CrazySlasher]

Whoopie Goldberg is known to hang around Gloucester, MA. She even does some bar tending at some of the local spots for fun.

[nmstevens]

This is a good point. There is some screenwriter...I forget who actually...who before he sold a script was Matthew Broderick's personal assistant. And he got him to do Election. The script was sent and he read it and then really, strongly encouraged him to do it. Personal Assistants are definitely influential gatekeepers.



First off, google. A lot of this information is available. Secondly, yes, you can certainly call and ask. Third, if you come across a situation like NMS mentions or fear that you will, then you lie. This is how things work in this town. Call and say you are a lawyer and you are submitting for a client, you haven't submitted to them before, whose attention should you make it to?

Or what I do all the time, whenever I'm doing anything, is play dumb assistant. My boss wanted me to call and find out. If they ask who is your boss, say he's in Post Production or some unrelated field (you can make up a name, they won't know anyone in post production) but he needed to know for someone else or some reason and he really doesn't explain things to me I'm just the assistant. Most likely you will be talking to an assistant who will totally understand and sympathize with you. I always call and ask things and say I don't know why I'm asking I was just told to ask. I started doing this after being an assistant and finding that this was often the actual case.

But there are about 100 ways to do this. Sounding confident goes a long way. If you sound like a newbie writer, they won't let you through. But if you call and even say with confidence, this is Marie Smith of 'made up Production Company name', can you just tell me blah -- like you've made this call 10 times today and you could care less -- then they will be so concerned about not offending you, because you could be important, that it will get you whatever answer you want.

When lying it helps to know as much info about the industry as possible. When contacting people for various other reasons, 10 years ago you would want to say you were from a German investor and make up some German name. German investors were huge and no one knew their names. Now, you want to say you are calling on behalf of an Indian investor or entrepreneur. With Indians buying Dreamworks, no one wants to turn away the new money on the block. And when you give an Indian name for your boss, they won't have any idea who it is, but they'll believe it's someone.


Whoever wants to can certainly take Zepro's advice above. From what he's said, he's obviously done it and it's worked for him.

That being said, personally, I strongly advise against people lying. There's no doubt that you can do it and get away with -- most of the time.

That is also true of driving drunk. Most people who do it get away with. Most of the time.

That being said, I would strongly advise against doing that either. Because if you don't either one of them long enough, there's a good chance that you are going to get nailed, and it can seriously bite you in the ass.

I always tell people that we're dealing in a relatively small industry consisting of people with large egos and thin skins and long memories.

The person that you call pretending to be "so-and-so's" assistant to get a name from may very well be the same person that you're going to be calling two weeks later to pitch to, or to talk to about scheduling an appointment -- under your own name.

Yeah, you may be lucky (providing your voice is sufficiently non-descript and the conversation sufficiently unmemorable, and the assistant sufficiently busy) and she won't connect you.

But what if she does - and suddenly from some guy who's simply calling to talk about a script you go into the category of -- some guy who's calling under multiple names, i.e. -- possible nut job.

I know full well that this is a town full of liars -- but there's the "I love your script, I'd love to be in business with you," kind of lie, and then there's the, "I'm John Jones, and I work for Mr. Subramanian" when in fact, you're somebody completely different.

On some level, people expect the former kind of lie -- but I believe that the latter kind entails a risk that warrants thinking about a bit.

NMS

[C.bronco]

I sent my novel as a "gift" to an actor who inspired a character. His manager said it was okay to send it.

[Joe270]

I would suggest phoning the company and asking the receptionist who you should send information regarding a new script to. If the receptionist doesn't know then you should ask if you can speak to someone who does know. That way when you send correspondence you have a reference person, even if its the receptionist who pointed you in a specific direction

This is sound advice, IMHO. I have found most, if not all of the receptionist/secretaries very helpful. You need to have a decent personality on the phone, WRITE DOWN their name on your contact sheet so you always address them by name. I cannot recall one not giving me a contact name to use. It doesn't hurt to be nice to the 'little people', they tend to run the place anyway, in my experience.

