Does anyone know of any cases of a writier getting their sitcom made, after sending their script to a celeb, telling them they think they'd be great to play a certain part, or that they've specifically written a part just for them?
Sending a script to a celeb
I don't, but I recall a thread a while back covering similar themes (though it was a bit stalkery at times).
This hasn't helped you I'm sure, but someone else might remember the other thread better than me. Someone lived near them and they were going to post the script through the door? Anyone?
I'm sure it is possible and has been done. (I only vaguely remember the thread, but remember it got a little nutty?) Though I rather think you'd have to get it to them via their agent (very tricky if they're established and you're not), or by a personal friend-of-a-friend-type deal. Someone who knows their agent, or their manager, or them on a personal level. Basically, someone who will persuade them to actually read the script.
(Fine to tell the actor that you've written a part for them in mind. Don't mention a specific when sending to a producer - hope that doesn't sound obvious.) 
Yeah. Don't stalk them, I think that was the gist of the previous thread.
But if you have a good way of getting the script to them, it can't do any harm can it?
My motto exactly.
Friend of a friend is fine...ask around and you'd surprised. I work in an unrelated industry but after chatting to a few people about who they knew I managed to get my scripts read by ex heads of BBC comedy, famous TV stand ups, writers of hit TV series seen round the world, etc. Was a very usefull way to establish a "network" of people I can now bounce stuff off.
Bottom line - how many writers ever just come out of nowhere with no "in".....none.
I had an idea for a part for Amanda Redman - in a play that is (although...).
Anyway I wrote to her agent but heard nothing.
Quote: Tiggs @ July 12 2009, 5:05 PM BSTBottom line - how many writers ever just come out of nowhere with no "in".....none.
That's a bit discouraging to newbies, I think? I started this lark two years ago with absolutely no contacts of any kind. I'm not as yet where I want to be, but have done fairly well so far and things are steadily going in the right direction. It's not true that you have to have the contacts before you can make progress with your writing. (And saying, "But it helps!", is only true to an extent. At the end of the day you will still need to show some talent. I have built up contacts and got somewhere because of my writing, not because of knowing anyone to begin with.)
I ran this very question past Judi Dench and her husband Michael Williams [nearly 20 years ago].
They agreed the chances of such an approach being successful would largely depend on your candidate's work situation and temperament.
Dame Judi added that if she should receive a comedy script, she would, as a matter of courtesy, pass it to [at that time] Channel 4's head of comedy, with whom she was friendly. A drama script would be passed elsewhere etc.
I suspect the script would then de-escalate to the level where it would have been had you submitted it in the "normal" way.
So, unless your candidate has little/no work and can be bothered to read your work, the chances are slim.
Quote: Tiggs @ July 12 2009, 5:05 PM BSTBottom line - how many writers ever just come out of nowhere with no "in".....none.
Bollocks.
Tim will probably have more eloquent observations to make. But bottom line.... bollocks.
Quote: Tiggs @ July 12 2009, 5:05 PM BSTBottom line - how many writers ever just come out of nowhere with no "in".....none.
You make your own "in" Tiggs, by writing a decent script and sending it around to people. I'm an ordinary bloke from Middlesbrough and wasn't exactly swimming in showbiz contacts when I first started writing.
In answer to catskillz question - no, I don't know of anybody who's had a sitcom made by contacting a specific star. Although I think Tim's incorrect in suggesting you should never tell a producer you've written a part for a specific performer. In fact just the opposite - there's a big market for talent-driven projects and a "star vehicle" can sometimes push your project on. For instance I recently came up with a sitcom idea for Ray Winstone which a big prod co showed an interest in.
You build your own contacts by getting your work out there and seen.
But I think the number one mistake is assuming yourstuff is automatically good enough.
Quote: Lee Henman @ July 13 2009, 12:37 PM BSTAlthough I think Tim's incorrect in suggesting you should never tell a producer you've written a part for a specific performer.
I don't think I made myself clear. I think it's fine to have one or two "marquee" names in your back pocket when you go to a meeting to discuss a project. In fact, it's a very good idea, as the subject usually comes up. What I meant is when sending off an unsolicited script, as it doesn't help to pigeon-hole your concept in any way. I think you stand a better chance with your readers if you allow them to imagine the show and the casting in their own mind, rather than having them know the way you see it from the beginning. I usually take into a meeting at least 2 or 3 names I can suggest for lead actors and will bring them up. Often I find that the producer(s) will have had the same casting ideas after reading the script.
Ahh I hadn't thought of this before. David Threlfall is a friend of my family, though I don't think they've had much contact for a few years! But I could keep that in mind when I finish my script. However I'd have to tell my family about it in order to get it to him, which is an issue as its not something I want them to know about :\