The Best Way Forward With New Script?

So what is the best way for me to get one much earlier in the process? Just write to them?

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Contact them and pitch. An introduction usually yields better results.

can you suggest a particularly good place/way to market a horror script?

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Market a script? That's an interesting idea. I suppose those writing competitions, though a lot of people consider them scams. Your mileage may vary. Do your research. Ask your writing friends.

I think everyone here would struggle to get funding for a new spec script.
If anyone has cracked the code I'd love to know the answer for myself!

I know a name actor attached sure would help. Or a book with an established audience the script is based on.

Sweetie said:

Contact them and pitch. An introduction usually yields better results.



Market a script? That's an interesting idea. I suppose those writing competitions, though a lot of people consider them scams. Your mileage may vary. Do your research. Ask your writing friends.

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Thanks Sweetie. Actually someone just introduced me to a production company and they just made a horror movie and accept script submissions. Could be the way to go.

sfoster said:

I think everyone here would struggle to get funding for a new spec script.
If anyone has cracked the code I'd love to know the answer for myself!

I know a name actor attached sure would help. Or a book with an established audience the script is based on.

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Good thinking. Am working on getting name actors for my 'Killer Eyes' movie, might mention the horror script too when it's done.

If anyone has cracked the code I'd love to know the answer for myself!

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Plenty have. It's how the industry runs. Most people aren't in a position to use the cracked code. The problem for unknowns is the chicken or the egg syndrome. Most don't have/employ the appropriate resources to overcome that problem or they're their own worst enemy.

someone just introduced me to a production company and they just made a horror movie and accept script submissions.

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Now that you know them, pitch. Without that introduction, you're just another cold call. Very few people possess the Midas touch to overcome that issue. Very few good companies accept unsolicited scripts.

Lauran said:

Hi, I'm writing a horror script and am wondering the best way forward with it once I've finished it - either to sell it or direct the movie myself (preferable).

In the Florida section I've been criticised for not having gotten an executive producer before choosing my cast etc. for my female led action movie 'Killer Eyes'. So what is the best way for me to get one much earlier in the process? Just write to them?

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I'm sorry you felt I was criticizing you. My intent was to offer some insight
into how the business works and point out that your method restricted your
options and adding challenges. As I said several times, your method could
happen.

I'm going to suggest that rather than find someone to raise money for your
movie you write a very low budget horror script that you can finance yourself.
That's a path many first time writer/directors have chosen. It shows others
that you actually have the talent to make a terrific movie. It's very, very rare that
an experienced EP will find financing on contingency for a first time writer/director.

Another path is to make a few excellent short films. You could spend the next 10
months (as you find an EP for "Killer Eyes" and that EP raises the money) making
five truly great shorts - a couple of horror films, a kick-ass action short (starring
your "Killer Eyes" actress) and a couple of music videos for local bands. All no
budget. Show what you can do with no money. Show that you are a versatile director.

But that doesn't answer your question, does it? I don't know the best way. Research
20 first time writer/directors and you'll fine a dozen different methods. With your
finished horror script you could write to producers; it could happen. All it takes is
one so write to 200 of them. You could join your local film commision and contact
your local film office to expand your local connections. You could keep the budget so
low that you and your friends and family can finance it.

Of course you could sell the script. A script sale would expand your contacts. If the
script is good enough you may be able to leverage that to get the job directing. Of
course that would be easier if you had a few excellent short films finished but you
never know, it could happen.

There are so many paths available to you. The "best" one will be the one that works.
But like anything worth having it takes hard work. Try every path.

Thanks for the good advice Sweetie and directorik.

directorik - I didn't necessarily mean criticism as a negative, more in the sense that what I'd done was evaluated.

Yes I'm keeping on with the hard work, sure would like to see more results in the near future. I'm quite interested to see what the production company I mentioned above will say - they're from my country, England, I like what they've done and they're close to me geographically, and the owner sounds nice on the phone. Could be good to work with them in some ways.

Sweetie said:

Plenty have. It's how the industry runs. Most people aren't in a position to use the cracked code. The problem for unknowns is the chicken or the egg syndrome. Most don't have/employ the appropriate resources to overcome that problem or they're their own worst enemy.

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If you need connections I don't consider that cracking the code.
I'm talking about something I could do myself, in my current situation, to have a script get financing.

Connections isn't the code. It's one tool in your toolbox.

Sweetie said:

Connections isn't the code

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Spill the beans. let the cat out of the bag. release the kraken

What's the code?

Down to its core, it's about creating value. If you need something from person A, you need to be able to offer them what they want.

Take for instance, if you want money from an investor it's really not that hard. You need to create a deal that is better for them than the deals they already have access to. The truth about investors is smart money is more concerned with the executive team. Fail in this area and the other details won't matter.

In films, the director in combination with the producer essentially combines what a CEO does. If your executive team is unproven/inexperienced it increases risk for the investor. The more the risk, the better the your offering needs to be for the investor.

If you need a named actor, you need to be able to deliver what they need, whether it be cash, assurances that the director/producer is worthy of their trust, for some it may be ego or opportunity. Whatever it is, you'll need to deliver to get them.

It's the same with a distributor. You need to be able to offer what they need.

It's not a secret. It never has been. It's just hard work combined with a particular deal making skill set.

Where it gets difficult is all the moving parts makes it difficult to make a package/deal that every party can agree upon.

People are often obsessed with trying to shove a square peg into a round hole. That's where they fail.

The chicken or the egg: Since you're new, you need to have a better offering than the established film makers. It's that simple. I believe you need to be better than what's out there to be given that shot.

I don't know how to turn any of that into actionable progress.
All I know is that if I can make a film for X and get a lot more than that in profit i'll have something to talk about for future investors. But like you said it's a chicken/egg thing.

I think the trick is in creating the right script that can be done on no budget but still satisfy a certain market.

I don't know how to turn any of that into actionable progress.

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There's some actionable info in there if you think about how to apply it to each area of your film making where you are. It's just a smaller scale.

At this point in time, just take it on board so you don't make unrealistic plans. For instance, trying to raise a million budget without a track record is akin to winning the lotto. It can happen, but it's more often than not the exception to the rule. When you're unproven, you have to invest in yourself.

This is also why it's easier for a producer to start out than it is for a director. A good producer picks the rest of their executive team to ensure the marketable elements are maximized. If they can hustle and deal, they'll be able to draw upon the strengths of the named talent. Most directors are ham-strained from the get go.

All I know is that if I can make a film for X and get a lot more than that in profit i'll have something to talk about for future investors. But like you said it's a chicken/egg thing.

I think the trick is in creating the right script that can be done on no budget but still satisfy a certain market.

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Yep. I believe it's a smart first step. Execution is still key. As you know, the devil is in the details. I'm working towards a similar goal with a similar strategy. Success attracts money.

Smaller money is easier to get. Dumb money is abundant in smaller quantities.

Two conclusions I came to.

1). Take heed to your goal. It takes a lot of work over a long period of time to make a piece of work that can help launch your career. Make sure it'll launch you in the right direction.

2). Exploitation is critical. If you make your first film and cannot cash in to its potential, investor money may be less likely to follow.