Great (NEW) Ideas Welcome at Fairly Young Company (pitch your script)

mario_c said:

Crimsonlaw, you do sign a release. It's standard issue, and Mr Meistrich didn't have a problem answering questions about it.
And icerose, I would imagine travelling out from Utah would be daunting. I live just outside of NYC so it was slightly more convenient for me. Meeting a producer in LA, now that would be a hassle for me so his IMDB resume would best be worth it, if I may be a little cocky about it.

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Yeah the distance thing is probably one of my biggest roadblocks right now, but I'm hoping eventually my writing will be good enough they won't care about the distance.

For $10 I'll listen to anyone's pitch...

mario_c said:

Crimsonlaw, you do sign a release. It's standard issue, and Mr Meistrich didn't have a problem answering questions about it.

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Yeah, I saw the release and everything, but I'm just concerned because it doesn't speak to what rights we get to keep. However, the topic creator sent me a private message saying he was getting some of the higher ups to look things over and make sure no mistakes were made, so hopefully this becomes a little less cloudy of an issue.

The fact that they are taking the time to look into it is inspiring, crimsonlaw. Thanks for letting us know! All things considered, I think this sounds like a legitimate offer. It becomes the writer's choice whether they will or won't. I would have liked the opportunity, but I'm not artsy enough to write indie. I write mainstream. So, this opportunity is not for me. However, sounds good for those interested in the style.

I think good points are made across the board here and, ultimately, it is a "to each his own" situation. And it's only ten bucks after all.

I think the question comes down to ethics. Is it ethical to charge someone for what is - essentially and potentially -a job interview?

This situation is a little different than buying a book or taking a class because one isn't expecting to possibly land a job from the investment.

I disagree that this is an innovative way to do business. (That sounds more like a sales pitch to lure in naive writers.) There's pitchmarts all over the place. Nothing innovative about it. I also disagree that the $10 fee brings in more serious writers. To the contrary, I believe it brings in greener writers (with greener scripts) - since more experienced scribes would most likely steer clear.

I know that listening to pitches in this manner is not a cost effective or creative way to do business.* One will have to listen to hundreds and hundreds of ideas before he finds a worthy one. This is complicated by the fact that the odds are quite lower that the accompanying script will be any good. And the odds are lower even still that the writer has the ability to successfully develop a script through the rewrite process.

Those in the business understand that the success rate for this sort of venture is relatively low. So it's sort of suspect to begin with. Compound that with the $10 charge and it leaves a sort of "ickky" aftertaste.

When writers are charged to share their work (in any forum or format), it ventures outside the realm of the real industry and into the "fringe" industry - which has nothing to do with the film business.

In the film industry, writers are paid. In the fringe industry, the writer pays.


* I speak from experience, as I have listened to thousands of pitches from new writers.

creativexec said:

I think the question comes down to ethics. Is it ethical to charge someone for what is - essentially and potentially -a job interview?

This situation is a little different than buying a book or taking a class because one isn't expecting to possibly land a job from the investment.


When writers are charged to share their work (in any forum or format), it ventures outside the realm of the real industry and into the "fringe" industry - which has nothing to do with the film business.

In the film industry, writers are paid. In the fringe industry, the writer pays.

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So from your post, I take it you're not a fan of the big conferences that thousands of writers attend every year, i.e. Screenwriting Expo, American Pitchfest, etc. And, by extension, would you also say that competitions are a waste of a writer's time? Including the Nichol, which is, according to your definition, considered part of the fringe industry? Am I to understand that your approach for new writer's trying to break into the industry is simply to query and that's it? If not, what's the best thing for a writer to do, in your opinion?

creativexec said:

I disagree that this is an innovative way to do business. (That sounds more like a sales pitch to lure in naive writers.) There's pitchmarts all over the place. Nothing innovative about it. I also disagree that the $10 fee brings in more serious writers. To the contrary, I believe it brings in greener writers (with greener scripts) - since more experienced scribes would most likely steer clear.

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I couldn't agree with you more. The fact that it's "only $10, so what have you got to lose?" is the beauty of their sales pitch. What aspiring/struggling writer wouldn't pay $10 for a chance to sell their script? It's a raffle of sorts - like paying $1 for a chance to win a car - only there is no guaranteed winner here. What baffles me the most is why an established group of producers like Nehst would decide to go to the fringe like this. I don't doubt that they are looking for great scripts to produce - I just question the underlying motive that may be at play here. Money. If they really wanted to be "innovative", why not wave the $10 fee? Screw administrative costs. You've got a $250 million discretionary fund. Could it possibly be because they might just make a crapload of money, $10 at a time, from the 10's of thousands of aspiring screenwriters who will do anything to break into the business? Hmm...

