4 Tips For Getting Film Scripts Produced

As an actor / writer / producer, I tend to bring scripts to the table that are either written specifically with the kinds of roles I play in mind or that I have developed myself. That may sound a bit ego centric on my part, but it really has more to do with the fact that I got into the business as an actor first.

As I searched for the perfect role, I began to write. It was just an exercise in laying out what I felt might be the perfect character for me. At least that's what happened at first, but that evolved into digging more deeply into the script writing process.

Of course, with a script or two in hand, my producer friends began pushing me to learn more about the business of making films. In fact, it was the late Academy Award winning producer William Vince (Producer of Capote) who finally made me realize that I needed to take on the experience of becoming a producer as well.

I resisted the idea at first, but realized he was encouraging me to take control of my destiny, both as an actor and a writer. Although I may not always have to carry the weight of a project on my own, future partnerships would depend on knowing more about what it takes to get a script off the ground.

Now every time I hold a project in my hands, I consider Bill's advice. As far as what I tell other writers (and actors) about their scripts, I have found there are a few ways to move things forward. It all depends on how willing you are to glide from the role of writing to producing.

When you have a script that you want to start moving, you have to decide how far you're willing to go with it. Are you looking for a hand off or do you have the chops to hold the label of producer. From a writing purest to a full blown film producer, here are four graduated steps you may want to consider in order to move your script toward production:

1. For those who want a 'set it and forget it' solution, the quickest and easiest thing you can do is plug your script into Inktip.com. Your chances are mixed here, because even if you do get contacted by a producer this way, you may be tempted to tie up your script with a less seasoned producer. However, it is a place producers will dig for scripts from time to time and it may get you out there.

2. If you're willing to put a bit more time into developing your scripts reputation, entering a script competition that is reputable can be helpful. This isn't necessarily going to get you an automatic film deal, but it can help build some credibility around your script. Unless you already have a track record, producers will often screen out scripts that come from unknown writers or scripts that have no critical support. Having a finalist or contest win backing your script can help you get past some producers filters. On the other hand, if you're a writer with a track record, your past work should speak for itself and script competitions may be a less needed marketing tactic.

3. If you're willing to step a little deeper into the creative producer position, going to a film or TV market like the American Film Market or the Banff Festival can be a way to build some contacts and maybe even attract interest. In these cases it is best to go with more than one idea. However, without something attached (money, reputable acting/directing talent, and/or distribution deals) it can be tough. If you are going purely as a writer looking for a producer, you may want to find someone to rep your material who can take it as part of a bundle and/or who may have the needed pitch experience to get some traction for you.

4. Now for those who are willing to drive their script into production using some of their own steam, a series of steps are needed to actually get the ball rolling. I'll save the details for another article, but if you are a self driver you might consider approaching potential partners as a creative producer. The first thing I can tell you here is to shoot for the best partners first, meaning don't attach low level producers with enthusiasm right away.

Find partners (even those that serve functions aside from producing) that are strong in what they do and vital to your project. Someone like an experienced line producer, a highly regarded VFX studio, or a strong director. If they like your script, they may be able to point you to a strong lead producer. If you attach both, you will have a strong team.

A strong lead producer should have access and connections to distribution and marketing avenues (in other words those companies will have worked with that producer before) or they could hold you up while they learn the ropes themselves. With this approach you should keep control of your script for as long as you can, until you can tie it to strong partners with solid experience.

Once You've Decided

Of course, these are just the initial steps I would point writers to. Not everyone wants to produce, so you'll have to decide how far you're willing to take your writing projects.

For those who do go all the way to step 4, and take on the development role of creative producer, there are a many other issues to tackle. Some of these include things like attracting investors and how good you are at gaining the interest of experienced partners. Of course that will all depend on how good you are at crafting your pitch, but that is information for another article.

Sebastian MacLean is a Toronto based actor / writer / producer, who first appeared on the media scene internationally in a bodybuilding documentary titled FACING GOLIATH. He has since appeared in a number of North America's more popular TV series programs, while also working to develop both TV and feature film projects with teams based in Toronto and L.A., with some projects still currently open for partnership.