Quote: JJ Cocker @ July 19 2008, 8:50 PM BSTYou're absolutely right, but if you can think of a better way to get your foot in the door of a production company then I'd be interested to know.
Send them a good script. Its the advice I hear the most from scriptwriters.
Quote: ContainsNuts @ July 19 2008, 10:42 PM BSTSend them a good script. Its the advice I hear the most from scriptwriters.
Right... And every agent and production company is going to read every single script that comes through their doors. Ah! What a wonderful world. I'll see ya on the red carpet ContainsNuts.
Cheers
JJ x
A belated 'thanks' for the info JJCocker.
Another point worth considering :- if you've got a flicker of interest in one of your screenplays (well, more like a dodgy pilot light in my case) do you think it best to hold it back from comps where you pretty well hand them the rights?
I understand the 'better made by someone than no-one at all' arguement but might it be worth seeing if anything comes from the 'legit' interest first?
Or you do you cross that particular bridge when you come to it...
Lazzard, I don't have an answer for you, so I'll let someone else answer that. I do, however, have a question of my own. Does every scene need to start on a new page in a screenplay? I know they do in a sitcom script, but this is different, right?
Quote: earman2009 @ July 21 2008, 1:21 PM BSTDoes every scene need to start on a new page in a screenplay?
No.
Right. Don't start a scene on a new page. Unless it falls that way naturally of course.
No, on a first draft screenplay you should NOT start a new scene on each page [when it comes to revisions, A & B scenes etc it's a different matter and get a bit complicated!].
I'll sometimes ad a forced break if I'm going to be left with just a couple of lines of a new scene at the the bottom of a page - but not too often, otherwise the page count creeps up.
Much over 100 pages and you can find yourself on the slush pile unread!
Quote: Lazzard @ July 21 2008, 12:03 PM BSTA belated 'thanks' for the info JJCocker.
Another point worth considering :- if you've got a flicker of interest in one of your screenplays (well, more like a dodgy pilot light in my case) do you think it best to hold it back from comps where you pretty well hand them the rights?
I understand the 'better made by someone than no-one at all' arguement but might it be worth seeing if anything comes from the 'legit' interest first?
Or you do you cross that particular bridge when you come to it...
I am in two minds about this myself Lazzard. So I am asking some people who might know and will report back.
Thanks to those who answered my question.
Quote: JJ Cocker @ July 20 2008, 11:26 PM BSTRight... And every agent and production company is going to read every single script that comes through their doors. Ah! What a wonderful world. I'll see ya on the red carpet ContainsNuts.
Cheers
JJ x
No, but with a bit of research you can find the production companies that do accept unsolicited scripts - if you open your mind wider than a millimetre.
Personally, I think it's a hard sell trying to get production companies interested in a film script. Even tougher than trying to get people interested in a sitcom script.
Quote: chipolata @ July 22 2008, 3:43 PM BSTPersonally, I think it's a hard sell trying to get production companies interested in a film script. Even tougher than trying to get people interested in a sitcom script.
I would say the opposite. I've seen more requests for film scripts than for sitcom ones. Obviously different companies specialise in different formats.
If you have a decent short film script, you could do worse than approaching your local Regional Screen Agency for advice, and possibly money. I've made a few shorts with money from various schemes via Northern Film and Media.
Screen Agencies: http://www.bfi.org.uk/education/contacts/external/rabs.php
It's a good way to make the leap from script to screen, and once you've had something made it's easier to make the next one.