THE SCREENWRITING EXPO 2008
THE SCREENWRITING EXPO 2008
Los Angeles Convention Centre, 12th – 16th November
A report by Gwenhyver Davies
What is the Expo?
This Screenwriting Expo is a yearly event where screenwriters, aspiring screenwriters, and many others gather to increase their knowledge of the craft and business of screenwriting. The event offers an impressive list of seminars. There is a “golden” opportunity to pitch scripts to industry professionals at “The Golden Pitch Festival.” The Expo offers occasion to absorb the wisdom of the impressive guest speakers. Networking parties occupy the evenings, and there’s just enough time to peruse the trade show.
I. Seminars/ Workshops
II. The Golden Pitch Festival
III. Panels – Q and A
IV. Networking Events
V. The Trade Show
VI. Conclusion
VII. Seminars, Additional Information
I. SEMINARS/ WORKSHOPS
With 5 – 10 seminar options in each time slot, the variety is such that there really is something for everyone. From the dabbler to the career minded individual, the Expo caters for all levels. The difficulty of the classes noted clearly in the Expo program, from “beginner” to “advanced” and “pro.” It doesn’t ‘hurt’ to go to a class above your level, nor does it hurt to be reminded of the basics!
The seminars generally ran from 9am until 7.30pm. You can pick or choose which time slots to attend. A notable bonus of the ‘Gold Pass’ (as opposed to the ‘Basic’) is you don’t have to buy tickets for individual events: you simply turn up. An added perk I was glad of since my seminar preferences changed as the event went on. The days were long, but the energy of the place and the novelty of the event far outweighed the need for sleep!
The seminars and workshops I attended:
· David Bartlett “Writing the Multiple Storyline Screenplay” *
· Ken Rotcop “Perfect Pitch – The Workshop” *
· Victoria Wisdom “How to Sell a Spec Script” *
· Victoria Wisdom “How to Pitch for a Sale” *
· Michael Hauge “Writing Powerful Movie Scenes” *
· Pamela Jaye Smith “Myth, Magic and Metaphysics”
· Linda Cowgill “The Art of Plotting”
· David and Jennifer Skelley “Writing Animated and Short Films”
· Billy Merrit “Writing the Marketable Romantic Comedy”
· Madeline DiMaggio “Writing the TV Spec and Making it Sing”
· Pilar Alessandra “You Had Me At Page One”
(*more information at the end)
II. THE “GOLDEN PITCH FESTIVAL”
The idea of a “pitch fest” is for the unrepresented writer to gain access to industry professionals who would otherwise remain behind locked doors. The big studio names were there: Dreamworks Studios, Warner Brothers, Legendary Pictures, Village Roadshow Pictures Entertainment amongst many others.
The way it works?
You, the writer, pay for the opportunity.
Tickets for the Pitch Fest are released on the internet and bought ahead of time: some tickets are available at the festival, but the sought after companies are by and large gone by the time the festival begins.
According to your time slot, you are herded in an organized fashion into a holding area. When it is your time to pitch you head to the appropriate table (all numbered on a plan) – balancing the need to get there quickly and the need to look professional. You sit. You have 5 minutes to “sell” your idea.
If they like your idea they ask for more information, or they may ask for your “one sheet” and – if all goes well - get back to you and ask to read your script.
The pitching
Chris Baker in the “Report on Pitching Ideas” captures the pitching process well when likening it to speed dating. It’s about capturing interest, not losing it. You know your idea’s great, but you have to convince them. And there’s a ticking clock! They don’t want to hear a string of words held together by numerous ‘and then’s. As many people versed in the ways of pitching like to say, “Sell it, don’t tell it.”
In preparation for the “Golden Pitch Festival,” I attended some seminars and workshops offered by the Expo, on the subject of pitching. There are different styles and schools of thought when it comes to pitching. It’s up to you whether you want or need to listen to them.
