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Am I so unlikely to produce anything of a good enough quality that it will have have the opposite effect and put people off?

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That's the big problem :). A trailer is good if it looks good, but if it looks bad it could put people off the idea; however, if you shoot it and it does look bad you don't have to show it to anyone :).

Another option would be to find someone who can do good storyboards and edit them together into a movie with some actors reading the lines; that shouldn't be too expensive and would give people a fairly good idea of whether the final movie should work.

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Originally posted by alianco
Is it reasonable to ask people to work for nothing in exchange for credits and their own copy of whatever we achieve as a showreel?

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Yes. This is done all the time.

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Is this a common approach and do agents and film production companies throw unwatched DVDs in the bin as quickly as screenplays?

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This is very uncommon and while I have heard of a lot people who want to try this method, I have never heard of a story where it resulted in a sale.

I know of dozens of examples where a writer/director/producer team has made a short film that won awards and then raised the money to make a feature. But never a screenwriter who has shot a trailer or scene that resulted in the sale of the script.

In my experience, agents, producers, directors and production companies looking for a script aren't interested in how well the writer can shoot a scene. They are either interested in the script or not.

You've queried 15 agents. In my opinion that means you are 1% done. You haven't even scratched the surface. As someone in the business you have access to producers and prodCo's that very few people have. Use those connections.

However, if you decide to go the scene or trailer route, I hope you keep us informed. I'd love to say that I know one success story.

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The aim of an argument or discussion should not be victory, but progress.
Joseph Joubert, essayist (1754-1824)

Good point: it's far more likely to work if you're trying to raise funding to make the movie yourself than a writer trying to sell their script; in the latter case it will probably be changed a lot before it's shot in any case.

I've done alot like that before. There are several things you can do like your idea, like shooting a key sequence, shooting a test trailer, publishing a reference guide (includes character names, bios, locales, script, etc), include a script evaluation, or create a digital (photographic) or illustrated storyboard.

The only problem is who you send it to. While attaching material to your screenplay when sending it to an agent or another reader may get your script noticed, for many companies and agents it is a policy to ignore attached material, regardless of medium. So while additional material may help you, it is also a potential waste of money and may even get your script ignored. Guaranteed, out of 15 readers, a majority of them will simply toss the attachment. So be cautious. Personally, I do it anyway, but I set aside money for that on purpose.

On another note, if you want any photographic material to be taken seriously, you should shoot on a bare minimum of Super16 (16mm), not DV or any of its variations, unless your film would benefit from an overrendered frame (like 28 Days Later, for example). DV looks cheap or documentary-like, HD gets overexposed easily (you have to gel bright objects all the time), and Regulation 16mm only shoots in full screen. So even if ur budgeted, I'd advise that you film on Super16.

Thanks for all the prompt replies, lots of ideas I'll have to take on board. I know that 15 agents approached so far is a tiny number, it's just that I have been through this with another screenplay some years ago and then virtually all of them at least read it (or said they did) before rejecting it.

I assume times have changed and the large number of screenplays agents receive has grown even larger. I also assume that once rejected for any reason, they won't then read it if I resubmit with extra material. Am I being overly pessimistic thinking that I have one shot at each agent/production company with any one screenplay and to not even get past the first hurdle of getting it looked at is a wasted opportunity?

I learnt from my previous attempt that sending a screenplay that needed more rewriting was a mistake, so I am learning.

Unfortunately, most of my career has been in theatre and theme parks and now the modern art sculpture business (and believe me it is a business) so I have no contacts to call on.

Oh well, I'll continue thinking of how to go about this. If it doesn't work I can always keep it to myself as Mark G suggested. Besides, it will be a great thing to do anyway.

I'll keep you all posted as and when I get bit off the ground.

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I also assume that once rejected for any reason, they won't then read it if I resubmit with extra material.

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That depends. If your first contact is with a script that's utter junk, odds are they may put you on the 'don't bother' list, but if you send them a decent script that's just not what they're looking for at the time there's no reason why they wouldn't consider something else in future.

Hi Ya Dermot,

I heartily agree with certified instigator. Unless you are planning hold your scripts hostage with the intention of Directing them, shooting anything at this stage is a monumental waste of time. Producers will not bother to look at you DVD because they already have a roster of rep'd Directors, many of them friends or representing an investment at some level. As for agents, they just want to see scripts. That and agents suck, they are in it for their pay-check not yours. At this stage in your career you don't really hold much value to most agents. That isn't to say they wont look at it, but you will be on the bottom of the stack for a while (and maybe for ever).

You could aways broaden out to bouncing scripts off smaller production houses that really want to do features but are doing promos and/or commercials to pay bills (there is only hundreds of them in London area alone), the agents won't go to the smaller shops because their commission would be close to more than they could likely afford in budget. Get the knowledge on-line and start seeking them out (you could always cross-ref from Mandy.com postings as well). If you do go this route, register your script with BECTU and keep legal record of who you give it to.

Two bits of advice past that; One, pull off a "Bottle Rocket" manuver (if you intend to Direct) by shooting it as a short, focusing on character deleveopement; then take it to festival and hope to talk it up for more money (if anyone is interested) to see it up to its' intended running length.

Two; If you intend to be a Writer only; I can tell you that most readers simply flip to predetermined pages (depending on genre) to see what you have down. It is depressing to think it is that formuliac, but you must understand the sheer volume of scripts people read each week. For instance, Action Scripts have a death, big fight scene or pyrotechnic wonder every 15 pages (15min) as a rule. Where Comedies vary broadly; but a completed gag, quip or call-back is expected at least on every page (which in reading terms is, you guessed it; 1min)...this is in the circles I know at least (UK/Can/US Co-pro's). I have only been witness to previsualisation taking place once at the stage you are at now, and that was only storyboard of key sequences...AND it should also be said that a certain "American Tier-B name player" was already attached having played a part in the writing of said script; so basically they were shopping a package around to producers in representing themselves.

Someone is bound to option something at some point (if you are any good, it should happen...maybe. It may even happen if you are crap, as their is no accounting for some peoples' taste), just makes sure you have it in the deal to get it back if they don't develop. I really don't think you can get away with an option with a green-light and penalties or anything spectacular at this point, just think "baby-steps" and keep going. There are several metric tonnes of books out their on how this sort of business gets done and I strongly suggest you read up before getting to much deeper in, agents will take advantage just as fast as any producer. You should really have a solid grasp before getting totally screwed on your first deal and wanting to kill yourself.

Good luck. Hope that helps and/or makes any sence.

Hey Feckin,

What exactly is your job over there in the UK? You seem to have a hell of a lot of knowledge on this topic...

I am a Canadian Producer with a low-budg horror film in development. I produced and directed a trailer for the film on 35. It's a very strong piece and a good selling tool-- mostly for investors or others NOT in the film industry. Anyone experienced in film knows, on the whole, that a strong trailer does not a strong movie make...

Anyway, would love to hear about your specific line of work w/r/t film business.

Thanks,
Hal.

Thanks for the advice. I suspect evertything said so far is good advice to take on board. Possibly the most compelling from MarkG who said that if it not very good it'll do the opposite of what I intended. Without trying to be rude to many of the people on this site who have at least got off their arses and filmed something, it only takes one mediocre actor among some good ones (and not always that) to make something pretty regrettable.

As a first step to wherever, I have dug out some short screenplays I wrote and am thinking along those lines now. If I can make a good short then maybe I can get some interest in my full-length screenplays. If not it will at least be good fun and a great learning tool.

I'm still interested in any advice should anyone have the time/inclination.

Thanks again.

Dermot