Director attached to a script...

So my feature script LORCA has generated a lot of interest.

I was just contacted by a director who loves the script and wants to be attached.

He has an amazing resume, and his music videos and TV ads are world-class. Problem is, I'm not sure what's involved in having a director "attached." I suppose it means that anyone that wants to produce the script will be stuck with him as its director. Is that a liability or an asset? Has anyone else had experience with attaching a director to your project?

-Charles
 
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It's a very good question. The answer will depend on whether the director will be an asset or a liability when getting the other attachments and financing. Attaching the wrong director (key actors too) can either mean the kiss of death or propel your project forward.
 
Personal recommendation here.....

Tell the director if he's actually passionate about being the director for the script, that he pursue acquiring the rights for it from you.

That way you have 2 likely outcomes:

1) He'll bail. Which is a good thing. If he'd bail at that point then he wasn't very passionate about the project anyways. Long-run this is a good outcome.

2) He'll pursue the rights from you in some way. Possibly with a monetary payment, deferred payment, etc... but either way this proves that at the very least he's serious about doing the film. This will also mean he's going to try just that much harder at pushing the script for funding.

In my experience, I approached a writer I respected (he's highly published) and told him how I felt about one of his novels. I know him, he's a film fanatic. I wanted to direct his work into film. Would I ask to be "attached" to the project? No. Directly I went about acquiring the film rights to make sure not only can I assume my right to make this film, but it means I'm not possible dead weight that stops another director from making it.
 
Thanks, Sweetie and Sky

I think your advice is right. After thinking about it some more and talking to some others in the industry, the consensus seems to be that, while it's good news that an established, successful director thinks highly enough of the project to want to be attached, he could be a liability. I'm going to ask him what resources he would bring to moving the project forward (financing contacts, relationships with A-list talent or famous actors, etc.). Otherwise, he's just dead weight, at least at this point. Asking him to option it is another option (pun intended), I suppose. But I worry that a director's job isn't financing, that's a producer's job.
 
Asking him to option it is another option (pun intended), I suppose. But I worry that a director's job isn't financing, that's a producer's job.

Sure, it's a producer's job. But someone has to at least find that producer. If you were out to having the script made into a film then it would be your job to seek out an interested producer. If he optioned it, then it would be his job to find the producer (and as a director with some success he may have an easier job doing so). If he were simply "attached" to the script... well then who's job is it? Technically still your job, but then you have to explain to all the producers why you have a director attached instead of letting their money pick a director.
 
Sure, it's a producer's job. But someone has to at least find that producer. If you were out to having the script made into a film then it would be your job to seek out an interested producer. If he optioned it, then it would be his job to find the producer (and as a director with some success he may have an easier job doing so). If he were simply "attached" to the script... well then who's job is it? Technically still your job, but then you have to explain to all the producers why you have a director attached instead of letting their money pick a director.

True. Let's see what he says. If he doesn't love it enough to want to help push it forward, then I'll defer and thank him. The thing is, his talent, visual style and creative sensibility is perfect for the material.
 
True. Let's see what he says. If he doesn't love it enough to want to help push it forward, then I'll defer and thank him. The thing is, his talent, visual style and creative sensibility is perfect for the material.

As perfect for it as he may be... he could be the type that approaches large numbers of script writers to get "attached" to the projects. That way he has a higher chance of getting work if one of these many scripts gets approached by a producer.
 
As perfect for it as he may be... he could be the type that approaches large numbers of script writers to get "attached" to the projects. That way he has a higher chance of getting work if one of these many scripts gets approached by a producer.

I don't think so. He's a hot new director from Argentina, now in L.A. working on some projects in English. The script he's interested in is my Nicholl semifinalist biopic on the great Spanish poet, Federico Garcia Lorca, for who's work he has a passion.
 
I'm going to ask him what resources he would bring to moving the project forward (financing contacts, relationships with A-list talent or famous actors, etc.).

Hold on a second there cowboy. I think you misunderstood what I said a little.

This is likely to become a no-win situation for you very quickly if you go about it this way. I'd expect an established director to tell you to f'off rather quickly if you expected that from him. Financing contacts, relationships with a-list talent are the jobs of the producers/exec producers and casting directors. The directors job is to be able to tell a story well and have a reputation to being the captain of the ship to lead their team to the successful destination. It's the trust that actors put in the directors that is important, not whether the A-list actors knows them or not. On top of that, you're going to make yourself rather miserable rather quickly if you search for talent like that. You need to attach talent that is strong in your appropriate demographic for your film. This is the kind of stuff you work through with casting directors and distributors early in the process.

Don't get me wrong, there are a lot of directors with the contacts you're seeking, but if you ask those questions, they may reconsider whether you really want them as a director and whether you're going to continue to get them to do stuff that really isn't their job.

Otherwise, he's just dead weight, at least at this point. Asking him to option it is another option (pun intended), I suppose. But I worry that a director's job isn't financing, that's a producer's job.

It definitely is the producers job.

The question you should be asking is, "Will your potential investors be worried that someone who has never made a feature film in his life, is the director?" If you attach the wrong person, you may be in trouble.

When pitching to investors, the director, if attached is often present to answer questions. They have to be a positive part of the pitching process.

