Film, Streaming, and Broadcast Studios: Keep updated on meeting current standards and procedures for submitting your projects.
Click here to schedule a call with our EP, for information specific to your project and assistance if needed.
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What is a Development Presentation? Why is it needed? What is included in a DP? How does a DP differ from a Pitch Deck?
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Script Polish: Why are the first 10 pages critical to a script being accepted or "Passed" on.
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What is a Concept Video and Why is one recommended.
What is a Development Presentation
When asked to send over information about your project, companies want to see more than your script.
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To begin the review process, they want to see your Development Presentation.
Why is a Development Package needed?
Your package includes your Presentation, Polished Script, and support materials.
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This document provides specific information about how your script meets the creative, the audience, and programming trends they want to target.
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This document also provides information about your project that will help executives determine if your review will continue or is Passed on.
What is a Development Presentation (DP)?
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Answer: It is the document that contains short and concise information about your project’s ability to meet the creative and business needs of the company you’re submitting to.
What is the difference between a pitch deck and a Development Presentation?
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A Development Presentation is focused on how a script appeals to the audience they want to target, and highlights how it is able to meet the creative and business needs of the company it's submitted to.
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A Pitch Deck is focused on the creative information about a script. Along with mentioning potential cast members, a comparison to similar movies, and other creative factors.
Note: It does not matter what name you call the package you send them. However, it is important the information you provide meets the current needs of the company it's submitted to.
To start: In order to submit a script, you and/or your team member must meet requirements set by the industry.
Executive Producer Services provided for Development and submitting your script: Our executive team has the experience and credits that meet industry standards and requirements for submitting scripts to major studios, streaming, film, cable, and broadcast companies.
Include the following in your Presentation
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One Sheet: Is a one-page line-item description of what your script is about. It includes: the genre of your script, one sentence log line, what it cost to produce, quadrant level, concept video one-minute run-time, and support information if available.
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Budget: Top sheet budget that is created by a Line Producer familiar with cost that are specific to the production and budget needs of who it will be submitted to.
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Script Polish: Why are the first 10 pages of your script critical to meeting the creative needs of the company you're submitting to?
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A Concept Video is not included in this package but can be added. Although you no longer need to have talent attached to your project having a visual (Concept Video) is highly recommended but not mandatory.
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Script Analysis Report: is a one-page cost-effective analysis of your script.
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Click here to review the process studio and streaming companies use for accepting and rejecting scripts submitted to them.
Script Development and Polish
Why the first 10 pages of your script are critical to determining if a review of your project continues or is Passed on.
Note: The first 10 pages of your script is a key factor in determining if your script continues to be reviewed or "Passed" on.
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The executive reviewing your script, immediately wants to identify specifics about your scripts ability to meet their creative and programming needs. How the first 10 pages of your script is written should reveal those capabilities.
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The viewing audience has an abundance of great content available on multiple devices and platforms to capture their attention. Companies researching audience viewing patterns has shown.
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There is an extremely short amount of time a film or series has to grab, hold, and capture the imagination of an audience. That’s why most films and series tend to excite and grab the attention of the targeted audience within the first 2 pages (first 1-2 mins.)
The writing and creative structure of a script should reveal the following within the first 10 pages:
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High Concept: What is the hook that makes the audience want to keep watching?
For example: think of how an episode for Law & Order begins.
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What is the CQ (Central Question of the story.) The script begins with an action, that creates the central question "who, what, or why.
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What Quadrant Level is the script? Quadrant is defined as what demographic does it appeal to. A movie that appeals to all four major demographics both male and female, and both over and under the age of 25 is a level 4 Quadrant.
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Is The Script Evergreen or Seasonal: Is it a script that is tied to specific times of the year. i.e. holidays, summer releases,
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Does the genre meet current viewing trends?
Our production division is led by Slavik I.A, our Executive Producer, Director, Premier Previsualization, Animation and Digital Artist Supervisor. Slavik has helped produce and create visuals some of the biggest box office hits in recent years, such as Morbius, Gemini Man, Pirates of the Caribbean, Falling Skies, The Mummy, Tron, Transformers, and other major box office hits.
