Screenwriting questions.

[50's Kid]

Hello, everyone.

This is an unorthodox way of proceeding, but I thought I’d give it a try.

I am a screenwriter and have completed 6 feature length movie scripts, and am working on a 7th.

I have been trying to get someone to read one or more of these scripts, but always get the standard entertainment industry answer: “All scripts must be submitted through an agent.”

The problem is that I can not find any reputable agent to take me on as a previously unrepresented writer. I have been trying this approach for 14 years now, while I continue to write. I have also tried calling and writing directly to actors, producers, directors, production companies, and even entertainment lawyers, all with the same result. It seems that the only way to get an agent is to be already famous, in which case I would already have an agent. This “Catch-22” situation is, of course, very frustrating.

The reason I am posting on the Stephen King site is that my latest completed script is a prequel/sequel to the movie Christine. It is 179 pages, and has 22 suggested songs for the soundtrack.

I have corresponded with the producer of the original movie, and he will only read scripts presented through...an agent. He was very polite about it, but also very firm.

If any of you know of an actual reputable agent (no “script doctors”, or other scams) who will take on new writers, I would appreciate a heads-up. I have already tried all of the ones listed on the WGA site as being willing to do so, and even those who are not listed as such, but they all said they do not take on new writers. Strange, but true.

If Mr. King might be interested in reading part or all of the sequel script, I would be glad to send a copy, along with a demo CD of the full soundtrack.

Thanks for your time.

 

[Moderator]

To be honest, I'm surprised the current rights owners didn't tell you that you shouldn't be shopping your screenplay as I would think only they would be able to produce it. Getting another studio to look at it even with an agent would be difficult because of that. As noted in the FAQ, Stephen doesn't read manuscripts (or screenplays) for the purpose of giving feedback and I'm afraid I don't know of any agents to suggest. Sorry I can't be of more help.

 

[blunthead]

Welcome to the SKMB!

 

[50's Kid]

Thanks for the quick reply. The reason I wanted to find an agent is so I could have him or her present the script to the producer (there are two other rights owners, but he would be the starting point). I was not going to try to circumvent them, just find an acceptable way to get the script to them. All of my other stories are original, but I am a huge fan of Christine, and figured that if no one else is going to produce a sequel, I might as well write one, and try to set things into motion.

To be honest, I am very disillusioned with the whole process, and I am sure I am not the only writer who feels this way. This may be why so many lame sequels continue to be churned out by Hollywood. That probably sounds like sour grapes, but that is the way I see it.

 

[50's Kid]

Welcome to the SKMB!

Thank you.

 

[king family fan]

 

[kingzeppelin]

And good luck with your film script.

 

[50's Kid]

View attachment 4520

Thanks, glad to be here.

 

[50's Kid]

View attachment 4526
And good luck with your film script.

Thanks for the encouragement. I remain optimistic, and hope to be one of those "overnight" successes, who have worked in obscurity at the keyboard for years. Nice picture of Chrissie; Rock 'n' Roll will never die...

 

[prufrock21]

Welcome. "The problem is that I can not find any reputable agent to take me on as a previously unrepresented writer." They won't take you on until you're represented, and you won't get represented until they take you on. A catch-22 if I ever heard one.

 

[skimom2]

Welcome. "The problem is that I can not find any reputable agent to take me on as a previously unrepresented writer." They won't take you on until you're represented, and you won't get represented until they take you on. A catch-22 if I ever heard one.

Yup, Prufrock. It can be ridiculously difficult to get representation.

50's Kid, have you tried hooking up with independent producers? Not with your Christine-based script, of course (if the film rights owner doesn't take it, that one's a no-go), but of another script? If you were able to have a successful film produced via that route, it could provide an in-door to representation. I have a friend who's done that successfully in the Portland film scene. Just a thought.

 

[50's Kid]

Welcome. "The problem is that I can not find any reputable agent to take me on as a previously unrepresented writer." They won't take you on until you're represented, and you won't get represented until they take you on. A catch-22 if I ever heard one.

Yes, I continue to be surprised at the unwillingness of agencies and other people in the industry (I also tried the publishing agencies) to take on new talent. I don't know how they expect to expand their operations. Any business should be willing to take chances in order to grow, and bring in new blood (especially that of mystery and horror writers...) to their "stables". Several years ago, I wrote to one well-known actress (who I had envisioned as the main character's young Italian mother for the first of my 5-movie series). After the requisite 6-8 week wait, I politely called to follow-up on the query letter. The young-sounding guy who answered said he got up to 7 letters a week, and was overwhelmed with answering them. I hope he meant script submissions, because if he had a hard time reading 7 letters in a week, perhaps he should find some other line of work. Even if he had to unpack and read the first 10 pages of 7 scripts, that would hardly be back-breaking work over 5 days.

 

[50's Kid]

Yup, Prufrock. It can be ridiculously difficult to get representation.

50's Kid, have you tried hooking up with independent producers? Not with your Christine-based script, of course (if the film rights owner doesn't take it, that one's a no-go), but of another script? If you were able to have a successful film produced via that route, it could provide an in-door to representation. I have a friend who's done that successfully in the Portland film scene. Just a thought.

