I always appreciate Corey's transparent breakdown of what it's like for readers of scripts. Writers have it hard because it's hard to write something of value that stands out, but it's important to remember how difficult it is for readers to find excellent material they can vouch for. Thanks for sharing this video.
It also depends on the agent and also who you are. Some want an extensive bio, others want a logline and a pitch deck, some want a script or sizzle reel, most won't even get back to you. Despite everything, it is very competitive and you need to have a very unique project so keep writing.
I was a reader for a British producer and also for an Asian producer. And he is exactly right, so many scripts I read were so bad I could not finish reading past a few scenes or at least 10 pages. I looked for that 'needle script' and found it a few times. One I was so excited about and highly recommended it to my Asian producer he took it and ran with it and then the writer and his management team demanded too much money so it all fell apart. So that happens sometimes. They knew they had a great script so held out for more money and that movie has not been produced yet as far as I know. Another one I recommend to the British producer was an historical drama so even though the script was great they passed because it would have been too expensive to produce. And that happens a lot as well.
I've often heard that only the best scripts get accepted in the film industry, but it's puzzling to witness a multitude of movies that fall short from script to execution. I find myself wondering how these seemingly subpar scripts manage to get the green light.
Non creative people running Hollywood. Interns or workers afraid of losing there job because God forbid there was a spelling mistake or the action line was a little to long.
Many movies start with good scripts that get ruined by the development process. Too many cooks is the main issue. Directors producers and other writers think they can make it better but often don't. And stars also ask for rewrites so they look better or have a bigger role.
A lot of these ‘writers’ you’ll find have connections and family ties to the higher ups in Hollywood unfortunately. When they say only the best screenplays get accepted in Hollywood, they mean only the best from normal people like us 🤷♂️
Film Courage!!!! I love y’all. Thank you for these insightful videos. Can’t wait til I’m sitting across from the interviewer one day. Bet on it!! See you soon!!
I was thinking the same thing. THAT is the hardest part for most people. The foot in the door. If your script is on a manager's assistant's desk, you've got the foot in the door already, now you just need to get an invite into the house.
Corey outlines in no uncertain terms what we need to do to stand the best chance of having our projects read and accepted (or at least shared). And it's all things within our power to perfect in our own process, craft and output. It's a waste of energy to complain about the quality of current movies/tv getting made that we don't like, or how unlikely a career would/could be.
Exactly! They have the industry experience and they're able to articulate their wisdom in ways that are realistic and tangible. They illustrate their points clearly, so it's always evident and focused. I've noticed on this channel that some guests have spent years teaching or refining their points, and other guests have insights and perspectives but not much focus.
My advice here is don't leave it up to Hollywood executive gatekeepers to determine what's a "good" script...there's people that will love and hate your story/characters and idea...and there's literally hundreds or thousands of people that can all do exactly what you're doing...and there's just not enough open positions to probably keep them all. Go out and make your spec story independently!
Would you say that, in life, if people listen to you when you talk, that translates as good narrative voice on paper? I don’t necessarily mean in a bravado kind of way (maybe good for gangster scripts).
Comment revised : a more professional approach - maybe we don’t need agents or Hollywood anymore. Maybe it’s time we stop chasing things that don’t serve us. There are independent filmmakers and other production companies out there that will be more than glad to buy your scripts and produce them. You can actually watch your stories actually be made, by other people who actually ‘DO’ want to work. Maybe it’s time we let Hollywood go, and just do it all ourselves. With God, anything is possible. Ps - without Hollywood, we can make our own rules and not be restricted by limitations, they set. Example : let’s do the Math. Hollywood - let’s wait 2 - 3 years to sell one movie script for 50,000 which equals about 25,000 after taxes, fess, and agent fees. And you still have to pay income tax on what you make. They even tax that. (WOW) No HOLLYWOOD: you could have sold 8 film scripts in that same time for about 5,000 per script to independent film makers equals 40,000 - less fees - no agent fees - and only income tax after paid. Plus small royalty on product . You tell me, which one is wiser. Do the math.
Because most of this crap is based on easily recognised IPs which guarantees an audience. Getting an original script through the sieve is extremely difficult, because producers (and therefore agents and managers) have to put in way more work into marketing something new and getting an audience interested.
