my question is answered thanks marc p 
Is this true? Page 5
But check them out, some are cool, some make films for nothing and the camera crew actors etc all do it for exes etc with a view to something back end. But if everyone is cool and committed and blah blah, why the contract, it's only the writer , ie the owner of the original idea and property who gets dealt with that way. So tread carefully but don;t necessarily tread away. Everything is a pay off, if they pay out little up front they should pay out more back end.
Which is why you've got to have faith in the Producer.
But how are novices shopping scripts to know which producers to have faith in assuming they're not famous or a good friend? Presumably everybody is capable of gushing over the potential of your script and some producers do have a much higher ratio of films optioned to films actually made than others, even if they have to be even better at ignoring pushy writers/agents than everyone else in the industry.
Granted there's a very good chance nobody else you make contact with afterwards will be remotely interested in your script anyway, even after you've mastered the pitching process, but if that was invariably the case producers usually wouldn't bother with exclusivity arrangements until they'd got a promise of some funds. How common are free non-exclusive shopping arrangements? (genuine question)
Quote: enigmatic @ October 5 2012, 1:53 AM BST. How common are free non-exclusive shopping arrangements? (genuine question)
Rare, I would have thought.
Producers have to commit a deal of time to a project if they want to get backing.
Knowing they've got a fixed amount of time to do it in, without worrying about it being taken away from them helps them sleep a bit easier.
In terms of "how do you know' if they're a good bet or just a bozo - do some research. IMDB being your first port of call.
It's all about the producer. A $1 option with one with a bit of drive is worth more(to your career) than £2k with a lazy sod.
Don't forget you'll still get paid if it's made, you'll still get paid for re-writes.
Another route (and for this an agent is pretty much essential) you can put conditions on the continuation of the option.
I have one with a fledgling director. The option was free, but for 9 months, and could only continue if certain condition are met eg evidence of funding, attachment from talent etc etc .
That way the producer has to be on the ball and pushing the thing forward.
the voice from above speaks again
Quote: Nigel Ball @ October 5 2012, 6:55 PM BSTthe voice from above speaks again
Bless you, my son.