Once your screenplay is complete, how do you get a screenwriting agent? Image via Wikipedia

Somewhere in the world someone has just finished the first draft of his first screenplay – ever.

Full of enthusiasm, the unknown screenwriter breaks out a hammer and puts the final touches on the two brass brads that hold the 90-120 pages together. It is at this point when this writer asks himself the obvious question:

“How do I get my movie script produced?”

This is the point when things get confusing. Should the unknown screenwriter send his screenplay to contests, to agents, to the family friend attorney who is willing to pose as the “entertainment attorney” and hopefully shepard the script through the guarded gates of Hollywood?

Or should the first time screenwriter decide instead to send the work to producers? And what if somebody steals the idea? And why don’t producers accept unsolicited screenplays? UGH!

“Allow me to offer some perspective.”

One of the reasons I am excited you’re reading these words is because I can help you avoid my early mistakes. What I just described was me a decade ago. I was still in York, PA. I had just finished the first draft of my first screenplay.  And frankly, I thought I was brilliant. I thought my story was awesome. And I actually thought Hollywood would just knock down my door.

Of course it didn’t happen like that. After I wrote my script, email was the new thing. So I started sending email querys to various production companies. And surprisingly, a few companies did respond to me. But after I sent out my script, it wasn’t long until I either got a rejection letter or heard nothing. Back then, I still had a lot to learn.

“Would you like me to tell you the secrets of getting your work produced?”

Ok. I don’t have all the secrets. The truth is, if you have an amazing script that is totally polished, marketed towards your intended audience of producer types who have a history of producing your type of work – and you have a way of accessing them and getting your brilliant work read, then your success is (a little more) probable.

But for the rest of us, taking that route is an eroded path and (in my humble opinion) requires that you ask too many people for permission. I mean, doesn’t it make you feel a little whorish to ask so many people for validation? “Please read my screenplay, it’s great!”

“UGH. I hate asking for permission.”

And agents? Forget that route. At least right now. Yes, you can send out query letters and market the heck out of yourself. But if you’re an unknown screenwriter living outside of LA, the odds of getting your work read are slim to none.

Remember, agents make a living getting material sold. And chances are, those folks already have a dozen clients. They don’t have time to take notice of your material unless your work already has buzz.

So how do you break through? Here are 5 screenwriting tips… (But I don’t think you’ll like them.)

1. Quit asking permission. Production is getting less expensive every year. Produce your own material.
2. Seriously. I know it sounds crazy, especially if you never considered producing your own material.
3. Grab a $2000 dollar DSLR camera and start shooting projects on the weekend.
4. Surround yourself with your local film community. Get some help.
5. As your confidence builds, write a feature that can be done on the cheap.
6. I recommend horror comedy or something memorable and controversial.
7. When your script is complete, get a creative production manager to break down and budget your script.
8. Once you have the budget, start raising money.
9. When you get the money, decide to direct or hire a director, cast and crew.
10. Then make your movie.

While I know most screenwriters would rather just write a script and then ask someone like me to produce it – I got news for you, don’t do that. Stop asking permission. Instead, I want you to start thinking like an entrepreneurial screenwriter. I want you to start thinking like a producer. I want you to make your movie now!

Of course, a large majority of screenwriters will think these ideas are bonkers.

If that’s you then please ignore me and keep writing query letters. For everyone else – It is far better to have your work produced than to put it in a dark drawer, even if you have to produce your first screenplay yourself.

Jason Brubaker writes

OK. With the holiday season right around the corner, a lot of productions will go on hiatus until after the New Year. And it’s during the pending downtime when you should start thinking about your filmmaking goals for 2010.

You see, as movie makers, each new year gives us time to reflect on past accomplishments and future goals. Here is a year anew exercise. Take a few minutes to seriously answer these 5 questions:

1. What did you achieve last year? Did you make any movies or work on any projects? Did you write anything?
2. What sorts of filmmaking stuff did you want to achieve, but didn’t? What obstacles got in your way?
3. What do you want to accomplish in 2010?
4. What sorts of obstacles must you overcome to reach your filmmaking goals? How will you do this?
5. What is one thing you can complete today that will put you one step closer?

