Getting the Deal and Beyond!

Cary Solomon and Chuck Konzelman

Cary Solomon and Chuck Konzelman are the writing/producing team of the made for cable movie "Race Against Time" and the television series "The Immortal." They are also principles at Numenorean Films, one of the few established production companies that accepts ideas and scripts for features and TV/cable from new writers as well as established pros from around the world.

They have recently sold "Inferno" to producer Joel Silver and Warner Brothers, based on a pitch, and have "The Spider" coming October 7th, 2001 on HBO.

Moderator: Welcome to tonight's chat with Cary Solomon and Chuck Konzelman. They are a writer/producer team and have agreed to speak with us tonight about what new writers should look for when getting close to that first big deal. Chuck and Cary, why don't you begin by telling us how you got started.

Cary and Chuck: Well one day we got up and decided to make movies and that was it. We left jersey and came out here. We heard that writing a great script was the fastest way into the biz.

Moderator: How long ago was that?

Cary and Chuck: 8 years ago.

Karmella: Is it a good Idea to become an independent film maker?

Cary and Chuck: Sure why not the only thing it isn’t is a fast road to a lot of money. It has its advantages and disadvantages. Advantages are control, disadvantage lack of money.

Joe Calarco: I have a playscript that I believe is strongly suited to film. Is it possible to get it looked at as a property in ints current form?

Cary and Chuck: It is by us but in the biz not generally.

Joe Calarco: How would I proceed?

Cary and Chuck: Usually producers need to see it in screenplay format. To contact us see our website www.numenoreanfilms.com for other producers we suggest u put it in proper format then find producer agent manager or friend to help u move it-

Beebs: What is the difference between an excellent script and a script that gets made (outstanding script)?

Cary and Chuck: Generally a hook. The person who greenlights your movie generally hears the idea from someone who has. So it’s that idea not the executed script that matters most. A great idea is your best defense against the idiocy of this biz.

Robby: I've written a spec pilot for David L Hoyt (Jumble Crossword Puzzle, NY Times) He met with CBS. They liked the idea, but told us to find a exec producer. How can I go about fining a competent one (that isn't already involved on another project)?

Cary and Chuck: It’s not a problem if they are involved in other projects. XP's [Executive Producers] handle multiple projects at once. We just signed to XP a series called "Dead Again" with Columbia Tristar and we have lots else going on . So if the person u bring it to likes it ... its a go. The key is determining whether they like it enough to get involved.

Andrew: Cary, Thanks for reading my script, "In Through the Out Door" My question is about when and how to make pitches?

Cary and Chuck: Are you interested in TV or movie pitches. The answer is different for both. For TV the season is right now and will be over in three for another year.

Moderator: Since you recently sold "Inferno" to Joel Silver why don't you tell us about features.

Cary and Chuck: For features, pitching is great from Labor Day to November 1^st. Stay away from holidays cause the biz shuts down and don’t start again till Feb. 1. However a note of interest, is that this year pitching is very, very tough the studios spent themselves dry to prepare for the strike the only one with money right now is Warners.

Vera Holman: Thanks for giving us your time...Question: What types of scripts are you looking for today? I heard you like "darker" venues...

Cary and Chuck: Not true we like anything that is good- we like material that we would like to see. It can be action to love stories to sci fi etc... anything as long as its good-

Chris T.: Do these "pitching seasons" change with the studio conditions, like the recent strike scare?

Cary and Chuck: Yes economic climate in the biz affects the pitching. However, do not burden yourself worrying about that... write, write, write.

EmilyAWheaton: I sent a pilot spec script for a new show to three different production companies, one is very interested and has several prospects for pitching, what do I need to do next, other than continue writing the subsequent episodes?

Cary and Chuck: Do not write the episodes. You don’t even want to write the pilot. You want to write a killer treatment/pitch, three to five pages long that describes the characters and how the sho0w works from week to week. The thing that scares execs most, and they have all been burned here, is a great pilot episode for a idea that will only generate a life of 6 good episodes. You have to explain clearly how your main character gets from week to week and how the weekly episode is generated. In industry terms this is described as 'how the franchise works" i.e. cops get a new case ever week etc... how does your character get the new problem of the week.

BG: How are they going you know you're good, unless you actually write a killer script?