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Creating a Concept Video Starts at $2,495.00 U.S. dollars and up.
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Pay later and payment arrangements are available.
Please speak with our Executive Producer about your project.
How Your Script Is Processed Once It's Accepted By
Streaming, Film, Cable, and Broadcast Companies
Short version of:
What you should know regarding how the industry process works for
accepting and reviewing scripts.
Note: All projects will first be reviewed by a company’s legal division.
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Once it is determined you meet the required criteria to submit scripts. The process continues.
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A script release form will be issued to the production company of record before the process begins to accept and send your project to their Development division.
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Once approved, your Development Package along with your script will be a key factor in identifying companies your project is submitted to. All companies have their own production or programming needs that varies week to week and often determines what projects are accepted for review or sent to inventory.
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All projects submitted by Independents or well-known producers go through that company's same process, for review and evaluation. And yes, even well-known producers get rejected.
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Streaming, film studios, cable, and broadcast companies have complete control over what projects they will accept, and when or if a project will be reviewed.
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All companies do not produce all types of genres. Therefore, your project will not be submitted to all companies.
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If a project is "Passed" on, it does not mean the script does not have entertainment value. Most times, it means they don't have a need for it that time. In some cases, it may be sent to their inventory.
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Once your script has been submitted, there are no guarantees your project will be accepted for review or get produced. Companies that accept scripts for review and consideration do not send out emails or notices on the status of a script.
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The only time a company will notify a producer about a script that's been submitted, is when they have questions or wish to have a meeting and discuss a possible deal for licensing, option, or purchase.
Note: Producers that have contact information and names of Development Executives do not release that information. Industry executives do not want their information public unless it is released to individuals, they release it to.
Also keep in mind, it took Steven Spielberg 17 years to get Shindler's List produced by a major studio. Within those 17 years he wrote a lot of other block buster movies. He will be the first to tell you, keep pushing your script, but don't stop writing more scripts.
15 min
Schedule Appointment
Q&A Interview With North America and International Investors, studios, streaming, and broadcast companies.
My name is Sophie Marcelle, Development Executive and along with Elyse Ferrari, Producer with (BSI Films) we had a candid conversation with investors Syd Shaffer and Samantha Swenson regarding funding and production deals for independents.
Mr. Shaffer and Ms. Swenson are senior Executives of an international hedge fund group that has raised funding for some of the biggest Hollywood film box office hits and negotiated production deals for independent films and series in recent years.
Although some of you may have already read this post, I posted it again because for those who have not read it, may find it helpful, if seeking funding or a production deal with studios, streaming, cable, and broadcast corporations.
*Warning: Syd has a colorful way of talking and uses strong language.
Elyse/Sophie: What chance does an independent really have of getting a film funded or a production deal from streaming, cable, or broadcast company?
Syd: They have the same chance as anyone else in this room with the right people presenting it and they play by the rules.
Elyse/Sophie: So, who are the “right people” and what are the rules?
Syd: The right people are those who have a f**king clue about how this process works.
No one in this room has ever given millions to someone they never heard of, never met, who has no credits and only a script to show us. If you got a producer or exec. producer that has experience, credits from major companies, has contacts or permission to contact players, you got a chance. At the very least, know how to develop a project so that when it's presented, we get info we're looking for. But if all you got is a script, your chances of getting funding from anyone in here is none and never.
As for the rules, they’re very simple. Learn how both the business and entertainment side of this industry works. Or work with a producer that has the resources, accesses, and knowledge of how this process works. If talking to someone in this room, they want to know the genre, what talent is attached, how much is needed, what financial instruments do you have in place to protect their investment, is there distribution in place and how much profit will I make. If you don't have any of the above, can you prove there's public interest in your project, i.e., social media, book sales etc., and say all that has to be said in less time than it takes for them to sip out of the glass they're holding.
Keep in mind, they are not going to read your script, listen to how great you think your script is or want to hear how much money other movies made that are similar to yours. We already know how much money other movies have made, hell the people that financed those films are probably in this room.