As a filmmaker, I assume your primary goal is to make movies. But as you know, making a movie requires many steps. So to plan your next movie as well as some of the other big whoppers you wish to accomplish, I suggest breaking your goals into smaller and smaller chunks… And then finally break them into small enough chunks so you can include them in your list of daily tasks.

For example, lets say the big goal is to hire an up-and-coming Director of Photography. Some daily tasks you might accomplish:

1. Call friends of friends for recommendations.
2. Put ad on Criag’s List seeking DP (or one of the many sites.)
3. Review Demo Reels.
4. Call prospective DP’s for interview or lunch.
5. Meet and negotiate terms the work within your budget.

Remember, as a filmmaker, nothing of major significance happens unless you have a clear understanding of your goals. And big goals always consist of smaller tasks.

So you wrote a screenplay? Now what?

I’ve been getting a lot of questions from folks who just finished their first screenplay… And like many, they don’t know what to do next.

That brings back memories!

Almost 10 years ago, when I was a fat, beer drinking, cheeseburger eating appliance store salesman in Pennsylvania, I too had just finished my first screenplay. And like many first time screenwriters, I had no idea what to do next. Besides, I thought just finishing a screenplay was enough of an accomplishment to get Hollywood knocking at my door.

Boy was I wrong!

It wasn’t until some years later, when I worked for a producer in New York City that I was able to see the other side of the business. So today, I want to reveal some secrets and share a little bit about what I learned.

In short, we received…

1. screenplays from agents that sucked.
2. screenplays from friends that sucked.
3. screenplays from known writers that sucked.
4. screenplays from friends of friends that sucked.
5. unsolicited screenplays that were written in hand.
6. unsolicited screenplays with artwork and movie poster designs.
7. unsolicited screenplays with long, drawn out cover letters.
8. screenplays that had no plot.
9. screenplays that had a plot, but no character development.
10. screenplays that had a gazillion spelling and grammatical errors.

And every-so-often, we received a script that was so AWESOME that we jumped up and down in excitement.

So assuming you finished your first screenplay and you can’t wait to get it into the hands of Hollywood producers, here are my suggestions on what to do next:

1. Enter the script in screenplay contests.
2. Do you know anyone friendly with a Hollywood producers, agents or managers?
3. If not,  I reccomend you print some business cards and then, learn how to produce.
4. Do you have any friends who know up-and-coming Hollywood actors?
5. Write another script.

That last piece of advice – write another script – that comes from experience.

Many writers put all of their focus on a current screenplay, that they fail to expand their body of work. Writing a stack of screenplays is like creating inventory for your store. The more products you have on the shelf, the more you can eventually sell.

Since agents and managers and producers make their living by finding good material, it is in your best interest to have some good material. Don’t send anything out, unless it it is amazing. Then assuming you capture the interest of a Hollywood Heavyweight, you’ll be ready to take your career to the next level.

If you’re an indie producer on a budget, setting out to write your first feature, then you can probably find any number of free software programs on the internet. Celtix seems to be popular, but it does have some limitations. To find this and other free software programs, simply do a Google search.

I used to know a director. A very talented guy. I mean, super talented. A few years back, he successfully directed an award winning feature that created a lot of buzz and got him noticed in the festival circuit. I can’t exactly pinpoint when this happened, but one day I got word that he ditched town – I mean, completely moved back east. None of his business partners could figure out what happened. Calls went unanswered. Emails were no longer returned.

Fast forward to the end of the month. The company accountant notified the other partners. As it turns out this up-and-coming director did a nose dive. He had drained the company bank account… The statements reflected reckless abandonment of not just a promising directing career, but also friendships. Many people were screwed over. Many people felt betrayed, burnt, pissed – and they had every right to feel this way.

As a piece of advice, mistakes happen. If you make a mistake, fess up to it. Do everything you can to make amends. But if you’re the type who purposefully sets out to disrespect other people, you might get away with it today or next week. But very soon, you’ll have a tainted reputation that will force you to move back east and out of the industry. Should this person ever stumble back into La La land, he will be quickly reminded that relationships are everything in Hollywood. And burnt bridges do not support dead weight.