That's gotta be better than a 'to whom it may concern'.

This is a good point. There is some screenwriter...I forget who actually...who before he sold a script was Matthew Broderick's personal assistant. And he got him to do Election. The script was sent and he read it and then really, strongly encouraged him to do it. Personal Assistants are definitely influential gatekeepers.

I have actually seen PAs reading scripts for actors. I don't know if they were doing it out of interest or offering an informed opinion on the role.

It would seem to be an effective avenue, provided the actor had his own prodco or enough stroke to get a film done.

[zeprosnepsid]

Oh NMS, we've been disagreeing on this board long enough, and I've mentioned it enough times, that you should know I'm female, not male.

But I did recommend not lying first. But it is just the way things work in this town. It's like constantly getting hit on when you go for interviews when you are female. But every Producer I've met, and every boss I've ever had were always 'stretching the truth' to get what they wanted done. You have to be crafty. Have you read Down and Dirty Pictures? While not 'lying' per se, the story of Bullworth is nothing short of amazing. No one at the studio ever actually ever greenlit that movie. But Beatty pulled it off, like he always does.

I used to be an online journalist for a website owned by a filmmaker, I don't really want to give away too much info on who I am (scary internet!) so let's say Robert Rodriguez as a stand in. I was waiting in line for a big screening with other journalists and it looked like none of us were going to get in (I didn't get in, it turned out). But another guy, who worked for the same site, but wrote about different things, waltzed right past me, and I was like 'how did you get in?' What he did, instead of saying he wrote for Robert Rodriguez's website, he said he was like his assistant and representing Troublemaker Studios (RR's studio) and all of this stuff. And he got ushered right in! It's not entirely a lie, he did work for Rodriguez (or the similar director he's standing in for), even though he had never met him, but certainly he wasn't telling the truth. But he got the story, and I didn't.

My last boss, who is a Producer, got her first Hollywood job - film buyer for a big mini major - by completely lying on her application. She had never worked in Hollywood before. And she's now a Producer, and I'm not! I'm not on the level of a film buyer either and I've been working for years.

Every experience I've had in Hollywood has been like this!

[zeprosnepsid]

My boyfriend reminded me of this quote from Paul Schrader from Easy Riders, Raging Bulls: "No one succeeds in film if he's not hustling. The first thing you think of when you wake up in the morning, is, Who can I hustle? and the last thing you think of before you go to bed is, Who can I hustle?"

[nmstevens]

Oh NMS, we've been disagreeing on this board long enough, and I've mentioned it enough times, that you should know I'm female, not male.

But I did recommend not lying first. But it is just the way things work in this town. It's like constantly getting hit on when you go for interviews when you are female. But every Producer I've met, and every boss I've ever had were always 'stretching the truth' to get what they wanted done. You have to be crafty. Have you read Down and Dirty Pictures? While not 'lying' per se, the story of Bullworth is nothing short of amazing. No one at the studio ever actually ever greenlit that movie. But Beatty pulled it off, like he always does.

I used to be an online journalist for a website owned by a filmmaker, I don't really want to give away too much info on who I am (scary internet!) so let's say Robert Rodriguez as a stand in. I was waiting in line for a big screening with other journalists and it looked like none of us were going to get in (I didn't get in, it turned out). But another guy, who worked for the same site, but wrote about different things, waltzed right past me, and I was like 'how did you get in?' What he did, instead of saying he wrote for Robert Rodriguez's website, he said he was like his assistant and representing Troublemaker Studios (RR's studio) and all of this stuff. And he got ushered right in! It's not entirely a lie, he did work for Rodriguez (or the similar director he's standing in for), even though he had never met him, but certainly he wasn't telling the truth. But he got the story, and I didn't.

My last boss, who is a Producer, got her first Hollywood job - film buyer for a big mini major - by completely lying on her application. She had never worked in Hollywood before. And she's now a Producer, and I'm not! I'm not on the level of a film buyer either and I've been working for years.

