ࡱ> @ V jbjbqq XlVVVVVVV$s7ttttttt7777777,O; o=J.7EVttttt.7"VVtt"""tBVtVt7"j^NVVVVt7"V"#t4VV5L\5"5,s7s75"="=5"Film Pitch Definition from Wikipedia A pitch is a concise verbal (and sometimes visual) presentation of an idea for a film, generally made by a screenwriter or director to a producer or studio executive in the hope of attracting development finance to pay for a screenplay to be written. Pitches are usually made in person, although they can be made over the phone or, occasionally, pre-recorded on audio or videotape. A good pitch is generally between five and ten minutes long and lays out the premise, hook and essential beats of the story, along with thumbnail sketches of the principal characters (often including the names of actors who might play the roles), and a clear idea of the genre, tone, likely audience, and budget level. If an executive is interested in a pitch, he or she may ask to see a treatment. If not, the executive will often follow up with "What else have you got?" For this reason, a wise supplicant will be prepared to pitch a second and possibly third idea without hesitation. Types of Pitches 15-Second Pitch The Elevator Pitch (30 secs to 3-minutes) In the working world, people communicate through 30-second elevator speeches, rsums, business plans, articles in industry magazines and water cooler conversations. The medium doesn't matter, nor does whether the setting is a 10-person start-up or a Fortune 500 company. But telling your story -- letting people know who you are and why they might care -- opens career doors, experts say. The Five-Minute Pitch You're at a Pitch-Your-Script seminar, or you get a meeting with a producer, and he wants to hear your three best ideas. Your goal is to get them to read your script. You have a little more room to breathe, but you don't want to bore them with too many details. What do you do? Imagine you're telling a friend about a really great movie you saw. That's the Five Minute Pitch. It's like you're pitching the trailer to your script. Twenty-Minute Pitch Outline your idea. Pitching is like performing a one man one act play. You must be a great story teller, totally compelling and never let the listener be ahead of where your story is going. So this is why it is imperative to outline your story. A pitch should be no more than 20 minutes long. Seriously. Don't think 30 minutes is cool. Unless you're Spielberg, it's not. So, outline 20 beats of your story. Step by Step Instructions * Step 1 Outline your idea. Pitching is like performing a one man one act play. You must be a great story teller, totally compelling and never let the listener be ahead of where your story is going. So this is why it is imperative to outline your story. A pitch should be no more than 20 minutes long. Seriously. Don't think 30 minutes is cool. Unless you're Spielberg, it's not. So, outline 20 beats of your story. These are the progressions your character makes throughout the film. An example would be "We meet John and Cindy, they're a cheeky couple who..." That would be your first beat. "Then one day John comes home, it's eerie, mysterious, the house is empty, and she's DEAD!" This would be another beat. Your story should have about twenty of these, give or take. * Step 2 Break the acts. When you pitch a movie, it's a great idea to let the listener know where the end of Act 1 and Act 2 are. This will clue them into the pace of the story. A general rule of thumb is Act 1 ends when the major problem of the film presents itself. Act 2 ends when the hero has set out to fix the problem, struggled, then figured it out until...an even bigger bomb drops, taking your hero lower or as low as he was at the end of Act 1. Then of course the end of the film is when the character uses his knowledge that he's gained throughout the film to ultimately solve the problem and put his life back in order. Again this is just general structure. But looking at your outline, break the film into the three appropriate acts. * Step 3 Follow the character. Make sure that in every step of the way you are with the protagonist. You should be rooting for whatever he is fighting for and following his journey. If you switch points of view, be sure that the character you switch to has their own unique point of view. By following the "character" of your protagonist, you will invest the listener in the story. Go back, look over your beats and make sure the protagonist is striving to reach his goal (succeeding or failing) every step of the way. Also, huge note, be sure that the character is always doing the smartest possible thing to attain his goal in every moment. If the bomb is about to go off, but you haven't tied up the loose end from when he shagged the babysitter, don't have him stop and make a phone call. Diffuse the bomb first. You get the idea. * Step 4 Be engaging. There's nothing worse than someone who is pitching with a lack of energy. That's not to say you should be hyper, but intently focused on telling your story with passion. If it's funny, let that come across (comedy pitches are a bit like doing stand-up.) If it's a drama, intensity is key. * Step 5 Practice, practice, practice. This cannot be stressed enough. Once you have the story, this is where the real work comes in. While the pitch should not be memorized, to avoid sounding like a robot you should be able to pitch the entire story without looking at any notes. This will take, literally, several days of up at dawn, burning the midnight oil hard work on your part, where you say the pitch over and over and over until the point that it is second nature, which of course is the whole point! Be sure to practice in front of people. This will get you used to listeners and also you are then able to ask them what they got, didn't get, understood, or didn't understand. * Step 6 Relax and have fun! You've done the hard work, you know you're story, now just sit back and tell your tale. The executive you're pitching to has heard many pitches. They know how to make the room comfortable. And if you mess up, just take a second to backtrack. Congrats, you are well on your way to pitching a movie! From ehow.com 5.8 The Actual Pitch In a telephone conversation with former Perth producer Pat Evans on 28 March 2003, she stated that once a project concept is reasonably developed one can pitch it themselves to a party, though it's necessary to be a good speaker and have good negotiation skills. Alan Thompson also mentions that the pitching of project has a lot to do with negotiation. Once a producer is on board on a project they can facilitate and carry this out this for a film-maker as that is their speciality. Vladimir (2003) states that 'pitching is a fine art'. He states that it requires a film-maker to showcase their idea in an appealing way that explains the program, why the program is interesting and special, explains who would want to see the program. The idea and concept of the project has to be presented clearly and directly, Alan Thompson suggesting that one of the most important things is clearly stating who the target audience of the project is. Revisiting the fact as touched upon in section; 5.4 Story Not Visual, of the of significance story, Kelly (1998, p. 11) mentions that the story premise is very important in relation to the pitching of a project concept. Kelly (1998, p. 11) suggests that 'if you need to convince investors, producers, talent, or distributors. The premise is your one-line pitch - the hook to interest your audience and get them to listen to the rest of your presentation'. In relation to this, both former Perth producer Pat Evans and animator Alan Thompson state that the success of the pitch depends on what the concept is, and whom you pitch it to. Just like funding agencies as touched upon in the section; 4.2.2 Types of Film Funding offered by Funding Bodies, the final buyers, be it television networks or distributors will favour various types of programming over others. For instance Pat Evans states that the Australian commercial broadcast channels, such a channel 7 or channel 10, would be more interested in obtaining entertainment-based programming, and a network such as SBS, or an educational distributor, would be more likely to favour a concept that includes cultural heritage content. An overview of potential final buyers will be touched upon in the following section. If one was to carry pitching a project or concept at a conference, such as the ones described in the previous section, Thompson states that the one who is pitching, only has about 5 minutes to verbally sell an idea to a potentially interested party. He mentions that due to the limited time and the fact that many people are selling their ideas and passing on their tapes and documentation, one has to make an impression. One scenario Alan Thompson mentioned that illustrates the above fact is a chance meeting he had with Warner Brothers executives about a concept he was working on. Also pitching to these same executives were the big names of animation in Perth such as Barron Films and Media World. Alan Thompson stated that he rehearsed his pitch to death pretty much, making the point that having a planned pitch ready, knowing what you are going to say, is crucial. From  HYPERLINK "http://www.andrzejb.net/honours/chapter5.htm" http://www.andrzejb.net/honours/chapter5.htm The Hollywood Pitch: Watchs the Catch? LA Times Nola Lopez It was during my first year in L.A., toward the bottom of my third glass of wine, as my office clock passed 10:30 a.m. and the writer leaned forward, blouse largely unbuttoned, to pour me a fourth while continuing to propose her TV series about the wine industry, that I realized I d arrived. Here it was: the all-out Hollywood pitch, complete with alcoholic props. This was the heralded showbiz tradition, as lampooned in The Player, practiced by quirky writers and smooth-talking producers in this town and roundly mocked by people (including me) outside it for generations. I had expected, of course, that hearing pitches would be a necessary part of my job as a studio executive. However, I had no idea how to respond. So I looked to other executives as examples, and what I saw surprised me. It turns out people s methods of receiving pitches their catches, if you will are at least as quirky and clumsy as the proposals that provoke them. Over the past five years as a TV and movie executive, I ve learned that while there may be as many types of pitches in professional entertainment as in professional baseball, there are also as many ways recipients accept, repel and bungle them when they re delivered. The behavior of the Typical Executive can be just as weird as that of the Pitching Writer. The difference is that executives aren t judged by it. Until now... Pitch Type 1: THE HARDBALL The Hardball comes fast and straight, powered by props and/or overpreparation: the wine-show pitch with a side order of wine; the improv-show pitch interrupted at preplanned intervals by improv. One time, a writer had pre-Googled me, found an old photo and then printed, cut and pasted my face into a collage of his ideal cast leaving me not with the intended sense of flattery but feeling like I might be sitting across from the murderer in The Silence of the Lambs. Recently a writing team began its presentation by hurling those tiny paper-wrapped snappers against the wall to ensure my attention. The Hardball comes from all angles but always with an intensity that is equally admirable and startling. Executive Response: THE BOBBLEHEAD The Typical Executive s reaction to a Hardball is that of a perfectly agreeable and recently lobotomized mental patient. There is nodding, a vague half smile, perhaps a noncommittal chuckle. There s the raising of eyebrows although this may be accidental or an optical illusion, just as the glance of the desert sun off the brow of the Sphinx can make him appear, for an instant, pleasantly surprised. The presence of more than one Typical Executive generally renders an effect as stately and stony as Mount Rushmore. And the experience leaves the pitchers with no earthly idea as to how it went. Pitch Type 2: THE SOFTBALL This is a more delicate toss, designed to approximate an off-the-cuff conversation between pals. Often it starts with a smokescreen puff of disclaimer, like, This probably isn t something for you  or I m no good at pitching my stuff  and before you know it, it s been lofted. Of course, the Softball can backfire. One writer casually delivered me a Softball over breakfast and was so spontaneously struck by his own comedic plot climax (which he seemed to have just conceived) he collapsed in weeping laughter and actually couldn t go on. Another pitcher asked if we could hang at his local bar, and then he got drunk enough to talk more convincingly about stalking his ex-girlfriend than about the romantic-comedy idea he d now rendered fatally creepy. Not long ago, an agent lobbed a phone Softball so gentle as to be backward he muttered, off the rec`"ord, something about my having asked him to bring me a movie pitch from a writer I d in fact never heard of, then blabbed the proposal over my objections and hung up before I could reject it. That s a Softball for you: too gingerly thrown to be caught or even batted away. Executive Response: THE ROBOT The Softball generally provokes in the Typical Executive the kind of stilted and flailing dance the canoodling Dorothy got from the Tin Man. Drag a Typical Executive into an informal conversation about a proposed show or movie, and he or she appears pained. Physical symptoms of receiving a softball generally include stammering, hot flashes of pleasure immediately followed by cool cynicism and a stiffness throughout the body and vocabulary that can resemble a seizure. This is the struggle of the really relaxed person within the Robot eager to get out. Unfortunately, any attempt at a loose chat with that person is all too often drowned out by the metallic bang of his or her cage. There are other types of pitches, of course. The Changeup starts as one idea and mystically morphs into another depending on the listener s reaction. The Curveball is thrown, for instance, by the two graduating USC Film School students who asked to come in for some commencement advice, then promptly assumed dance positions and sweatily rapped a musical comedy that brought wall-pounding complaints from my neighbors. And there are other types of Typical Executive responses. In the Powerpoint, the exec proceeds to break down the value of a creative idea according to preanalyzed data and bullet-pointed comparisons to projects of the past. The Jabba the Hutt has the