The other night a friend of a friend of a friend kept telling me how upset he was that someone stole his movie idea. The story had something to do with space and time travel and a villain… I don’t remember. I asked him if he actually wrote a script, or if it was just an idea. He told me it was just an idea. Said he thinks someone overheard him at the local coffee shop.

The thing is, I stopped listening. I’m a nice enough guy. But I get frustrated when people come up with movie ideas and simply expect some Hollywood executive to magically appear and pay for ideas. I’m not saying it can’t happen (I actually know a filmmaker who was given over a million dollars to make a feature, based on the strength of his short movie) – But I’m saying this. If you aren’t preparing yourself for lucky opportunities every day – by actually completing projects, and honing your career skills (writer, director, etc) then please don’t complain.

Everybody has ideas. Few people control the rights to completed screenplays.

He is also a part-time directing instructor at the Vancouver Film School and teaches his own filmmaking workshops around the world (Canada, Dubai, Singapore).

Jason Brubaker of Filmmaking Stuff caught up with Peter for a few minutes earlier this week to ask him about his new filmmaking course.

Filmmaking Stuff

Peter, I reviewed your Script Breakdown and Film Scheduling Online Course. I have to say it’s very comprehensive and covers some detailed information that only comes with experience. Before we get to the details, could you tell us a little about yourself?

Peter D. Marshall

I first started making films (on Super 8 no less) when I was 16 years old. I’d make movies of our high school parties, film my friends as they drove around in their cars and created pixelated animations with model race cars in my basement.

During my 35-year career, I have worked as a PA, dolly grip, electrician, assistant cameraman, commercial production manager, first assistant director, TV series creative consultant, television producer and director. I have had the opportunity to work on many different types of productions, from industrial films to documentaries; television commercials to music videos; Emmy Award nominated TV series to Hollywood feature films.

I have directed over 30 episodes of Television Drama and written, directed or produced over 50 hours of documentary and educational programs. (My documentaries and dramas have won, or been nominated for, 14 International film awards.) And as a First Assistant Director, I have worked on 13 Hollywood Feature Films, 15 Television Movies, 6 Television Series, 4 TV Pilots (all of which went to series!) and over 20 Commercials.

Filmmaking Stuff

How did you get started in the movie business?

Peter D. Marshall

After graduating from Grade 12, I spent three years in film school in Toronto (1970 – 1973) and then hit the streets looking for the job that would kick-start my filmmaking career.

My first paid film job was on a Carts commercial in 1974. I was the PA [Production Assistant] holding a brown paper bag just under the camera so when the director called “Cut!” the actor could spit out his candy into the bag I was holding. In 1985, I got my first professional job as an Assistant Director when I was the 2nd AD on the 13 x half-hour Television series called “The Hitchhiker.”

The first major TV series I worked on as a 1st Assistant Director was in 1986 on a Steven J. Cannel production called “Stingray.” After “Stingray” I worked on several more TV series with Cannell until I became one of the 1st AD’s on “Wiseguy.”

I also got my first big directing break on “Wiseguy” as well. This is something that happens occasionally on a TV series when some department heads get an opportunity to direct.

Filmmaking Stuff

In your program, you offer all sorts of valuable information on how to be successful in the movie business, both during production and as a career. And you have a real passion for sharing your experience with up-and-coming filmmakers. What sorts of mistakes can first time filmmakers avoid, when it comes to prepping their movie?

Peter D. Marshall

There are many things a first time filmmaker should know and understand when it comes to prepping and shooting a movie. Basically, the whole 137 page course is designed to show this information, step-by-step, to filmmakers so they know how to end up with a properly designed shooting schedule.

Here are just a 10 of the hundreds of tips contained in the course that will help filmmakers better prepare themselves during the prep of and movie or television production:

1. They have to have an understanding of the politics of film!

2. They have to have a knowledge of who the Power Players are and how to deal with them.

3. They need to know as much as they can about everyone else’s job.

4. They need to know what is expected of them when they begin pre-production and when they step on the set

5. They need to know the differences between Feature Films and Television

6. They need to know the intricacies of the director/assistant director relationship

7. They need to understand the physical breakdown of scripts, scenes and shots

8. They need to understand traditional camera techniques

9. They need to understand the 5 stages of blocking a scene

10. They need to understand film editing techniques

Now even though the title says “Script Breakdown and Film Scheduling…” this course is not just for Assistant Directors or Production Managers. When I wrote this course, I also had in mind Directors, Producers, Location Managers and any filmmaker who would like to gain in-depth industry knowledge of the entire pre-production stage of making a feature film or television series.

