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SYS Podcast Episode 355: With Actor/Writer/Director Miska Kajanus (transcript)

This is a transcript of SYS Podcast Episode 355: With Actor/Writer/Director Miska Kajanus .


Ashley: Okay, welcome to Episode #355 of the Selling Your Screenplay podcast. I’m Ashley Scott Myers, screenwriter and blogger, over at www.selling your screenplay.com. Today, I’m interviewing writer, producer, director, and also actor Miska Kajanus. He did a low budget feature film called Insanity. So he comes on to talk about that project today. He’s from Finland and came to USA to pursue his dream of being an actor. He’s actually worked his way up as an actor and has had a number of roles on shows like Modern Family, and now he’s moving into filmmaking as a whole and trying to make his own films. So that’ll be a lot of the focus of what we talk about today. So stay tuned for that interview.

If you find this episode valuable, please help me out by giving me a review in iTunes or leaving a comment on YouTube, or re-tweeting the podcast on Twitter, liking or sharing it on Facebook. These social media shares really do help spread word about the podcast, so they’re very much appreciated. Any websites or links that I mention in the podcast can be found on my blog in the show notes. I also publish a transcript with every episode in case you’d rather read the show or look at something later on. You can find all the podcast show notes at www.sellingyourscreenplay.com/podcast. And then just look for Episode Number #355. If you want my free guide, how to sell a screenplay in five weeks, you can pick that up by going to www.sellingyourscreenplay.com/guide.

It’s completely free, you just put in your email address and I’ll send you a new lesson once per week for five weeks, along with a bunch of bonus lessons. I teach the whole process of how to sell your screenplay in that guide. I’ll teach you how to write a professional logline and query letter, how to find agents, managers, and producers who are looking for material. Really has everything you need to know to sell your screenplay, again just go to www.sellingyourscreenplay.com/guide. A quick few words about what I’m working on. We’re still moving along with my mystery thriller feature film, The Rideshare Killer. We officially locked picture last week. I’m picking up the hard drives from my editor this weekend to take over to our sound team and colorist.

There’s quite a bit of prep work that the editor needs to do before he sends the film over to the color and sound folks. All of these people operate on different programs, Adobe Premiere, DaVinci Resolve is the color program, there’s a whole bunch of different programs he uses for the sound. So all these things have to be synced up. The editor has to do a bunch of different outputs, and frankly I’m not even all that technical that I even know frankly a lot of what goes in with syncing all this stuff up. But hopefully these guys do, and hopefully it will come together. But in any event that is definitely moving along, and as I said, I’m going to be picking up the drives this weekend. So that’s exciting news.

We’re still trying to get the film completed by the end of this year, but we’ll see. I think there’s still a good chance. If we’re not done by the end of this year, it will be very shortly after in January, I would think we’ll be done. So it’s definitely moving along. The other big thing obviously, I’ve been working on the screen writing contest. We announced the finalist a couple of weeks ago, and we’ll be announcing the winner this Wednesday, November 18th. I’ll be posting it on www.sellingyourscreenplay.com the morning of the 18th, so just keep an eye out for that announcement. The other big thing I’m trying to do is get my next feature film going and I’ve been talking a little bit about this on the podcast.

I’ve got a very loose commitment to unfilmed noir script that I wrote, but the problem now is just the longer it goes, the less confident I am that we’ll actually pan out. If we could go shoot tomorrow… I think we would be shooting. But obviously with COVID it’s just a little bit dicey. With COVID I’m just thinking a low budget feature is just asking for a lot of headaches, and that’s kind of my hesitation. It’ll be tough to shoot this film with the money we have under the best conditions, but if we have to shut down production for a few weeks, it could destroy the production. If one of our leads get sick and has to be quarantined for two weeks, obviously then other crew members could potentially get sick and we would have to quarantine for longer.

