Pitching a spec to a star

I'm interested as well. I have a script that I think brittany murphy would be perfect for based on past roles. Her liking the script would be a whole different story.

zagoraz said:

Let's say, for example, Johnny Screenwriter had a spec script and envisioned, say, Jack Black, in the leading role. Is it out of the ordinary for said, unknown screenwriter to attempt to pitch his spec to Mr. Black through his agent? Is this done? Or do most stars agents only accept scripts that are already green-lit or from established writers?

My thinking on this is, if somehow, someway Jack Black liked Johnny Screenwriter's script, seems like it would have a lot more of a chance of ever getting sold.

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Very unlikely. If the script is really amazing you should query agents for representation for you. Then they will submit to studios and producers. Check and see if Jack Black has his own production company and you coulld also query them directly. Either way, it's really hard. Hopefully, you have two or three really awesome scripts and know somebody who knows somebody in the biz and you might get something read.

Even if you did manage to get their contact information and was able slip a script to them, it would be like the singers in the music industry where a bunch of newbies hand their demos to them. They might smile and nod but the next garbage can they find its going to get dumped. I would say agents are your best bet. Stars do not want to be bothered by writers, that's the producers job. You would pretty much have to know them to get them to read it, and even then chances are they still wouldn't take you seriously.

JMO

Why agents?

I would suggest contacting their manager, rather than their agent. They're two different breeds of cats and of the two, managers are a lot more receptive to a pitch - from anybody.

after 'gladiator' came out, i was working on a story called 'creating god' that i thought russell crowe would have been perfect for. for starters, it wasn't even a script, but i thought about doing a script for it and wrote the character with him in mind. at least i had a visualization of the MC in my mind. coincidentally a movie came out with somewhat the same premise (the one where al pacino was something like an agent to a digitally created perfect pop star) so i scrapped my idea, crestfallen as i was.

thing was i always had crowe in mind, knowing it was a pipe dream anyway. i still wrote it like he was going to be the star. for the record, no, i didn't fantasize that the movie would be made exactly like i wrote it with the stars i envisioned, lol. at the same time, it didn't stop me from inserting them into the scenes in my mind really kind of more for clarity's sake than high hopes.

who knows, your script might make it to them if they're perfect for the role. i've listened to enough DVD commentaries where the actors said, 'my agent gave me this script they said i *had* to read and i stayed up all night reading it in one sitting.' urban legend? personally, i don't see any harm in thinking of who you want in the roles as long as your first choice for scientist isn't tara reid. (there's probably a fun thread in that if someone wants to start it: 'roles particular actors should never play.')

Getting a script to....

icerose said:

Even if you did manage to get their contact information....

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Whoreresentswho is a poor source for that intel. It's usually well out-dated. Besides, you pay through PayPal and getting them to stop billing you is nearly impossible. I had to cancel my card.

....it would be like the singers in the music industry where a bunch of newbies hand their demos to them. They might smile and nod but the next garbage can they find its going to get dumped.

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True, because that's not the way it can be done in the music business, for legal reasons. Another; it would be like you walking down the street and a newbie puts his script in your hand and asks you to show it to your manager or agent and says something real stupid, like, "... it's better than anything you've ever written." Yeah, don't litter. Find a trashcan.

...Stars do not want to be bothered by writers....

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I've had just the opposite experience, and recently. If you have a good script, yes, they'll be interested because they're looking for their next job too and if good scripts aren't coming to them, then they'll want to at least take a look - and refer them to their manager or agent, if they're any good. Aging stars and ones on their way up, like writers, are hungry. "Super Stars," of course, are the exception. And, if you attach a star who likes your work, not a super star, but a real talent nonetheless, then you'll also be attaching his or her manager and agent.

Enigma said:

I've had just the opposite experience, and recently. If you have a good script, yes, they'll be interested because they're looking for their next job too and if good scripts aren't coming to them, then they'll want to at least take a look - and refer them to their manager or agent, if they're any good. Aging stars and ones on their way up, like writers, are hungry. "Super Stars," of course, are the exception. And, if you attach a star who likes your work, not a super star, but a real talent nonetheless, then you'll also be attaching his or her manager and agent.

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That's great that you have had that experience, but I still think they would rather it come from a studio who is making the film rather than an author with a dream.

True

icerose said:

... I still think they would rather it come from a studio who is making the film rather than an author with a dream.

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I can't argue with that, certainly. But, what if their telephone isn't ringing the way it used to, or if this studio or that one isn't interested in them, or the writer? What if the writer can't get his foot in the door or his work read even by the assistant mail clerk in a studio or at an agency? What if he doesn't live in LA or NY?

Like we all have to do - make something happen rather than sitting back waiting for somebody, somewhere, at some time to call and beg to buy your script or star in a role for a zillion dollars, which would be nice but ain't gonna happen.