Thanks for your suggestion. In 2007-08, my friends and I made an Indy movie (around 30 minutes in length), but I made the mistake of not getting any rights to it, even though I executive produced it and spent several thousand dollars, and a lot of time, to make it happen. My friend, who wrote the initial script (I did some rewriting, and helped with the editing, to make it work) has unfortunately decided to sit on the completed movie, so it has gone nowhere. I lost the exposure value (potential interviews, in which I could have mentioned that I have written several original screenplays, etc.) it might have had. The plan was for everyone to in turn help me make the third story in my 5-movie series, but I ran into a problem getting the rights to the songs for the soundtrack. There are 31 songs in that soundtrack, and the rights start at $30K per song. The story is set in 1941, 1956 & 1958, so the rights to those songs should have reverted to public domain, except that Sonny Bono got a law passed extending copyright coverage to (I think) over a hundred years. I don't begrudge copyright owners (I am one) having income, but 52 years should be plenty of time to get the financial benefits out of that ownership. So, that project is currently stalled. I have been thinking of writing to several congress members, to try to get the extension relaxed a little bit, and/or trying to negotiate the rights per song down to something reasonable ($500 a song, which is a huge drop, I know). My argument will be that the exposure in a movie will lead to increased sales of the [older, period] songs in the aftermarket, including a soundtrack album from the movie.
I am finishing up a lot of already started projects, and hope to get back to that one, after the start of next year. That third movie (a science fiction genre) and the Christine sequel are my two favorites of what I have written, so far, although the 5th movie in the series (also science fiction, set on Mars in 2056) was a lot of fun to write, too.
I like your Avatar. Substitute a cold glass of Coca-Cola, and that's how I feel.

 

[skimom2]

Securing rights can be a pain. Some artists are okay with a mention, but most want cold hard cash, especially for a film. Have you considered rescoring it with original music that has the 'feel' of the era? There are indie musicians that might jump at the chance for exposure and a cut, with relatively little down.

 

[50's Kid]

Securing rights can be a pain. Some artists are okay with a mention, but most want cold hard cash, especially for a film. Have you considered rescoring it with original music that has the 'feel' of the era? There are indie musicians that might jump at the chance for exposure and a cut, with relatively little down.

Yes, that route was suggested to me by my musician friends, and I did consider it, but I like the actual original songs too much. I have seen many period movies that used newer, generic music (typically over-produced and mastered/compressed for maximum volume levels), and it just wasn't the same. It was as if someone was singing way off-key. For this story to work, on an emotional level, I believe the originals are the only way to go, because so many people have heard them, at some point in their life. And, I think I owe it to the potential viewers, especially those who were not alive at the time, to make it historically accurate, and faithfully convey the excitement (musically) of that time. Occasionally, I will hear a DJ, at a classic car show, for example, playing remakes or live versions of the original oldies, and it makes me want to cringe. I only play the real deal. For instance, the movie opens with a Glenn Miller song, but I chose the 1939 version, rather than the one by the Glenn Miller Orchestra, re-done in the 50's, sans Glenn, himself, of course.

 

[GNTLGNT]

 

[Flat Matt]

I admire your determination OP.

Fourteen years is one hell of a long time. Lesser mortals like me would have thrown in the towel by now.

 

[50's Kid]

Yup, Prufrock. It can be ridiculously difficult to get representation.

50's Kid, have you tried hooking up with independent producers? Not with your Christine-based script, of course (if the film rights owner doesn't take it, that one's a no-go), but of another script? If you were able to have a successful film produced via that route, it could provide an in-door to representation. I have a friend who's done that successfully in the Portland film scene. Just a thought.

Last night I heard that Lauren Bacall had passed away. In the second story of my movie series (finished in 2001), I had written a character named Katherine Tracy, who was supposed to be played by Katherine Hepburn. After Miss Hepburn passed away, in 2003, I thought about who would be good to suggest for the role, and decided that Lauren Bacall would be the only logical choice.

I tried to contact both of the representatives of these actresses, but never received any replies.

I have a great admiration for these two classy women, and it would have been an inspiration to have worked with either of them in a movie.

Sadly, that was not to be.







11-29-2001.



I have recently completed a movie script (my first) in which I have written a role for Miss Hepburn. I understand that she is having some health problems, but I was wondering if she would still be available for this work, if the script is sold. If not, I would at least like her to know that I am a fan of hers and have written her into the script. Thanks for your time.







Sunday, July 13, 2003





Please refer to the enclosed letter that I recently sent to Ms. Lauren Bacall’s agent, in reference to a script I wrote.



Another main character in this second script was written for Kevin Bacon.



I am writing to you, rather than directly to Mr. Bacon’s manager, because I noticed that you are also a publicist for Billy Crystal, who I have suggested to play a main character in the first movie in the series.



If you are interested in reading either of the first two scripts, please contact ******



Thanks for your time.







INT. THE HALLWAY OUTSIDE OF FREDDIE'S APARTMENT



Freddie's neighbor, KATHERINE ("KATE") TRACY [LAUREN BACALL], WHO IS IN HER SEVENTIES, is standing in the hallway. The door to Freddie's apartment is labeled with a bright, polished brass "2B". THE DOOR OPENS and Freddie appears in the doorway.



FREDDIE

Katie! Come on in.



KATE

Thank you, Freddie.



THE LIPPS, INC. SONG FADES OUT.

 

[50's Kid]

I am glad that I grew up when I did. Some people criticize the ‘50’s (and the 30’s and 40’s) as an impossibly false Norman Rockwell fantasy, but at least there was something to aspire to, rather than the angst that seems to permeate everything today. Sure there were problems, as is the case at any point in history, but it was a more optimistic time, and we could all use some optimism.

 

[Dana Jean]

I am glad that I grew up when I did. Some people criticize the ‘50’s (and the 30’s and 40’s) as an impossibly false Norman Rockwell fantasy, but at least there was something to aspire to, rather than the angst that seems to permeate everything today. Sure there were problems, as is the case at any point in history, but it was a more optimistic time, and we could all use some optimism.

Whose fantasy? White middle class males. There wasn't much for women and minorities.