As a producer, how do your projects originate? Do they begin as a script you read and like? Or with some director whom you know bringing you a script? Or do you ever generate ideas yourself and then go out and find the people to execute them? Any examples you can offer of how the process works?

Scripts come to me both ways, but I tend to lean toward the ones that are attached to talent that I am interested in working with. This is a function of the fact that as an independent producer, I think my role is as a catalyst to bring someone else's passion and vision to the screen, rather than to bring my own passion and vision to the screen. So, most of the projects I've acquire to date are ones where it is either a writer/director attached, or one where a director brings me a piece of material and asks me to acquire it for them to direct. On a couple of occasions I've bought screenplays or novels with no one attached. This is the exception, but there was something that I connected to so I decided to grab the material and seek out a director to go the next step. Even in these cases, I still don't go any further with the development without first attaching a director who can work with the writer to set the direction for the next (or first) draft. Maybe over time, I'll begin to feel differently, but for the moment, this is the type of development I'm comfortable with.

I would like some background on how you finance and get into production the eclectic mix of material you have produced. What kind of a presentation mix from the authors shown you at those times made these opportunities stand out as optimum choices? What were the pitches like? How nervous were the writers? Were their agents really a help or just a legal necessity? What kind of pitches do you prefer? How do producers conduct business with the writers before and after the sale?

I wish there were some kind of coherent answer to your question. First of all, so much of the choices one makes is based on what comes in the door. The only way to approach it is opportunistically. Just about everyone I know who has attempted to look for something specific has eventually changed their focus, or has failed to acquire anything, so you just have to resond to what you get. Secondly, it's about what gets your attention, and I think that is just as hard to define. Sometimes it depends on where it comes from. Sometimes a reader is so enthusiastic that it jumps to the top of the pile. But most often, it has to do with the practical reality that what gets movies made these days is the talent attached, so a project that has significant attachments will make my job that much easier.

As far as pitching is concerned, I really don't respond well to pitches. I've always felt that some of the best movies can't be reduced to a pitch. Think about the pitch for "Leaving Las Vegas" or even "Forrest Gump." Obviously Hollywood would disagree with this concept, but that's why I'm not working for them. I'd much rather see a finished screenplay, and know more about the concept from an attached director. I also find that some of the best writers are bad at pitching and it only makes for a very uncomfortable meeting.

Agents have a bad rap, but they're a very important part of the process (if they're doing their job). Since we are a small organization, I can't (and won't) take unsolicited material. A good agent understands what my strengths and weaknesses are as a producer, and will not waste my time with things that are not for me. So, it helps me to narrow down the possibilities.

Generally speaking I try to get as far in the development process as possible before seeking out any financing. The biggest freedom of independent producing is not having to cater to a particular sensibility. Within the studio system, their idea of development is to acquire a property, anbd then do everything possible to make it fit their particular agenda. More often than not, that means hammering away at a round peg until it somehow squeezes into a square hole. What I do is keep working on the development process until I know what shape it is, and then I seek out places that happen to be looking for that particular shape. Does that make sense?

I have read that, most of the time, a writer submitting his/her scripts to producers should be more interested in having the producer like their writing, rather than having them want to buy a particular script they submit. If that is true, what kind of things do you look for that make you want to work with a particular writer in the future?

It's really both. Producers are looking for a great unproduced script that they can fly with, but frequently end up feeling that while the writer exhibits a lot of talent, the concept of the particular piece seems too difficult to get made. In those cases, we make a note of the writer, encourage them to make further submissions, and keep them in mind for writing assignments that may come up.

What suggestions do you have regarding marketing and selling a script, particularly for first time scripts from those of us who are not established in the Film industry? Also what is the most successful and effective way of getting a good agent? Any steps to avoid?

The question you've asked is one of the toughest ones to answer. Most producers, distributors and financiers, as well as most talent, will not read a script unless it comes from an agent...and most agents are only interested in new clients once they have made their mark elsewhere...hmmm.

A few basic hints are all I can offer--

1. Use any contact you have to get your work into the hands of an established agent. They treat you completely differently if you are able to legitimately drop a name or two...and everyone knows someone who knows someone, and on and on. Use every lead you have and make them pay off.

2. Put together a really good pitch letter that puts the project forward in their language, Drop a few names in the letter. Talk about similar movies that have made money. But, keep it brief. This becomes your tool to get the attention of anyone that won't accept unsolicited submissions. They'll look it over and if you've enticed them enough, suddenly the unsolicited rules are softened.

3. Try a reading...For some reason, agents and buyers who won't read your screenplay, will send someone to cover a reading. There are many venues that have screenplay readings these days that are quite well attended by industry types.

4. Write up the screenplay in a different form. Get it published as an artical or a novel first. Published work gets more atention. Nicholas Meyer became a successful novelist by accident when he was forced to go this route because no one was interested in his screenplays.

5. Try to get for-hire work as a writer. The more credits you accumulate and the more contacts you make, the easier it is to get attention...and the sllightly more desparate version of this is to get a job at a film company or agency, even as an intern. Again, getting to know the right people is half the battle.

I know these are pretty generic, but hopefully there is something here that will inspire you. I know it's not easy out there.

Your responses to one or two of the group leads me to ask you if my intellectual impression, which I set out below, is correct.

It appears that Hollywood is very much a 'closed shop.' Although producers and directors pay lip service to 'new talent,' in fact, they don't want it. It costs so much to produce a movie, even a low-budget movie, that producers and directors would rather work with mediocre writers they know than take risks with an unknown.

Of course, the work of unknowns is sometimes optioned or bought, but then people do win the Massachusetts State Lottery.

If I'm right, and I suspect I am, it leads to the following dilemma: New writers can't sell unless they've been produced, and they can't get produced unless they sell.

Well, that brings me back to my original question: Am I right?

The truth is you're absolutely right, but every day people find ways around it. It comes down to networking to create contacts, being clever to create false heat, and/or just going out and making it yourself. Some of the suggestions I made in one of the other responses may be of some help. The other thing is to think in terms of working outside the Hollywood system. Here in New York, hundreds of "no-budget" films are made every year, and while the results are spotty, many of them go on to some kind of notoriety. The good news (such as it is) is that once you break through the wall, the very exclusivity that was your enemy, is now what makes you the flavor of the week. I know that seems remote, but unlike the lottery example, at least its about hard work and perseverance, not solely about luck.

May I enquire what types of things you look at now and how far down the pike you anticipate trends?

Since we are currently involved in over 14 projects, we are being particularly selective right this moment. We react to the material we are sent in the context of whatever trends we are currently witnessing, and while we try to anicipate trends, no one can predict the future. The one thing that seems to be true is that the studios are very attuned to hot young actors that are in what are perceived to be big upcoming films. Getting one of those actors attached (which is easier than an established star) can get a film financed. So keeping up with those types is a priority.

Since this is the last outstanding question...best of luck to all of you!