And on these low budget productions, there’s no margin for error. We don’t have a big bank roll behind us, if we have to close down production for two weeks, I think it would be almost catastrophic for a really low budget production. When I say catastrophic, obviously we would get the movie done, but it would really start to impede on the quality of the film, because we don’t have any more money. There’s no contingency plan in terms of the financing of this thing. And I think most independent filmmakers are probably in that boat, that’s kind of some of the gist I get, talking to other filmmakers, other producers, other directors. It’s just a tough road to haul. There’s just not enough margin for error on these feature films.

So originally I was hoping by March things would be clearing up. Now we’re less than six months away from that, and it doesn’t seem like March is going to be a lot better than it is now. Hopefully it will be at least headed in the right direction. So I don’t know, I’m just hedging my bet a little bit. I’ve been enjoying working on The Rideshare Killer this year, so I’m  hoping I can keep that momentum going. As I said, especially now that I’m closing in on completing The Rideshare Killer, I’d like to just find the next project and really hoping that this film noir script would be it. I’ve sort of been thinking too, maybe I could do a short film. I think a short film would be something I could shoot and really do, I would do probably the whole thing.

In a case of a short film, I would probably edit it myself just to get that experience. I could shoot something in one or two days, basically just me, a camera, and a couple of actors. Something at that level where COVID really wouldn’t be a problem. Obviously we could social distance, and wear masks if the crew was small enough, and shoot it in a very contained area, maybe at a park or even if it’s inside, again just making sure we social distance and masking. There’s a whole protocol that I’ve heard from some other producers you can go through shooting here in LA. You can get permits now. Like you can get permits to shoot in LA, and I know there’s some production going on. I definitely talk to some of my actor friends, and different people that work in the business, and there’s definitely some shooting going on.

But it’s just tough, and as I said, it’s even tougher for the independent films. So I don’t know, I think I’m kind of in a holding pattern, finish up RSK, and then kind of see maybe in November or December, see if there’s not a little bit more hopeful news. Maybe if we get a vaccine that will definitely start to change the trajectory of all of this. So anyways, not really great news for any of us with COVID. I know we’re all just under this umbrella waiting for it to lift and hopefully it will lift soon. Anyways, that’s the main things that I’ve been working on over the last couple of weeks. Now let’s get into the main segment. Today I’m interviewing writer, producer, director, and also actor, Miska Kajunus. Here is the interview.

Ashely: Welcome Miska to the Selling Your Screenplay podcast. I really appreciate you coming on the show with me today.

Miska: Thank you. I’m very happy to be on the show because I’ve been listening to this for a couple of years already. Usually when I go on hiking or running Canyon or somewhere I listen to your podcast. I’m a big fan.

Ashely: Well, perfect, I appreciate that. So let’s dig into the interview. Maybe to start out you can tell us a little bit about your background. Where did you grow up and how did you get interested in the entertainment business?

Miska: Well, I’m originally from Finland, but I’ve been in Los Angeles for five years now. So I started playing guitar when I was 13. Before that I did sports, then I played in bands, and I started to do theater. That was pretty much when I was 13, it was all the way to theater and the movies.

Ashely: I got you. So talk about some of those, turning it into an actual career. At some point you made the leap from Finland to Los Angeles. Maybe you can talk about that. How did you go, did you know people in Los Angeles, did you save a bunch of money so that you had a little nest egg once you got here? Maybe talk about that transition, I know there’s lots of people that listen to this internationally, even within the United States that have a long journey to LA. So maybe you can give us some insight there. How did you happen to move to Los Angeles? How did you get through all that?

Miska: Well, after high school in Finland, I was in a soap opera for a few months, and then I applied to a Finnish Theater Academy, but I didn’t get in. So I felt that I started to look for options abroad, and I thought about London, but then I found this school in Miami, New World School of the Art. It’s part of the University of Florida. I just applied to New World School of the Arts, and I got a small scholarship, and I decided that I’ll just go to this random theater school in Miami because it sounded great, and I have heard very good things about it.