Every experience I've had in Hollywood has been like this!

Zepro, I've had a great many experiences in Hollywood with liars and cheaters but I have to tell you that I have also had experiences with people who are neither and all in all, I much prefer to work with the latter than the former and I would much prefer to be known within this business, as someone who is the latter, rather than the former.

Because people who will lie and cheat and steal and do and say anything to succeed in this business (or any other) may ultimately succeed -- but in the end, they'll be successful liars, cheats and thieves.

And yes, our business is full of those kind of people.

But it is certainly not universal nor, in my opinion, is it a kind of behavior that we should be advising others to emulate.

NMS

[creativexec]

When I was at ICM, someone sent in a script for Mel, which we passed on. I sent the writer a letter.

Sometime much later, I got a call from a good friend of mine (a manager) who said, "Dude, you've lost your mind. I read this script on your recommendation and it sucks!" I never recommended a script to him, so I was confused. He said he had a letter from me praising the script. He faxed it over. It seems the writer took the rejection letter and doctored it with something flowery and positive. It even implied that Mel was interested in the project.

I pulled up my records on the script and found our copy of the original letter. I sent both to legal affairs and within two hours, this writer had a "cease & desist" letter at his front door. And was persona non grata at the agency.

Another ditty involved a rather enigmatic manager with a slight accent. He represented quite a few new writers around town - without any luck. Everone knew this manager but when people started talking, it seemed that no one had ever met him. Water cooler onversations often revolved around his rather vague accent, which some thought German, some thought British and others thought Southern.

In the end, it was revealed that this manager was actually a struggling screenwriter who created another persona in order to hock his own scripts. To make the ruse believable, he put himself in the "Hollywood Creative Directory," which led to other scribes contacting him - and his representing them. Of course, when his clients learned the truth, they were heartbroken and felt like much of their time had been wasted.

After he came out of the closet, he wrote about the experience for Los Angeles magazine, perhaps hoping the story would spark Hollywood interest. To this day, he has yet to sell a script. And his ruse remains a forgotten anecdote - and a failed attempt at success.

I have MANY stories of people lying to get ahead and it backfiring on them. In fact, the tactic probably fails far more often than it succeeds.

The problem with lying is that Hollywood is a VERY small town and people constantly exchange information and gossip. A liar is bound to get caught.

I offer up these two stories as a cautionary tale.


:)

[zeprosnepsid]

I think the point is though, calling a Production company and pretending you're someone else just to get a piece of information is never going to ruin your career. Those people get a millions calls a day and they will not remember your voice. It's not like they're going to put you through to pitch the script that minute. You're just trying to get the name of who to send it to.


The people creative exec is talking about failed because they were stupid =)

But for every story you have, I have another story. Bryan Singer hired all those actors for Usual Suspects and told them how much he'd pay them before he had any money (they didn't know that) and then went to all these investors and said these actors have signed on and that's how they ended up investing in the movie. Without that little lie, we wouldn't have The Usual Suspects.

But getting through in Hollywood is less about flat out lying, but more about exaggeration.

To get the big interviews for my Documentary, I told people that we were 'scheduling' with other big people (which was an 'exaggeration' because they had said they would get back to me, not that they would do the interview necessarily) to get them. If they called around and found out we weren't, then fine, we lost that game. But they wouldn't have done the interview if they didn't think we were interviewing other biggies anyway, so we didn't actually lose anything. And we did get some big interviews. And by saying 'scheduling' we weren't lying so bad as to get blackballed. If they did call around, they'd find that we had talked to the assistants of these other people. That's what the whole industry is about.

I'm not advocating lying necessarily. I'm just saying that among smart people, who exaggerate or stretch the truth, it's proven amazingly effective.

