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Why do studios like Dharma Productions and YRF-Yash Raj Films don't accept unsolicited script submissions? Actually, they do, but they never advertise it given the sheer volume of submissions they receive. There are a few prerequisites for submitting your script, or else your material will never be considered by these studios. 1. You should be an active member of the Screenwriters Association, and your story should be registered with the SWA. 2. Only when you inquire with the studio regarding submitting your script, they will send you a release form to sign. The release form legally safeguards them from any future legal tussles regarding your submission. 3. Once you have the registered story and the signed release form of the studio in place, you will have to follow the specific submission guidelines for your submission. 4. Each studio has different requirements. The bigger studios usually ask for the logline first and only ask for a synopsis if the logline interests them, while the smaller production houses are kind enough to read the full material without rejecting an idea at the logline stage itself. Why so much hassle for submitting your script? I have been on the receiving end of unsolicited material at a reputed production house. I know how chaotic it can get if the due procedure is not followed. So many iconic films that you love are still stuck in a legal battle in court, fighting against writers who sent similar scripts to these studios and now claim those films have been copied from their stories. I can’t comment on whether the cases are valid or not, but it’s definitely an inconvenience for the makers. They’d rather not accept any unsolicited submissions at all. Therefore, most studios are reluctant to accept unsolicited scripts and prefer working with the writers they know. But that doesn’t mean there is no hope for unsolicited submissions. However, the studios take a very long time to respond. They may even take months to get back to you for every stage of submission. If you are lucky, it takes more than a year from pitching your story to finally bagging a sale. So be patient. While it has become easier to pitch, you also need to remember that most submissions, almost 97% of them, get rejected in earlier stages. Even the biggest studios in the country don’t produce more than 5 films or shows in a year. So don’t get your hopes high. Keep working on your craft, and soon you’ll find the studios themselves asking you to pitch to them. Let me know in the comments below if you'd like to know more about the pitching process.

Why do studios like Dharma Productions and YRF-Yash Raj Films don't accept unsolicited script submissions? Actually, they do, but they never advertise it given the sheer volume of submissions they receive. There are a few prerequisites for submitting your script, or else your material will never be considered by these studios. 1. You should be an active member of the Screenwriters Association, and your story should be registered with the SWA. 2. Only when you inquire with the studio regarding submitting your script, they will send you a release form to sign. The release form legally safeguards them from any future legal tussles regarding your submission. 3. Once you have the registered story and the signed release form of the studio in place, you will have to follow the specific submission guidelines for your submission. 4. Each studio has different requirements. The bigger studios usually ask for the logline first and only ask for a synopsis if the logline interests them, while the smaller production houses are kind enough to read the full material without rejecting an idea at the logline stage itself. Why so much hassle for submitting your script? I have been on the receiving end of unsolicited material at a reputed production house. I know how chaotic it can get if the due procedure is not followed. So many iconic films that you love are still stuck in a legal battle in court, fighting against writers who sent similar scripts to these studios and now claim those films have been copied from their stories. I can’t comment on whether the cases are valid or not, but it’s definitely an inconvenience for the makers. They’d rather not accept any unsolicited submissions at all. Therefore, most studios are reluctant to accept unsolicited scripts and prefer working with the writers they know. But that doesn’t mean there is no hope for unsolicited submissions. However, the studios take a very long time to respond. They may even take months to get back to you for every stage of submission. If you are lucky, it takes more than a year from pitching your story to finally bagging a sale. So be patient. While it has become easier to pitch, you also need to remember that most submissions, almost 97% of them, get rejected in earlier stages. Even the biggest studios in the country don’t produce more than 5 films or shows in a year. So don’t get your hopes high. Keep working on your craft, and soon you’ll find the studios themselves asking you to pitch to them. Let me know in the comments below if you'd like to know more about the pitching process.

As a filmmaker and #StudentOfCinema, which includes the business side, this is pretty accurate! ?? Of course you can see what I have done on my profile ????. #filmmaking #IndieFilm

Clint Eastwood isn’t just an iconic actor; he’s a master at getting things done right, on time, under budget, and with a crew that sticks together like glue. And there’s a lot we can learn from how he runs his show: ?? Trust Your Crew: Clint works with the same team over and over, because they know the drill, they know him, and they get it done in one take. Whether you’re running a studio or tackling a creative project, finding that reliable crew (or gear setup) can make your workflow smoother than silk. ??? Streamline Your Process: Clint’s famous for “one-take” shoots – he knows what he wants, gets it done, and moves on. In the audio world, it’s about simplifying your workflow so you can focus on quality, not just quantity. Don’t overcomplicate – efficiency is key. ?? Loyalty Breeds Success: Clint sticks with his crew, and they with him – some of them for 30, 40, even 60 projects. The lesson? Build long-term relationships with your clients, collaborators, and partners. When they know you’ve got their back, magic happens. And of course, Clint’s best piece of advice? ? "Don’t Let the Old Man In." Age, doubt, or hesitation don’t stop him, and they shouldn’t stop you. Whether you’re 18 or 88, keep learning, growing, and evolving your craft. Don’t let self-doubt creep into your creative process. So, if you’re ready to take your home studio or content game to the next level, Go Ahead. Make Your Day. ??Just Ask Robbo is here to help you troubleshoot, streamline, and get the absolute best out of your setup. Let's make it happen. ?? www.justaskrobbo.com