 

Ashely: So. Perfect. Then once you got done with college, what was your major in college? Did you go…you were a theater major, did you do some short films? Maybe talk about a little bit of that experience.

Miska: My major was acting, and there was actually not much acting for camera, there was a little bit. So I had done some, worked on short films, but mainly acted on stage.

Ashely: Okay, and then how did you make the transition out to Los Angeles from Miami?

Miska: Well, this is actually my second time coming to LA, because I graduated 2005 and I got one year visa. So I moved to LA for one year, but then the visa ran out, so I needed to go back to Finland for 10 years. So and then I got… now I have a Green Card. So I actually won a green card in the Green Card lottery. It’s for everyone in the world, and I applied to that for like many, six years and then I got the Green Card, and then I came back because I’m now able to be here and legally work here, and I’m very happy to be back.

Ashely: Yeah, sure. Okay, so maybe just a couple of practical tips for people moving to Los Angeles. Where would you recommend if someone doesn’t know anything about LA, they’re going to move here from a far away distance. Where in Los Angeles would you recommend that they go?

Miska: Well, I live right in the middle of Hollywood and that works for me, because I did have a car in the beginning, and I like to live close to places where I go. Because I do some comedy, before COVID I used to go to comedy clubs, do open mikes and stuff. So that works for me, the central location. But I have heard that many people like living in the valley where it’s definitely more peaceful. Like it’s lots of homeless people here in Hollywood, so it’s not that nice.

Ashley: Yeah, and the other big difference between Hollywood, and even North Hollywood, just eight miles north is the price. Things are a lot cheaper in the valley, so if you’re on a budget I would say, and you’re moving to the LA area, definitely look in the valley first, because that will be your cheapest opportunities to find a place.

Miska: I agree. I think one of the biggest surprises moving to LA was the price, and then also the commute. So you wanna live not too far away from the places where you go. And there’s lots of studios in the valley.

Ashely: Yeah. Okay, so you stumble into LA I guess a number of years ago…

Miska: Five years ago.

Ashely: Okay, five years ago. On IMDb you have a number of decent acting credits, maybe talk about that. Once you got to LA, how did you start to build your resume? How did you start to build your career? Did you get an agent? Did you have an agent before you got here? Maybe just talk about that journey, getting some of these speaking roles on TV shows and stuff.

Miska: Well, you need to really be humble and start from the bottom. I joined on a couple of websites, LA casting, and Actress Access. You upload information then you start submitting yourself to all the productions that they have, then I started approaching agents, and I got a recommendation from a friend of mine to my agent. My agent is Victor Crew Glove. And since I had some TV credits from Finland, I had a nice acting reel. Then I also did some background work, which was great because you get to be on set and you actually get some money. So I think the main thing is to do everything you can in the field of entertainment, accept all the jobs and approach people.

But the agents that I have are, especially… I don’t know how it works in CA on all the top level agencies, but the regular agents, they’re actually really nice. They usually read your email, and you are able to at least be in contact with an agent. But you need to have a reel so that you will get doing the small production.

Ashely: Sure. That’s good advice. Tell me a little bit about extra work. When I rolled in here in the mid ‘90s, I actually did some extra work. Back then it was in Burbank, there was a place called Central Casting, Cenex Casting. You just went down there, you got registered with them, and then back then there was a phone line you would call and get the jobs. But it was fairly easy to get some of these extra jobs, and I totally agree with you. For someone who grew up in Maryland, never had been really even on a movie set, it was great experience to just make a few bucks, and get on a movie set. How does it work nowadays with the extra casting?

Miska: Well, it’s… basically, it’s the same thing. The only thing is that there’s no mobile phone lines, but you can check all the casting postings online or on Facebook. So it’s much nicer because I remember you used to need to call there all the time. But I recommend there and, you don’t even need to have an acting resume. Like my mum could go to Central Casting and she would probably get casts. You just need to be a person.