Don't be naive, fellow screenwriters. And don't pay people to read your scripts. It won't get you anywhere.

So from your post, I take it you're not a fan of the big conferences that thousands of writers attend every year, i.e. Screenwriting Expo, American Pitchfest, etc. And, by extension, would you also say that competitions are a waste of a writer's time? Including the Nichol, which is, according to your definition, considered part of the fringe industry? Am I to understand that your approach for new writer's trying to break into the industry is simply to query and that's it? If not, what's the best thing for a writer to do, in your opinion?

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When quoting my previous post, you left out my opening line, which suggests that writers can do whatever they please.

But do I think that 99.9% of all that stuff you mentioned is a waste of time? Not if you're in it for the educative value.

I think any gathering where writers can exchange ideas, network and talk about writing is a good one.

I think it gets problematic when new writers rely on these avenues as a way to break into the business.

I definitely frown down upon events that sell the "dream." When they advertise or suggest that a pathway to a professional career can be paved. As they take your money.

Most of these events will do NOTHING to launch a career. IMO, smart writers go in not believing the hyperbole of these events and simply attend with the agenda to learn.

I spoke at the GREAT AMERICAN PITCHFEST this year and told the group that none of them were going to sell a script. (At least I'm consistent.) Some people walked out. Instead, I told them to sharpen their skills, ask for feedback on their story and pitching abilities, and make friends. (BTW, nobody sold anything at the Pitchfest.)

Contests?

I think most contests are a complete waste of money.

But whenever anyone brings up contests, they mention the Nicholl (as you did).

The Nicholl is not a waste. Neither is the Disney Fellowship.

But because there are (maybe) a dozen worthwhile contests doesn't mean the entire contest industry (thousands of contests) is worthwhile.

Very few contests have the clout to open the eyes of Hollywood (Nicholl does). The only other benefit to contests is the cash prize.

I'll always root for a contest if the prize money is substantial. (Nothing wrong with winning 15K.) That's a good thing.

In the film industry, winning contests (for the most part) doesn't matter. In the fringe industry, it does matter. And the finge industry constantly perpetuates that image of "open doors" to new writers. (Nicholl has bridged the gap between the two industries.)

I think writers should do EVERYTHING they can to get their stuff read and educate themselves.

Expos and contests included.

But they need to be clear and realistic on what the smarter strategies are versus the more quixotic.

I meet too many new writers putting 80% of their effort into the fringe industry (the one that takes money) and only 20% in the film industry (the one that pays).

And while there is no sure-fire way into this business and success can come from the most unexpected places, it seems safe to say that if someone is taking your money, he's not interested in doing business with you because he's already doing business with you.



Check out the trailer for PITCH NATION:

http://www.youtube.com/watch?v=lusfagRQI2U

Kristy101081 said:

So from your post, I take it you're not a fan of the big conferences that thousands of writers attend every year, i.e. Screenwriting Expo, American Pitchfest, etc. And, by extension, would you also say that competitions are a waste of a writer's time? Including the Nichol, which is, according to your definition, considered part of the fringe industry? Am I to understand that your approach for new writer's trying to break into the industry is simply to query and that's it? If not, what's the best thing for a writer to do, in your opinion?

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Amen, Kristy. Agreed here.

creativexec said:

When quoting my previous post, you left out my opening line, which suggests that writers can do whatever they please.

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I left it out because I was asking your opinion. I'm fully aware that you advocate going with what we wish; however, I was also aware that you spoke at the Great American Pitchfest, so it seemed contradictory to me that you would suggest writers avoid these types of events while your very presence at one would suggest otherwise. But, you've answered my questions and clarified what you actually said, so all is well with me. I was merely curious.

creativexec said:

When quoting my previous post, you left out my opening line, which suggests that writers can do whatever they please.

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Yes, that's the idea. Understood. However, I feel that it kind of makes your stand on the debate a little wishy washy. If this were a scam, one would like to think that someone with your knowlege would be screamin', "don't do it, kiddies! it's a trick!".

creativexec said:

I think it gets problematic when new writers rely on these avenues as a way to break into the business.

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My question here; why does everyone think that, just because this company wants to be a little generous and give back some of their hard earned success, that they're a scam? Is it illegal to do a good deed? Can't it just be that they're trying to help a few writers out?

creativexec said:

I definitely frown down upon events that sell the "dream." When they advertise or suggest that a pathway to a professional career can be paved. As they take your money.