listener cruelly relishing his or her grotesque power while belching out nonsensical opinions and ultimately eating the visitor alive. But most important and thankfully there are Hollywood types beyond the Typical Executive. Often deep in the burrows and pens of entertainment companies are more individuals savvy enough to appreciate creativity when it walks in and greets them and as eager as anyone to do away with the petrified formalities of the Pitch. Because the truth is, pitching is a brutal ritual, as strained in its gestures as a first date, as stilted and overrespected as a Japanese tea ceremony. Far better to cut the crap and candidly swap bright ideas. Now more than ever, what the jittery and constricted entertainment business needs is big innovation, unwieldy notions and ballsy thinking, regardless of the tactical smoothness of their presentation. To stand on ceremony now or, worse, to sit with feigned might on our secondhand and temporary office-issue thrones is to fail at something bigger than pitching or catching. It s to risk missing out on the generally unpackaged brilliance that is the occasional miracle of our work and certainly its greatest fun.  HYPERLINK "http://www.latimesmagazine.com/2009/03/art-of-pitching-film-tv.html" http://www.latimesmagazine.com/2009/03/art-of-pitching-film-tv.html Pitch Links FILM PITCH RESOURCES A good pitch is generally between five and ten minutes long and lays out the premise, hook and essential beats of the story, along with thumbnail sketches of the principal characters (often including the names of actors who might play the roles), and a clear idea of the genre, tone, likely audience, and budget level. Pitches come in two forms: the two-minute pitch, also known as the teaser, and the story pitch Here is some background info that will be useful for your future assignment links below The Two Minute Pitch The two minute pitch starts off with the hook of the story. You have to sum up the storyline of your idea in around 25 words or less. This is the hook, an example would be: The Godfather : The aging patriarch of an organized crime dynasty transfers control of his clandestine empire to his reluctant son. After you have drawn in the executives with your hook you will be asked to continue. This is when you can go over the storyline briefly from beginning to end. Focus on two or three characters at most and the action, conflict and emotions they will go through. http://www.filmscriptwriting.com/themeetingandpitch.html Pitches come in two forms: the two-minute pitch, also known as the teaser, and the story pitch, which is traditionally 10 to 20 minutes in length, though the shorter the better. http://www.dummies.com/how-to/content/preparing-to-pitch-your-screenplay-to-a-studio.html Teaser Pitch first sentence introduces the characters, the next sentence illustrates their conflict, and the final sentence leaves listeners wanting more. The conflict generally suggests the film's genre, but if not, consider alluding to that in the final sentence as well. The story pitch is much longer than the teaser pitch, but try to keep it under ten minutes, if possible. The story pitch starts with your hook or your logline, and then you run down the rest of the story. Be sure to illustrate those universal elements ? the heroes, their goals, the conflict, what's at risk and why they're fighting to save it, any pivotal events or emotional turning points, and the conclusion. Film Pitch Example The written part of the assignment should include: * your pitch (or the notes you used in your pitch) * a synopsis (no more than 2.5 pages) * a tagline (a single sentence that tells us the story) * a single scene of roughly 5 - 7 pages of dialogue/action * the breakdown of the movie into its three acts, including plot points * anything else you decide to include that gives me a better idea of what the movie is about Transcript of a Successful Movie Pitch http://www.scripthollywood.com/id29.html How to pitch a movie http://www.ehow.com/how_2045893_pitch-movie.html Pitching your story http://www.breakingin.net/tswpitching.htm The Art of the Film Pitch http://www.mediabistro.com/courses/cache/crs760.asp Pitch (filmmaking) http://en.wikipedia.org/wiki/Pitch_(filmmaking) Movie pitch concerning a young man and his fellow college graduates who are out of work and decide to start a church to make money. http://www.babelgum.com/html/clip.php?clipId=121737 A film treatment (or treatment for short) is a piece of prose, typically the step between scene cards (index cards) and the first draft of a screenplay for a motion picture. It is generally longer and more detailed than an outline (or one-page synopsis) and shorter and less detailed than a step outline, but it may include details of directorial style that an outline omits. They read like a short story. There are two types: the original draft treatment, created during the writing process, and the presentation treatment, created as presentation material. Film Treatment http://en.wikipedia.org/wiki/Film_treatment http://www.filmscriptwriting.com/ Kurt Vonnegut's Rules for Short Stories Sounds suspiciously like Syd Field's rules for screenplays: 1. Use the time of a total stranger in such a way that he or she will not feel the time was wasted. 2. Give the reader at least one character he or she can root for. 3. Every character should want something, even if it is only a glass of water. 4. Every sentence must do one of two things -- reveal character or advance the action.* 5. Start as close to the end as possible. 6. Be a sadist. No matter how sweet and innocent your leading characters, make awful things happen to them -- in order that the reader may see what they are made of. 7. Write to please just one person. If you open a window and make love to the world, so to speak, your story will get pneumonia. 8. Give your readers as much information as possible as soon as possible. To heck with suspense. Readers should have such complete understanding of what is going on, where and why, that they could finish the story themselves, should cockroaches eat the last few pages. From  HYPERLINK "http://blog.lib.umn.edu/jrock2/viznar/2009/02/pitch_links.html" http://blog.lib.umn.edu/jrock2/viznar/2009/02/pitch_links.html Preparing to Pitch Your Screenplay to a Studio Adapted From: HYPERLINK "http://www.dummies.com/WileyCDA/DummiesTitle/productCd-0764554867.html"Screenwriting For Dummies HYPERLINK "http://www.dummies.com/WileyCDA/DummiesArticle/id-1689,subcat-LANGUAGE.html?print=true"Printer-ready versionPitching a script is an art form, and although it can be stressful, it's something every writer has to perfect before approaching executives or agents. So what is pitching exactly? A pitch is an animated summation of a script with emphasis on the main characters, the conflict, and the genre. When pitching a script, you use this summation to persuade industry professionals to option the work (purchase it for consideration). Pitches come in two forms: the two-minute pitch, also known as the teaser, and the story pitch, which is traditionally 10 to 20 minutes in length, though the shorter the better. You absolutely must have both types of pitches prepared before you contact industry personnel. You never know when you'll be called upon to sell your story or how you'll be asked to sell it. The