Ashely: Yeah, I can understand that. Okay. So let’s talk about your newest, your latest film, the feature film- Insanity. Bring us up to speed on that. So you’re in LA, you’re working, and then had you started writing at some point? When did you decide that you wanted to write and direct and produce a feature?

Miska: I had  directed a web series called Helsinki Boulevard. It’s on YouTube. I had directed smaller things, but listening all these filmmaking podcasts and just being in LA, I realized that it really makes sense to do a feature instead of five shorts. So I had this idea about the film and I just called my agent. This film has been filmed in Finland, and we shot the first short four years ago in 2016. So I just started to write, I started writing and I called some of my friends, and we just got together in a real indie style and we went to a cabin for a couple of weeks and started working from there.

Ashely: In terms of the actual writing of the script in this cabin or in terms of the shooting?

Miska: Oh, I was already in the shooting, but yeah. So about the script, should I tell about that?

Ashely: Yeah. So let’s take a step back. So maybe to start out with Insanity, just give us sort of a pitch or a logline. What is the premise of this movie?

Miska: Five classmates go to an Island and their old grudges start coming on surface, and they start fighting and talking about the old stuff that happened in school, and they go crazier and crazier on the Island.

Ashely: Where did this idea come from? What was the genesis of it?

Miska: Well, it actually happened. I met an old friend of mine who had been in a class reunion. He said that when he was in his class, it was 20 years ago, but he was still bitter to the guy who was the bully in the school. My friend said that he had been studying karate that if he’s going to start the same in the class reunion, now this time he’s gonna beat him up, after like 20 years. I felt really strongly about that, so that stayed in my mind for years. At the same time I had an idea about this… you know the show Big Brother?

Ashely: Yeah, sure.

Miska: Yeah. So about these young people who would go to a cabin and film everything and start… just decide that they’re gonna film everything. So it was combination of those ideas. I think the heart of the story is the bullying story, but then there’s also the story about people who go into a cabin and want to film everything that happens there.

Ashely: Yeah. Okay, so you had done a bunch of shorts before doing this feature. What are some of the lessons you learned doing this short before you took on this feature? Just some big lessons for people to really understand, if they’ve done a shorter two, what is that next step for them?

Miska: The main lesson for me was to ask help, and ask from people who are better than you. Like about the editing, about the light, because you can, you truly can produce and direct film even though you don’t have much experience, if you have good people around you. But you really need to be humble and ask people who are more capable than you.

Ashely: Yeah. So how did you build this network of people that were willing and able to come help you with this movie? Just living in LA, doing acting work, getting to know people, maybe talk about that a little bit. Who are these people and how did you get to know them?

Miska: So there’s definitely like two lines, because this film is totally filmed in Finland, with the Finnish actors. So those were the people who I had met in Finland working in the industry and even the professional music industry. Of course now I have a dream to do a film in America, so I would start contacting the people who I have met in all the previous jobs. If you do extra work, if you do indie films you meet people. Those are the people who it’s easy to work with in the future.

Ashely: Yeah, for sure. Okay, so let’s talk about your writing process a little bit, and we can talk specifically about Insanity. Where did you write this? Are you one of the people that goes to a Starbucks and writes, do you write at a home office? Do you write in the middle of the night, do you write early in the morning? What does your writing routine look like?

Miska: Well, my writing routine is now that I do it at home in peace. But for that, I just went to Starbucks. I went to Rainbow Bar & Grill on sunset strip, because I had sort of a deadline with this film because I’d be thinking about it for a long time, but then I got some people who wanted to help me with crowd-funding. So they said that we’re gonna start the campaign in like two months or so. So I needed that. Now, the story that I had heard for a long time, I needed to realize that I needed the write it. So I left my house in LA and I went to cafés or restaurants and I just started writing. And with the deadline, you really just need to go forward. But the writing process was that I had… I think it was about 30 page scene list or like an outline, and we use that as a basis for the film.