He's talking about how readers/agents go through all the scripts they are sent. Not every script the studio wants to make gets made. At the same time, people already in the industry are pitching ideas. A lot of projects get rewritten by different writers, and the executives give 'notes' based on what's been popular in the genre. And then they screen it and make changes based on what the test audience say. I'd say it's committee made movies that become a mess or banal. Consider how many people will pay to see a movie without a big name attached. How many big name actors will sign on to a project without a big name director? How many big name directors want to make a script from a first time writer, when they have several projects already planned? We need to separate the existing output from what gets accepted, because they aren't the same thing. We can't change what is being made right now. All we can do is write great scripts/stories with authenticity and persevere in the hope they find an audience (whether that is self made indie projects or Hollywood blockbuster budget). We are not writing to compete with "the crap getting produced" because that will keep being made even with the dwindling box office. We are competing against our peers trying to get our work noticed.
The new world keeps getting harder. Just like we can't buy products at wholesale (for the most part), we are painfully being forced to deal with the silly industry rules and regulations to get ahead. I bet there are thousands, if not, tens of thousands of "sleeper" writers that would transform the industry for the better. It's "who you know" that works the easiest for most industries still till this day. It protects a special group of connected people. I hope it changes. There is lost talent everywhere.
![Felix "Unfair" | [Stray Kids : SKZ-PLAYER]](http://i.ytimg.com/vi/Oswujxm2Ag0/mqdefault.jpg)
Here is our full interview with Corey - ruclips.net/video/CWfcjN8ajHg/видео.html
I always appreciate Corey's transparent breakdown of what it's like for readers of scripts. Writers have it hard because it's hard to write something of value that stands out, but it's important to remember how difficult it is for readers to find excellent material they can vouch for. Thanks for sharing this video.
How did you like this video?
Very insightful! Don't know much about filmaking but it does put things in context!
He comes across as very wise, experienced, pragmatic, and most important of all, honest. Great video.
He is amazing
Corey Mandell is one of Film Courage's most interesting contributors. Thanks again for these interviews.
It also depends on the agent and also who you are. Some want an extensive bio, others want a logline and a pitch deck, some want a script or sizzle reel, most won't even get back to you. Despite everything, it is very competitive and you need to have a very unique project so keep writing.
To enter the sacred portal something unique should be hand, whereafter you can knock out dross.
Hi Film Courage can we please get some examples of “needle scripts” that are not formulaic or following a paradigm? Thank you!
I was a reader for a British producer and also for an Asian producer. And he is exactly right, so many scripts I read were so bad I could not finish reading past a few scenes or at least 10 pages. I looked for that 'needle script' and found it a few times. One I was so excited about and highly recommended it to my Asian producer he took it and ran with it and then the writer and his management team demanded too much money so it all fell apart. So that happens sometimes. They knew they had a great script so held out for more money and that movie has not been produced yet as far as I know. Another one I recommend to the British producer was an historical drama so even though the script was great they passed because it would have been too expensive to produce. And that happens a lot as well.
Yeah, great point! It's important for a writer to consider the logistics of shooting the scenes in their script, even if it's a great script.
I've often heard that only the best scripts get accepted in the film industry, but it's puzzling to witness a multitude of movies that fall short from script to execution. I find myself wondering how these seemingly subpar scripts manage to get the green light.
Well, if Wish is any indication, someone who is not a creative got involved in the creative process and, well, ruined it.
Non creative people running Hollywood. Interns or workers afraid of losing there job because God forbid there was a spelling mistake or the action line was a little to long.
Many movies start with good scripts that get ruined by the development process. Too many cooks is the main issue. Directors producers and other writers think they can make it better but often don't. And stars also ask for rewrites so they look better or have a bigger role.
A lot of these ‘writers’ you’ll find have connections and family ties to the higher ups in Hollywood unfortunately. When they say only the best screenplays get accepted in Hollywood, they mean only the best from normal people like us 🤷♂️
@@BigFroggVery good point!
That was some very nutrient-dense content. Thank you!
This is fantastic. Thanks, Corey.
Film Courage!!!! I love y’all. Thank you for these insightful videos. Can’t wait til I’m sitting across from the interviewer one day. Bet on it!! See you soon!!
First comment! hahaha! Best regards from Tierra del Fuego, Argentina!
Cheers! Hopefully many more to come! 🇦🇷
It's a very helpful video because it has a clear answer.
yea... but he left out the part about getting that initial contact to even get you in the pile. That's kind of what everyone is really getting at...
I was thinking the same thing. THAT is the hardest part for most people. The foot in the door. If your script is on a manager's assistant's desk, you've got the foot in the door already, now you just need to get an invite into the house.
Exactly. It was like, well my agent called Ridley... But he didn't tell us how he got his agent.
Most these videos been . I pitched and I’m like “ How do you get that chance” lol 😂
Love the sharing! Thanks a bunch!
Corey outlines in no uncertain terms what we need to do to stand the best chance of having our projects read and accepted (or at least shared). And it's all things within our power to perfect in our own process, craft and output. It's a waste of energy to complain about the quality of current movies/tv getting made that we don't like, or how unlikely a career would/could be.
