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The script had to be done in two weeks time, plus a few days for rewrites - if I wasn't fired after handing in the first draft. The distributors were ready to go and wanted to get casting and production underway. I barely saw my family for two and a half weeks. The existing script was lacking, so we had to make it better.Īfter I pitched my take, they sent the contract over, and I was finally working on my first paid writing assignment that went to script.
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Page one rewrites are where you take the core of the concept and maybe some of the characters and settings, and start from scratch. The catch was that I had just two weeks to write a page one rewrite of the screenplay they had. The pay was higher than low-five-figures, which I was of course more than happy to accept. "This one is already pre-sold on the concept to foreign territories and is going to be made," he told me. A couple of months went by when he called me again with another assignment. That assignment didn't go beyond the initial pitch to networks, but I finally earned my second writing paycheck after my Lionsgate deal expired after the strike.
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Long story short, he was impressed and offered me my first writing assignment. I pitched him my scripts and signed a release for him to read them. He had offered to help the group and me in any way, being a Wisconsin native himself. I was mentoring a group of screenwriters based in Wisconsin when I received an email from a producer and executive in Los Angeles. I continued to write, but the industry was left in such turmoil in the months and years that followed. My deal with Lionsgate was going strong until the one-two punch of the economic crisis and the Writers Guild strike of 2007/2008 hit. Ironically enough, I managed to sign my first contract after moving 2000 miles away from Los Angeles. We decided to move back to Wisconsin to raise our son closer to family. I managed to secure representation from my first notable screenplay and found myself invited to multiple meetings at Sony, Universal, Dreamworks, Warner Bros, and Disney.īut priorities changed after nothing came from those meetings. I later left my studio position to raise our newborn son while writing at home. From there I networked and got into Sony development as a script reader and story analyst - all while honing my own screenwriting skills on the side. I then worked my way out of the Sony security uniform and into an office position where I later became a studio liaison working with incoming film and television productions. I worked my way into the VIP parking lot and enjoyed months of seeing and talking to the Hollywood elite. Two weeks later, I was a Sony Security guard. After weeks upon weeks of failed attempts to secure a Sony job through their employment website, I walked up to a Sony security gate and asked the guard, "How do I get a job here?" I wanted - no, I needed to work behind those walls. On the far right was our apartment building and on the far left was Sony Studios. To our surprise - and my utter glee - the apartment was located just across the street from Sony Studios. When my wife and I relocated to our second apartment, we blindly selected one in Culver City.
SCREENPLAYS WANTED BY PRODUCERS 2017 PROFESSIONAL
I moved to California from my home state of Wisconsin with hopes and dreams of becoming a professional screenwriter. I had worked in the film and television industry for years - but on the studio end of things. 99% of the other working screenwriters out there have a much different experience. The purpose is to showcase a story apart from the glitz and glamour that we read about with the top 1% screenwriters making big paychecks and working with A-List talent. I'll share the trials, tribulations, and triumphs of the process to give all up-and-coming screenwriters a real-world look into what it's really like to be a screenwriter - and how it really feels to see your work produced by Hollywood. Here we offer a ground-level, in the trenches perspective from a screenwriter - me - that saw his screenplay go from page to screen. Most working screenwriters make money off of spec scripts and assignments that never make it to the big screen or television. It's one thing to win a contest, get representation, sign that first option contract, and get that first check for either a script sale or writing assignment - but the final summit is actually seeing a studio produce your screenplay with a name cast. Seeing your screenplay produced is the ultimate goal for every screenwriter.