So it wasn’t the full script. Most of the lines that the actors did were improvised. So I had about this 30 page, the full story of the film and scene list, and that’s the way we started filming.

Ashely: I got you. So how do you work as a director and a writer too? How do you work with the actors? You set up a scene, you know roughly, okay, this person’s going to be mad at this person, then you talk to the actors, and they improvise. Did you have to audition them? Did you do improvisation during the audition? How does this sort of the physical process work of doing that?

Miska: Well, we did improvisation in the auditions, and I have also done lots of improv as an actor. I think that’s like one of the dearest things. I’m very familiar with improv and I love it. But the big thing with this film is that none of the actors had read the script. They only know what their characters…where their characters were coming from, so they didn’t even know like who was going to be the killer. They just had lots of strong backstory. So I wanted to really have an authentic feeling in each of the scenes. So that was the way we did it. Before the scene I said, “Okay, in this scene you guys need to go out to sauna, and you’re bitter to this guy about what he did in the school, so please bring it up.” The other guy I told him that he’s a little bit throughout the whole scene, and just we let see what happens.

Ashely: Got you. So it seems to me something like that, you’re gonna run a lot of footage. So you’re gonna make some of this writing up, you’re gonna make it up in the editing suite, and you’re just gonna shoot a ton of stuff. Is that sort of the gist of it? You shoot a ton of stuff, then try and get what you need from that?

Miska: Yes, that’s a big part of it. But we were also in a pretty tight schedule. So there’s no, there’s few takes of each scene. But I think the weirdest thing was that actors started offering… Okay, I guess I can say this, that originally when I wrote this film was not supernatural. But when actors started offering that there’s something here in this Island, the ideas were like so good that I decided to follow their ideas. So I made some modifications throughout the filming process, and the whole story actually changed quite a lot. So I don’t know if it was smart, but it definitely made the process more creative, and lots more work in the editing bay. But we also had some additional shoots too, since the story had changed quite a lot.

Ashley: Perfect. Okay, so you mentioned that you had a group of people that wanted to get this crowdfunding underway. Who were those people and how did you meet those folks?

Miska: Well, that really didn’t happen. Well, we started the campaign, but I think the whole group realized that it would have taken so much effort and time that there was, we just decided to cut it short. Those were people who were working in the business field and they wanted to learn about crowdfunding. I think we all learned about it and we just decided that it made more sense for me to use my time for pre-production like month and a half before shooting, instead of crowdfunding, if we wanted a good film. So we cut it short. But I went there… I actually met them when I was doing a hosting gig in Finland in a business event. I met them, we stayed in contact and they said that they wanna do crowdfunding. So you can really meet nice and useful people in all the events.

Ashely: Got you. So, okay. So then that falls through, what was your next path to getting some funding and getting this thing into production?

Miska: Well, we were pretty safe because since the beginning, the way we funded is that all the actors and all the crew got like the little cut of the… they owned part of the film. So everyone works for… most of the people work for free, and amaizingly all the expenses was the same gear rental, some props, and some food. So I paid for that myself.

Ashely: Got you.

Miska: So we were safe since from the beginning, so there was no much risk. Still there’s not much risk, only some personal money, but not much.

Ashely: Got you. I want to go back on one thing you mentioned earlier in the interview, just a quick little aside. You mentioned you had done some soap operas in Finland. How did you get those gigs? Is it the same sort of process in the US, you get an agent, you get submitted, you do auditions, and hope you get picked? What is that process like in Finland? Just getting cast on a soap opera?

Miska: Yeah, it’s similar, but there’s not many agents. There’s this couple of agents, so I actually started, I moved to the capital city of Finland and I started sending my resumes and photos to actual production companies. Many of the production companies do casting in-house or they have some casting agents. So I just started sending out stuff, and after the soap opera, first I did extra work for them like couple of days, then they invited me to do one part with one line. Then like a month after that they said, “Okay, we have a bigger part for you, would you like to come?” So really just sending out your stuff, that’s the way it has been for me for my whole life.