Filmmaking Stuff

One area you really brought to my attention is the extras budget. It’s funny, but in my experience this has been an area where filmmakers drop the ball. Can you tell us a little about the extras budget and why it is so essential?

Peter D. Marshall

The Extras budget is usually the only budget the AD department has to manage. You start by getting the Extras budget from the Production Manager which is usually listed in “man hours” for the show.

After you have a preliminary schedule, you begin your first pass on the extras count by deciding how many background performers you feel you need to have for each scene. Since you do this budget very early in prep, this number probably won’t be based on a real location, but will come from your own experience and from reading the script. (re: How many people will it take to fill a nightclub when the script says “the club is busy and jammed with patrons and dancers.”)

You should budget high for all extras because every director will want as many extras as they can for a scene. As all film budgets do, the extras budget will eventually be cut down, but at least you have a good starting point.

This meeting is very important for many departments because of the overlap that occurs with extras (Hair, Makeup, Costumes etc.) This is also the meeting where the Assistant Directors can have some creative input with the Director on the number and the look of the extras as well. Of course, your creative involvement here will always depend on your relationship with the Director at this point in prep.

Let me give you an example of the logistics involved when working with a large group of extras.

I was the First Assistant Director on the Second Unit Battle Sequence for the movie “Legends of the Fall.” I was also tasked with the job (along with the Military Advisor) to set up and train the 1000 extras who would be in the WW1 battle scenes. We had less than 2 weeks to do all this.

We spent the first week working out all of the logistics; confirming these with Director Ed Zwick and his storyboards; planning the event down to the smallest detail with the Props and Costume departments who had to dress and arm all of the extras; and had many conversations with Special Effects who had 25 special effects people who were responsible for setting off all the explosions on the battlefield as the troops charged over it – at night!

We then had the second week to set up and train the main battle group of about 200 extras who played the officers and NCOs (non-commissioned officers) of the 9 sections it would take to fill the battlefield.

On the day of the scene, (it was actually shot at night) we were only budgeted for 4 hours of rehearsal in the daylight with the entire 1000 extras! From the time the first extra got off the bus at base camp, to the last extra marching into their place in the trenches, it was 1 1/2 hours later.

When actor Adin Quinn blew his whistle and the camera pulled back on the crane to see 1000 Canadian “soldiers” climb out of the trenches and charge across a battlefield as hundreds of explosions rocked our insides and flares screamed over our heads, we knew we had helped to create a very memorable scene in this movie.

Filmmaking Stuff

Your course reads a lot like a living document. On almost every page, you’ve expanded on the content by providing a link to other, similar information. I’ve read a lot of filmmaking stuff, and I can’t remember the last time an author has been so generous.

Peter D. Marshall

I feel it is very important to “pass the baton” to the younger generation and that is why I hold nothing back when it comes to sharing my knowledge with other filmmakers. I also love teaching!

About 15 years ago, I created a 2-day workshop called “How to Design an Accurate Film Shooting Schedule.” As the film and television industry changed and grew over the years, I modified the content of that workshop to keep up to date with all the new filmmaking techniques I was learning. That 2-day workshop has now become the model for this Online course.

Filmmaking Stuff

Making a movie is tough. And it’s common for filmmakers to get overwhelmed with details. Could you tell us a little about The Reductionism Theory.

Peter D. Marshall

Reductionism, as described by Wikipedia, is “an approach to understanding the nature of complex things by reducing them to the interactions of their parts, or to simpler or more fundamental thing.”

In other words, the Reductionism Theory states that “most anything can be understood by taking its pieces apart, studying them and then putting them back together so you can see the larger picture.” For our purposes as filmmakers, we use the Reductionism Breakdown Theory as the process of “reducing a script down to its smallest elements by going from large to small, from general to specific.”

