A remake of a show about a remake of a show

The title to this post reminds me of the Friends episode "The One Where Everybody Finds Out," when Phoebe says "They don't know that we know they know we know" and Joey has no idea what she's talking about. Fittingly enough, Matt Le Blanc is starring in a new Showtime comedy "Episodes" -- a remake of a BBC show, about two British writing partners/married couple who are signed on to produce an American version of their hit British show. The comedy is being written by former Friends co-creator David Crane and Mad About You co-producer Jeffrey Klarik. It could be really cute. I love everything Friends, so I'll definitely be tuning in when the time comes.

Also, just a musing I've been having lately that seems to fit here. Remember a year or so ago when comedy was dead? Well, it just goes to show you that trends are just that -- fleeting and changing. There are 3 full nights of sitcoms on network TV, and HBO and Showtime have quite a few half-hour comedies. And that's not counting dramedies like Glee or Ugly Betty. People are interested in laughing again. As for me, I could barely contain my laughter during last week's premiere of Modern Family, and I've been loving newbies Community, Bored to Death and Cougar Town as well. Gotta get ready for tonight's two new comedies also...oh, time, where have you gone?

What Does a Pitch Look Like?

So, more technical stuff in the second part of the pitching series.

There are a few necessary elements to a pitch. First, introduce yourself, schmooze a little. People like to work with people they like. So be likeable. Ask about the projects they are working on, what they think is doing well -- and if it's applicable, adjust your pitch to meet the needs to glean from them. Be a polite snoop, in other words. They'll let you know when to begin the actual pitch. Start with the concept. Some people suggest doing a match-up kind of thing to give a frame of reference. For example, "It's I Love You Man meets Doubt." Some people hate that, though. Try to learn as much about the person you're pitching to as possible to see if they'd appreciate something like that. But at least give a logline so they know what's coming. Unless you established it prior to the pitching meeting, mention the form. Is this a movie? A pilot? Unscripted or scripted? Then, tell them why you think they'll be interested. Are you pitching to get a deal to write the script? To get money to fund your indie project? To get an actor or director on board? If the pitch is based off another source, mention it. Explain that you have the rights. If you don't have the rights -- get the hell out of the room! If you have anyone attached to the project mention that. (and by this, I mean real names. If your cousin is an actor and he's agreed to star in it, don't mention it. Unless your cousin is Zac Efron). Then, begin the story. The story is the most important part of your pitch. Like I said in the previous post, the story should include a beginning, a middle, and an end. Make sure you have enough time to get to the end. Only stress the important beats. Leave some things to the imagination.

The people you're pitching to will have feedback for you, most likely. Well, hopefully. Feedback means they're listening. Take notes. I like to paraphrase their feedback and repeat it back, with a specific way of incorporating into my story. That way they know you're listening, interested, you value their opinion, you aren't stubborn, and you're easy to work with. But keep it short. The feedback portion isn't really about you. There might be feedback mid-pitch as well, and accept it gracefully. The more feedback, the more engaged they are. Most execs I spoke to have said they know if they're interested in a pitch within the first 5 minutes. If that long. Another line I've heard a lot is that pitching is like dating. You kind of get a feel for the person at the outset (How I Met Your Mother fans will recognize this as the lemon law). You're also trying to feel out if you'd be a good match for the person you're pitching to.

Here's a tricky subject: pitch materials. An all-too-often-asked question. If you're pitching an unscripted show, having a sizzle reel is generally a must. Just a short cut of what your show will look like or an ad for your show. Something to give them an idea of the show's style and your talent. So many reality show ideas are alike, but what sets them apart is how they're done. If you're pitching something scripted, it's okay to bring materials, but don't expect to hand them out. You can bring a treatment, a synopsis, a copy of the script, exciting visuals. Some people feel more comfortable if they have them along. But don't hand them out at the outset. Because as soon as you hand someone a piece of paper, what do you think they're going to do? That's right, they'll read it. You want their focus to be on you, not your papers. If, at the end, they ask if you have something, give it out. If you really have to, and you've gauged the people well enough, you can offer to give them more to look at.

Pitching #1

We're writers, right? We like to sit by our computers typing away, not really doing the public speaking thing so much. But when it comes to getting someone to read our scripts, or better yet, buying our scripts, we have to talk it up to them. We have to pitch.

A lot of people get really intimidated by the idea of pitching. Telling someone your 110 page story that you've slaved over for months in only a few short minutes? How can you possibly get it all in there? Plus, what if they hate it? Won't you just be utterly humiliated?

Not if you follow these tips. I'm going to do a short series on pitching over the next few days or so, with some techniques and guidelines.

Let's start off with the three kinds of pitches. First, there's the elevator pitch, which is a 30 second pitch in case you randomly bump into someone, say in an elevator. This is generally impromptu, so it's good to have something always memorized in the back of your mind. This pitch should include the main character, the journey, and how the script ends. If your story works, this should be a breeze to figure out. I found that I had some trouble with my elevator pitch until I really figured out the heart of my story. What is the most important part of your character's journey? The inciting incident, the main obstacle, and the ultimate goal? Practice this pitch on your friends, in networking events -- this should be your answer to "Oh, you're a screenwriter? What's your latest project?" No one wants a long answer. The key is to leave the person wanting to read your script. Remember to smile. If you're excited about your pitch, they will be too. Just an aside -- it's a good idea to have elevator pitches prepared for 1. your current script 2. any previous scripts 3. yourself. Come up with a personal pitch for networking events. This should include your current job, the fact that you're a screenwriter, and the script you are working on. Unless your current job is more interesting.