Oh wait, I thought of another, because there are a million. To make Clerks, on credit cards, Kevin Smith had to get 30k of credit, which he wasn't really eligible for being a video store clerk. But he'd fill out the applications and say he was the manager of the video store, making 50k or more. And since he was the only one who worked there, when the credit card companies would call the work number to confirm he'd be like 'oh yeah, he makes that much' and that's how he got the credit. He probably could have gone to jail for that, but whatever, it worked out....

We like to think good work will stand on its own, but that's just not necessarily the case. The Usual Suspects and Clerks are two of the reasons I got into film in the first place, and they wouldn't have ever gotten made just because they were good. Sometimes you need more than that.

[zeprosnepsid]

As a side note, the story about the guy who submitted with a fake letter from you (which really is stupid), still has a chance to make it. He can just start submitting under a pen name, it's not like you ever saw his face. He could get a PO Box with another address and you'd never know. By the time you find out his real name/address - it would just be to pay him. But from the sound of it his writing is so poor is almost doesn't matter anyway.

I don't buy the 'this town is small' stuff. The town is huge. Agents know each other, but how many Post Production people do they know? How many Production company executives do Cinematographers know? And the turnover is so high - you aren't at that agency anymore right? And you meet sooooo many people. I can't remember the names of the PAs who worked for me this year. This town is pretty big.

[creativexec]

I'm not saying one should or shouldn't lie. This isn't Sunday school and people can make their own decisions.

But people like to offer up the glorification of it - like the Bryan Singers and the Kevin Smiths. The truth is that this industry has far more failures than it has successes, so it's probable that most lies do not end up with happy endings. However, I'm all about people writing their own stories. Each person charts their own course in, out or around the business. But it is one degree of separation. A simple phone call or e-mail clarifies an awful lot. I'm amazed at how often I say to a co-worker or friend, "Does this person think we don't talk? Does he think we don't know anybody? Is he an idiot?"

As for Hollywood being a big town. I guess it's all about perspective.

I've always been taught if you see Hollywood as a big town, you think small.

It's true that I'm not at that agency anymore, but I still know everyone there and constantly meet new employees, who become allies.

As for turnover, it works to make for a smaller business not a bigger one. I know hundreds of co-workers who have moved on to other agencies, companies, studios and have introduced me to their new co-workers, giving me access to places I hadn't previously been. I'm now at WMA, where I'm meeting new people and connecting with new places.

While it's true that the cagey writer could change his name and script title, my world is very small. He wouldn't be the first to make that unsuccessful attempt. If he chose to change his avocation to cinematography, he'd be able to slip by, since that's not my world. But it's still a small town and only takes a phone call.

Speaking of which, when I was looking to hire a DP for my documentary, I had a name at the top of my list. He was the DP on two docs that I liked a lot (GO, TIGERS! and AMARGOSA). Those films were a nice hybrid of the one I wanted to make, and I thought he was very talented. (He won an Emmy for the latter.) I came to discover that my assistant (at the time) was friendly with him. She put me in touch and, in the end, he shot my film. One degree of separation.

Hollywood is the smallest big town in America.


:)

[nmstevens]

I'm not saying one should or shouldn't lie. This isn't Sunday school and people can make their own decisions.

But people like to offer up the glorification of it - like the Bryan Singers and the Kevin Smiths. The truth is that this industry has far more failures than it has successes, so it's probable that most lies do not end up with happy endings. However, I'm all about people writing their own stories. Each person charts their own course in, out or around the business. But it is one degree of separation. A simple phone call or e-mail clarifies an awful lot. I'm amazed at how often I say to a co-worker or friend, "Does this person think we don't talk? Does he think we don't know anybody? Is he an idiot?"

As for Hollywood being a big town. I guess it's all about perspective.

I've always been taught if you see Hollywood as a big town, you think small.

It's true that I'm not at that agency anymore, but I still know everyone there and constantly meet new employees, who become allies.

As for turnover, it works to make for a smaller business not a bigger one. I know hundreds of co-workers who have moved on to other agencies, companies, studios and have introduced me to their new co-workers, giving me access to places I hadn't previously been. I'm now at WMA, where I'm meeting new people and connecting with new places.

