When taking their first steps in Hollywood, filmmakers will inevitably endure a seemingly endless stream of introductory meetings with producers, executives, and agents.
“Those first couple of meetings are just a whirlwind,” admits Ross Evans, a playwright who piqued industry interest after his short web series “Ian” went viral. Evans had always dreamed of becoming a working screenwriter in Hollywood, so the first time he stepped onto a studio lot—wearing a visitor’s pass with his name on it and linking up with an exec who really wanted to meet him—was “super exciting and super cool. Don’t let anybody take that away from you,” he says. It was also, however, incredibly nerve-racking. Evans knew he had to put his “best foot forward” since he was so new to the industry, and there was a chance these discussions could help turn his dream projects into reality.
With these tips from Evans and other industry folks, filmmakers can make sure that they get the most out of their meetings.
Preparation is key.
Once your meeting is set, Evans recommends researching the person you’ll be talking to and trying to pinpoint what they’re looking for. “You don’t have to fit into their box as a filmmaker, but you need to know who the person is,” he says.
John Zaozirny, a literary manager and head of Bellevue Productions, tells his filmmaker clients to think about some of their favorite movies and scripts, look at what’s in the marketplace right now, and be ready to talk about a movie from the last three to five years that they could have written or made. “You want it to be a specific film or genre so that the next time they come across something like that, they think of you and reach out,” he explains.
“It’s good to come in with ideas,” adds Chris Bender, co-founder and operator of the Los Angeles–based production company Good Fear Content, “because that’s what producers want to talk about. It can even be an article, book, or just a concept or logline. If it fits with what we want to do, we can then get into the weeds and develop it.”
Bender typically looks to organize a general meeting with a filmmaker after he reads a script or sees a project that really catches his attention. “I’ll reach out to their manager or agent so we can just meet them, hear about what they have next and what they want to do. Maybe we can help them develop something. We also mention what we’re working on and see if there’s overlap.”
It’s all about connection.
At most, Bender usually has two or three general meetings a week with new filmmakers. In terms of how long you can expect these meetings to run, Zaozirny believes that if you’re there for less than half an hour, “something has gone wrong.” Instead, filmmakers should be aiming for a conversation around 45 minutes; sometimes it can go on for over an hour if neither person has to run to another engagement.
When it comes to making sure the conversation flows, Zaozirny compares going on these meetings to a first date: “Treat it as a platonic, non-romantic work date. It’s important that you make a connection and vibe with them.” When it comes to keeping an industry professional engaged, he says that “people never get tired of being asked questions about themselves. If someone asks you what [your] favorite movies are, [answer and then] flip it around. It’s really important that they connect with you.”
Bender also suggests that if a filmmaker likes one of the movies that he’s previously produced, they should ask him about the production process. “That usually sparks a conversation and allows me to talk about how it came together. That way we can learn about each other’s creative process.”
But while the point of these meetings is to discuss your writing, ambitions, and future projects, Zaozirny insists there’s an art to pitching in the room. “The one mistake I see people make: They’re in selling mode when they don’t need to be. It can make it very awkward if you’re just pitching one idea after another. It’s much more important to make a connection.”
Pique their curiosity.
When it comes time to pitch a project, Zaozirny recommends being skillfully vague. “The more vague you are, the more interested people are. I suggest just saying something like, ‘It’s “Nightcrawler” meets “Saltburn,” but in the fashion industry.’ ” If the industry professional then requests more information, he says that the filmmaker should use a representative as an excuse and explain, “My manager would kill me if I told you anything more.”
In Zaozirny’s experience, it’s better if they request and then read a script, rather than just hearing the filmmaker break down the narrative on the spot. “If you spend 20 minutes telling them the entire plot, they’re more likely to find holes in it. You need to whet their appetite and tease, so their imagination can fill in the blanks. Less is more, essentially.”
Leave the best impression.
Ultimately, says Evans, the filmmaker should leave the meeting having given the industry professional a “clear idea of the projects you want to work on.” They need to know the box that the filmmaker can work in. “Make that box as small and specific as possible so that when they get a book or idea, they’ll think of you.”
While Evans acknowledges that most people like to project that they can work in a number of different genres and styles, being pigeonholed can actually be a better business tactic. He explains, “You want to really help them do their job. It’s important to know what you’re good at, too. It’s not an artistic indictment. It’s a business tactic.”
Zaozirny says it’s imperative that the filmmaker isn’t unlikable and they showcase why they should work together in the future. “You want them to be happy to hear another idea from you down the road. Or to read your next script. They already know you’re a talented writer, as they’ve read your stuff. Now you have to make them want to work with you. The job is difficult enough as it is; it’s much more difficult when you’re working with someone who is weird.”
At the same time, Evans offers the reminder that it’s a two-way street—so the filmmaker should also be deciding if they would like to work with the industry professional. “Most of my meetings are me feeling people out rather than them feeling me out,” he says. The director adds that one of the biggest mistakes he’s made was signing with a manager who said they’d “fix” his writing, when he really should have been looking for one who loved his work. Both people should feel comfortable, and filmmakers should lead with “confidence in the work you’ve done,” he says.
How to follow up
After the meeting, Evans will usually send an email to keep the conversation going. He’ll even include a recap of what they talked about and remind them of his brand and the projects he’s looking to do. “It doesn’t have to be a big email. Just something short and sweet, thanking them for their time,” he explains.
Bender doesn’t like to just let the filmmaker follow up, though; if he likes the idea of a project that was mentioned, he’ll organize another meeting. “It’s a mutual courtship. If it’s a good match, then that should start flowing immediately,” he says.
But Zaozirny warns against sounding too desperate or needy after a meeting. In fact, for filmmakers, he doesn’t recommend following up at all. Instead, he believes “the best thing you can do is work on your next piece of material, so that when it shows up in their inbox in a few months time, they’re immediately interested.”