Ashely: Yeah. So, okay, back to Insanity. So once you finished the film, you get it edited, what were your next steps? Did you do a big film festival run? Did you go to distributors? Did you go… I think in the email you mentioned it was on Amazon Prime. Just talk about that, what did you actually do with the film once you got it done?

Miska: Well, when we were doing the post-production, I started with a Finnish distributor, Black Lion Pictures. So we secured a small theatrical run in Finland and the whole Finish release. But in America I started sending it to festivals mainly actually LA festivals, because I don’t have that much money to go around the world or around the country. So we got to Marina del Rey Film Festival, which was great. So we got the theatrical showing there, and a couple of other festivals here in LA area. After the Finnish theatrical release which was Valentine’s Day 2020, I started just sending my packages to different distribution companies in America. If you have a horror, a genre film, you will get replies. Like there’s lots of distribution companies that are interested in horror films. So I was actually able to do a little bit of research and choose the best one that was best for me. It’s BayView Entertainment.

Ashely: Got you. How many distributors did you submit to? I’m just kind of curious about just what your hit rate is. When you send in something like this, a low budget horror movie, how much of a response rate can you expect from a distributors?

Miska: I think I sent 215 and got replies from… I think I got four offers.

Ashely: Okay, perfect.

Miska: With genre films I think it’s quite easier.

Ashely: Got you. So what are you working on next? What’s gonna be your next project?

Miska: Well, I would like to shoot… Well, you have shot the film Pinch, which I saw last night. So I think that has many same kind of qualities that I wanna do next, which is a low budget film that can be shot in LA with limited locations. I don’t know how quickly you shot it, but I guess it wasn’t too many… how many days did you…?

Ashley: Seventeen days. Yeah, we had a 17 day shoot.

Miska: Yeah, so something like that. I basically would just like to go out with my friends to the Hollywood street, and shoot a film with lots of improvising, but also like of course that we have a script, but lots of improvising. We actually have shot one film in America. It’s not out in America yet, but it’s called Someone Somewhere. I am a producer and I was one of the writers and I act in that. So it’s about the people who live in Hollywood, but who don’t make it. It was a tragic comedy. I play a failed, Finnish standup comedian. But I didn’t direct it, but it was shot in a way that the guys directors Hannu Aukia and Jaakko Manninen take a Red camera, and we went to Hollywood streets, and we filmed it. So something like that, and I would like to start shooting as soon as possible because now their base release has to be done.

Ashely: Sure. So I’m curious with Insanity. You shot it in Finland. All the people were speaking Finnish, so it’s not an English language movie, correct?

Miska: Yes. There’s a couple of English lines, but yeah, it’s Finnish.

Ashely: Got you. So was that an issue with distributors? Did you get any pushback from distributors just that it wasn’t English language?

Miska: Yeah, it’s definitely a negative thing for distributors.

Ashely: Got you.

Miska: Yeah. So next time American film, hopefully with some celebrities.

Ashely: Perfect. I always like to just end the interviews by getting my guests to talk about some of the things they’ve seen. Are there any films on Netflix, HBO, Hulu, anything that you’ve seen recently, that you would recommend especially to a screenwriting crowd, like the listeners of this podcast?

Miska: Well, something that has touched me a lot, I don’t know about screenwriting, but Love on the Spectrum. I don’t know if you have seen the series called Love on the Spectrum.

Ashley: No, but I have heard about it. Yeah.

Miska: Yeah. It’s about people who have Asperger’s or autism. It’s a sort of reality show, but it really touched me. There’s like certain kind of honesty, that it’s really difficult to see even in fiction.

Ashely: Got you. Yeah, that’s definitely one worth checking out. How can people see Insanity? Do you know what the release schedule is gonna be like or where it’s available?