While it's true that the cagey writer could change his name and script title, my world is very small. He wouldn't be the first to make that unsuccessful attempt. If he chose to change his avocation to cinematography, he'd be able to slip by, since that's not my world. But it's still a small town and only takes a phone call.

Speaking of which, when I was looking to hire a DP for my documentary, I had a name at the top of my list. He was the DP on two docs that I liked a lot (GO, TIGERS! and AMARGOSA). Those films were a nice hybrid of the one I wanted to make, and I thought he was very talented. (He won an Emmy for the latter.) I came to discover that my assistant (at the time) was friendly with him. She put me in touch and, in the end, he shot my film. One degree of separation.

Hollywood is the smallest big town in America.


:)

And I just have to add my few cents to the above -- we all write stories, and one of the stories that everybody likes is how the little clever guy outwits the bigshots and comes out ahead.

Everybody loves those stories -- so everybody loves, for instance, the story about how Spielberg managed to talk his way onto the lot at Universal and got himself an empty office and pretended to be a Junior Exec for a summer.

Great story -- and no doubt a true story.

And people love all of those stories of people who try crazy stunts to get their scripts read that somehow come off and they get read and get sold and get made and they end up with successful careers.

And they love to hear stories about guys like Kevin Smith who lie to their credit card company and borrow more money than they can afford and end up with a successful film and they're off to Hollywood.

But nobody wants to hear about all of the people who do these things and end up screwed, because ninety-nine times out of a hundred, that's what happens when people try crazy stunts like that.

They get screwed.

So, as I said -- like driving drunk. You can do it once -- hey, got away with it. Nothing happened. Worked great.

Right. And most of the time, that's how it works.

And you can lie once -- or once in awhile and chances are, you'll get away with it.

Then again, there are people who drive drunk once -- and die. First time.

And it may also be that the first time you try lying to somebody, it's going to be somebody who will remember your voice when you call back being yourself.

And then you are screwed.

Obviously, if you never lie, there are still a thousand other things that you have to worry about that might potentially wreck you on the rocks.

Just not that.

Even in matters of negotiation and deal-making, where there's significant amount of what you might call "bluffing" -- of making the other side believe that your position is stronger than it is -- you always run into the same sort of problem. Sure, you can bluff -- you can lie. You can claim to have more money, you can claim to have someone attached, you can claim that some other studio is interested.

And they can lie too. But at a certain point, somebody may very call somebody else's bluff. And if, in the course of your bluffing you've promised something and can't deliver (which has been known to happen) -if you claim to own the rights, but don't have them, claim to have a star attached, but he isn't attached, claim to have foreign financing, only you really were counting on the domestic financing to lock in the foreign financing and then it turns out that the foreign financing wasn't really there in the first place - then you are, just like the guy who lies on the phone -- screwed.

NMS

[zeprosnepsid]

Either way, this is a pretty silly thing to argue about =)

People are going to do or not do whatever they want. And I think we've given everyone a primer on lying and not lying and we can just leave it at that.

[heatgirl]

I've tried every other way to get my screenplay read so why not contact the actor who I want in it right? cant hurt? In saying this, I have researched on the net for hours trying to find out who this actors Agent / manager is and guess what? came up with nothing...I guess I need imdbpro sept I have no credit card and to sign up for the free trial requires a credit card...asswipes... If anyone has imdbpro and would be willing to look up some contact info, I would be very greatful and give you a "thanku" credit on my wonderful movie...lol

Thankyou...

[nmstevens]

I've tried every other way to get my screenplay read so why not contact the actor who I want in it right? cant hurt? In saying this, I have researched on the net for hours trying to find out who this actors Agent / manager is and guess what? came up with nothing...I guess I need imdbpro sept I have no credit card and to sign up for the free trial requires a credit card...asswipes... If anyone has imdbpro and would be willing to look up some contact info, I would be very greatful and give you a "thanku" credit on my wonderful movie...lol

Thankyou...