Some say you need to start with a question. Others say start with the logline. Some say compare your films to other successful films in order to give a visual and marketable ‘reference’ for your idea. Others regard this approach as ‘cheap.’ It’s easy to get lost in the maze of advice.
For me, some of the advice from seminars conflicted with the reality of pitching. When I asked questions in a pitch (as recommended by one seminar - to ‘engage’ the listener) the studio rep commented that doing so brought her out of the imagining experience.
Another “no no” from the pitch seminars was “don’t tell them your ending.” If they want to know your ending they should read the script. One studio rep was adamant that I tell her the ending, telling me that no pitch was complete without it.
So, from this I learnt that advice is exactly that. It’s not a process you can second guess step for step. Just as you may have a preferred way of pitching, they may have a preferred way of being pitched to. All you can do is prepare well: know your story, be comfortable with how you’re going to pitch it. The rest, as they say, is out of your control.
Ken Rotcop gave very good advice when he said “it’s just a conversation” and they are just people. Once I realized this, I relaxed. They were more receptive and I was more confident (and vice versa). As I got more confident, dare I say I enjoyed myself!
Is it useful?
Attending seminars on various pitching approaches was helpful: examining different approaches allowed me to find what I was comfortable with – what suited my personality and my story.
I found it incredibly useful in gathering my thoughts and seeing my screenplay from a marketing point of view. It really hit home the necessity of being able to look at ideas from “the other side of the table.”
I’ve yet to discover whether this is a viable route into the industry. Getting the representative to whom you are pitching to hold onto your details is just the first hurdle. Regardless, the pitching experience was invaluable simply for the pitching practice.
III. PANELS - Q AND A
I attended the “Pitching and the Development Process” panel which aimed to “shed light on the madness of the Hollywood development process.” The panel really highlighted how nearly impossible it can be to get your script into the right hands and then to get someone to give your script the attention it deserves. It was a useful reality check.
Derek Hoffman of the Donners Company made a good point about pitching. There are those who think the more dramatic their pitch is, the more notice will be taken. But, as Derek Hoffman aptly put it, “we’re judging how normal you are.”
I attended the Q and A with Melissa Rosenberg, head writer on the American TV show “Dexter” as well as the writer for just released (in America) “Twilight” (an adaptation of Stephanie Meyer’s popular young-adult novel). An intelligent and humorous lady, she gave great insight into the role of a TV ‘head writer’; and also on the subject of adaptations.
The Expo ended on a high note with Guest of Honor William Goldman (Oscar-winner for "All the President's Men" and "Butch Cassidy and the Sundance Kid," writer of "The Princess Bride," and many others.). The turnout was evidence that most screenwriters have heard of and admire William Goldman. It was a pleasure listening to his “adventures.”
IV. NETWORKING EVENTS
In total there were four Networking Parties, including a “Pre-Expo party” held the evening before things kicked off. Particularly notable was the last evening. At the poolside of the Figueroa Hotel, there was a great energy about the place. A very pleasing final evening.
“Networking” makes it sound like a very impersonal and career minded event. I suppose it depends how you approach it. I threw myself into it, professionally eager to get to know people and it was fun. I met many new people: Some “characters” who think they’re god’s gift, but mostly genuinely good people. I made some great contacts and sincere friends along the way.
P.S. Whoever invented business cards is a genius!
V. THE TRADE SHOW
A wide range of exhibitors: from online resources, screenwriting fellowships and writer’s groups, to DVD and book sales. Useful if you want to join some appropriate mailing lists, or wish to ask questions. It’s also an opportunity to have a flick through and browse books often only accessible through Amazon or the Writer’s store.
VI. CONCLUSION
I expected a week of learning and polite conversation. I got so much more. I learnt a lot, I was reminded of a lot I’d forgotten. I explored different approaches to pitching and what suits my style. I learnt pitching isn’t something to be afraid of; and looking at your ideas from the “other side of the table” is a must. I made contacts. I made friends. I gained knowledge and confidence from the experience. I would definitely do it all again.
gwenhyver_davies@yahoo.co.uk
VII. SEMINARS, Additional Information:
David Bartlett “Writing the Multiple Storyline Screenplay” (PRO)
David Bartlett dissected the structure of “Pulp Fiction” and “Crash.” He did so visually with post-it notes on boards marked up with the three act structure.
