When taking their first steps in Hollywood, filmmakers will inevitably endure a seemingly endless stream of introductory meetings with producers, executives, and agents.<\/p>\n\n\n\n
\u201cThose first couple of meetings are just a whirlwind,\u201d admits Ross Evans, a playwright who piqued industry interest after his short web series \u201cIan\u201d went viral. Evans had always dreamed of becoming a working screenwriter in Hollywood, so the first time he stepped onto a studio lot\u2014wearing a visitor\u2019s pass with his name on it and linking up with an exec who really wanted to meet him\u2014was \u201csuper exciting and super cool. Don\u2019t let anybody take that away from you,\u201d he says. It was also, however, incredibly nerve-racking. Evans knew he had to put his \u201cbest foot forward\u201d since he was so new to the industry, and there was a chance these discussions could help turn his dream projects into reality.\u00a0<\/p>\n\n\n\n
With these tips from Evans and other industry folks, filmmakers can make sure that they get the most out of their meetings.<\/p>\n\n\n\n
Once your meeting is set, Evans recommends researching the person you\u2019ll be talking to and trying to pinpoint what they\u2019re looking for. \u201cYou don\u2019t have to fit into their box as a filmmaker, but you need to know who the person is,\u201d he says.<\/p>\n\n\n\n
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\u2019s 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. \u201cYou 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,\u201d he explains.<\/p>\n\n\n\n
\u201cIt\u2019s good to come in with ideas,\u201d adds Chris Bender, co-founder and operator of the Los Angeles\u2013based production company Good Fear Content, \u201cbecause that\u2019s 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.\u201d<\/p>\n\n\n\n
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. \u201cI\u2019ll 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\u2019re working on and see if there\u2019s overlap.\u201d<\/p>\n\n\n\n
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\u2019re there for less than half an hour, \u201csomething has gone wrong.\u201d 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.<\/p>\n\n\n\n
When it comes to making sure the conversation flows, Zaozirny compares going on these meetings to a first date: \u201cTreat it as a platonic, non-romantic work date. It\u2019s important that you make a connection and vibe with them.\u201d When it comes to keeping an industry professional engaged, he says that \u201cpeople 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\u2019s really important that they connect with you.\u201d<\/p>\n\n\n\n
Bender also suggests that if a filmmaker likes one of the movies that he\u2019s previously produced, they should ask him about the production process. \u201cThat usually sparks a conversation and allows me to talk about how it came together. That way we can learn about each other\u2019s creative process.\u201d<\/p>\n\n\n\n
But while the point of these meetings is to discuss your writing, ambitions, and future projects, Zaozirny insists there\u2019s an art to pitching in the room. \u201cThe one mistake I see people make: They\u2019re in selling mode when they don\u2019t need to be. It can make it very awkward if you\u2019re just pitching one idea after another. It\u2019s much more important to make a connection.\u201d<\/p>\n\n\n\n