Film Courage: Wendy, hearing what packaging means, I think it sounds great if you’re
established but for a new writer, is that something they should even be worried about,
thinking about or striving for?
Wendy Kram, Owner of Wendy’s LA4Hire: I think that, again the first thing new writers
should concern themselves with is writing a really, really good script.
And I’m sure there are producers also who come to Film Courage, I feel like when I hear
a story, if someone who…a writer that I’ve been working with who is also a documentary
filmmaker who did a story and he showed me a few clips and I’m like “Oh my gosh,
this is so moving, this is an amazing story and immediately I could see that the character
whose story it was based on would be a great role to attract a leading actor.
So immediately I’m thinking big names.
Now that then helps me promote it let’s say if I call CAA and I create a good compelling
log line and I say it’s a great vehicle for a leading actor and I might include some
prototypes and I go great send that over.
Because everybody is usually (there are exceptions) but are looking for something that is going
to attract a star whether it’s a female leading actress or a male leading actor.
And true stories very often is a really good source to attract a leading actor.
I mean I think if, the first priority is writing a good story.
I think with screenwriters and some screenwriters that I know definitely think of a prototype
when they are writing it.
Like they might hear as I’m writing it I see Marisa Tomei in the role and that can
help their writing process.
I feel that anyone who gets too attached to the outcome before you’ve done the process
is probably not a good way to go.
In the case let’s say with producers or you’re a writer and you don’t yet have
a script on a particular subject but you’ve optioned a true story or maybe they’ve written
an article on yours in a magazine and it can tell itself because there have been stories
optioned or turned into movies from newspaper articles.
I think BOYS DON’T CRY, I mean we know it was a true story, the first time I became
aware of it I actually had read it in a magazine and I wanted to option it.
I tried to get the rights and sell it and I was not able to do it.
At the time I was primarily focused on network and it was a little too edgy for regular network.
Anyway that did come from an article as well as they said a true story.
ARGO was a true story and was also an article which I think may have the jumping off point
for capturing the imagination of Clooney.
And any time that you have something that’s an article and if it’s a true story, you
can sell true stories very often without having a script.
So if you’re a screenwriter, that’s something to think about if there’s a true story that
you like and you might think “Oh, gee this could be a great vehicle for any number of
young actresses.
Or it offers a great role for a male lead in their forties.”
So I think it’s always wise to think about it but not the cart before the horse when
that becomes the dominant idea.
But let’s say in the case of the writer or producer has optioned the rights to a true
story then they would go out and trying to package.
So it would be about trying to get it in the hands of a production company that has greater
access and leverage and ability to reach out to agents and attach an actor, director and
so on.
Also, they can try to get to an agent.
I do coaching with those who are not represented to help them get through the gatekeepers and
bypass certain industry protocols in order to get their materials seen.
There are ways that you can pitch that can entice someone even if you don’t yet have
an agent.
Does that answer the question about packaging?
Film Courage: Yeah, I think so.
Wendy: I would say generally (ideally) if you can get it to a production company they
are going to be in a better position to try to attach those key elements.
Film Courage: And so if someone says no, we don’t take unsolicited material then doing
it through someone like you can help kind of procure that or also saying what if we
do?
Wendy: Well if they say we don’t take unsolicited material, that the writer producer could say
“Can I sign a submission release form?
Can you send that to me?”
And they should show it to their entertainment attorney.
A lot of writers don’t like to sign them but it is an industry standard if you’re
not represented and that’s why you should have an attorney take a look but it is fairly
standard but I do understand why it’s a Catch 22 because if they don’t do it they
might not be able to submit their project.
And I know for myself sometimes I’ve had to do them and there are some (depending on
the language) that I won’t sign and others that I will.
Film Courage: And that’s where the attorney [is needed] to review, you can’t just go
online and…
Wendy: And also just for me because I’m not an entertainment attorney so I’m not
just telling someone to go do this definitively.
They should go see an expert in that field unless they themselves are experienced at
reading those kinds of documents.
But generally, yes have an entertainment attorney look.