If you want an actor's agent information all you have to do is call up SAG -- the Screen Actor's Guild and ask for agent contact information and give them the name of the actor and they will give you the agent contact information.

I'm not sure about manager information -- they may give that as well. Not sure.

That being said -- if the actor in question is a star, going through his/her agent is generally not a fruitful way to get your screenplay into the hands of the actor in question.

As a rule, the first question that the agent (or really, the agent's assistant) will ask is -- "Is the project set up?"

In other words -- is this a script that actually has real money and a real offer behind it -- as opposed to somebody -- either a writer or a producer who is looking to use the actor as a way of getting the project set up by attaching the actor.

Like you are obviously trying to do.

Not that actors won't do that and don't do that -- it's just that agents don't really like it when their clients do it and so will always do their best to head off scripts with no money attached getting to their clients.

Agents and "passion projects" just don't mix.

You might consider seeing if you can find a copy of the Hollywood Creative Directory (check your local library) and see if the actor in question has his own development company. That is, many actors have a studio deal in which a studio pays an actor to set up a little company for the purpose of looking for and developing projects for the star to be in -- and if you can submit your script to that company (if there is one) that might be a more fruitful approach to getting it in the hands of the actor in question.

NMS

[Hillgate]

Stars' agents will want you to make an offer immediately before they will let their star anywhere near your script. Making an offer means you're a producer, not a writer, and only do it if you can make it work!!! Prodcos are better as NMS says but you really need to build a relationship with one or two or several before they will take you seriously. It takes time, and probably they need to pass on two or three scripts before they'll go for the one they want. It's a long game...you could get lucky first time, but I very much doubt it. Unless there is a strong referral from someone that means something to the agent, prodco or manager, I basically think you're going to find it extremely tough.

Everyone thinks they've written something that's perfect for George Clooney, Whoopi G, etc etc but in reality you probably haven't. Just write the best script you can and query like crazy. Sending it to Whoopi might work, but that's like me saying that I could be a rock star. :)

[heatgirl]

First, thankyou for your replies.
Nmstevens: I didn't think of calling SAG, thankyou for this information.

Hillgate: The star I want is not a star star, meaning if I told you thier name you would say "who?"...Believe me, it would be silly to try and contact someone like Cameron Diaz in hopes she would do my film! I wouldn't even try! That's why I thought it would be a little easier because this actor is not well known and has only been in 2 movies I think and a few shows.

I also looked them up on IMDB and they are not in any upcoming movies.

Anyway, thanks again for your replies, you helped me out

[Noah Body]

May I ask a serious question? How do you expect attaching (or even interesting) an actor who is not a "star" going to be a good thing? If he/she has few credits and doesn't even have a pending production or attached credit...then what will this person be able to do for you?

[heatgirl]

May I ask a serious question? How do you expect attaching (or even interesting) an actor who is not a "star" going to be a good thing? If he/she has few credits and doesn't even have a pending production or attached credit...then what will this person be able to do for you?

Maybe nothing, maybe something, maybe a producer will have worked with them before or even have heard about them and think "Yeah they fit with this". Who knows, anything could happen. Obviously I'm not going to get money thrown at me for having this actor but It couldn't hurt to try.

[Noah Body]

I'm sorry, I see you're located in Australia. Are you talking about breaking into the Oz film marketplace, or the American one?

[Hillgate]

First, thankyou for your replies.
Nmstevens: I didn't think of calling SAG, thankyou for this information.

Hillgate: The star I want is not a star star, meaning if I told you thier name you would say "who?"...Believe me, it would be silly to try and contact someone like Cameron Diaz in hopes she would do my film! I wouldn't even try! That's why I thought it would be a little easier because this actor is not well known and has only been in 2 movies I think and a few shows.

I also looked them up on IMDB and they are not in any upcoming movies.

Anyway, thanks again for your replies, you helped me out

Good call - going for someone 'about to pop' is better than going for someone who's popped, to parlay like the good folk in the City of Angels. :Sun:

[heatgirl]

I'm sorry, I see you're located in Australia. Are you talking about breaking into the Oz film marketplace, or the American one?

