VIA Stephanie Palmer, author of “Good In A Room”:
DO #1: Start your short pitch by identifying the genre. Without this
crucial piece of information, it’s easy for the listener to make
incorrect assumptions about your story and get confused. For
example, if a writer tells me that he’s got a story that involves
the CIA, I could assume it’s a thriller like Three Days of the
Condor when it’s really a drama like The Good Shepherd or a comedy
like Meet the Parents. Genre is the most important piece of
context for your story. Lead with it…
DO #2: Focus on as few main characters as possible. You know these
characters; the potential buyer doesn’t. Stories with one or two
protagonists are the easiest for listeners to remember and
understand…
DO #3: Be brief, then listen. No decision-maker has ever said after a
pitch, “I wish they talked longer.” The more you talk, the less
they hear…
DO #4: Identify patterns of feedback. When did they smile? Where did
they get confused? What were you asked first? Over the course of
several meetings, certain questions will recur–that tells you
where you need to improve your pitch, your project, or both...
*******
DON’T #1: Give a positive opinion of your own work, e.g., “This is a great
story and you’re going to love it.” Just like every parent thinks
their child is brilliant and every dog owner thinks their pet is
adorable, it’s expected that you are a fan of your own work. When
you give your work a positive evaluation, it shows that your desire
for approval is greater than your interest in the other person’s
honest feedback. Instead, let the listeners form their own
opinions…
DON’T #2: Refuse to categorize your project. If your project doesn’t have a
clear genre, this doesn’t demonstrate uniqueness or originality.
It shows that your work isn’t ready to be sold. Think of your
project like a book. There are many extraordinary, original books
in the bookstore–and they are organized by genre. There is no
shelf at your local bookstore for “Books That Defy Categorization…”
DON’T #3: Talk about who else is involved (unless they’ve got skin in the
game). For example, don’t say, “So-and-so read it and loved it.”
This begs the question: if someone read the script and loved it,
why didn’t they buy it? If a star really wanted to attach herself
to the project, she would. If a financier really wanted to make
the movie, he’d invest. Anything short of that works against you...
DON’T #4: Disagree in the room. Too often, I have seen creative people ruin
their chances to get hired and make sales by arguing in the first
meeting. You don’t have to agree with every suggestion, just smile
and say, “Let me think about that idea and I’ll get back to you…”
{ 8 comments… read them below or add one }
Hi Mr. Chatmon. I’m a dedicated actor and screenwriter. I Have pilot that’s written for 12 episodes, I also have a treatment to show to producers and directors. I just don’t know how to actually market this pilot to them. Its so different from where you can meet an agent and show your talent as far as acting, I really don’t know where to go or find an outlet where I can pitch my pilot to someone in the industry. Do you have any suggestions on how I can market this pilot?
Rayvon, glad to hear your project is pushing forward. The question you have is a proverbial catch-22. Pitching to the industry folk is tough, and you need an agent or a direct connect to make it happen. The best route is to CREATE something so you have a proof of concept for your idea. Build an AUDIENCE and then you’ll be able to turn the tables around and answer the phone calls rather than make the calls. You can always try to holler at people and try to make the connects, which can’t be ignored, but I think taking control of the project in the ways above is the best bet to ensure forward movement…
Hello Mr. Chatmon,
Would tell how to build an audience
Lynette,
We’ve done a few podcasts on the subject…check out the following:
THE SHAMELESS SELF PROMOTION SHOW
http://www.petechatmon.com/2011/01/04/episode-31-the-shameless-self-promotion-show/
BEST WEBSITES FOR FILMMAKERS PART I
http://www.petechatmon.com/2011/01/04/episode-7-best-websites-for-filmmakers-wmaxie-collier/
PART II
http://www.petechatmon.com/2011/01/04/episode-8-best-websites-for-filmmakers-part-ii/
Lastly, check out our 8 hour instructional dvd series INDIE FILM BOOTCAMP
http://www.petechatmon.com/products/
Keep pushing!
My first & second experience getting a feature film financed worked in the opposite direction so I’m sticking to it. After years of developing projects and pitching them to no avail, I moved to LA and refocused my efforts to find my investors first to build a rapport and collaborative desire to make a movie together before conceiving the movie. With their story input and feedback to get them engaged and feeling a sense of ‘team’, the process has been quick and painless. My first feature film as a full-fledged producer @AwakenedHorror is such a scenario; we had our first $100K without a script or a director attached.
Investors with money aren’t necessarily into the same things we are. Just because they invest in movies doesn’t mean they’re interested in investing in OUR movie and I’ve found it’s similar to selling someone something they don’t really need and probably don’t want unless you can tap into their core interests, values and belief system for passionate synergy. Being that I don’t always conceive mainstream (general audience) movie ideas that attract investors who simply throw money at films they think will make money, my experience is limited–but I encourage filmmakers (especially screenwriters) to consider this approach as it has not only worked for me once, but TWICE. I’m already in development discussions for my feature after Awakened with a primary location, a Canadian co-production entity and a genuine desire to do business together. Oh, and the script? We don’t even have a storyline YET.
This is what’s up! There are SO many different ways to cook the meal, and Miles has yet another example of success. All filmmakers should look internally and decide what they think they’ll be able to accomplish based off of their NETWORK and COMMUNITY.
If you find you have neither, then making a film is a secondary issue. You’re gonna have to go introduce people to whatever you do and develop a brand around that very product.
@Miles, I’ll be on the lookout for the film. Keep me posted. We don’t yet know the budget for my next feature, but we’re gonna lock in some cast and other elements in the coming months and take it from there.
Enjoy SF. You know I know what’s popping from Twitter!
Can’t wait to help you with exposure in whatever way I can Pete. I’ve been looking fwd to your next film since PREMIUM!
Thank you, brother. This is the heist joint that won TAA, but with some extra funk on it now! We’ll DEF be talking more after we finish this revision…
I’ve learned a lot over all the other projects since 2005 (damn!) so I’ve stepped my writing game up and I’ll be collab-ing with my man Cliff Charles on camera!