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I think we've established that nearly everyone here is obsessed with mainstream work, and what Hollywood wants. Believe it or not, there are still a few of us indy kids out here that want to make a good indy film, whether HW cares, knows, looks, frowns or ignores. The dream is to have a group of people who want to make a good film stand behind you and give you some help. I'm not looking to be driving a Bently off this deal in six months. Anyone who will take up this offer will more than likely realize that this is indy work, and that 'hollywood dream' need not apply here.

creativexec said:

Most of these events will do NOTHING to launch a career. IMO, smart writers go in not believing the hyperbole of these events and simply attend with the agenda to learn.

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I'm expecting to learn something from this. Win, lose, or draw, I'm going to give it a shot. And, by the way, have you read the Entertainment Weekly articles about PitchNehst? Have you checked out the new projects listed on imdb.com that are currently in production?

creativexec said:

I spoke at the GREAT AMERICAN PITCHFEST this year and told the group that none of them were going to sell a script. (At least I'm consistent.) Some people walked out.

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"Whether you think you can or you think you can't, either way, you're right."

If you keep telling someone that they're not going to succeed in something, anything, then pretty soon they will begin to believe it. With all due respect, I'm sure you've worked very hard to gain position in your career, and you seem like a very intellectual person, but how dare you tell a writer who has worked so hard and dreamed so long that they don't have a chance.

Yeah, I agree, there are masses of people these days who think that they will be in the entertainment industry. Just look at the American Idol auditions. Come hail or high water, they know that they're gonna make it, and the truth is that they have ZERO talent. But for every ten William Hungs (or whatever that little guy's name was), there is a Kelly Clarkson or a Carrie Driftwood, or Pinewood... I don't watch American Idol much, but you get the point.

Just because a lot of people who don't have what it takes are blocking the walkway, it doesn't mean that there aren't a few worthwhile faces in the crowd. I just don't agree that it's right to judge all by a handful.

creativexec said:

Instead, I told them to sharpen their skills, ask for feedback on their story and pitching abilities, and make friends. (BTW, nobody sold anything at the Pitchfest.)

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Yeah? So do you tell them that at EVERY meeting? Do you tell them every single time that they aren't going to accomplish anything, and then tell them to keep sharpening those skills? It's kind of hypocritical, isn't it? Tell them, "you ain't-a-gonna make it, but... keep workin' hard." Why keep working if someone is convincing you that you're not going to accomplish anything?

creativexec said:

But they need to be clear and realistic on what the smarter strategies are versus the more quixotic.

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What strategies? The industry makes it nearly impossible. We've all got to pretty much guess at what we're supposed to be doing and how we're supposed to do it. Atop that, we have people who are in a place of power telling us that we're wasting our time.... but keep workin'.

creativexec said:

And while there is no sure-fire way into this business and success can come from the most unexpected places, it seems safe to say that if someone is taking your money, he's not interested in doing business with you because he's already doing business with you.

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Ok, this just makes me giggle. It's ten dollars.

Yeah, quite a few people are going to try to get in on the deal, and that may come out to a few thousand bucks. It just seems to me that if they were trying to make a few quick dollars, they would go with the Writer's Literary Agency approach. "For the low, low price of $300, we'll have our editor read your script and fix all your punctuation and dot your I's, and stuff..." Basically, charge A LOT of cash for a little nothing. Last I heard, WL didn't go on tour and bring their cause to the people. Nehst is doing a mini-tour to meet with the new writers.

All in all, I'm just wondering why people instantly became vicious over the thread. It doesn't make any sense to me. I mean, you can say that you want to warn the "n00b" writers about scams and "fringe" and all that, but why would you do that? You're willing to scare us away from an opportunity, but won't help lead us to one.... doesn't make sense. I'm sorry.

Some very good insight either side you fall on the coin, Creativexec. Thanks for your response, gives me something else to chew on.

I'm still considering Nehst, but I learned some new perspective in what you've said here.

There's way too much to address in that post, gopher. I will say, however, that I have never used the word "scam."

I do not imply that these events scam people. I think they exploit the Hollywood dream in exchange for cash.

I don't think there's been any viciousness in this thread. People are offering up different opinions. That's not vicious.

For over five years now, I have organized all sorts of free workshops and events. And I have a website where I continually interact with new writers. I think you'll find that I do quite a lot to help writers reach their goals. And I don't take money for it.

I'm also very honest about how things work. Since I'm not charging you money, I don't have to tell you what you want to hear.

I'm not trying to scare anyone away from anything. I simply suggest that writers should be careful about where they put their energies and money.

gophergrrrl said:

My question here; why does everyone think that, just because this company wants to be a little generous and give back some of their hard earned success, that they're a scam? Is it illegal to do a good deed? Can't it just be that they're trying to help a few writers out?

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I think it's important to note that they're not giving anything here. They're providing a service for a fee. This is a business transaction and the goal for any business is profitability.