The film industry in Australia is rather shithouse, I wouldn't even bother, there's nothing here, no agents, no money, nothing.

Hilgate: Yeah I found out the actor is with William Morris so imma try! thanks!

[nmstevens]

The film industry in Australia is rather shithouse, I wouldn't even bother, there's nothing here, no agents, no money, nothing.

Hilgate: Yeah I found out the actor is with William Morris so imma try! thanks!


A word of caution on the subject of attachments.

Obviously, if you're not making any progress on moving your script ahead, I'm not going to say that you shouldn't try to get something going by attaching somebody.

*However* -- you need to be careful because attachments come in two varieties.

There are balloons and there is ballast.

The "balloon" kind of attachment lifts your project up toward getting greenlit.

Attach an A-list actor or director, or source of financing -- up it goes.

On the other hand, attach a producer who doesn't bring any financing, or a director who doesn't get it made -- they are a drag on the project. A producer of that sort means extra money that somebody is going to have to pay out further down the line. An attached director with no name value means that they won't be able to attach a director that *has* name value that might potentially help the project further down the line.

These attachments are "ballast." They weigh the project down. Sometimes, attachments like these can weigh a project down to such an extent that they never get off the ground.

I remember a number of years ago, when I was working at a development company in NY, that we optioned a very good science fiction project by a writer who later went on to work on some rather successful stuff.

And we couldn't get it set up. Nobody would touch it. And ultimately, we put it into turn-around. That is, we let the option lapse. It went back to the writer.

At which point, one of the companies that we'd taken it to and who'd passed on it, promptly turned around and bought it for big money.

It wasn't that they didn't want the project -- they just didn't want "us" -- that is, they didn't want to be in business with our company.

"We," as it turned out -- were ballast. Our attachment to the project was keeping it from getting sold.

Attaching an actor with limited star value in a starring role may sound like a great idea -- and it may especially sound like a great idea to an actor who has had very few starring roles and might be willing to roll the dice at the chance of getting a starring role if he likes the part. After all -- it doesn't cost him anything.

But if you move forward and manage to find somebody who wants to make the movie and, oh by the way, Actor X that has no name value is attached to play the lead -- that can be a real problem.

Because star casting -- getting someone whose name, in Hollywood terms "means something" can be the difference between a movie getting financing or not.

And actors' names are tossed around and discussed in exactly those terms. Does his name "mean anything" in foreign? That is -- can we sell the movie overseas on the strength of this or that actor being in our movie? No? Then forget about it. He's out.

Scripts sell, often, for hundreds of thousands of dollars. Movies cost millions of dollars. The decision to buy scripts and to make movies are, first -- marketing decisions.

So right now, you've finished your script and you have entered that phase -- the marketing phase. And you need to be very careful about not confusing an aesthetic decision (that is, this actor would be "good" in the part, or "good" in the movie) with a marketing decision -- will this or that "attachment" increase the chances of the script being sold and the movie being made.

NMS

[heatgirl]

nmstevens: Thanks for telling me this, it actually makes sense what you're saying. I'll think about it a little while longer and see what I'm going to do.

You're very helpful you know : )

[Cassie]

I've written a cool little fantasy script with a character that would be perfect for Whoopi Goldberg. Since she's a producer as well as actor, could I send it to her and how on Earth would I find an address?

BTW, I'm new here but I've been writing scripts for awhile.

Hi MiladyD and welcome., My advice to to you: GET REAL and get your expectations right. Everyone has to start somewhere, and I doubt that you're going to be able to start with Whoopi (or anyone else on her level).

Start working with other people.

Cheers,
Cassie

[JulieJames]

ok crazy question here.... lets say I targeted an actor, and without them (all the people I spoke on the phone with) saying we like your stuff they all strongly recommended I seek representation and submit my stuff to a specific person..... how does a newby get representation to break into the circle?