The APD comes in, what, two or three thick books, three times a year? Four? It's on line too, but.... There must be 50,000 names in it, and surely another 50,000 who aren't and another 259,999 who aren't members of SAG but would like to be. That surely means the competition for roles is tough, and the ones who succeed in the business I'll bet are the ones who go after what they want, wherever they can find it.

Two things to do.

1) A lot of research and find out which stars are looking for projects like your script.
Quite a few stars have their own interests/hobbies/beliefs/whatever and may read a script that deals with that subject.

Write to them via their agent/manager.
Tell them what you like about them (be professional and not a fanatic) and describe what this story means to you personally and how you think it relates to that star's interests.

Then cross all your fingers and toes, and pray like mad to what ever God you belive in.

2) Research what interests YOUR fav star and write a script for them.
Then contact their agent, pitch the script, describing how you think this story refeflects the actor's interests.

Then cross all your fingers and toes, and pray to what ever God you believe in.

Honestly I should point out there is a third option.
Spend all that star research time on writing a really great script that is wide open for a range of stars and then work your butt off to get it repped or noticed.
Get a job in LA or NY. Send a variety of scripts out to reputable contests.
Join causes, go to events that will allow you to network and meet people. Study and learn so you can be the type of writer who people will accept scripts from.

Oh I know, I make it sound so easy.

You know, nothing ventured nothing gained.

PS. Russell Crow.
He he he.
I sent him a letter requesting permission to use some statements he had made on a TOFOG cd that I thought were perfect lines for one of my characters.
They missunderstood my request and told me that he and the band didn't want anything to do with my script.
At the bottom of the letter was a cc mark (copy sent to)
and his name was there.
I can only assume that he actually read my letter and refused it. Twice actually, as I tried to re-explain my wishes. I gave up after that. I didn't want to get on his bad side.

Preyer, if you still want to give RC a shot I know someone who works in a pub that Crowe frequents.

Serious question. Is brittany murphy you think able to play a 19 year old and play it off? I have the perfect rolefor her, but I'm not sure if she would be too old or if she would like the script. I already emailed the producer and writer of one of the films she stared in and he got back with me, but he was busy and said he would get back with me this weekend when I talked to him about a script i wrote(nothing to do about brittany murphy).

No.

scripter1 said:

I sent him a letter requesting permission to use some statements he had made on a TOFOG cd that I thought were perfect lines for one of my characters.
They missunderstood my request and told me that he and the band didn't want anything to do with my script.

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Scripter - if it sounds like they rejected it without even reading it, then maybe they actually ......

scripter1 said:

At the bottom of the letter was a cc mark (copy sent to)
and his name was there.
I can only assume that he actually read my letter and refused it.

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You could assume something else. In the past I've had project files that get 'cc'd into communications with customers, etc. If I'm working on the project for 'Mr Binks' then 'Mr Binks' gets cc'd into all my correspondence on the subject.

It makes archiving things and transferring control a lot easier. If somebody else wants to get the details, then they don't need to go through all of my emails - they just have a look at the 'Mr Binks' correspondence file. It doesn't mean that 'Mr Binks' is actually receiving it.

To put it bluntly - if they truly are passing correspondence to the 'star' which they clearly haven't even read properly - then they aren't doing their job.

Mac
(BTW, "Find out which stars are looking for projects like your script.
Quite a few stars have their own interests/hobbies/beliefs/whatever and may read a script that deals with that subject". That has been known to work. Our very own Jenna had her script dealing with Downs Syndrome read for that reason.)

Not really. I get a lot of correspondance I may pass on without reading it properly. It's called junk mail.

Most big name actors have all the offers they need coming through producers and studios. Scripts fron unknown writers, or proposals from unknown writers of any sort, aren't needed.

It's not going to be easy getting your favorite star. In fact, by focusing on people that you are fans off, you maybe closing yourself to opportunities that might have worked. So Scripter 1 has the best advice, right a good script that's open to a wide range of stars (or at least a certain type of actor, instead of one actor). And work on getting it repped and ultimately sold.

I said: "To put in bluntly - if they truly are passing on correspondence which they haven't read ..."

Justino said: "Not really. I get a lot of correspondance I may pass on without reading it properly. It's called junk mail."

Oops. My mistake. I really meant 'passing on' as in 'passing the request on to the star'.

I knew what I meant. I've edited my earlier post to fix the confusion.

Mac

Almost on the mark there....

A lot of what you said was on the mark. Other parts, well, I disagree....

scripter1 said:

1) A lot of research and find out which stars are looking for projects like your script.
Quite a few stars have their own interests/hobbies/beliefs/whatever and may read a script that deals with that subject.