The desire to become a producer in the entertainment industry can be attributed to several factors: 1. Creative Control: Producers have significant influence over the creative direction of a project, including selecting scripts, casting actors, and overseeing the production process. This control allows them to bring their creative vision to life. 2. Financial Benefits: Successful producers can reap substantial financial rewards from their projects. They often have the opportunity to earn a share of the profits from films, TV shows, music albums, and other productions. 3. Recognition and Prestige: Being a producer can bring recognition and prestige within the industry. Producing critically acclaimed or commercially successful projects can enhance one's reputation and open doors to new opportunities. 4. Impact and Influence: Producers play a crucial role in shaping the cultural landscape by bringing diverse stories and perspectives to audiences worldwide. They can use their platform to address important social issues and advocate for change. 5. Creative Collaboration: Producing allows individuals to collaborate with talented artists, directors, writers, and other industry professionals. Building relationships and working on collaborative projects can be fulfilling and rewarding. Overall, the desire to become a producer is often driven by a passion for storytelling, a love for the creative process, a desire for control and influence, and the potential for financial success and recognition in the entertainment industry. How true is this ?

How Development in Hollywood? Burdens Creatives https://ift.tt/RBVtp2f One of the main issues writers face in modern Hollywood is the idea of risk. Studios say they are the ones risking the money, so they want to reap the rewards. They put up the budgets for expensive movies, so when a profit comes in, they see themselves as deserving. But just one step before they put up the money are writers, who have to ideate these endeavors so that someone can put money behind them. Writers across film and TV have been burdened with developing their own projects for no pay. Let's go through just how this has happened. The Way It Used To Be So, how did development use to work in Hollywood? Back in the day, studios paid a premium for ideas. You could sell a logline and get the green light based on the concept alone. If you were a writer or a director, you could take an idea to some producers. If they liked it, you might get an option or a sale. That would give you enough money to go off and write the spec or pilot based on the idea. The basic thought process was, executives existed to bring people with ideas into the studio. You would work in tandem to get a draft ready. Then, if the studio liked it, they would package it. Then decide if they were going to greenlight it for production or not. But that's not what happens now. The Way It Is Now Nowadays, all the development is done for free by the writers. You have to get an idea fleshed out to perfection and create a spec script on your own before you can even think of bringing it to the studio. So you're at home, working for no money, going on six months or a year, to try and get this idea on someone's desk. While doing this, you earn a living by hopefully pitching on other projects, which you get paid no money to do unless you book one. If you're lucky, you have a rewrite or another step left on a contract that keeps money coming in while you work out your personal idea. And you HAVE TO work this idea out. You need a spec script to remind execs you exist so you get sent ideas to pitch on anyway. If you're in TV, you need fresh samples from time to time to make sure you can book work in a writer's room. On top of that, the studio wants you to do the packaging as well. That means you need to do the legwork to find a director or actors to attach so when you bring it in, it's a more attractive piece of material to purchase. No one is buying ideas anymore. If you're lucky, you get an overall deal where you can come up with stuff and be paid a fee for it. But those are not easy to come by. You have to spend years in TV to find them. The burden of carrying out all development along with ideation lands solely on the writer. The Way It Should Be So, what does a perfect world look like? Well, it is one where there is equitable pay for the development of these ideas. One where writers are paid residuals from studios on the hits they create. Ideally, I'd love to find a Hollywood...

A must read for all screenwriters

Hey All, There's a new 24-Hour Ask Me Anything happening from Friday 6/7 to Saturday 6/8?over in the Stage 32 Writer's Room! Todd Slavkin,?Showrunner, Writer, & Director (SMALLVILLE, SHADOWHUNTERS, THE MYSTERIOUS BENEDICT SOCIETY)?will be answering people's questions about?"What Are The Duties Of A Showrunner?" The questions won’t be answered until Friday, but the post is live for you to comment with your questions NOW! https://lnkd.in/gW5a7RjS ?? You can ask Todd questions about his writing process, what his day-to-day?duties as a showrunner are, the pathway to becoming a showrunner, what a showrunner's responsibilities on set are, how to interact and communicate across departments, how to handle notes from the studio/network/streamer, what it's like to take over a show that previously had a different showrunner, etc. Don't miss out on a chance to ask your questions! If you're not already a Stage 32 Writer's Room member, you can sign up for your first month entirely free so that you can join in on these opportunities.? https://lnkd.in/gK7Cxi-5