In their search for the Next Big Undiscovered Talent, they are looking for people with whom they can make money. Like any production company they are seeking scripts that will yield a profit on their investment. This isn't a kindness-of-their-heart charity opportunity. (And I'm not saying that they've presented their offer as such. I'm not here to vilify.)

Simply, this is business proposition and should be looked at as such. It's always acceptable (and smart) to ask questions about any transaction you participate in.

I must have missed the viciousness, please point it out so I can see it.

Two sides of the coin, there's always two sides (at least).

Ironically enough, Creative Exec, I've poured my writing into 100% of the film side and 0% on the fringe side. I can't afford to pay people for my work, but it certainly is nice to get paid, it's a great feeling to know someone's found m work worth paying for.

Interesting thread at the least.

Hi all,

I work here at Nehst Studios and I have come on to hopefully answer some questions.

Larr Meistrich formed NEHST Studios and announced the company at Cannes in 2007. The idea is to make this company accessable to anyone and everyone. With http://www.PitchNehst.com, we have made pitching to a Producer accessable. Larry understands that Hollywood has a door that is barely open, and to get in, you have to be able to fit into that barely opened crack. Larry believes that there is an untapped talent source outside of L.A. Through PitchNehst, we have gone on to purchase or option over 40 projects, including two that we curretly have in Distribution and 3 that are currently about to go in production.

Two projects in Distribution are "41" and "Running The Sahara." "41" is a documentary about the youngest victim of the Rhode Island Station Club Fire, Nick O'Neill. The film was co-directed by his older brother, Chris O'Neill and was pitched to us at a live pitch session. "Running The Sahara" is a documentary following three extreme runners running across the entire Sahara Desert. The film was Directed by James Moll and Executive Produced by Matt Damon who also narrated the film.

About to go in production is the follow up, "Running America," A kids sports show called "DKT" and TV Pilot, "The Saint,' which is a remake of the 60's television series and is being Directed by Barry Levinson.

The $10.00 fee that we charge is an administation fee. We use these fees to help cover the cost of the live pitch sessions we hold every tuesday night in the New York Metro area. Despite what some may believe, these sessions can become very costly. They are usually held at the Four Seasons Hotel in Manhattan, or a Resturant in North Bergan, New Jersey. However, whenever we can, we schedule live pitch sessions in other cities. This weekend, Larry Meistrich is traveling to Sacramento for a live pitch session this Sunday. Our live pitch sessions gives the writer/filmmaker about 15-20 minutes to pitch their project. During ths pitch, we will give you feedback on your idea as well as constructive criticism on how the pitch went. And Larry will be very honest in the pitch session. If he feels your idea needs work, we will tell you. If he thinks it's great, he will also tell you. There is a lot of feedback that you will receive.

The fee also covers the cost of the website that we have. The website is very important to us because it essentially holds all of our pitch's. Rather than having people send us their script in the mail, they can upload it through the website. This saves the writer printing and mailing costs and for us, we go through printer ink all the time. Though we can hold the script on our website, we still print up the scripts to read.

Only our executives read the scripts. We do not send out to script readers. Every single pitch sent in will be reviewed by an executive.

Our Release Agreement has come into question. The release agreement is there and we can not change any wording on the release agreement or terms and conditions.With that being said, I want to assure you that the release agreement is there to protect the writer as well as NEHST. By signing the release agreement, you are claiming that the work you submit is owned by you. We are not interested in stealing anyone's concept. We do want to acknoweldge though that there are times when two people may submit projects that revolve around the same idea, and we may pass on one and move forward with the other. For example, in the same year, Volcano and Dante's Peak were both released. They were two different films with the same idea of a Volcano eruption. Another example would be Deep Impact and Armageddon. My point is, this agreement is there to make the writer aware of possible similarites. This is why we advise anyone who is going to pitch to also make sure their project either has a copyright or is registered with the WGA.

Larry was recently on FOX BUSINESS talking about Nehst Studios. http://www.youtube.com/watch?v=dDaWkXLeJoo

During the Interview, he mentions "The Carberry Boys." These two kids attended one of his Aspiring Fimmakers Bootcamps in Ohio. He loved their work so much, that he invited them out to New York and showed them around. I'm just mentioning this because I want people to know that Larry is looking for talent outside the walls of Hollywood (Thoughpeople in Hollywood do have the same access.)

If you guys ever have any questions, you can e-mail us at [email protected]. We will answer your questions.

Thanks,
Rich
Nehst Studios

Cool. And with that, let's move on. The opportunity is there for those who want to take it and for everybody else, I'm sure there are alternatives.

Thanks for clarifying things, Rich. Good luck to whoever feels like taking them up.

PM me if any problems.