A new class of manager/producers is proving to be an effective alternative (I am represented by both). GW (cont.): But be aware that an agent is not the only door-opener. If the spec is question is a high concept studio movie, the agent may choose to ?auction' it in the hope of triggering a bidding situation. They should also know which movie stars might want to attach themselves, thus making the spec easier to set up. GW (cont.): As for spec scripts, an agent will keep track of where the appetite is strongest for certain kinds of material. If you want to play the assignment game, you definitely need an agent, and you need to be able to spend some time in L.A.
These can be rewrites, adaptations, remakes, sometimes just the shred of an idea that someone thinks could be a movie. If the studio or producer is already aware of their client, so much the better. GW: A good agent is keenly aware of ?open assignments' at any given moment, and which of those might be appropriate for his or her client. How does having an agent open doors for you? I got several calls from producers after winning. GW: The script I was talking about was my ?Dragons', which won the Washington State Screenplay contest. How did you go about finding a producer and getting it into their hands? Then you call the agent of your choice and say "Hi, Gale Anne Hurd wants to make a deal with me and I have no representation!" That's how I did it. GW: The way to get an agent is to get a producer first. you pay your dues, and pay your dues, and then right when you start saying ?okay I am REALLY paying my dues,' you find that you've already paid a lot of them. GW: No, I didn't mean to make it sound like that. When you talk about your big break "50 First Kisses" it almost sounds like this was "easy." Would you characterize it as such? In reality, my career has been a steady continuum from tiny options to modest options with better producers, to studio sales and assignments. GW: My first six-figure deal was with Columbia for "50 First Kisses." (Title later changed to "50 First Dates" - ed.) But the moment I conceived the ending for that script, I knew I would sell it to a studio.
GW: I found some aspects of Robert McKee's book helpful, but I haven't found many good screenwriting books. When you started did you take a screenwriting class or just read a couple books? What books had influence on your writing? GW: I would not use a ?script reading service', but I have entered and won contests, and I heartily recommend them to all writers wanting to break in. Have you ever entered a contest and/or used a script reading service?
GW: Experience has taught me that a screenplay is never finished. When did you finish your first screenplay? GW: Final Draft is the industry standard.
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But again, it's 90% planning for the rewrite, 10% actually doing it.ĭo you use a particular software program to assist you? Then, once I get some initial reactions to the first draft - or once the producers who paid for it have read it - the hard work of rewriting begins. For me, the actual writing of the script is only 10% of the time spent, and it's a joy because I've already figured everything out and tested the story by telling it to dozens of people. GW: I outline, outline and outline for months and then write a first draft in ten days to two weeks. GW: The moment I first seriously asked myself what I wanted to do with my life - at the age of 16 - the answer was clear: make movies.Īre you a fast writer and a long re-writer? Or do you take a long time to finish a script and do very little re-writing or editing? or New York.Īt what point did you choose to start writing? I love it here and have no plans to move to L.A. I went to NYU film school's undergrad program, then moved here to Seattle about eight years ago. George Wing is the writer behind the film: "50 First Dates" staring Adam Sandler and Drew Barrymore.