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April General Meeting
"Supermentors" Elaine and Marc Zicree
by Jan McInnis
(April 2002) |
Mix up some creativity, courtesy, courage, and persistence and you'll get the formula that Marc and Elaine Zicree use for their successful career in TV and film. Members and guests of the Scriptwriters Network were treated to a wonderful session of information overload at the April meeting.
In fact, there was sooooo much information that, at the risk of not displaying my own creativity, I've decided to format this article with some quick-reference bullet points. This way, you can scan and absorb the information fast, rather than me trying to write a witty and poignant piece of literature that you'll never get around to reading. I'll save it for my scripts. So here's the scoop . .
- The phone call. . .
You want your brilliant script read? You gotta make some calls . . a lot of 'em. It's a numbers game, so the more you make, the better your odds. Increase your odds further with these tips:
- You can call anybody.
- Make a human connection with the person who answers the phone. Put yourself in their shoes. They are a person, not an obstacle. Find out about them and they can become part of your network. Also ask when is the best time to call . .usually early or late.
- Make your call succinct … tell them who you are, what you wrote, and why you're the only one on the planet who is qualified to write this. If you spent 10 years as a cop, and you wrote a cop story, tell them! Be ready with the three-minute pitch and the long version.
- Remember, you're not just calling to sell them something . . . you're calling them to see if what you have meets their needs at this particular point in time.
- Be confident. You're not imposing . . .they need good product.
- Never say you don't have an agent. Don't lie, just use what you've got -- a manager, a lawyer, a willingness to sign a release .. SOMETHING. All you're doing is letting them know that YOU KNOW what you're doing.
- Have a "name" attached to your project. If not, check out networking below.
- Be each other's assistant. Trade calls with a friend; you make his calls, he makes yours and everyone gets read.
Getting feedback . . .
Okay, so you're now wallpapering your house with the rejection letters . . .get FEEDBACK:
- Do it quick. They read a lot of scripts, so a week later is too late. Call them now!
- Send a fax ahead of time. Thank them, and ask for five minutes of their time to address a couple of specific questions. Call to make sure the fax went through.
- Find out what they're really trying to say if they give you vague feedback.
- Get them talking. Tell them you're going to re-write the script (even if you're not) and ask them specific questions about basic stuff that could go wrong: did the main character jump off page, is it slow in second act, etc. . .
- Don't argue with them.
The writing sample . . . . .
Are you sure you've got the goods in your writing sample package? Does it include:
A spec script . .
- Usually (with a few exceptions) NOT an episode of the show you're submitting to. Include the major characters, plus something from your personal background so that the script "pops" when they read it.
- Go to the source. Call the VP of drama or comedy or the assistant to the executive producer at the networks and see what they're reading. Find out if they've already done your spec script, and ask when their pitching window is.
- Make your spec a show that everyone is watching.
An original script..
- Show 'em you can come up with intriguing characters on your own. It can be a play, a screenplay, a pilot or whatever. Just make it be yours!
- Use core stories in settings and environments that are fresh.
The agent .. . .
And not just any agent will do, you need to find the right one.
- Get a writer friend to recommend you. Get ANYONE to recommend you -- as long as they're respected in the business. You don't necessarily have had to work with them for you to use their name, but, of course, you do need their permission.
- Check out your agent first. Make calls to see if studios/networks are reading what he/she submits.
- Get an agent who has expertise in your area.
- Tell your agent you're an entrepreneurial client, then work with them. Send a weekly fax outlining what you've done, what follow-up needs to be done, etc. Compliment, rather than duplicate, efforts.
- It's easier to make a first sale on your own than go through an agent.
- Remember that you have to build the house of your career. The agent is just the hammer.
Networking . . .
That's what it's all about. And whether you like it or not, you gotta do it . .
- Get into charity events where the people with power go. If you have an extra $10,000, spend a grand on a new tux, then buy a few tickets and eat some rubber chicken. Otherwise be creative to get in. Once you're there, no one really cares how you got in.
- Treat the people with power as peers, without being arrogant or sucking up. You also don't necessarily have to talk work . . they have other interests, too.
- Don't ask people in power for a job or to read a script; this may put them in an awkward position. Ask them for advice; they can do that.