Cary and Chuck: Have a writing sample ready and whoever takes u in should prep them and guarantee the quality of the script being delivered. In TV its very important for them to deal with people they already know more so than features because there is very little time or money for rewrites.

Lydia: Can you 'Pitch' to multiple sources simultaneously?

Cary and Chuck: Yes- you want to. Bidding wars help. On our recent TV deal we sold yesterday we has 5 studios after the project and we orchestrated it

George: How did you two sell your first script?

Cary and Chuck: Our first spec or assignment?

Moderator: How about your first spec?

Cary and Chuck: First spec was a busted feature that went to cable for $250,000. We got an agent interested in it.

George: What is a bidding war?

Cary and Chuck: When you get multiple companies or studios or interested parties all going for your script at the same time.

Beebs: How should you go about pitching : telling the story as it unravels or explaining the IDEA behind the story?

Cary and Chuck: Okay here it is.... first hit them with the hook. Second explain the dilemma of your main character. Third tell them the underlying theme. Be sure you know your plot points and act breaks and resolution. But don’t get bogged down in story. Now, this sounds complicated on the net but it isn’t. Beginning middle and end. After, you tell them the idea and characters etc. If u like contact us and we will send u a pitch of our recent show and then u can see how it is done. It will help u immensely.

Vera Holman: I have agents who want to represent me, but I’ve been until I actually have an option from a studio, and then will pick the I feel can do the best job to negotiate for me. Am I better just working with a good entertainment lawyer who knows me?

Cary and Chuck: Lawyers don’t submit scripts with any sense of urgency and [are] usually deal breakers not deal makers, what agents are we talking about cause if they are powerful let them do what they do.

Andrew: Is writing the script or treatment before the pitch absolutely needed?

Cary and Chuck: Not at all... not if u can sell based off the pitch... we pitch so we don’t have to write up front... that’s why they pay less for a pitch than a script.

curious: how do you contact a studio or a producer when I have a script

Cary and Chuck: Producers are listed in a lot of places... be very, very, very careful.... Ali Baba and his friends are lurking out there everywhere. Check the Hollywood creative directory far as studios go contacting them is a waste of time... will not happen. Or you can find someone who knows someone etc...-

Robby: Will a production company look at my script without an agent submitting it?

Cary and Chuck: Some will. However they may ask for a release... sign it, send it... pray.

Beebs: Is being a foreigner a bad thing ? (I'm a French Canadian)

Cary and Chuck: No it is not... it can be a real advantage... play it up... for all it is worth...Hollywood loves to be sophisticated and wants to be anything other than it is... also tax credits and other incentives round the world really for foreigners-

Karmella: I am Canadian and we have grants for film making? Would that be feasible for an unknown?

Cary and Chuck: Absolutely ... it is a major advantage...

Moderator: Some people have concerns about their scripts being stolen. What is the reality of that?

Cary and Chuck: Very real... however here’s what to do: register with the library of congress and register with the writers guild and someone... An agent or a producer powerful enough to champion the script that other people in the biz won’t steal from. So, for example, if CAA sends it to someone they are not going to steal it... The other way to protect yourself is to be very careful on who u show or tell things to especially if its that all important high concept idea however, you can’t play scared so if u are careful u can get by but you have to trust your instincts... Do some research on them. Call us or e mail us and we'll tell u if they are real and legit etc.

Jo Weber: How do you get CAA to even look at it?

Cary and Chuck: Either by a recommendation or a friend or a contact or a killer letter from u or a phone call etc.

Karmella: What is your web site url again

Cary and Chuck: www.numenoreanfilms.com

Vera Holman: Do you have readers? Or do you two personally leaf through dozens of scripts each week?

Cary and Chuck: We have a company that we designed that only employs writers to do all the jobs... so our development process is very, very lean and very good. We not use readers but we use all of us in the company to find material. Last year we read 3000 scripts.

Winston: Many authors of pitching books state that u must capture the reader's attention by page 3, is that true for you always? How do you tell the difference between bad scripts and slow building ones that are good movies?

Cary and Chuck: Page . And don’t listen to seminars and authors and all these people that tell u how to do stuff for money. As far as knowing we can tell immediately.... you can tell by a person’s style, craft, storytelling etc. By the end of page one we know if they can write. By end of page ten we know if we like the story.

Charles Ballaro: Do you prefer paper or electronic/disc submissions?

Cary and Chuck: Paper... hint: electronic never reads as well.