Very insightful to see the visual break down of a film’s structure. It demonstrates how scenes play out to create a certain pace and the importance of each story having its own 3 act structure.
David suggested cutting from one story to another in repetition throughout the script in, as he called it, “a cascade of repetition.”
Ken Rotcop “Perfect Pitch – The Workshop” (ADV)
Ken Rotcop’s suggestion:
Start by introducing yourself, then the title of your script and its genre. Then give your pitch. End with the question “Would you like to read the script?”
The aim of the workshop was to have people pitch their ideas to Ken and for Ken to critique their pitches. I learnt a lot from watching other people pitch. A friend of mine cleverly timed them. We realized we’d get bored at around one and a half minutes.
Although you have five minutes to pitch, less is more. The shorter your initial pitch, the more time they have to ask questions.
Victoria Wisdom “How to Sell a Spec Script” and “How to Pitch for a Sale” (ADV)
A few nuggets of knowledge and Wisdom:
· Sound professional, be treated professional.
· Begin by understanding the obstacles.
· Average studio film costs $106 million.
· Writer gets paid 1/30th of a movie star’s wage.
Victoria suggests the screenwriter ‘think like an architect designing blueprint.’ As an architect, you’d study, you’d do a lot of research: Why are some buildings, structures, successful and others not?
· Know the box office, know the trends.
Some genres come and go, like western and war movies.
Genres:
1. Most successful genre is action. Also the most expensive. Demographics = 16 – 25 male.
2. Number two is genre. The difference is the cost.
3. Thrillers (including horror)
4. Drama, which accounts for only 7%.
§ Dramas generally have limited/ platform release. They are aimed at the urban and well educated market.
When it comes to pitching:
· Get across your idea as quickly as possible: What’s your movie about? What’s it like and how is it different?
· Genre needs to be out there fast.
· Tell me what is the lead character’s flaw and what are they searching for: what makes them interesting?
· Be able to reference 3 pictures similar to yours and be able to articulate how yours is different. These need to relate to the context and tone of your script.
· Know the market be able to compare you work to what’s out there and what has been successful.
· Pitch is about audience: who will watch your movie?
· Don’t necessarily pitch the plot, too convoluted.
· The emotional journey is what it’s about.
Michael Hauge “Writing Powerful Movie Scenes” (ALL)
According to Michael Hauge:
· Goal of every scene is to illicit emotion.
· Stories are built on character, desire and conflict – at the scene level and overall script level as well. If a scene does not fulfill this, then probably not needed/wanted in film.
Ten qualities to have in a scene:
1. Setting
§ Draw ‘us’ into the location.
§ Give enough detail to create a vivid image.
§ Convey emotional content.
2. Characters
§ Characters have four functions:
· Support of hero
· Opposition to hero
· Reveal information
· Add credibility to scene
3. Desire
§ Must want something.
§ What characters want must relate to overall desire driving the movie.
4. Conflict
§ Obstacles have to stand in the way of the hero and the goal.
5. Structure
§ Structural devices include:
· Anticipation
· Curiosity I.e. Never end a scene without the viewer wondering what happens next.
· Surprise. I.e. Twists.
· Time I.e. the ticking clock.
6. Choreography: Character’s movements within the scene.
7. Credibility
§ Do my characters behave the way people with their beliefs would normally behave in this situation?
8. Dialogue
§ Is it consistent for each character?
§ Make sure characters aren’t just talking for the audience’s benefit.
9. Style
§ Make it a quick and easy read.
10. Transformation
David and Jennifer Skelley “Writing Animated and Short Films”
An incredibly genuine, fun and energetic couple who want the world to realize that “Animation is not a genre!” It is a technique, a tool.
