Interview with
Frederick Levy
Interviewed by Jenna Glatzer
Frederick Levy is the Vice
President of Development and Production at Marty Katz Productions. The company
currently has a first-look deal with Miramax and Dimension Films. The first
movie produced under this deal is REINDEER GAMES. They are currently in
production on IMPOSTOR. The company's most recent films include TITANIC,
MR. WRONG, and MAN OF THE HOUSE. Before joining Marty Katz Productions,
Frederick worked for American Entertainment Investors and InterMedia/FilmEquities,
Inc. both of which financed and packaged independent films. Frederick's
first book, Hollywood 101: The Film Industry,has been published by
Renaissance Books and St. Martin's Press and is available in all major
bookstores
First, tell us what your job entails.
As Vice President of Development, I meet with agents and writers to find new material. I work with writers to develop existing material or ideas born in-house. I also package projects with actors and directors to make film projects more attractive to studios or financiers.
You must've had great connections to get a job like that... right?
I climbed the ladder. I began at Marty Katz Productions as an assistant; proved myself and got promoted. I became story editor within six months, then moved on to Director of Development, and finally VP. Today, I'm producing films with my boss.
Must a screenwriter move to Hollywood to get his/her career off the ground?
It's important to be in Hollywood to get a good feel for the business. You'll also be able to
network and meet people who may help get your script into the right hands. Once you have an agent, it is integral to be here so you can be available for meetings when someone reads and likes your script, and also for rewrite assignments.
How has the Internet changed the way you and your company do business?
It hasn't changed the way we do business, but it has certainly opened up the opportunities for writers to contact us. I probably receive about 200 query letters a week. I would estimate half come from the Internet.
What does coverage look like?
Our coverage has three parts: 1) log line -- in one sentence, tell me what the script is about. 2) Summary -- almost like doing a book report. 3) Comments -- this is most important to me. Is this idea fresh and new or have we seen it a million times before? If it's a comedy, does it make you laugh out loud? If it's a thriller, is it exciting and suspenseful or mundanely predictable? Is it castable? How expensive is it? Is this the type of film we're looking for. How does it rate within its genre?
Many companies request either "high concept" or "character driven" scripts. Are these terms mutually exclusive?
Not at all.
Is it important for new writers to adhere to three act structure?
It's important for all writers to tell amazing stories. Adhering to tried and true conventional rules is helpful.
You read a script. The concept is great, but the execution isn't. What do you do?
It depends. If it's a new writer, I can try to work with him/her to improve it, or
suggest they work with someone else (a partner, etc.) to improve the quality of the writing. I've seen
poorly executed great ideas get bought and given to other writers to rewrite.
Often, if a company is interested in an unrepresented writer, the company will refer the writer to an agent. Does this result in "loyalty" to the company from the agent-- meaning that the agent won't negotiate for a high price?
Not at all. In fact, a third party (the studio) is generally the one that is buying the property for the producer to produce.
What's one thing you wish you'd learned earlier about the film business?
I wish I had a more complete understanding of how everything worked before I started working in the biz. That way, there would have been a lot less trial and error in making my way in the industry.
Your book, Hollywood 101, covers several aspects of the film business-- writing, directing, producing, crew, etc. How can a writer benefit from learning more about other positions? Do you suggest that writers seek other positions on film crews?
Learning as much as you can about how a movie is made is beneficial to anyone working on a film. A writer should know what everyone on a crew does, just as a crew member should understand the basic concepts of story.
Everyone on a crew refers to the script for their breakdowns (what props are needed in each scene, how many changes does each
character make within the film, etc.) and therefore, a writer with a working knowledge of other positions will be able to help the crew in clearly defining all terms within a
script with which they need to work.
Any tips for successful pitching?
If it's a comedy, make them laugh. If it's a thriller, keep them on the edge of their seats. Put on a good show!
Anything else you'd like to add?
If this is your passion, don't let anyone tell you "no." You can make it happen!
Visit Frederick's website here or
buy his book here.