The next pitch is the 3-5 minute pitch. It's for a script you've already written. This should have more details than the elevator pitch -- the act breaks, major story beats. Mention your protagonist and maybe some other main characters. Make sure you get to the end of the story. No one wants a hidden ending, an exec wants to know the twist ending before they read your script. Imagine if The Sixth Sense had a different ending -- would it be the same movie? The twist can make a movie, so don't leave it out. The way you tell the story should be indicative of the tone. The funniest comedies are funny to talk about, the best dramas are dramatic just in story. I'll be talking a bit more about this pitch in upcoming posts. It's the most common for new writers, and also is a follow-up to an elevator pitch that has established proper intrigue.

The third is the professional pitch. This is 15-20 minutes and it's usually to get a check to write the project. So it's not really going to happen until you're more established. This includes a lot of detail, everything in the 3-5 minute plus more supporting characters and other incidents. The general idea is to tell such a good story that someone pays you to write it.

Notice that none of these pitches include the marketing strategies for the script. You may be able to throw some of that in during a professional pitch, but for the other two, it's best to let your story speak for itself. There are marketing people to decide how to find a target audience. Your job as a writer is to tell a good story. And if your story is good enough...finish this sentence please...your audience will find you.

Check back for upcoming posts on the specific elements of the pitch, strategies for delivering the pitch, and what it takes to sell a pitch.

A Film to Remember

Sorry about the long posting hiatus...this past month has been such a whirlwind, but now that things may have calmed down, I'll get here more regularly.

In this past week's Entertainment Weekly, Stephen King wrote his column about the decline of pop culture. I adore Stephen King (among other things, if you haven't read his On Writing you really ought to. It's more geared toward fiction, but it is a definite "must" for any writer of any genre), but I disagree with one of the comments he made in his column. I tried to find the article on EW's site, but it doesn't seem to be up. But I'll share the quote with you: "When did you last see a movie that still engaged your mind a week or a month later? Doubt was nearly a year ago. Ditto The Wrestler and The Reader." His point is mostly that movies like Transformers 2 dominate the box office and have the widest distribution. Fair. I'm personally tired of this argument against big blockbusters, especially in summer, because a)they are fun, sometimes, and movies don't have to always be more than pure entertainment and b)if the studios make big money on one picture, they don't have to worry about losing money on a smaller one -- and with DVDs and hulu an whatnot, most people don't go out to the big screen anymore for a movie that won't get lost (ie, whose explosions won't be as awsome) on the small screen.

But all that aside...there have definitely been movies that came out since The Reader that have stuck with me. That I can't stop thinking about. That inspire me in multiple ways. Most recently, I would say 500 Days of Summer and Inglourious Basterds. I cannot get them out of my head, and if money were limitless, I'd see them again in theaters tonight.

What is it about these movies that makes them so hard to get out of your head? I think foremost it's originality. I've never seen anything like Basterds. A tear-jerking action comedy about Nazis? Who even thinks of that? And to pull it off without being offensive? As the granddaughter of Holocaust survivors, it takes a lot for me to see a WWII movie, much less one that is supposed to be funny -- and I must say, Quentin Tarantino figured out a way to make WWII Europe into something that was at times laugh out loud funny. There has been nothing like that movie. And 500 Days took the romantic comedy to another level. It added truth to a usually sugarcoated genre. So of course, weeks later, I'm still wrapping my head around these films.

I also realize, that when I read a script, I'm looking for that originality. That extra oomph that makes me sit up a little straighter as say "Damn, I've never seen this before, I don't entirely know where it's going, but I trust it." I can read a beautifully written script, but if its plot doesn't stand out, chance are I'll pass. You'd be surprised how many of the same script I read. I read the synposes first, and so often I can't tell the scripts in my pile apart. But, it is also key to remember that originality isn't the be all and end all. I have read some highly original scripts, but the structure or the writing were off, or the plot was way too far-fetched that it was original but not interesting. So it is definitely important to keep that balance in mind when crafting your work, so that your script is one that a reader remembers weeks later.

A quick tip for originality: write against the grain. If your first instinct is to write a scene one way -- for example, a bank heist, the robber says "Give me your money of I'll kill you," points a gun at the teller's head and the teller weeps and hands over the cash as a child cries in the corner, huddled with its mother -- imagine it differently. Maybe the teller is in on the plot. Maybe the teller is secrelty a renowned martial artist. Maybe the child runs over to the robber and says "Daddy no!" Even if your idea is absurd (kind of like my last one), it may lead you to a deeper, more original story. And if you write a scene that no one is expecting -- but still holds true for the larger premise and tone of the film -- your script will be golden.

One final question: what movies stick around in your head (from this year or otherwise) and why do you think that is? By discussing outstanding movies, I think we'll all get a better idea of what the perfect script should look like.