 

Miska: For America, Canada, we’re available on Vimeo On Demand and Amazon. You can rent it on Amazon. In Britain it’s only Vimeo On Demand, and we have a DVD coming out in November and then it’s rest… I need to start selling the rest of the world, which is gonna be the whole adventure in itself.

Ashely: Yep, got you. What’s the best way for people to keep up with what you’re doing? Facebook, Twitter, a blog, anything you’re comfortable sharing, I’ll round up the show notes.

Miska: Well, I’m in all social media with my own name, Miska Kajanus. Or the film is on all social media, Insanity The Film. Can I actually add one thing?

Ashley: Yeah, sure.

Miska: With the new film that… I’m writing a new film, but I’m also open to finding a new script, something that could be shot in LA with low budget, and I’d be using your www.selling your screenplay service as a producer. There has been some good ones there, so… Reading a script is a big thing, but I’m interested to hear log lines, if people have something that could be shot in LA pretty easily.

Ashely: Okay, perfect. Yeah, so if you don’t mind, you can say your email address now, and I’ll put your email address in the show notes so people can actually contact you directly. That’s great, I’m sure lots of people will reach out to you.

Miska: Nice. Well, it’s my first and last name@gmail.com. Miska Kajanus… should I spell it?

Ashely: No, I think people will be able to look it up. Yeah, they’ll be able to find you@gmail.com. Perfect. Just to be clear, you want really low budget scripts that could be shot in Los Angeles.

Miska: Yeah. Hopefully in a couple of weeks. Four weeks is quite a long stretch, so like small.

Ashely: Got you. So we’ll perfect. Yeah, we’ll definitely, I’m sure we’ll definitely get some submissions on that. Well, Miska, I really appreciate you coming on and talking with me today. Congratulations finishing your first film, and I look forward to seeing what you produce in the future.

Miska: Thank you. I’m a big fan.

Ashley: Thank you.

Miska: Thanks

Ashley: A quick plug for the SYS Screenwriting Analysis Service. It’s a really economical way to get a high-quality professional evaluation on your screenplay. When you buy our three pack, you get evaluations at just $67 per script for feature films and just $55 for teleplays. All the readers have professional experience reading for studios, production companies, contests and agencies. You can read a short bio on each reader on our website and you can pick the reader who you think is the best fit for your script. Turnaround time is usually just a few days but rarely more than a week. The readers will evaluate your script on six key factors- concept, character, structure and marketability, tone and overall craft, which includes formatting, spelling and grammar.

Every script will get a grade of pass, consider or recommend, which should help you roughly understand where your script might rank if you were to submit it to a production company or agency. We can provide an analysis on features or television scripts. We also do proofreading without any analysis. We will also look at a treatment or outline and give you the same analysis on it. So if you’re looking to vet some of your project ideas, this is a great way to do it. We will also write your logline and synopsis for you. You can add this logline and synopsis writing service to an analysis or you can simply purchase this service as a standalone product. As a bonus, if your screenplay gets a recommend or a consider from one of our readers, you get to list the screenplay in the SYS Select database, which is a database for producers to find screenplays and a big part of our SYS Select program.

Producers are in the database searching for material on a daily basis, so it’s another great way to get your material in front of them. As a further bonus, if your script gets a recommend from one of our readers, your screenplay will get included in our monthly Best Of newsletter. Each month we send out a newsletter that highlights the best screenplays that have come through our script analysis service. This is monthly newsletter that goes out to our list of over 400 producers who are actively looking for material, so again, this is another great way to get your material out there. So if you want a professional evaluation of your screenplay at a very reasonable price, check out www.sellingyourscreenplay.com/consultants.

On the next episode of the podcast, I’m gonna be interviewing Tyler Taormina, who wrote and directed a cool coming of age film called Ham On Rye. He talks through the process of writing the script and how he was able to get it produced, and he just made things happen for himself. So he’ll give us his story next week. So keep an eye out for that episode. Thanks for listening, we’ll hopefully see you next week.