Kathryn Kyker's Lounge Discussions

Brilliant news Kathryn. I wish you every luck with both projects :-)

Thanks! Just listened to the webinar (Stage 32, of course), on the Development Process and his experience is that the producer/production company will refer you to an agent. But since these producers/companies are not US-based, not sure that will work in this situation. (here's hoping I have a situation to worry about).

Hi Kathryn, this is a complex situation, which sorry to say, I don't have time to fully discuss. And your personal situation is really none of my business! To tackle one part of the situation, if you need someone to negotiate 2 potential international deals, the ideal situation would be for you to find an agent or attorney who does regular biz with these companies and therefore, knows what they typically offer and what a fair deal for you would be with that specific buyer. If these companies are big companies like the BBC, then what I would consider "major" agencies will know those rates. However, if these companies are not doing regular biz with US talent, then most US agents will not know what they typically pay and what a fair deal for you would be. I would suggest you try to cross-reference -- see who these companies typically do deals with, who reps those writers, and if those same people would take you on if a deal is pending.

You don't really need an Agent, but you will need an entertainment lawyer.

Good advice all, thanks!

Very cool -- would you mind sharing the call information? If you're talking US-based format: This comes from the cobwebs of a seminar long ago... for a TV movie, you want to follow TV format. Have buttons on your acts, acts of about 10ish pages long, use a teaser. But also of importance is to have a really strong hook for the top of the hour. You have a lot of competition at that moment for people to keep watching your stuff, or turn the channel to the next show starting then. I would think that length should be around 90-100 pages to allow for commercials. It's not necessarily easy to take a feature film and turn it into a TV movie because of the act break pacing. Good luck!

Thanks so much. Unfortunately I can't share the call info as part of the subscription agreement - I will say it's through Inktip. Your advice was very helpful, appreciate it.

Ah! Yes, I saw that. Good luck!

I was being sarcastic with the "why bother" comment, Katherine. Did you read Alle's posts? Next-level lack of self-awareness...

LOL. Jeez Guys, now you're talking about it, I'm gonna have to find that film!

Yup. Thought about a lit of these points myself this morning. so I had to scrap that last one. So I changed some stuff and revisited some stuff. DECEPTIONS BLOOD IN BLOOD OUT: An art dealer specializing in death hunts Philadelphia for his friend's murderer which leads to contention between him, his masochistic boss and a disillusioned cop who are both keeping secrets.

That's getting too long and detailed again in my opinion. 'Leads to contention' isn't strong enough. How about: Suspected of the murder of his best friend and hunted by both the law and the Mob, a reformed hitman races against time to catch the real culprit.

Thanks Anton. I've been doing some thinking and I've come to the conclusion you shouldn't try and reinvent the wheel and that's what I've been doing. All the previous log lines have an element of the script because it has twists and turns, but at the end of the day it's really about one thing, finding out the truth. His childhood friend is dead he wants the truth and that's all. The people in the way of that truth is the two rival families and a cop straddling the fence between both worlds. So my log line is simple, an exec may say hey that's interesting or they may say, nope it doesn't tell me anything, but I've learned from this post alone that regardless of what you right it ain't gonna hit everybody, so on that note I'm gonna go with this one for good or ill this is it. I would definitely like to thank ALL OF YOU for helping with this, this shit is no joke. My log line for DECEPTIONS, BLOOD IN BLOOD OUT: A hit mans search for his friend's killer uncovers a secret two warring families and a cop on both sides of the law has been keeping for years. That's it for good or bad. We shall see.

For those joining tonight, please call my cell if you cannot find us - 404.229.7988

Ill be there. Thanks Stuart. Only - due to Murphy's Law, I, of all people will not be able to attend the one at f2o on Friday 19th on Peachtree St. SO - someone else will have to lead that one.

Okay all...we have us a pseudo emergency. Seems someone (me) didn't realize there was a UGA game going, so taco Mac is a zoo. So now it's Five Season Brewing. Same shopping center. Call me if lost. 404.229.7978

Okay all...we have us a pseudo emergency. Seems someone (me) didn't realize there was a UGA game going, so taco Mac is a zoo. So now it's Five Season Brewing. Same shopping center. Call me if lost. 404.229.7978

Stuart - can you send me photos from yesterday? My email is julie@stage32.com

Will do, thanks!

Hiiiii ma'am...!

Hello Kathryn, if you're ever in need of a composer for your amazing sounding screenplays, I'd love to be considered. My portfolio can be found at: www.djhcomposer.co.uk

Thx djh, it feels like I'm a long way from that today, but you never know.

Hi Kathryn I'm new to stage 32 but our team of 54 talented stars helped create an inspired and touching drama with real consequence, called CRUDE , a short Eco - thriller. So if you or others reading this have like us a penchant for doing a partnership across the pond it would be great to chat further. Kind regards Peter See : www.redrugproductions.com .... Or our short shown recently at the BAFTA theatre in London www.crudethemovie.co.uk