ATL FILM FEST: Dialogue to Be Inserted Later: Writing and Constructing Treatments for Pitching

with Todd Cappello, Matt Harrigan, Brandon Barr, and Chad Crowley

• having a pitch reel is a must
• when you're pitching an idea, the executive's first thought is, "Are you the guy that's gonna lose my job for me?"
• don't make your pitch materials too fancy, fancy commonly means the pitch isn't good
• only pitch projects you are willing to commit to
• be prepared for all questions more than anything else
• executives will try to contextualize your idea as much as possible
• don't over-pitch (read the room)
• for features, make a book of aesthetics to really show how the film will look and create a pitch reel with director/writers/producer interviews and images to help visualize and sell the film
• found-footage materials can help to sell a non-fiction pitch and make them feel like they're discovering it
• don't shoot pilots-just sizzle reels
• don't shoot trailers for feature pitches-waste of time and money
• overall, your idea should fit on a poster and you can use such a visual aid to pitch and idea
• be ready to pitch your idea to anyone at any time

ATL FILM FEST: Group Think - Inside a Television Writers' Room

with Kevin Collins

• Hiring season begins after the holidays for pilot season
• the hierarchy: Staff Writer/WGA Trainee < Story Editor < Senior Story Editor < Producer
• showrunners hire writers but networks can prevent writers from being hired
• hour-long dramas have and A, B, and C storyline

ATL FILM FEST: Can You See the T-Shirts and Dolls? Pitching Animation

 with Keith Ingham, Craig Hartin, Charles Askew, and Stephen Mank

• research what they are looking for
• always pays to meet in person whenever possible
• know your market
• know who will be at the meeting and research them-this can help with small talk at the beginning to find common ground and relax the room
• be able to roll with other ideas on the fly
• try to warm-up pitch to other places you're not serious about to hone your pitch
• make them feel like it's partially their idea-let them have input
• do not be married to any one idea-be flexible-it's collaborative
• be very open to feedback
• grab their attention within 5 seconds
• remember:networks want something completely new and examples of where it has worked before
• don't over-develop
• a pitch is a dialogue NOT a monologue
• if you're green, partner with a studio or someone who has developed shows and pitches before-this will instill confidence
• remember-you're pitching YOURSELF as much as your idea

ATL FILM FEST: How to NOT be Unemployed

with Charles Askew, Neal Holman, Matt Jenkins, Ashley Kohler, and Todd Redner

• keep checking in with studios and connections - VIGILANCE!
• always be a student-never stop learning (I cannot stress this enough-it's the main theme of this entire blog)
• ask how often and when studios hire-be sure to schedule your check-in by this information
• keep a log of who you checked with and when so that you always know where you're at with each connection (this is a fantastic piece of advice from Matt Jenkins)

ATL FILM FEST: Crafting Well-Rounded Characters

with Melanie Schiele and Ya'Ke Smith

• research.
• create bios for absolutely everyone from main cast to minor players
• DO NOT give your bios to the actors, let them come into the character more organically
•  hook and audience through empathy with characters (this is basic up can never be overstated)
• facts about characters can be open-ended but lead the audience through visuals and wardrobe
• write everything, do not be afraid of making a script too long-you will be going back and making cuts anyway, cutting down to only that which serves the story
• research how people speak (YouTube, eavesdropping, etc)
• dialogue is about observation, pay attention to not only what is being said but how it is said and what is not being said

Atlanta Film Festival Panels: First Up-Screenwriting for Animation

The Atlanta Film Festival is up and booming this year with the majority of panels happening at 7 Stages in bustling Little Five Points, Atlanta. I attended a few panels this year so I'll be making a few posts covering them. I'm not promising a complete overview-you kinda had to be there, BUT I'll be able to emphasize the major points from my notes.

First Up:

Screenwriting for Animation 

with Matt Jenkins and Stephen Mank

• we start with possibly the most important factor to take into account when considering animation for a project: "Why is it animated?"
• second most important factor, driven home throughout the panel by Matt Jenkins: it's all about the budget
• every animator has a pet project-keep that in mind because it might lead to favors and you-owe-me-ones in the future
• the last 10% of all projects is the most grueling but no matter what, even if you have to scale back a project, GET IT DONE! 
• crowd scenes and multiple locations cost money-use sparingly and only if absolutely necessary
• there is a constant push and pull between story and budget (if you haven't already gathered that)
• the more you can handle all aspects of the production simultaneously-the more organic the process becomes
• funny writers are the best to work with-keep it light
• funny scripts make animators excited about a project
• solicitation of scripts is a big turn-off THOUGH giving them visuals and storyboards, something visual, isn't that frowned upon--it's a lot easier and less painful to read visuals than a script
• trading work is the law of the land, like I said-every animator has a pet project and throughout film and animation you can trade work on someone's project for work on your own
• when pitching an idea-know who's paying for it and where the money is going
• you should also know in a pitch where the end result is going (syndication, film festivals, internet, etc)
• as emphasized in an earlier post-it is not uncommon to work on projects for free when you first start out to gain experience
• just to drive this point into the ground-get someone to think you're FUNNY!
• internships are the best way to get into the business
• voice-acting helps with the writing and pitching process because you can help others visualize

Amanda Palmer TED Talk

For those of you who don't know who Amanda Palmer is (you should be Google-ing it right now) Her bravado and artistic resolve are something to be greatly admired. The former Dresden Dolls front-woman recently made waves through her proof of concept Kickstarter campaign for her first self-released album, "Theater is Evil." (Here is her TED biography.)

I have been an avid fan of hers for years and count her among my industry role models so when I heard she was going to do an infamous TED Talk I simply could not wait to see the video. Needless to say, she did not disappoint.

I believe her words are applicable to all forms of art and you can clearly see the passion behind what she is saying. If you're itching for more of her lyrically extravagant words I would highly suggest her Blog as well.