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The necessary research should take, oh, ten seconds. If the way they look fits the character and you like the work they've done, that's close enough. Finding their manager, another ten seconds, less if you have DSL. Writing the (form) letter, an hour. Assume they're all looking for good material - everybody is.

A word of caution: If you let on you know about their interests/hobbies/beliefs/whatever, it might indicate you're profiling them, and these days that can trigger a very unpleasent reaction. The letter will probably be sent to security and/or the police, to have it on file - with all the others. Twenty years ago I almost married a rock star. She was actually scared to go out in public. Star-stalkers were a major problem then, and it's worse now.

Write to them via their agent/manager.
Tell them what you like about them (be professional and not a fanatic) and describe what this story means to you personally and how you think it relates to that star's interests.

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What is that strange sound I keep hearing? Sucking up? Grovelling? Trust me, that doesn't go over well. This is business, with careers on the line and millions of dollars at stake. You are a writer. They are an actor. You're even.

... Get a job in LA or NY.

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Not me. I like both cities, especially NY, as long as I have a return flight booked.

Mac H. said:

Oops. My mistake. I really meant 'passing on' as in 'passing the request on to the star'.

I knew what I meant. I've edited my earlier post to fix the confusion.

Mac

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Perhaps the agent or manager has explicity instructions not to take any scripts from unrepped, unproduced writers.

Interesting question

JustinoXXV said:

Perhaps the agent or manager has explicity instructions not to take any scripts from unrepped, unproduced writers.

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That comment poses a very interesting and important question; Would any producer or talent, since we're on the subject, choose to do a "fair" script from an "established writer" over a "great" one by a beginner, because the writer isn't repped or unproduced?

If that's the case, then one's reputation is more important than the story. The rocky history of "Rocky (I)" comes to mind as an example.

Enigma said:

Would any producer or talent, since we're on the subject, choose to do a "fair" script from an "established writer" over a "great" one by a beginner, because the writer isn't repped or unproduced?

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You are assuming they would open and read the script from an unrepped, unproduced writer to discover it is great. They wouldn't for the most part. Into the trash it goes, unread.

Using the junk mail analogy posted previously...

When all you get is junk mail, that's all you expect and chances are you are right.

One time, I got a call from a company asking why I haven't cashed a check I was sent. I thought it was junk mail and never opened the envelope. it looked like a form envelope. Luckily, I said it didn't come and they sent another.

A agent or producer expects that 99.9 percent of all scripts sent from unrepped writers are to be junk, so why bother reading and wasting time and man hours on a thousand scripts just to get one great script, when they can:

a) Get a marketable and good script from people they know and deal with.
b) If the newbie's script's that good, it would have done well in competitions and gotten that guy repped.

Star Research.

Enigma, you misunderstood my statement.

Lets stick with Russell Crowe as an example.
He has his own offical website on which he supports an animal rights group and protection agency. He is also known to be a horseman, and very much into the Mountain Man/Aussie heritage....thing.

So, based on that I could try writing him a letter stating that I understand, respect, and agree with his beliefs on these things. I've written a script that deals with these issues and wondered if he would be willing to read it.

The hope would be that his curiousty would be sparked by the focus on an issue important to him.

It could be anything with a varity of stars. Eating disorders, stopping domestic violence, International adoption, world peace, etc. Stars often have viewpoints and statements about these things posted on their offical sites. You may also find links to charities that the star supports.
Stars want to do things that are personally meaningful for them. That is sometimes the case when they choose to do an independant film with little exposure. The story means something to them personally. It is a pet project, hmm like Kevin Spacey and the Bobby Darrin movie.
I bet two or three or five years ago if somebody came up to him and said "I'm working on a Bobby Darrin script" they would have had his full attention.

Most people, stars included, can sense genuine interest.
If you can state your query in a way that reveals a sincere interest in the subject matter then they may, might, maybe, perhaps will take a chance on reading it.

As I said, you will need to be mature and professional about it, not star struck.

Now, if you continue to contact them after getting several form letters rejecting you, then yeah, you are being a nusiance and ought to get on with your life. Try something else.

Mac H.
Russell's band is less strictly managed then his film carreer. He is far more personally involved in matters regarding the band. This was the avenue I took. It's been a while since I've read the letters but it seems there was something there that sure made it sound like he'd read the letter.
Then again, I was very new and naive back then. Could have just been wishful thinking.

Now I think I will go dig up the letter again.

I agree

scripter1 said:

Enigma, you misunderstood my statement.

Lets stick with Russell Crowe as an example.
He has his own offical website on which he supports an animal rights group and protection agency. He is also known to be a horseman, and very much into the Mountain Man/Aussie heritage....thing.

So, based on that I could try writing him a letter stating that I understand, respect, and agree with his beliefs on these things. I've written a script that deals with these issues and wondered if he would be willing to read it.

The hope would be that his curiousty would be sparked by the focus on an issue important to him.

