Film Industry

I’m developing a script with a writer/director who has
already finished his first feature. The film we are
writing now aligns directly with the kind of films
that Lion’s Gate has been producing in their new
genre devision. Fortunately I have a contact with one
of their staff producers (which explains why I’m
attached).

My question is this: The writer has no
agent or manager and I’m wondering if that will be a
hindrance when approaching the studio. We’re very
confident in the story, but I was wondering if there
is some sort of protocol to follow when approaching a
studio, even if the contact is a friend of mine.
We’re not sure if we should attempt to pitch before
submitting the script or if it’s necessary to get third
party representation before doing so.

— Chris
New York

You’re fine. Don’t let the lack of an agent and/or manager slow down your process at this point. Use your contact, get your meeting, and pitch the project. Particularly at a genre division, they’re used to working with unsigned writers. Embrace your outsider status.

If they want to buy your project, you’ll need to get an entertainment lawyer involved to help figure out the contracts. The writer/director might already have one, but if not, you’ll be able to find one within a few days — particularly in New York or Los Angeles.

Where do you find an entertainment lawyer? Well, you could start by asking the company. If they want your project, they’re likely to want the deal done right. They’ll understand that it’s in their best interest to see that you have a good lawyer. But of course, don’t stop there. Make sure you meet with several attornies at different companies. You want someone you feel you can trust.

I am from the UK and have written a script which I think
would work either side of the Atlantic. Though the theme
is generic, some minor details would not seem authentic to
an American reader as well as technical differences, such
as spelling.

Should I send an amended US version to
American agencies and a British one in the UK, or send the
original version to both?

— Paul James
via [IMDb](http://indie.imdb.com/Indie/Ask/)

I don’t think there’s a wrong answer, but here’s what I would recommend if I were in your place.

If it really wouldn’t suffer from setting it in the U.S., then go for it. Keep your UK version for British agencies and filmmakers, and do up a separate-but-equal version for the U.S. (Hint: put a “UK” down by the date on the title page, so you can easily tell which one is which.) While most Hollywood folks are clever enough to realize that a good script is a good script, there’s always a chance that a reader will see “Bristol” and think, nope.

Next, if you do set it in America, with American characters, you’re probably better off using American spellings throughout. That way, there’s no weird disconnect when Tyrell starts talking about “gang colours.” And have a native-born American whose opinion you trust do a careful reading through your script, just to make sure there’s no dangling British-isms.

Having said this, a UK writer shouldn’t worry about being too British. Or Scottish. Or whatever. There’s a long history of talented filmmakers crossing the Atlantic to work in Hollywood (and vice-versa). You shouldn’t try to sublimate your natural writing style to match some mythical American standard — which all too often resembles the lowest common denominator. But if you decide to American-ize this script, make sure you do so thoroughly.