Beebs: What are the top 3 qualities of a great script?

Cary and Chuck: Great idea. Great characters. Great underlying theme. Twists and a unique ending don’t hurt either.

Moderator: When I got my first option the producer asked me to do a number of rewrites for which I didn't get paid. What are the obligations of a writer on an option versus a sale?

Cary and Chuck: It all depends on the terms u have negotiated. On a sale u get paid for the rewrites. Supposedly. Producers will try and get free rewrites out of you. This even goes for the studio guys. They will try and camouflage it by saying they want it tweaked before it goes to the studios. Our suggestion is do some and get paid for others. Build a strong relationship with them however they respect strength. Don’t be a pushover and never be desperate

Charles Ballaro: Is that illegal according to WGA rules?

Cary and Chuck: Yes, but most new writers aren’t guild members and interferes with life as far as writers go the reality is u need them and they need u however its fine line.

Nena: How many scripts have you sold that were by women?

Cary and Chuck: unfortunately none.

Robby: Are you currently working on any sitcoms?

Cary and Chuck: Looking for sitcoms as we speak.

EmilyAWheaton: How well are Native American scripts (drama/comedies) selling now?

Cary and Chuck: Very tough sale depends on the story... however don’t give up it happens-

Charles Ballaro: What is your impression on screenwriter sites like Zoetrope and words from here?

Cary and Chuck: To be honest this type of format is best.... because you learn directly and build a relationship with real people and doers... the other sites are hype and non industry people judging one another etc...I t doesn’t work. You need the real deal not la da la da etc....

Jo Weber: I have a friend who sent me a script and then disappointedly thought it might resemble a film that was recently released. Could that be a problem?

Cary and Chuck: It is if other people share the perception. However, put it in your treasure chest and time will go by and then it will be in demand and u will sell it.

Lish: How important are competitions in getting your work seen?

Cary and Chuck: It doesn’t hurt but unfortunately due to saturation of the market with contests it has less value now

Dream Master: I see screenplay as both an art form, free from the world, but I also know it's ultimately a businessplan, where you are trying to sell a business idea that could make money for the studios... How do I balance the heart and the mind... should I even worry about it?

Cary and Chuck: Some projects are jobs. Some you hold onto. Our suggestion is do both. First, seat of the pants to the seat of the chair. Second don’t get it right get it written. Lastly write with YOUR HEART not with your head rewrite with your head not with your heart.

Charles Ballaro: Does it hurt a new writer to write something very mainstream.

Cary and Chuck: Never hurts. It is preferred.

Karmella: Is the time good for non-fiction or fiction right now in film?

Cary and Chuck: Both are always strong ... categories are so wide that they cross all genres.

Holly Stepaniuk: What studios are looking for romantic comedies right?

Cary and Chuck: Everyone always especially us...hardest genre to pitch. Execs like to see the execution first.

George: If you write a screenplay where the main characters are minorities, would it be difficult to sell if you are white?

Cary and Chuck: It does come up however if it’s good they will buy it. We just did a black action movie. They loved it... before we gave it to them it was a concern.

Moderator: Let's finish up by getting some advice on what new writers should look out for to avoid getting taken for a ride.

Cary and Chuck: Be careful about the contract u sign...be careful about the people you talk to about your idea. Be careful about the producers who you can’t find any info on. Be careful if they are not listed in the Hollywood Creative Directory. Be careful if when they tell u about your script it sounds like they have no idea what’s going on. If they tell u they are tight with Bruce Willis and they drive a 65 Volkswagen, be worried. You have a meeting and they let u pick up the check be worried. If they are never in the office worry. If they answer the phone, be worried. If they want to date you be worried. If they want money from you be worried. Basically be worried (only kidding) ... The best thing to remember is u can make it just keep your head and use your common sense and don’t be afraid to make some calls to people and ask them about these people.

Moderator: I want to thank Cary and Chuck for stopping by. Any last words of encouragement?

Cary and Chuck: We came from the outside too and we made it. It’s hard but its not impossible... just know it is worth it if you make it but its going to take every bit and every part of your being to do it... just keep writing. Write, write, write.

Moderator: Thanks Cary and Chuck.

Cary and Chuck: No prob.

Moderator: Remember to visit their web site at www.numenoreanfilms.com. For the audience, if you wish to continue chatting our public rooms are always open.