It could be anything with a varity of stars. Eating disorders, stopping domestic violence, International adoption, world peace, etc. Stars often have viewpoints and statements about these things posted on their offical sites. You may also find links to charities that the star supports.
Stars want to do things that are personally meaningful for them. That is sometimes the case when they choose to do an independant film with little exposure. The story means something to them personally. It is a pet project, hmm like Kevin Spacey and the Bobby Darrin movie.
I bet two or three or five years ago if somebody came up to him and said "I'm working on a Bobby Darrin script" they would have had his full attention.

Most people, stars included, can sense genuine interest.
If you can state your query in a way that reveals a sincere interest in the subject matter then they may, might, maybe, perhaps will take a chance on reading it.

As I said, you will need to be mature and professional about it, not star struck.

Now, if you continue to contact them after getting several form letters rejecting you, then yeah, you are being a nusiance and ought to get on with your life. Try something else.

Mac H.
Russell's band is less strictly managed then his film carreer. He is far more personally involved in matters regarding the band. This was the avenue I took. It's been a while since I've read the letters but it seems there was something there that sure made it sound like he'd read the letter.
Then again, I was very new and naive back then. Could have just been wishful thinking.

Now I think I will go dig up the letter again.

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Okay, so we understand each other; I respect you for taking a shot like that! For trying. Taking a risk. For going out on a limb to try and make something happen, and even though you got your teeth kicked in, you got up off the floor and came back for more. That takes guts, and courage, and I admire those traits in a person! Too many people today would rather sit back and wait for something to come to them. That happens a lot - yeah, like in the movies.

You're not like that, obviously.

So, don't change, and never apologize!

Dig up that letter and go at it again. Oh, and if you can find out who his (main) music publisher is, send me a PM. I might have an idea or two you can use, or a name, and I'll be glad to share. I'm (re) writing a script I did ten years ago that involves a singer, and music, and I'm in the process of finishing the script, gathering my assets, collecting intel on the current state of the music business, and planning my attack.

Now I'm going to show my age; who in the hell is Russell Crowe?

Scripter said Russell Crow rejected her twice. If she contacted him repeatedly again and again, she might make a nuisance of herself.

No matter how much she admires him, he may not be the one for her. Perhaps someone else is the one for her. So why should she waste energy on Crowe, when the one for her in the industry (whoever he or she maybe) is out there.

I think an unknown, unrepped writer can forget approaching A list talent. And crow is A list.

You might be able to attach and get through to B and C list talent, especially if you're asking them to star in your script. Then, you might be able to raise the funds to do an indie movie. This path is really for the writer/producer or writer/director/producer.

However, if you plan on you selling script, actor and director attachments generally aren't the way to go.

Recent advice given to me

A writer who has had some success selling screenplays, Stephen Lodge (Valley of the Spiders, The Honkers, Rio Diablo), actually told me that pitching to the stars was more likely to result in success than other methods. More often than not, you'll just sell the option, according to Mr. Lodge, but people can make some decent money selling options. One of Mr. Lodge's projects that was never (yet) made was optioned by John Wayne, William Holden, and Buddy Epsom (and a couple other people I can't remember at the moment) at various times.

This is just what Mr. Lodge told me. I have no real experience selling screenplays. I've come close once with a production company and a top agency is currently reading one of my scripts. Interestingly, I was rewatching Pirates of the Caribbean last night, when it occured to me that Keira Knightly would be perfect as one of my main characters. It reminded me of Mr. Lodge's advice. I don't know if I could actually follow through with it or not. It would be a great role for her. Hmmm...

diana

It takes, what, 40 cents, to send off a query letter? Make it short, make it snappy, mail one each to his agent, manager and prodoco, then forget about it. You're probably not going to hear a response - as with most other query letters - but it's not going to hurt you.

Johnny Cash

This true story is about a man who only wanted to write music, but the point to be made applies.

Chris Christopherson ain't no dummy. He graduated with honors, was a Fulbright scholar, his father was a general and Christopherson flew helicopters in 'Nam, earning a chest full of medals and his Captain's bars.

Anyway, after the war he was starving to death in Nashville. Nobody would look at his music (he only wanted to write). He'd done everything he could think of to get to the stars, especially Johnny Cash. Christopherson was certainly on hard times and the only money he had coming in was from his Air National Guard duty.

So, he rented a helicopter on his credit card, put a tape recorder and a six pack of beer on board, took off and landed the thing in Johnny Cash's front yard! Yeah, that got Cash's attention. Christoperson made Cash a deal he couldn't, and didn't, refuse; "You listen to my music, sir, and I'll move this helicopter."

Cash recorded about a dozen of Christopherson's songs, and each one was a C/W hit. The two remained close friends until Cash's death.

If nothing else, you'll have to admit that was an original way to approach a star.