Holocaust

[WriteNow]

Sorry to hear the meeting wasn't a success. But look at it this way- you did learn something. And that something is that unfortunately, yes, many "players" in the Hollywood game are only in it for the money (and girls, and drugs, and feeling like a bigshot). Trust me, I could tell you some stories . . .

This is something everyone realizes sooner or later. Movie-making is a business and if the studios don't make money, they can't make movies. The best solution to this is to try and surround yourself with as many people who feel the same way as you as possible. Even if it means writing a short for a UCLA film student, at least you will be able to write the story you want and not have someone demanding it be changed to meet focus group demands or whatnot.

Also, it's important to just accept the truth that money drives the industry and try to marry your projects with what might be profitable at the time. Hence my "six scripts" rule- bleak sci-fi might not be in right now but if and when it comes back you are covered. (And then some.) And you can't take rejection personally, even though your scripts/treatments are very personal to you. You are very rarely being judged as an artist and most often are judged as an investment. There are myriad reasons they didn't want your treatment, none of them necessarily reflecting on its actual quality.

Now try and think ahead. Can you imagine where Hollywood is trending and then come up with a story you are passionate about that will fit into that trend? That way then next time you meet with an exec you can say "This will make you a fortune AND maybe win you some Oscars(you never know)." It will be a money-maker and a quality film, in other words.

You've got talent Rex, you're work here proves that. Learn to sell yourself (not your soul) and you will be a success in this business. I have no doubts at all-

(And lets see that Iraq vet treatment. Sounds interesting-)

[Rex]

Hey WriteNow, I need your advice. You said you've kind of "been there done that" with the Hollywood writing scene, so you probably faced this problem at one time or another . . .

Basically I have someone interested in Holocaust. They liked the treatment and asked if I had a script (which I didn't, it was only half done) but I said yes anyway and stayed up for two days finishing it. Anyway, they basically like it, I think (hard to tell when these Hollywood types praise you, they're always full of sh!t, you know?) but they really, like REALLY, want there to be a romantic component. I said there was one (with the daughter) but they want the main character to fall in love and have his girlfriend/wife/whatever end up in the booth at the end. Said it would be more involving for the audience and really dramatic. Which is like, total BS to just tack something like that on. And besides, his DAUGHTER ends up in the booth. I mean, what's more of a dramatic moment- a man losing his daughter or losing his latest girlfriend?

So, I don't know. I'm probably just going to tell them fine, I'll change it cause I'm so desperate to sell something. If they buy the script they can just change it themselves anyway with another writer. I'd rather be the one to ruin my own story, if that makes sense. So, anyway, maybe you got some sage advice for me since this is new to me. Thanks-

[WriteNow]

Well, I hate to be the bearer of bad news Rex, but the situation you described will happen about 90% of the time someone is interested in a treatment/script.

And the few times you get someone who loves it and wants to direct it themselves without changing a line, etc.- well, they still have a studio to answer to. And you can bet the studio will have lots of "notes" for them.

I can't tell you what to do other than say that your dilemma is pretty common. You can either hold out for someone who wants it as it is or cave in and kill your "baby". I can tell you that there are lots of dead "babies" in Hollywood. But you can always write another . . .

If it makes you feel any better even old pros that sell scripts for six figures still have to suffer the indignity of young punks the studio hires to "polish" their scripts. It's pretty common these days, especially uncredited rewrites. Unless you are an established writer/director (Cameron, Gibson, etc) once you sell a treatment or script- it's gone. All you can do is hope for the best.