This might be more a question for the admin, but wondering if any you might have done the pitch sessions and have some insight into this...
Typically 'in the business' if you pitch to a producer, exec, etc and they like your project offering to give you feedback and help you move it forward, it's perfectly reasonable for them to assume you then owe them something in return, such as considering them 'attached' to the project. This might be a very loose 'gentleman's agreement', not even verbalized but simply taken as understood and with no obligations by either party, or it might be treated as a very literal attachment by others who would expect some sort of exclusivity with the project.
Any thoughts or experiences regarding this?
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The ones I have been involved with will grab an option for a short time and see if they can get any interest. If they can then they come back and get a longer option or buy the work.
Oh that's great to hear, this seems very fair. Thanks much for reply Craig, very helpful! :)
Every producer is different. There are factors such as access to funds, talent and more that go into a producer's decision.
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No one is ATTACHED until there is a contract signed. A producer will often be interested in a project, give you notes and thoughts and ask you to do the work and resubmit the new draft. That does not make them attached! What it means is, the script needs work and they want to make sure that you can take notes, address notes, and deliver on a rewrite in a way that makes the project better. THEN they will probably decide if they're interested in moving forward, continuing developing it with you, and optioning it (whether it's for money or not). This first set of notes is a test, and while you do not have to take the test, if this producer truly seems interested in you and your story, it's usually worth doing this first pass with their notes (assuming you somewhat agree with them). But if they ask you for 5 more drafts without ANY paperwork - that's a problem. By the second draft, you should be talking option and contracts and future plans. But Dan Guardino , you USUALLY will get a producer before talent - especially as a new writer. Of course you attach a producer to a script - what else would you do? I don't understand your comment unless I'm reading it wrong?
For those who don't know because I haven't been on in a long time, I'm a former development exec... this is what I do for a living.
Thanks much for your answers all, really appreciated!