teaser pitch The teaser pitch is a short pitch. Traditionally, you get three sentences to hook listeners into the premise, the genre, and the scope of your film. When crafting this pitch, pay particular attention to what you think they might be listening for. Producers probably want to know the following details: How the film might be cast How much it will cost to make How they'll market it What films it resembles If you follow those requests, your first sentence introduces the characters, the next sentence illustrates their conflict, and the final sentence leaves listeners wanting more. The conflict generally suggests the film's genre, but if not, consider alluding to that in the final sentence as well. Here are some examples: Europe, 1912. Jack Dawson and Rose DeWitt Bukater enjoy a secret and passionate romance after they meet on a ship chartered toward New York. That ships happens to be the Titanic. Jessica Stein has met and refused virtually every man in New York City. Maybe it's time she looked for a woman. (Kissing Jessica Stein) Northern England, 1984. Young Billy Elliot, the son of a poor local miner, decides to start training for a career. In ballet. (Billy Elliot) These examples suggest the skeleton of a short pitch. You might use them at the onset of a meeting to rope listeners into a more detailed explanation, or perhaps insert more details in between these sentences. In any case, practice your pitch at home with a stopwatch. Never exceed two minutes try to do it in one, if you can. If you maintain the three to five page limitation, timing shouldn't be a problem; you'll finish in well under two minutes. If executives want to know more, they'll ask. Be animated, enthusiastic, and concise. Movie trailers are good examples of this kind of pitch; so are the blurbs on the back of video and DVD boxes. Some writers craft a teaser pitch for stories that they haven't written yet, in case they're asked what other material they're working on. It never hurts to have two or three teasers on hand, in case you're asked to do the same. The story pitch The story pitch is much longer than the teaser pitch, but try to keep it under ten minutes, if possible. People in the industry keep long and frantic hours, which naturally affects their attention spans. If you ramble on or get off-track, they're likely to start planning their next meeting before you're done. Some writers use note cards to help them through this pitch. That's perfectly acceptable, but don't rely on them. Reference the notes occasionally, but keep your focus up and on your listeners. If you practice pitching your story several times before the session, you should have it pretty well burned into your memory, so keeping your eyes on your listeners and off your notes won't be hard. The story pitch starts with your hook or your logline, and then you run down the rest of the story. Be sure to illustrate those universal elements the heroes, their goals, the conflict, what's at risk and why they're fighting to save it, any pivotal events or emotional turning points, and the conclusion. Because you're giving a longer pitch, you have more chances to go astray. Here are a few things to avoid right away: Don't compare your film to others too much. It used to be common practice to depict a script through a combination of two existing films. (It's When Harry Met Sally in Waterworld, or it's Goonies meets The Field of Dreams.) Know what your film shares with others, but keep the comparisons brief. Don't ever compare your script to box-office disasters. No one wants to make another Ishtar. Avoid listing action in chronological order tell them a story instead. Avoid depicting too many subplots or details. Concentrate on two or three characters and pivotal events, or the pitch will quickly become convoluted. Don't keep pitching if they express disinterest, and (on the bright side) don't keep pitching after they agree to consider it. Don't mention actors that you have in mind. Describe the characters, so that your listeners will envision them. Never lie about the story or its hype. Producers discover false information quickly. As with any sale, personality is paramount. If you're enthusiastic, they will be, too. If you're charming and witty, they'll remember you even if they can't accept the script. And never express desperation. There's always some other way to generate interest. Pitching scares some writers to death. If you're one of those frightened few, do something about it. Acting classes are a great way to build confidence in your presentation, as are courses in public speaking. Or, if you'd rather, practice in front of friends and family. See whether they'd want to purchase the script based on your description. After you've typed up both pitches and are comfortable delivering them, you're ready to search for an agent and/or a producer. Creating the Backstory for Your Screenplay Adapted From: HYPERLINK "http://www.dummies.com/WileyCDA/DummiesTitle/productCd-0764554867.html"Screenwriting For Dummies HYPERLINK "http://www.dummies.com/WileyCDA/DummiesArticle/id-1686,subcat-LANGUAGE.html?print=true"Printer-ready versionMost writers dream a little before they tackle writing their scripts. Actually, they dream a lot. Before you craft an environment, you want to know its history, its geographical location, and its condition. Before you write a scene between parents, you want to know what attracted them to each other, how long they've been together, how many children they have, and the like. Before your characters go to war, you have to know what moments in political history led them to that battlefield. The ability to write complex events inhabited by complex people comes from knowing everything you can about why those events occurred and who those people are. The details you unearth may not all make it into your final draft, but they will add color and depth to the eventual script. Compiling your information now will also allow you to write with fewer interruptions later because you will have answered many questions in advance. Backstory refers to everything that occurred in your story's past. A character's backstory may include family background, job history, psychological condition, and any memories you create for that person from childhood on. The backstory of a situation includes events that led up to it and a suggestion of why that situation's occurring now. Elements of the backstory You may find it helpful to invent your script's history one section at a time. Just as detectives follow a certain line of questioning, so will you subject your story to an inquisition of sorts. Here's a list of categories that you may want to consider in your search for a backstory: Convictions and beliefs: What are your character's political, social, and economic views? Does your character have any theories on life in general or in detail? How did he or she come to feel that way? Education: Consider both formal education and acquired education in this category. Where your character went to high school may be as important as the three months he spent on the streets learning to play the drums. Family background: Invent your character's family history, including the uncle she was named after but never sees. Friends are included in this category. Geographic location: Detail any environment that helped