QUESTION FOR FILMTVLAW.COM:
I’ve won half a dozen script competitions for my screenplay and I’d like to get it to places like Netflix and Sony Pictures Classics. It’s a great script, any insight on how to get it read by the studios?
ANSWER BY BRANDON BLAKE, ENTERTAINMENT LAWYER:
Thanks for a great question. I just got back from Venice, and behind the velvet ropes at the Venice Film Festival feels as intimate as ever, but the ramp keeps getting steeper for new projects to break in. Venice seems to have found its niche, which is arthouse prestige films with auteur directors. Hollywood was not well represented this year, but I got the feeling this was by choice of the festival programmers and not because the US studios were avoiding the festival.
In addition to this article, I share more than a hundred in-depth entertainment industry articles on my website at www.filmtvlaw.com/entertainment-lawyer-qa. Please also check out my bio at www.imdb.me/brandonblake.
STUDIOS AND STREAMERS
The focus on name directors is nothing new, but the emphasis as a prerequisite to screen at the Venice Film Festival mirrors the evolving studio requirements as well, where an A-list director has become a de facto prerequisite for many studios where cast driven films with unproven directors have a harder road.
The good news is that the cinema experience might be getting better, as distributors and streamers alike favor experienced filmmakers that prioritize success in the cinema over streaming hits. As a big fan of theatrical film and the public movie going experience, this is all great news for the future of cinema.
However, A-list cast tends to be more willing to take chances on innovative material and be more open to new creators with great ideas. Cast is usually more keyed-in on content and the role than making sure the material fits with their past work.
It is the opposite with auteur directors, who tend to prioritize the fit with the material and their comfort with the production team. By definition, auteur directors know what works for them and tend to stay in that zone. While some directors might reinvent themselves, most want to keep "doing what works".
Additionally, the word "auteur" literally means "author" in French, so many great directors want to write their own materials or rewrite outside material. Again, this is going to dent the options for innovative new material to break through in feature film.
Packaging
So, needless to say packaging becomes even more critical as awesome material that used to get read by attaching an A-list star or two now might additionally require the participation of a great director too.
The good news is that with the right director and representation like ours, a filmmaker can fast track a project to studios, which are eager for these pedigreed projects that are in short supply.
We have developed great relationships with agencies and directors and can help the right projects get read by the major studios and streamers, including Netflix, Apple TV, Focus Features, Lionsgate, Warner Bros., Sony, Paramount and many more.
Indie Creators
If your goal is to write and direct innovative new materials then you probably can't rely on the strength of a concept or script alone to get you there. That means you need to become a known creator. The word "creator" is all over the media now thanks to the great success of "Backrooms" and "Obsession", but note that neither of these creators were overnight sensations, and both had a lot of help from fantastic creative teams that included producers like Jason Blum and Peter Chernin.
The great thing about being an indie creator today is that there are venues like YouTube and FAST channels that will take an infinite amount of content. The bad thing about being a creator today is that YouTube and FAST channels have an almost infinite amount of content already, and it is more often than not a pay-to-play environment.
Becoming a new creator requires really great ideas, a lot of time, and often, substantial financial resources. For those that succeed, they will become the next generation of auteur directors.
If you are looking to package a project with A-list talent to get read by the major streamers and studios, please contact my office and my team will begin a discussion about goals and how we can help.
In addition, creators are welcome to contact my office to find out about development and co-financing services that could make your next film a reality.
As with all complex entertainment matters, please seek experienced entertainment legal counsel before making legal and financial decisions. This article is for informational purposes only and does not represent legal, accounting or tax advice. Do not act on this article without hiring legal representation.
Please do not send unsolicited scripts or concepts, which unfortunately cannot be reviewed and will be discarded.
- By Brandon Blake, Entertainment Lawyer
Brandon A. Blake is an entertainment lawyer and producer who works with Academy Award winning actors, directors and filmmakers. A complete biography is available at www.imdb.me/brandonblake.
About the Entertainment Lawyer Q&A:
The Entertainment Lawyer Q&A does not create an attorney-client relationship, nor is the information treated as confidential. Responses to selected questions will be made public and shared with our subscribers. All entertainment law information is informational in nature and is not intended to be acted on without entertainment lawyer counsel.