Recently I posted this about the value of a spec script, even if it doesn’t sell. More evidence to support my point in today’s Hollywood Reporter:
Michael Eisner and his Tornante Co. have tapped newcomer Mark Hammer to pen a feature adaptation of “Bazooka Joe,” the comic strip that comes with Bazooka bubble gum.Hammer, who this weekend is attending the graduation ceremony at Orange County’s Chapman University, where he studied film, wrote a spec titled “Sonny Takes to Peru,” which made the studio rounds but ultimately did not sell.
That spec, however, turned into a strong writing sample that got him into meetings as well as representation at management outfit the Safran Co. Execs at Tornante, seeking to fill their open writing assignment, liked the spec and brought in Hammer, who gave them his winning take.
So the spec didn’t sell, but: (A) got Hammer into meetings; (B) landed Hammer representation with a management outfit; (C) resulted in Hammer taking a meeting with Tornante execs; (D) enabled him to pitch a take on “Bazooka Joe” which in turn, (E) got him the writing gig.
Repeat after me: “Every spec script is an asset.”
And in the “It’s a Small World” category: Burg & Myers’ first movie writing assignment was with Propaganda Films on a project called “Bazooka Joe.” Problem was they never actually locked down the rights to the Bazooka Joe property. But we got paid. And parlayed that script into other meetings, other gigs, etc.
So, if your writing is strong but they pass on your concept, it’s still possible to land representation and get assignments?
I’ve read some contradictory things about breaking into the industry — some say only selling a spec will do it, others say it’s easier to get assignments off a spec than to sell one. It *seems* logical that assignment writing is more attainable, but is it?
Yes, you can get representation w/o selling a script. But there are variables. For example, if you've written one script and it's a strong writing sample, compared to someone who's written eight scripts, the latter person may have a leg up because (a) more writing experience, (b) some of the older scripts might be marketable, (c) more story ideas available for meetings.
Assignment writing for 'newbies,' like the Bazooka Joe probject, tend to be problem projects — they've been around for a while, no heat on them, no attachments. The first few projects Burg & Myers wrote were like that, basically attempting to inject some life into a nearly dead project. So in their own way, those type of projects are hard to pull off — why would they be moribund if there were some inherent problem to them?
But back to your question, the most likely scenario is you write a script, an agent or manager likes it, you make some revisions per their notes, they take the script out. Even if it doesn't sell, depending upon the response of buyers, specifically there is a universal sense that you're a good writer, you have talent, you have an interesting voice, etc, the agent /manager will likely work with you, officially or unofficially, on your next project.
Thanks for the reply. It makes a lot of sense, and is why I wrote a number of scripts before even thinking about looking for representation.