shape your character's present circumstances. Create everything from the climate to the socio-economic make-up of the community to the carefully manicured lawns. Key past events: Virtually every main event in your story will be possible because of something that's occurred in the past. What events led up to those in your story, and why did they occur? Past successes and failures: People are shaped in part by their best and worst memories. Knowing what your character's track record is may be helpful in certain situations that arise in the script itself. Phobias: Your characters' fears dictate what they avoid in life and, in some cases, what's pushing them to succeed. Think specific and general; a fear of rose thorns may be just as compelling as a fear of commitment. The film Arachnophobia was fueled by the main character's fear of spiders. Profession: How do your characters make a living? Do they enjoy working at the library, or are they biding their time? How did they get where they are? Quirks: What makes them unique, physically and psychologically? In Forrest Gump, the main character is compiled of odd characteristics, one of which is how fast he can run. The film A Beautiful Mind tackles one man's battle with schizophrenia. A character's quirks may propel your story forward. System of values: People differ in where they draw the line between right and wrong. What do your characters value most in themselves? In a lover? In a child? What types of behavior would make them ill? Talents: What has your character always been good at? Does he utilize that talent, or has it gone by the wayside? Perhaps your story starts on the day an opportunity arises for that talent to emerge. Time period: What part of history are you tackling? Whose history will you portray? Is yours a Civil War story or that of a future age? If you plan to flash between moments in your character's life, how many moments and what were they? Each of these categories suggests its own series of questions that you might answer about your story. Jot those questions down as they occur to you; you'll undoubtedly return to them with each new person and environment you create. Although it's impossible to highlight upon all that you discover in a single script, much of your story may come from the information you invent now. Developing a screenplay through backstory Imagine that you're a tourist in a foreign country you don't speak the language, the people aren't familiar, and anything might happen to you next. This experience isn't unlike that of most movie-goers. They need someone to guide them through their journey and a guidebook to understand the importance of what they see along the way. You are their guide; the backstory is their guidebook. A detailed backstory may be your greatest source of support as a screenwriter. It renders your characters unique and colorful, which will inform how they speak and behave throughout your story. It helps establish a clear world for your characters to explore and, therefore, provides the fuel for most if not all of the future scenes in your script. Consider the information that you have: You've created a time period, an environment, and some character biographies. You may also have envisioned several situations leading up to your story's main events. Your next step involves conveying those details to an audience that knows next to nothing about your story. You can easily convey time periods and locations through costume, dialect, a lingering description of the landscape, or a caption alerting your audience that the story takes place in Paris, 1763. Past events and character traits are often more elusive. Although there's no single formula for using this type of backstory to generate scenes, you may want to consider the following process as a way to begin: 1. Identify the detail that you want to develop. It might be an event, a trait, a location, a family member, or a friendship. Choose one element. For example, your main character could have moved around constantly as a child and is, therefore, unable to settle down as an adult. That unsettled sensibility could be the detail in question. 2. Visualize three ways the detail manifested itself in the past. In particular, concentrate on what moments might reveal the detail to a stranger. For example, you could envision your character as a child. She's kept her bedroom decidedly blank, anticipating the next move. She fidgets constantly in school, often upsetting her classmates. She travels with an imaginary friend the only constant in an ever-fluctuating environment. 3. Visualize three ways the detail manifests itself in the present. Every character exists in at least three roles during the course of a day. Your main character might be at once a mother, a neighbor, and a renowned biologist. Decide how the detail affects your character in several venues. For example, you might imagine that your character is a marathon dater, unable to settle on any person for a length of time. She juggles three jobs at once, constantly dashing from one end of town to another. Although she's lived in an apartment for a year, she has yet to completely unpack. 4. Decide which scenes might exist in your screenplay. Flag any scenario you visualized that will help an audience understand the story you want to write. If more occur to you along the way, jot those down, too. You'll return to those scenes later when you begin piecing your screenplay together. Not every piece of information you come up with will find its way into your screenplay. If you're telling a Civil War story, you may concentrate on your character's political history and ignore his family background. On the other hand, if your Civil War story centers on Abraham Lincoln, his upbringing might be important. The type of story you're telling will dictate which details you reveal from the past. But remember, whether you focus on it or not, everything you imagine will enhance and strengthen your script.Pitching Made Purrfect By Devorah Cutler-Rubenstein President, Noble House Entertainment HYPERLINK "http://www.thescriptbroker.com/"www.thescriptbroker.com Okay, so most of you out there are screenwriters trying to court producers with a killer logline and sample pages from your script. But, trust me, as a producer, a former studio exec and now as The Script Broker (TM), once we get in a room together, over watery tea or bad coffee, with or without your agent, you need to wow us with your pitch. Yes, that's the pitch for your existing script - the spec you and/or your agent are trying to sell. That's right, sometimes even after listing your logline or getting a response to your query, it might be necessary to verbally pitch more of your script to help secure the option and/or sale. Most often this happens over the phone. Telling (or retelling) the quick logline for your script is usually the first stop. Next is the "short version" or the "long version" pitch. Short or long, if your pitch doesn't grab it will likely get a 'pass'. Most of you are already familiar with the term pitching, but if you're just starting out, here's a quickie definition: In Hollywood "pitching" is a term used to refer to those times when you verbally tell your story to a potential buyer. Your intent is to sell whoever's in the room on the commercial viability of your idea. Your