Anxiety

Well, I only have a week (less really) left of work at my day job before I am off for the summer and I can concentrate all my energies and efforts onto PitchFest.

Which leaves me two weeks (from today) to prepare before PitchFest.

I need to watch videos of pitches, practice my pitches and make my videos.

I also need to do a slew of other things... I haven't even made my one-sheets yet (my photographer hasn't e-mailed me the photos yet).

But what's making me most nervous is my script, Pillow Queen.

Everyone has had the same complaints: too much dialogue, lack of structure and that there is too much technical detail about the porn industry (which bogs the script down and doesn't move the plot forward).

I know I need to polish, re-write and refine Pillow Queen before I go out there.

I'm still working on my second draft.

I'm reading through it now and cutting the fat.

So far I've got it down to 97 pages from 104.

I'm cutting unnecessarily dialogue, trying to adhere to the 3-page rule (no scene should be longer than 3 pages unless there's a good reason for it).

But what still bothers me is that people whoa re established flagrantly break these rules all the time and are never called on it. Take Pulp Fiction: two characters are driving in a car, park, get out and go into a building. Sure, there's action and it is (kinda) moving the story forward, but the whole scene is basically talking heads; the two men are talking about what Big Macs are called in France, or some nonsense. Anyhow, the dialogue was obviously written 'cuz the writer thought it was "hip" and the scene meanders because, well, given what I've read about the creation of that film the writer/director wrote the film while stoned out of his gourd in Amsterdam... And the scene really reads like the meanderings of a stoned writer. The bottom line is that the scene does nothing to develop either of the characters or move the plot forward, it's just small talk... like the kind you'd have with your barber. If I had that kind of scene or dialogue in my script I'd be raked over the coals for it. Tarantino, though, apparently, in only his second film can get away with it. So if you're established, go ahead and break every rule known in film... especially if people will still pay to see your movies.

Just frustrating.

But what makes me nervous is some of the responses I received from the lady who runs PitchFest.

Here are my questions and her answers:

Should I bring copies of my script(s)?

I would recommend that you keep on copy on you at all times, and another in an easily accessible place (ie car or hotel room).  Most execs prefer a soft, electronic copy so keep a portable drive with the latest version on it so you can email it quickly and easily.  Although most prefer an electronic copy, some will still request a hard copy on the spot and you always want to be prepared for an opportunity.  I would caution you against sending anything out before it is ready though – that is the single biggest mistake new writers make.  If you do, they will likely never review your work again as they are giving you a single chance to prove yourself.  Your work must be at a professional level or you will be forever judged by the state of the script they reviewed.

Synopses (or will the one-sheets suffice)?

I would just put the synopsis on the onesheet.  It can be single-sided or double.  I have attached an article that is a bit dated, but should still be helpful.  It can be in color, although that gets expensive.  You want it to look professional – like the movie poster for your script.

A résumé (or the screenwriter's equivalent of one)?

No, I don’t think too many execs care.  What they want is an awesome pitch and well executed script.  It’s gravy if you happen to be awesome and easy to work with – essential gravy, I should say.  From what I have experienced, they don’t really care who the person is that’s meeting with them, unless there is something really interesting or special that needs mentioning.  For example, I had a pitch from someone who has the grandson of Louis Armstrong attached.  If the grandson were pitching me, it would be relevant for him to mention his grandfather and the fact that he has a voice that sounds very much like his grandfather’s.  Another pitch I heard was from a woman who worked in a nuclear plant and her story was about that, so it was a fascinating point of view that had relevance.  Relevance is the key.  I would just focus on the story and showcasing how you are a writer who knows their craft, can write quickly and to deadline, and you are hungry to succeed.  Be passionate and yourself, and let your skills as a storycrafter shine through.

 

See, it's that highlighted line that's killing me.

 

She's the expert, so I defer to her advice, but I also have to ask,

"Are these people really going to remember me at next year's PitchFest? Won't I get another shot with them simply due to amnesia?"

I also have to ask, "Aren't there new people there every year? Will I ever really run out of people to review my work?"

 

And that begs the next question, "When will I know if my work is ready?"

It's maddening!

Something that is garbage to one agency can be gold to another! It all depends!

 

Also, I've been looking at this website: http://www.cod.edu/people/faculty/pruter/film/threeact.htm

 

And I'm pretty sure Pillow Queen fits perfectly into the 3-act structure. Sure, there are things I need to refine and iron out, but overall I feel like I've got everything I need.

 

Well, I know I need to sleep and eat and get through my last week of work, but in all my off-time I see myself doing little but preparing for PitchFest and trying to get Pillow Queen ready to put before eyes that might actually represent me or put the script before a camera.

 

I've also got my old college screenwriting professor and friends, the incomparable Michael Amundsen, taking a look at Pillow Queen.

 

Seeing as he was the best screenwriting professor I've had (no disrespect to my other screenwriting professor, Rich Reichman) I have total faith in his criticism and suggestions.