Film Industry

In your opinion, can film censorship be used as a form of publicity to increase
market interest?

–Alex Rimmer

I can only answer in terms of the U.S., where "film censorship" usually
equates with getting an "NC-17" rating, which makes it difficult
to book theaters and advertise.

While there’s some tradition of a distributor milking a ratings fight for
publicity (SHOWGIRLS, DOGMA, CRASH), I’m not convinced the drama puts any more
butts in seats opening weekend. Rather, I suspect that the number of patrons
attracted by the controversy is largely offset by the number turned off. And
it’s important to remember that most of the movies branded NC-17 receive the
rating for sexual content, which is difficult to market beyond a certain level
anyway. The attendant controversy only highlights the sexual aspect of the
picture.

For truly tiny movies that might otherwise get no publicity at all, talk of
censorship might be an effective strategy. But for most movies, trying to generate
controversy this way seems ill-advised in my opinion.

I just sold my first screenplay to an independent production company. I have
no agent, so I’d like to get one off of this, if I can. I have other completed
screenplays, one of which this company is going to help me set up as a director.
What else can I do to best leverage this situation?

–Eric

First, congratulations. Second, thank you for proving a point I often stress
when talking to aspiring screenwriters: an agent is not mandatory. You sold
your script without one, as have many other writers.

You’re right in assuming that setting up your script will help you get an
agent. My advice is to sit down with the executives at the production company,
and other smart Hollywood friends you have, and make a list of which agents
and agencies might be a good fit for you. (Generally, newer writers tend to
be served by newer agents, who are looking to expand their client list.)

We usually think of agents selling to producers, but it works the other way
too: see if the producers would be willing to call the agents they’re friendly
with, and send them your script. If you have an attorney, he or she may also
be able to help.

If there are any other agents you’re interested in, but don’t have any easy
connection, simply write them a letter. Explain that you’ve sold a script and
are about to set up another, and that you’re looking for an agent to help represent
you.

Some agents will pass on you. That’s life. But in general, agents want writers
who work. That’s you.

How important is it to be in Los Angeles to truly make it
as a successful screenwriter? Is it possible to make it outside the City of
Angels, or should
one realistically think about relocating?

–T. Sexton

You don’t need to live in Los Angeles to write a screenplay, although the reverse
sometimes seems true. Everyone in L.A. eventually writes one, though usually
they shouldn’t.

Writers move to Hollywood for the same reason long-distance runners move to
high-altitude. By making things more difficult for yourself, you hopefully
improve. And let’s face it, there’s something romantic about being a struggling
screenwriter in the big city, living from ramen noodle to ramen noodle, doing
your laundry with other aspiring filmmakers, complaining about Jerry Bruckheimer
movies while finishing your spec script about terrorists.

After a year or two the romance fades, and if you haven’t had any success,
you become bitter. That’s not to say you wouldn’t have become bitter wherever
you came from, but in L.A., it’s more expensive. (On the plus side, the weather’s
better.)

Do you need to move to L.A. to become successful? Probably. While there are
major screenwriters who don’t live here, most of them did at some point in
their careers. Part of the job of a beginning screenwriter is to take 1000
meetings with 1000 young development executives, listening to them spout on
about their pet projects which will never get made, and that means living in
town.

Should you, T. Sexton, move to Los Angeles? Only if you’re really serious
about making it as a writer. Just as nine out of ten actors who move here don’t
succeed, probably a greater proportion of writers strike out. The difference
is, actors have to go out and audition, while writers can fail in private.

But some writers, including many of my best friends, do succeed. And truth
be told, it can be a great job. Don’t let the fear of failure keep you from
trying. Pack up the U-Haul if that’s your goal. Just make sure you have a script
or two finished first.

Hello. Thank you for existing. Reading your answer about the job of a writer’s
assistant made me wonder: where and how do we find the feature writer who needs
an assistant?

–Sandrine

In the back of the trades (which means Variety and the Hollywood Reporter),
you’ll often find listings for "assistants wanted." Some of those
will be good jobs, a lot won’t. Personally, all the assistants I’ve hired have
been either referrals from friends, or people I worked with before. For instance,
two of my assistants worked in the production office on GO. My current assistant
came to me via my agent, who taught one of his classes at USC.

An internship, either paid or unpaid, is a great way to make contacts who
could get you a job working for a writer. If you attend any screenwriting symposiums,
it’s worth a shot talking to any writers there about the kind of job you’re
looking for. Even if the writer himself isn’t looking for an assistant, he
may have a friend who is.