- Go to trade shows. Distribution and marketing people will tell you their needs; what actors they're looking for, what they need to sell a product. At AFM, the salesmen will mentor you for free and tell you what they need to sell your film. Then make your adjustments accordingly.
- Go to panels of studio executives and meet them.
- Go to major stars who have production companies or go to their managers. Actors, no matter what level, are artists; they will do something that they think will help their career or that they like. Don't go to their agent; an agent's concern is generally in the money.
- Get an assignment to interview a top actor for a magazine article.
Getting the job . . . .
You can get the job you want. You just need to apply yourself . .
- Cut your learning curve by talking to people who are doing that job. Everyone has their own way of getting the job. If you only ask one person, then you're only getting one angle. Ask people until you find the way that works for you.
- Do your research. Want to write a book on a subject, but you're not an author yet? Do what Marc did for his Twilight Zone book. He interviewed the only former Twilight Zone writer he knew, then asked for a reference, interviewed them, then asked for a reference . . until he got 30 interviews and, more important, approval from Rod Serling's widow to write the book. Sorta like that hair commercial . . . .
Getting the project made . .
And you can see your hard work hit the screen too . .
- Work it backwards. Figure out what your goal is, then work backwards with the steps to meet that goal. Get a blank sheet of paper and write down all the questions you have. Then write down who would know the answer to that question. And if you don't know that person, then write down who does . . .
- Attach bankable talent or director. Make sure they're bankable in the U.S. AND internationally. If they're not known well enough, or right for this kind of project, they can be an anchor rather than a…er, the opposite of an anchor.
- For writer-directors: when you do a short film, make sure it has some of the elements of the feature films you want to do.
- If you bring financing to the equation, it will help.
- Answer people's fears in the room. Handle the problems yourself, even if it means you have to deal with issues you're not familiar with. You can find someone to help you, but you have to be the adult and assure everyone that this project will run fine. The meeting is not about YOU, it's about THEM. They risk their jobs by saying yes to your project -- why should they do that.
- When they ask a question, provide an answer that will get you to "yes." If you don't know how you're going to do something, tell them you'll get back to them.
- The higher up the person you're talking to, the greater likelihood of getting a "yes." Don't be afraid to call to the highest level.
- Have passion and enthusiasm, and be sure of yourself.
- Be very clear on your objective and very specific on what it is you're after.
Resources . . .
And don't say you can't find it . . LA has everything. Some examples:
- The Academy of Motion Picture Arts and Sciences on La Cienega has a great library.
- Variety magazine lists all information on scripts that are bought.
- The Writer's Guild has copies of most scripts available for reading.
- NATPE: The National Association of Television Program Executives; hosts a trade show for the syndication industry.
- National Association of Broadcasters (NAB) hosts a trade show for broadcasters.
- AFM: American Film Market - local annual gathering for the global motion picture industry.
- IFP/West: Independent Feature Project; Hosts the Los Angeles Film Festival and more; check the website.
- AFI (American Film Institute) Film school and much more; check the website.
- Go online and look up the shows you're writing specs for.
- Humanitas - an annual writing prize AND a series of FREE monthly lectures. Call (310) 454-8769.
- UCLA extension is great way to meet people.
- The Hollywood Film Institute in Santa Monica has a two-day seminar on fundraising.
- The Hollywood Creative Directory lists production companies. Find the ones whose work you respect and who are making the types of shows you like.
- Sherwood Oaks Experimental College has many interesting, ongoing programs.
- You can learn more about these resources on the web; and most are local.
So what have we learned? There are "a million ways to make it happen." That's the good news. The bad news for people who just want to write is that you CAN'T just write. You have to deal with phone calls, marketing, budgets and all the other stuff that makes a great piece get produced. And then, as you work your way through the system and into a position of power, fame, and fortune, well, maybe then, you can just write!!
Elaine and Marc Zicree offer six-week Supermentor classes. Their most recent class started April 23; latecomers are welcome. Classes are ongoing; contact them at http://www.zicree.com or (323) 363-1259 for information on the next session.
Jan McInnis is a stand-up comedienne and a freelance comedy writer who sells hundreds of jokes to radio and TV. She also recently got to write on her first two pilots by mistake! One of her friends turned out to be friends of a star who has a production company . . hum, there may be something to this stuff.
- Previous Network Meetings:
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