WATCH - Creative Integration For Screenwriters - Turning Weaknesses Into Strengths
ruclips.net/video/aDTvLNf_NpU/видео.html
This guy is SMART.
Got to thread that needle! Cheers Film Courage!!
This dude and Shannon E Johnson are the absolute best!!
Exactly! They have the industry experience and they're able to articulate their wisdom in ways that are realistic and tangible. They illustrate their points clearly, so it's always evident and focused. I've noticed on this channel that some guests have spent years teaching or refining their points, and other guests have insights and perspectives but not much focus.
All well and good, BUT how did you manage to get signed by Diane Cairns in the first place?
right theyre always skipping steps
What does he mean by formulaic? All the writers who follow Save the Cat, use beat sheets, etc?
Then, what makes a great character cast integrated into a great story?
Is it always an original story, or can it only be a relatable story?
Which films are examples of these selection criteria?
as expected
Awesome
His story about going from the Minors to the Majors is EXTREMELY accurate
My advice here is don't leave it up to Hollywood executive gatekeepers to determine what's a "good" script...there's people that will love and hate your story/characters and idea...and there's literally hundreds or thousands of people that can all do exactly what you're doing...and there's just not enough open positions to probably keep them all. Go out and make your spec story independently!
As Jason Ricci has said, "Nobody wants you until you don't need them"
I don’t know what’s going on but in MY OPINION I haven’t seen a great film in years.
I have.
Quality cinema is coming back!
Would you say that, in life, if people listen to you when you talk, that translates as good narrative voice on paper? I don’t necessarily mean in a bravado kind of way (maybe good for gangster scripts).
Man is pure money
Comment revised : a more professional approach - maybe we don’t need agents or Hollywood anymore. Maybe it’s time we stop chasing things that don’t serve us. There are independent filmmakers and other production companies out there that will be more than glad to buy your scripts and produce them. You can actually watch your stories actually be made, by other people who actually ‘DO’ want to work. Maybe it’s time we let Hollywood go, and just do it all ourselves. With God, anything is possible.
Ps - without Hollywood, we can make our own rules and not be restricted by limitations, they set.
Example : let’s do the Math.
Hollywood - let’s wait 2 - 3 years to sell one movie script for 50,000 which equals about 25,000 after taxes, fess, and agent fees. And you still have to pay income tax on what you make. They even tax that. (WOW)
No HOLLYWOOD: you could have sold 8 film scripts in that same time for about 5,000 per script to independent film makers equals 40,000 - less fees - no agent fees - and only income tax after paid. Plus small royalty on product . You tell me, which one is wiser. Do the math.
What if your script is too expensive for an independent producer?
What if you’re a filmmaker but not a writer?
Still write and do shorts !
Here's one way - ruclips.net/video/1wzDY2rzYNU/видео.html and here's another - ruclips.net/video/qUh_TsSdnNI/видео.html
Now I know why today's films are so AWFUL!!😢😢😢😢😢
Then why does so much crap get produced after this stringent winnowing process??
Because most of this crap is based on easily recognised IPs which guarantees an audience. Getting an original script through the sieve is extremely difficult, because producers (and therefore agents and managers) have to put in way more work into marketing something new and getting an audience interested.
He's talking about how readers/agents go through all the scripts they are sent. Not every script the studio wants to make gets made. At the same time, people already in the industry are pitching ideas. A lot of projects get rewritten by different writers, and the executives give 'notes' based on what's been popular in the genre. And then they screen it and make changes based on what the test audience say. I'd say it's committee made movies that become a mess or banal. Consider how many people will pay to see a movie without a big name attached. How many big name actors will sign on to a project without a big name director? How many big name directors want to make a script from a first time writer, when they have several projects already planned?
We need to separate the existing output from what gets accepted, because they aren't the same thing. We can't change what is being made right now. All we can do is write great scripts/stories with authenticity and persevere in the hope they find an audience (whether that is self made indie projects or Hollywood blockbuster budget). We are not writing to compete with "the crap getting produced" because that will keep being made even with the dwindling box office. We are competing against our peers trying to get our work noticed.
And this is why movies suck. Because of the gatekeepers and their masters who keep real talent out and mediocre talent in.
The new world keeps getting harder. Just like we can't buy products at wholesale (for the most part), we are painfully being forced to deal with the silly industry rules and regulations to get ahead. I bet there are thousands, if not, tens of thousands of "sleeper" writers that would transform the industry for the better. It's "who you know" that works the easiest for most industries still till this day. It protects a special group of connected people. I hope it changes. There is lost talent everywhere.