Everything above may be moot in your position. Everything can change depending on how much money you're asking for. Since it sounds like it's a drama, you're either going to need some serious talent to make it work (which he's probably the wrong director) or going to need to go ultra-low budget. Just a guess.
 
So my feature script LORCA has generated a lot of interest.

I was just contacted by a director who loves the script and wants to be attached.

He has an amazing resume, and his music videos and TV ads are world-class. Problem is, I'm not sure what's involved in having a director "attached." I suppose it means that anyone that wants to produce the script will be stuck with him as its director. Is that a liability or an asset? Has anyone else had experience with attaching a director to your project?

-Charles

How does this director's reel look? Is he good at what he does?
 
I'm afraid I don't have any real advice to offer, mostly I'm just watching from the sidelines, wanting to cheer on my favorite screenwriter.

This is pure speculation on my part, but it seems to me like you'd be basically giving away the rights to your script if you offer him exclusive directorial rights. You have someone enthused about your script, and that's terrific, and you shouldn't let it go. I just don't think you should give him exclusive directorial rights.

If he is able to find producers, then it's his to direct. But that shouldn't stop you from entertaining offers from other producers, not affiliated with him.

Again, this is obviously just me thinking aloud; I have no expertise to offer here. But I kinda think you can do both?
 
I'm afraid I don't have any real advice to offer, mostly I'm just watching from the sidelines, wanting to cheer on my favorite screenwriter.

This is pure speculation on my part, but it seems to me like you'd be basically giving away the rights to your script if you offer him exclusive directorial rights. You have someone enthused about your script, and that's terrific, and you shouldn't let it go. I just don't think you should give him exclusive directorial rights.

If he is able to find producers, then it's his to direct. But that shouldn't stop you from entertaining offers from other producers, not affiliated with him.

Again, this is obviously just me thinking aloud; I have no expertise to offer here. But I kinda think you can do both?

Thanks, Joseph.

We (my co-writer Jonathan and I) have a Skype meeting with the director in question Saturday (he's in L.A. and I'm in Michigan). He's indicated that he has 5 or 6 solid financing contacts and is interested in discussing optioning the script. So that's a good thing, right?

The problem is this: If he options it (most options are 6 to 18 months), then it's out of circulation for that period of time, and we're still riding the high placement in the Nicholl competition. So we couldn't respond favorably to any other offers until the end of the option period. On the other hand, without control of the script, the director has a difficult time hitting up his contacts for financing.

We'll try to keep the length of the option to a minimum. He's a strong director, very successful, and his style is perfect for the subject matter. He's also an expert on the subject and is very passionate about it. So it's a good match.

I'll let you guys know what happens.

-C
 
How does this director's reel look? Is he good at what he does?

He has four features under his belt. He's mostly known for music videos, though, including working with people like Shakira, Johnny Cash, Ricky Martin, AlIison Krauss, and Gloria Estefan, to name just a few. His style is surreal and lyrical, which is perfect, again, for the subject matter.

He has a Grammy, but no Oscar.

Yet.

?
 
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The problem is this: If he options it
without control of the script, the director has a difficult time hitting up his contacts for financing.

Is he a Producer and Director? If he's not a producer, I'd see no reason to allow an option on your script.
 
Here's a video he directed recently for the Grammy-award-winning singer, Lila Downs. Our script is a lyrical, surreal biopic of the Spanish poet, Federico Garcia Lorca. We think his work fits nicely.


https://www.youtube.com/watch?v=beuRgIqxTnY
 
Like CF said, even more so, I'm on the outside looking in. But based on what others have said here, I would be worried for you signing away anything to him at this point. But gosh, sounds like his resume is impressive. Is it possible for you to keep him interested, but decline signing any such contracts with him at this point?

My main question is, can you just express your concerns, and even more so those of us here :P, about the lack of a producer? Can you just level with him and say, hey, we really like you and your work and want to give it to you, but what about a producer? Can you provide a producer? Do you have a solid link to a producer who wants to produce this? Can you set us up with a producer so this isn't in limbo indefinitely, despite your cherished enthusiasm?

In other words, it's completely legitimate for you and your partner to just ask him flat out about the producer issue. Get it out in the open in no uncertain terms. See what you can come up with together. Tell him you love him and his work and want it to happen with him. But you need to work this out before signing on the dotted line. If he's for real, which it sure sounds like he is, he'll totally understand. If not, then I would think that would be a red flag.

So you've attached a good director to the screenplay. Haven't I read that it's common practice to get a verbal commitment from an actor to a project to help shop it around? I'm guessing that in those cases nothing, usually, is actually put in a contract in black and white.

On the other hand, if making a commitment with this director is priority, then maybe not. But you've certainly expressed to us a discomfort with that. Seems like you and your partner need to put your heads together and decide, as difficult as that may be, which is your priority. Or, maybe it's more like gambling, and you have to decide what you want to bet on.

I do like the video. You can see the potential.


.
 
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Hi, Richy! Thanks for the advice and I agree. Our Skype meeting on Saturday will be a chance to get all our concerns out in the open. We're treating it like any other business deal and don't intend to be dazzled. We'll ask plenty of questions and won't jump into anything until we've run it past others who know more about the business.
 
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