The Hollywood Pitching Bible, page 11
Low concept: A movie idea that requires lots of explanation to make its appeal apparent.
Manager: A person or organization whose primary function is to offer career guidance to their clients. Managers are unregulated by the state and are typically not permitted to solicit employment for their clients, although in practice they frequently do so. Unlike agents, managers are permitted to work as producer on their client’s projects.
MPAA rating: The Motion Picture Association of America is a Hollywood trade organization that, in addition to representing the business interests of the six studios, also offers a film rating service. The “G,” “PG,” “PG-13” and “R” ratings are the most familiar. The rating system for television was co-created by the MPAA and its use by broadcasters and cable companies is voluntary.
Open assignment: An assignment for which the studio or other production company is actively looking for a writer. It’s not unusual for many writers to meet and present their “take.”
Option: More accurately referred to as an “option/purchase agreement.” A legal agreement between a two parties that grants one of the parties the exclusive right to purchase something - most often a book or screenplay - within a certain time period. The option price is usually significantly less expensive than the purchase price. The word option can also be used as a verb as in, “I optioned the screenplay for a year, hoping I can find someone to finance the film.”
An original: Another term for a spec script or other project that originated with the writer. The Academy of Motion Picture Arts and Sciences defines it as a script not based on previously published materials. The Writers Guild of America definition is similar, but allows originals to be based on “research,” published or not.
Packaging: The process by which other creative personnel (“elements”) are attached to scripts to enhance the script’s marketability. Typical creative personnel include actors, directors and sometimes producers. Agents and producers perform most packaging.
Pitch book: A book with photos and art – often culled from outside sources, sometimes original – that is used to show the tone and look of a movie during a pitch. Common for director pitches, rare for writer pitches.
Producer’s polish: Polite term for a free revision performed by the writer and based on producers’ notes done prior to submitting a draft of a script to the studio, network or production company that commissioned the work. This is frowned upon by the WGA because their official position is that writers must always be paid when they write for hire. That said, most writers will agree to do a producer’s polish, and it can serve the same valuable purpose as a “trusted friend,” improving the script.
Sample script: Also known as “a writing sample.” A script that is used, not to sell, but rather as an example of the writer’s work. Typically, sample scripts will be sent to buyers before a pitch meeting or a general meeting is scheduled.
Set piece: In film, a big, spectacular or elaborately conceived scene, usually in a comedy or action film.
Showrunner: The head writer on a television series, whose job typically also includes casting, hiring staff writers, directors and crew, and overseeing production and editing. The term was devised to distinguish between writers that might have the same credit on the series, usually Executive Producers.
Sizzle reel: A short film, typically no more than three minutes, of footage usually culled from multiple third party sources that gives a sense of the tone and style of a project. Common for director pitches, rare for writer pitches. The term can also refer to a short collage of a director’s work.
Spec: As a noun it means a screenplay or teleplay written without guaranteed payment on the “speculation” that it will sell upon its completion. Can also be used as a verb, as in, “Are you going to spec that idea, or pitch it?”
Take: A unique perspective on an idea. Example: “That writer pitched a great take on the book adaptation.” This is crucially important to get an assignment.
Tracking boards: Private online forums or discussion groups frequented by development executives and/or their assistants that track all scripts and pitches coming onto the marketplace (usually listed by logline).
The trades: The Hollywood Reporter and Variety.
Trailer moment: A really “cool” moment or line of dialog in a pitch or script that you can easily imagine in the movie’s trailer. You want at least a couple of these in your pitches and your screenplay.
Territories: Agent-speak for studios or buyers. Example: “We’ll pick one producer to take the spec into each territory.”
Underlying material: A phrase that refers to the intellectual property that is used as the basis for some other work. This may be a book, another screenplay, a comic book, another film (for a remake or sequel) or even a board game (as in “Battleship”).
Wheelhouse: A term used in Hollywood to indicate someone’s artistic “comfort zone.” For example, if a writer has only written comedies and wants to pitch a drama, it would be said that drama is outside the writer’s wheelhouse, making it tougher to sell.
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About the Authors:
Douglas J. Eboch is a professional screenwriter and director who wrote the original screenplay for the movie “Sweet Home Alabama” starring Reese Witherspoon, which set a box office record for a September opening. Mr. Eboch also wrote the game “Nightmare Cove” and the children’s play “Sleepover at the Stables,” which has been performed hundreds of times around the U.S. The Scriptwriter’s Network awarded him the Carl Sautter Screenwriting Award for Best New Voice in Feature Films. He has a BA in Film Production and an MFA in Screenwriting from the University of Southern California.
Mr. Eboch currently teaches screenwriting and pitching at Art Center College of Design and screenwriting workshops for the Singapore Media Academy. He writes the popular screenwriting blog Let’s Schmooze.
Ken Aguado is an independent producer. His most recent film, “Standing Up,” was written and directed by DJ Caruso and will be released later this year. Mr. Aguado has produced several other films including “The Salton Sea,” for Warner Bros., “Ticker,” which premiered on USA Network, “Crazy as Hell,” which was distributed theatrically by Artistic License and “Sexual Life,” written and directed by Ken Kwapis for Showtime.
Prior to his producing career, Mr. Aguado was a production executive for several companies including Kings Road Entertainment, Miller-Boyett Productions and The Badham/Cohen Group.
Mr. Aguado was born and raised in Westchester County, New York. He attended Tulane University in New Orleans where he graduated with a degree in Psychology.
Ken Aguado, The Hollywood Pitching Bible