goal is to not only sell your idea, but to establish rapport and support for your project as you swim up the studio or other financing food chain. (Pitching in a workshop or mentoring setting is an opportunity for feedback on what's working with your presentation and what may still need work on the way to pitching your story in the real world.) You are probably saying, that's a lot of pressure; can't I just have you read the script? Unfortunately, for all of us out there looking for material to sell and/or buy, there is such a volume of product we have to find ways to 'filter' out what we want to read. Even your agent, once you have one, has to have that pitch down. And you can help at the sidelines, developing a sizzling five minutes. Your agent will kiss you for doing their homework. So it will be a win-win, and it can certainly impact the possibility of a sale! I recently moved from a home office to an office in Beverly Hills; I was wildly amused that every day I overhear agents and producers pitching scripts and writer's ideas to each other, in cafes, in the street, even in bathrooms. It reminded me that Hollywood is an industry town and its industry is storytelling. As important as it is for Ford to churn out picture perfect automobiles in Detroit, it's critical to your success to refine a five-ten minute pitch in Hollywood; otherwise, your wonderful script may never get read. Okay, sure it will sit on a pile and a reader will read it. But a killer pitch will give you a competitive edge and make the producer say, "I've got to read that myself!" So how do you do that? Here are some pointers that may help. PITCHING POINTERS: 1) BE PREPARED: Know whom you're pitching to! Research not only who you are pitching your story to, but also who your intended audience is in the marketplace. For example, what are past successes in your genre? What are the movie and/or TV credits of the people who are "taking your pitch?" Once you have your story down and are ready to 'go out with it,' practice by talking your pitch into a tape recorder, pitching to friends, other writers or to yourself in a mirror. Some people write it out while talking out loud. Some people even write jokes to insert during the pitch. Others do jumping jacks while practicing their pitch (but of course not during the pitch!). Use whatever works for you. I knew one set of writer/producers who practiced their pitch one hundred times before 'going out with it.' For the memory challenged, it's acceptable to use a cheat sheet or card with bullet points. But practice is imperative and don't forget to use improv. Sometimes our best ideas come when we're just shooting from the hip, but usually these improvisational moments are paved by a good foundation of practice. Some of the people you pitch may have ideas of their own to add to your pitch or story. Acknowledge their ideas. It doesn't mean you have to use the ideas, but don't reject them. Some of the ideas may even be good. They may make your story or your delivery of your pitch even better for the next person you pitch. 2) KNOW YOUR TOPIC: Whatever you're pitching, research the background of your story, topic, and characters. Know what first attracted you to the idea. Buyers' are often intrigued by a story's passionate origins. I know I am. And, be prepared for questions, questions, and more questions: i.e. write up what you think buyers will ask about your story. Also, anticipate (while staying positive) what can go wrong and what they could want to know. For example, what do I do if I accidentally spill coffee on an exec's floor? Humor cannot remove coffee stains, but sometimes a good topic-appropriate joke can smooth out the tension in a room. The key is to know your pitch so well that you are, above all, relaxed. 3) KNOW WHAT YOU WANT TO HAPPEN: What is it that you want to occur out of pitching this story: Rapport with those listening to your pitch, good communication, a sale, making people laugh, a new relationship with a filmmaker you respect? Being clear and focusing on what you want to happen can affect your presentation in a positive way. Your goal - not just telling your story, but getting your story sold. Also, one thing to keep in mind: This is your story. Everyone has a different idea of what works and what doesn't. Everyone has a different idea of what'll sell and what won't. But if you keep hearing the same feedback about your story from several different sources, then it may be important to pay attention to what people are saying. It's rare an idea is so original that people just don't 'get it.' DURING THE PITCHES 4) BREAKING THE ICE: Do your homework. If you're pitching to a class, workshop or pitching fest, who's going to be there? What is the background of the professor, lecturer or buyer? If there is an opportunity for an introduction, you must be ready. Practice introducing yourself; i.e. have a quick log line on yourself in the same way you prepared one for your story. Introductions may go more smoothly if you're prepared. For starters, sincere flattery will get you everywhere. Acknowledge that you're a fan of their work, mention specifics. Also, at the beginning of your pitch, before reeling off your story, find common ground whenever possible, i.e. golf, movies you both like, the trials of parenthood, colleges attended, etc. This helps set up a relaxed 'sales friendly' atmosphere. 5) INTERACTION: The best major league writers include their audience in their pitch. Sprinkling questions about what the next beat of your story might be can get the buyers' mental wheels turning. Your audience begins to see the story, and getting them thinking a few beats ahead will help to make them feel included, creative and part of your story as it unfolds. Be careful not to give your 'leave behind pages' too soon. Many execs love to cut to the chase and turn to the last page while you are still talking. So, hold off until after your pitch to give them 'paper.' But if you have one-sheets, story boards or visuals that support your pitch, make sure everyone in the room is given a copy or that they can see them or have a chance to look at them as they are passed around. 6) YOUR POSITION: Take time to take in your audience. A famous director once told me to "drink in the room." And be alert, energetic, entertaining, keep it alive, and keep yourself interested. If you're pitching to several people, try to position yourself so you can pitch in one direction. You don't want to divide your attention and lessen your impact. 7) THE IMPRESSION YOU WANT TO MAKE: Many deals fall through because the exec or the producer gets the impression that the writer is "rigid or territorial" about their screenplay. 