However, we are open to hearing about what the public thinks about your project. Have you promoted your script on social media, do you have a following, has your script been adapted to a book and are there book sales, do you have a channel on YouTube with a following? Basically, any numbers that proves there are people interested in your project, we will listen to. If you have a script and want someone to fund or negotiate a production deal that will pay you millions to produce it, be prepared to know both the entertainment and business sides of this industry or get someone that does.
Syd: One more thing, I along with everyone in this room haven’t read a script in decades. If I want to know about your script or what it takes to produce it, I’ll hire your EP, Susan or someone like her to tell me what the hell is going on, so don't ask me to read your script.
· Let me ask you a question. I personally know your executives, I also know they don't have time to read scripts, I bet they have you do it. Am I right?
Elyse/Sophie: OK... yes, they have us read them. We're the first step. We determine if it meets basic writing standards set by industry executives, where the concept ranks in current marketing trends, does it go beyond 2 quadrants, and if it's on the "The List" (this is an exclusive list of unproduced scripts anonymously chosen by various Studio Development Executives and pulled if the need arises.)
As you know, a script does not have to be on "The List" to be considered by you, or the studios. The majority of projects you and the studios send to Susan are not on that list, but you know that. So yes, we read them first.
· Question, if independents don’t know the right people or have a producer, what can they do to compete for funding or a production deal with studios, streaming, cable, or broadcast corporations?
Syd: If they don’t have a team or a producer with the knowledge and resources to develop their project or know how this game is played, find someone that does.
This is big business! You can’t even rob a bank and get the money people are asking for to make a movie these days. There’s a shit load of money being paid out even for low budget movies, not to mention big-budgeted films, even scripted series have budgets in the millions … per episode! Look, most writers/independents don't treat this industry seriously. But writers can play in this game, if they're serious. I know for a fact it can be done, because our firm and others, fund those projects and negotiate production deals with studios, streaming, cable, and broadcast companies on behalf of independents.
There are credited writers, producers that are able to assist them. News flash, they’re not going to do this sh*t for free. They have their own projects to develop. But whatever you do, don’t retain just anybody to help you. There are a lot of good people in this industry that can do what they say, unfortunately there are also a lot that can’t do a damn thing. When you find one, look at their credits (IMDB) this is a good place to start.
Elyse/Sophie: What if an independent does not have a team, does not want to retain someone to help them, or follow your rules? What other options can they pursue for finding an investor?
Syd: Really? Is this a serious question? So, you’re going to ask me for millions but don’t want to follow my rules. So why the f**k should I give you my client’s money? Listen, if they want to go solo and fund their own project then go for it. But if you want some investor to give you millions of their client's money for a high risk investment, but not give them the information being asked for, they won't even look at you.
Raising money to produce content is a high risk and high rewards investment. That's why there are rules. The rules are proven to protect that investment and hopefully make a profit.
So, following the rules and process is mandatory. Keep in mind, no longer is a script the only or most important step in the process. Studios literally have millions of them. So stand out, at least on paper show you know what the hell you’re doing.
Elyse/Sophie: Please give me examples of projects you've gotten deals for by independents. How can independents contact people like you, and do most investors think like you?
Syd: You’re funny. What did I just tell you, if you play by the rules, you can find anyone in this room? If you don’t, you won’t.
For examples of independent films we've helped fund our clients don't want their names out there. If I told you there would be a parade of people and emails at their door in 5 minutes. I say go to the movies and 3 out of the top10 box office hits were directly or indirectly funded by our team. Also, over 90% of films produced in the past decade were filmed by independents. So we've been busy. Writers are smart, when they figure out what made others successful they follow the leader.
As for do most investors think like me. Hell no! But those that don’t, tend to lose a lot of money. Nearly everyone in here makes decisions based on a variety of factors that are specific to what they’re looking for. So, I have no f**king clue what everyone else thinks, but I do know, if you show up here holding only a script … drink quickly, because security will be escorting you out.