Formula: Things You Don’t Know + Research = Things You Do Know

Here is a basic filmmaking example of the Reductionism Breakdown Theory from reading the script to the first shot on set:

1. Script

2. Act

3. Sequence

4. Scene

5. Shot

6. Take

I have a very good example the Reductionism Breakdown Theory when I got the job as First Assistant Director on “Bird on a Wire.” When I first read the script, I was overwhelmed by the logistics of this production. I honestly wondered how I could possibly prepare such a huge show with two major Hollywood stars, lots of action and many locations. Well, two months of prep later, we were ready for our first day of shooting!

I was overwhelmed on my first read through of the script because I could only see the magnitude of this picture as a whole. Once I started to reduce it into more manageable elements, it became clearer on how to proceed. Time is your ally here.

The Reductionism Theory is what we use everyday to help us figure out many things – not just in the “reel world” but in the “real world” as well! (Remember the first time you drove a car, used a computer, set up your TV)

Filmmaking Stuff

This is especially true when it comes to breaking down a script. Every movie seems to have a million elements and ways filmmakers can get overwhelmed with a schedule. I was impressed to see your that your course includes step-by-step Film Scheduling Tips. Any worry that you just gave away the 1st AD secret sauce? Hahaha!

Peter D. Marshall

Quite honestly, there is so much more to cover on this subject that I have several other courses and products that I am now developing to support all the material in this 137 page course such as audios, video demonstrations, discussion forums etc.

Filmmaking Stuff

What are you working on next?

Peter D. Marshall

I have several consulting jobs that I am working on for different filmmakers around the world plus I am creating more Online courses that will help independent filmmakers better prepare themselves for a successful career in this business.

Filmmaking Stuff

Oh… And one last thing. Where can filmmakers find your Script Breakdown & Film Scheduling Online Course?

Peter D. Marshall

They can visit this website link where they can check out all the details about this 137 page online course including the content list, support materials and free bonuses. As a matter of fact. I have set up this webpage especially for your readers so they can get US$20.00 of the purchase price of this 137 page Online course.

To learn more about Peter D. Marshall’s Script Breakdown and Film Scheduling Online Course: CLICK HERE

Back when I started, unless your movie originated on 35mm, it wasn’t a real movie. I understand the thinking. There was a time when film looked way better than any other format. But over the past five years filmmaking technology has advanced exponentially. And these days, getting into the feature club, with a good looking (meaning high production value) movie is easier than ever.

While you still need to create a movie worth watching, you can never again use the lack-of-money excuse.

Shoot your first feature in high definition, not DV and not Film. Why? DV looks like crap and film is way too expensive and in my opinion, too risky for a first feature with a limited budget. Shoot your 3rd feature in film, when someone else is bankrolling your movie.

If you plan on directing the movie yourself, make sure you have a great gaffer and a great Director of Photography. The DP usually chooses the gaffer, so let the DP do the choosing. Remember, it’s about the team. Get your hands off the project and just let the collaborative team building process begin. This will alleviate a lot of stress from your production.

The next day, I was on Amtrak, headed into the heart of Manhattan. When I got off the train, things moved quickly. I had never worked in New York prior to this. The producer met me Penn Station, took me to the location, and gave me a list of things needed. I started the day fetching coffee and lemon lime seltzer water, and bagels.

Having never worked in the city, at times I was lost in the streets with fifty pounds of drinks and hot coffees.  And even though this was the neatest day in my life, it was also October 2001. Ground Zero was still smoking. People around me were wearing dust masks to filter out the dust, ash and debris. What a surreal contrast between my enthusiasm for the job and my empathy for everyone around me.

When we got back, the producer and director pulled me aside.

“Kid, let me ask you a question. One of our camera guys didn’t show. Have you ever worked a camera?”
“Yeah (But not really!) “
“Good. You’re getting a 50 dollar raise.”

Now in retrospect, that put me at $150 for the day, which at the time seemed like a million dollars. But knowing what I now know about day rates – I was such a bargain!

The director handed me a set of headphones and when I put them on and plugged in, I heard this amazing electrical “phoowsh.” And with that sound, I became a professional. Over the next hour my work was close to Zen.