99.9% of all scripts are re-written after there is an agreement to purchase or option a script. When you sell your story, you are also selling yourself. A creative exec in most cases will not pursue your script if they get the idea you will not re-write your script according to their needs. If they get the idea you are a prima donna, i.e. difficult to deal with, they will in most cases 'pass'. There are too many writers out there who will take direction for them to want to deal with a writer who won't. Screenplay writing, especially at the studio level, is a highly collaborative medium. Don't forget, the producer has to satisfy directors, distributors, financiers and actors. To get them all happy at the same time requires re-writes. How you take development notes from producers is definitely a part of what they will consider when thinking of working with you. 8) THE CLOSE & THE SALE: Acknowledge their time to take the meeting, i.e. "Great meeting you, thanks for your time; when should I get back to you? Is this something we could work together on?" Most of the time, determining the heat in the room, i.e. how much they may want to buy it, is difficult. So, perhaps you might give a quick recap or overview of the story and then,( most importantly, be silent. The silence lets them think about your story and it gives them an opportunity to respond. In sales terms, 'the close' usually means the moment that the seller (in this case writer) tries to lock up a sale or purchase of her/his story. This is usually something that is done by an agent, but the writer has to set up the friendly, relaxed sales atmosphere in the first place so that the producer or buyer wants to work with them. Without the hook of the pitch, the fish have nowhere to bite. A solid, well-crafted pitch is the first entry point for a sale. 9) DON'T BE DESPERATE: Often the writer will be so desperate for a sale or acknowledgement of their work, that they will push for some kind of answer as to the buyer's interest right away. I know you work hard, alone in front of your computer, and you're dying for feedback. But don't push for it. This is not a good idea, as buyers need time to think about whether the story works for them. On the other hand, a writer will usually get a feeling of interest one way or the other. Buyers often have to go to other people for answers and do not want to be put on the spot. The main thing is to be respectful and don't over stay your time in the pitch. Also, have one or two other stories up your sleeve ready to pitch, at least in log line form. That way after your pitch is done, you can ask them, 'what else are you looking for?' Don't pitch more than three ideas. However, if there's interest in your first idea, don't push to pitch the others; just let them consider that one. Stay with and sustain the passion you have for that one story you just pitched. Since many execs are paid to say 'no,' you might find yourself tightening up inside because they've 'passed on your idea' and don't want to buy it. Don't be grumpy, but be grateful you had an opportunity to make a new contact. You may want to meet with them to pitch another story later. 10) TIME FRAME: Other than a classroom or workshop setting, a good, well thought out, entertaining, professional pitch can be from 5 to 20 minutes. In most cases your script will need to be boiled down to ten minutes. Usually, you'll start with a thirty-second pitch to grab them (a slightly expanded version of your logline listing). If there's a nod to continue, you'll move on to your longer version. In a very short time, you'll have to cover plot, theme and characters. Of course, try to make sure that you include those three most memorable scenes - funny or dramatic - that help 'sell' your story. You may be asking, so after I pitch them when will I hear back if they're interested? How long will it take us exec types to read your script after it has been pitched successfully? Every buyer is different; it has been my experience that execs or producers will tell you at the time of the pitch if they're interested. They might wait to discuss the idea internally with the rest of their staff before getting back to you or your agent to get a copy of your script for a read. Once the script is in our hands, it can take anywhere from a few days to two weeks to four months depending on interest, work load and production schedules. We do our best, but sometimes it does take a while for us producers and execs to get back to you after a pitch. Don't hesitate to call every three weeks to see how the script reading is doing. However, the following words from an exec at Showtime are perhaps worth considering: "I'm always thinking what would this writer be like to work with over the long haul. If a writer calls too often, is too pushy or is being arrogant or confrontational (Why haven't we heard back already?'), I'm probably going to say next'." As a former studio exec and now as a producer, one thing I have found is that a little honest humor, while showing respect for the process, can be effective as a friendly reminder. You can even joke about your script's place in the reading pile... i.e. "has it reached the summit yet or are we still stuck at base camp?" In closing, a great pitch can really help move things along more quickly for the writer. Most of all, keep your pitch short, entertaining and focused. That way we will be eager to see how your wonderful script unfolds. Who knows, we might move it to the top of the pile! PITCHING TIPS by Aaron Mendelsohn (The following article is about pitching film ideas, but the principles involved can be applied to pitching fiction and non-fiction.) THE QUICK PITCH You get that elusive agent on the phone, or you find yourself in an elevator with Steven Spielberg, and you have exactly thirty seconds to convince them to read your script. Will you be ready? Keys to a successful Quick Pitch Mention the genre. Is it a drama? Action film? Screwball romantic comedy? Set up your main character(s), his or her world, goal and flaw. Example: "Tough but thick-headed New York cop arrives in Los Angeles thinking he's going to reconcile with his estranged wife, who's turned into a yuppie working for a powerful L.A. firm..." Hit them with the hook of your movie, and leave them wanting more. To finish the example: "...When the cop arrives at the office building where his wife works, he finds that it's been taken over by a ruthless bunch of high-tech thieves, and his wife and her co-workers have been taken hostage. It's up to the hero to use his gritty New York cop instincts to single-handedly take out the bad guys and rescue the woman he loves." (Can you guess the movie?) As an exclamation point, it doesn't hurt to do the ol' "it's something-meets-something" trick. It's the Sixth Sense meets American Beauty. Or it's Gladiator set on Mars. Just don't reference movies that were flops. Saying your movie is Alamo meets Battlefield Earth probably won't get you too many hits. It's critical that you're able to summarize your film in a couple of sentences. If you can't, you might have an over-complicated script on your hands (which is different from a complex script). THE FIVE MINUTE PITCH You're at a Pitch-Your-Script seminar, or you get a meeting with a producer, and he wants to hear your three best ideas. Your goal is to get them to read your script. You have a little more room to breathe, but you don't want to bore them with too many details. What do you do? Imagine you're telling a friend about a really great movie you saw. That's the Five Minute Pitch. It's like you're pitching the trailer to your script. Keys to a successful Five Minute Pitch Mention the genre. Take some time to set up your main character(s), his or her world, goal and flaw. "A baby is accidentally brought back to the North Pole by Santa Claus, where he's raised by elves..." Go into more detail. Mention some of the supporting characters and maybe a