Kaye Jimenez's Lounge Discussions

I have had enough appreciation for my editing on scripts that I have considered doing it professionally, but frankly I don't like reading scripts THAT much. I would rather work at writing them. If/when I do reach a point with projects where I feel like I am ready to really refine and polish something then I may seek out someone. In my case, I have other industry friends who can offer perspectives and support, so I am not sure I will need to pay for it. I know that a lot of times scripts that really shine in some ways get bought even when they are not perfect because people can understand and 'feel' the creativity. I also know a lot of great scripts don't get sold. The film business like other businesses happens a lot through networking and getting the material in front of the right people. I personally don't resent companies with a 'staff' of readers, anymore than I resent publishers with a staff of editors. Many people would charge the same fee if they were doing it on their own, the middle man is just their agent. Having done freelance work solo vs. with agencies, sometimes the agencies have taken what I would charge on my own, but they have done the extra work I would do on my own. So that way I can focus just on what I want, and not look for the work myself or deal with the professional relationships other than with the work. I think that can be a smart way of working in any field.

There's a big difference between a publisher with a staff of editors and a script consulting service with a staff of readers. The editors get a salary while the readers are paid per assignment. And one site that wanted me were charging 150 for script analysis, of which I was going to get 80.

Most writers who hire me want notes (analysis). Some want coverage to see how their scripts will be received by a production company or agency. and of course, the production companies I work for want coverage, but I've also done comparison where I look at various drafts (sometimes different writers) of a project they have in development

Dan, I do teleplays, but usually pilots rather than spec scripts. The companies/agencies I work for never dealt with spec scripts, so don't have much experience with them. The same for sitcoms - never had much exposure to them

Thanks T for that unsolicitied reference.......and I think there's a dozen roses outside your front door but I don't know how they got there.

Four (4) year old zombie thread guys......

So let me get this straight. Your Dad can deal with you killing someone but making love to someone on screen he can't? I understand as a father that would be a bitter pill to swallow but damn! I notice folks have no problems with violence but if you do a movie with sex and nudity it's like you started World War III. Sigh.

So...in a professional shoot, you should know from the breakdown that there's nudity and/or a sex scene. If that's not for you, then you shouldn't submit or audition, and your agent should make sure she knows your comfort level. You are required to be told before your first audition if you're union. If you're not, it's still the professional thing, and no director should ever be like "So today, it's your nude scene!" when you show up to the set, without your far prior knowledge. I always put it in the breakdown, actors know before they even submit to be considered, we talk about it in the first interview, there's a nudity rider for their deal memo, etc. There's no question about the specifics, and they know pretty much what's going on before I even meet them the first time.

There are tons of roles that have nudity, there are tons of roles that don't. Do what you're comfortable with, and don't worry about it.

and wow this post is freakin' old... ;)

Exactly! No one is forcing the actors to be nude. If there's nudity it's usually listed in the casting call. If you don't want to do nude, don't audition for the role.

Instead of asking the question " should I do nudity scenes?" Ask you're self this question "what roles am I unsuitable for and what roles would I be suitable for? Now as you list them out you will see that there may be many roles you are not suited for, and of course you will see there are also many that you are not suited for. My list might touch on my fear of heights, snakes, and my inability to pronounce certain words. Now when considering a part I would consider how much into my uncomfortable zone would I have to go, and whether there was any room for negotiation. I guess what I'm saying is that we all have places where we do not want to go. If nudity is yours, and you are not comfortable with it, and you can't negotiate changes, move on, there are plenty of roles to apply for that don't involve taking your clothes off.

The best way to get an agent is to enter into screenwriting contests and place high up. Then you have to look for an agent (boutique -- small 'mom' and 'pop' agency) and get started with them. I've placed in two contests (quarterfinalist in the PAGE and Moondance competitions) and I still haven't attracted any attention. The saying in Hollywood goes though, "You really don't know how to write a screenplay, until you've written seven," and even then, I've known writers who have written ten and twenty who still aren't able to get an agent or manager to take notice. The other option is... write it, produce it and direct it. Then get it onto the web or into competitions. They want to see you can do it, make money at it (hopefully) and then they'll come knocking.

Quite right Robin - It is largely impossible to get an agent or agency. Mathematically, your odds of getting representation is 0% no matter how skilled you may be. In the community where I live the vast majority of citizens have a few scripts in their trunks. The population of said community is several million. See the odds? Even writers working on 2-1/2, How I met, Big Bang and others can't get a rep. I was in the lucky minority. My pilot sitcom LIVING WITH MORRIE placed at Scriptapalloza and I was picked up by CAA Century City offices. This was on my first script ever. Took longer to understand CELTIX software than write the script. This is, however, the exception to the rule. Simply win every script contest (at $65 per shot) and you may, eventually get a rep. Important to not quit your day job as it may take several decades. Good Luck.

It is probably a good idea to think about being your own agent until you land a possible sale. I agree with Lyse that your time would be better spent finding a manager. One tip I took seriously was e-mailing producers directly asking if it was okay to send queries and constructed a contact list for those that said yes. I haven't gotten to the eye popping sale yet, but have a few low-buget ones under my belt and a script in the hands of a big producer. It takes time but it pays off. Good Luck!

Thanks Robin, Amy and David. All the help I can get is very welcomed.

hey rich im looking for an cheap agent for commericial,film,and or tv. I no u said i should be my own agent but its hard to get into the bussiness that way. I totally agree with u no body can sell me better than me.If u dont have a name yet they dont even wanna talk to u.I no im another out of work actor im pretty good but i just need to get my face out there, any help would be greatly needed thanks will be in touch. I have a great resume just need some help thanks talk later

Hahaha, at the least, I hope it's the latter. And you never know, any one of those producers could call/email for your script any minute now. Guess what? On the same day as the Hollywod Pitchfest there, I was invited to join a local pitch fest here for the Cinemalaya Film Financing Forum. It was my first time to go to a pitchfest so it was a lot plusses for me than minuses. I learned a lot and met a lot of new friends in the industry. Anyway, hopefully all our pitches are not for naught. I'm actually signed up for greenlightmymovie pitches, the internet version of the Hollywood Pitch Fest. Any tips?

No, never tried it. Gives you a chance to make a perfect pitch, though. The negative is you don't get to network from what I hear.