subplot. Deliver the hook. "The man, who only knows how to be an elf, decides to leave the North Pole and go to New York City to seek out his real father and his destiny." Touch upon some of the key plot points and set pieces. Don't go into too much detail. If it's a comedy, highlight the funny stuff (and try to get them to laugh). If it's an action movie, mention some of the action sequences. Be vague about the ending or leave them hanging. Make it so they have to read your script to find out what happens. Practice beforehand. THE BIG PITCH A producer liked the writing in one of your scripts and wants to meet with you to hear other ideas. You have a killer idea for the next American Pie. If he likes your pitch, he'll take you into the studio, and maybe you'll sell the damn thing and get paid to write the script. It happens every day in Hollywood. It can happen to you. A typical Big Pitch runs fifteen to twenty minutes. Here you really have room to spread you wings, but also to put the guy asleep. An effective Big Pitch has just the right amount of details and is delivered in a smooth, entertaining way. Keys to a successful Big Pitch Chit chat for a few minutes before you start. Let the person you're meeting with get to know you. Ask questions and engage them. When you feel sufficiently relaxed, start the pitch. Mention the genre. Spend a fair amount of time setting up your main character(s), his or her world, goal and flaw. Go into more detail. Feel free to discuss supporting characters and set up subplots, but don't overcomplicate the pitch. Deliver the hook. Go through the major plot points and set pieces of the second act. Who is the antagonist? What are the challenges your protagonist faces? Is there a love story? You can go into more detail, but don't get bogged down. Don't worry about mentioning every beat of the story. If you sense their eyes are glazing over, pick up the pace (without sounding like you're rushing). Mention emotional and physical stakes as you go. What is your hero learning? How is the story escalating? It's hard to jump back and forth between your main plot and subplots. If you feel you need to pitch a subplot, consider taking a moment to pitch it straight through from beginning to end. Get it out of the way, and get back to pitching the main plot. Build to the climax and deliver your ending. Make it dynamic without getting too detailed. Practice your pitch and rehearse it in front of a friend or representative. Write the pitch out if you have to (I often do). Bring a beat sheet to the meeting, or even the written-out pitch. Just make sure you don't bury your face in your pages. Deliver the pitch in an animated, dynamic fashion, without going too fast. And don't mumble. Relax and have fun. Hoping to Rise? Master the Elevator Tak by Washington Post By Gabe Goldberg Special to The Washington Post Sunday, April 20, 2008 The best career advice I ever received was from my father, back when I was in high school. "Communicate," he said. That one word sure beat "plastics," that infamous counsel from the movie "The Graduate." In the working world, people communicate through 30-second elevator speeches, rsums, business plans, articles in industry magazines and water cooler conversations. The medium doesn't matter, nor does whether the setting is a 10-person start-up or a Fortune 500 company. But telling your story -- letting people know who you are and why they might care -- opens career doors, experts say. Joe Gallaher, chief executive of Systems Programming Consultants, a high-tech recruiting firm with an office in Rockville, is convinced that many tech-support workers chose that business because they relate better to machines than to people. But, he noted, "just having an intimate knowledge of the operating system does not guarantee your landing a job as a systems programmer. Even backroom technicians must communicate to market themselves." He said, "A less-qualified, good interviewer" -- recruiter-speak for a good communicator -- "will beat out a reticent technician almost every time." Because someone you have just met, such as an interviewer, may care mostly about what you can do for him or her, identifying yourself in the broadest possible terms can be best. Suzanne Harris, chief executive of Magnificent Publications, a D.C. publishing consultancy, suggested using brief but powerful statements such as, "I write for clients," "I help people solve computer problems" or "I manage projects." She said, "If the other party doesn't immediately respond, you might give one or two short examples to avoid an awkward pause. At that point you'll either get a question inviting more information or the conversation will shift to a different topic." The same advice applies to crafting your rsums, taking advantage of the written-word opportunity to be more specific and emphasize accomplishments. Companies as well as individuals need well-constructed introductions. Carol Covin, a Northern Virginia entrepreneur and writer, has been a commercial reviewer for a grants organization and coaches grant applicants. An exercise she has them perform creates the briefest possible overview of their promise to customers. She calls it a virtual business card because they can "hand" it to people at networking events. As examples, she uses well-known corporate slogans, such as FedEx (When it absolutely, positively has to be there overnight) and Apple (The computer for the rest of us). Covin notes that company executives preparing to present at local meetings of the MIT Enterprise Forum, a group for technology entrepreneurs, can work three hours to distill what they do into six to eight words, but that it's a good exercise. "It needs to be distinctive and memorable and such a good fit that the CEO and every other employee can remember it easily when introducing their company," she said. Her own sound bite: "Software engineer trying to cure cancer." She picked it to be both bold and a good conversation starter. The nonprofit group 40Plus has helped job seekers for decades, highlighting communication as a key factor in getting and keeping jobs as well as in advancement. Dave Heffernan, marketing director for the Washington-area chapter, said a good elevator speech takes preparation and shouldn't be a memorized script. He suggests adapting pitches to each situation, revealing experience and qualifications without being overly detailed. "Ideally, the listener should want to know more, should ask questions," he said. When possible, Heffernan said, include measurable successes. If you work for a political consulting firm, rather than saying, "I'm a vice president at XYZ Consultants," you might offer, "By getting politicians' messages out to voters I've helped elect five senators in the last 10 years." The latter is more likely to generate an interesting conversation, which is what good communication is all about. Julie Freeman, president of the International Association of Business Communicators, offered some more tips for getting your message across: Identify your audience and focus on them when thinking about your message. Determine the audience's knowledge, attitudes and interest in the subject and develop your message accordingly. Make listening an integral part of your communication. Be brief. 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