Ashley: Welcome to episode #123 of the “Selling Your Screenplay Podcast.” I’m Ashley Scott Meyers Screenwriter and Blogger over here at – www.sellingyourscreenplay.com. Today, I’m interviewing, Screenwriter and Director – Anders – Thomas – Jenson. Who recently wrote and directed the Danish film, “Men In Chickens.” For much of his career he has worked as a writer. But other people direct his material. So, he has a really interesting perspective as both a screenwriter and a writer/director. So, stay tuned for that.
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I just want to mention a free webinar I’m doing on Wednesday – June 8th 2016 – at 10:00a.m. It’s called, “How to Effectively Market Your Screenplay and Sell It.” I’m going to go through all the various online channels that are available to screenwriters. And give you my unfiltered opinion of them. I get questions all the time, like, does the “Black List” really work? Or does “Ink Tip” work? Or screenwriting contests should I enter? I’ve tried pretty much every marketing channel available to screenwriters. And I’m going to share my experiences with them in this webinar. Again, the webinar is completely free. Don’t worry if you can’t make it to the live event. I’m going to be recording this. So, if you sign-up you’ll get a link to the recorded event after it happens. Just sign-up, go to – www.sellingyourscreenplay.com/freewebinar, again that’s – www.sellingyourscreenplay.com/freewebinar. And then, the word “Free webinar” is all lower case and all one word. It’s just – www.sellingyourscreenplay.com/freewebinar. Also, if you are already on my Email list? If I already send you Emails, you do not need to register. Anybody who is already on my Email list, I will be sending out the link so that you can attend. I will be sending out the recorded link as well. So you don’t have to miss sign-up to my Email list to get it. If you are on my Email list, I’ll be sending out all that information.
So, a quick few word about what I am working on this week. Once again, the main thing I am doing is, pre-production for my crime action thriller screenplay,
“The Pinch.” Production again, is scheduled for July. To start July 9th 2016, so we’ll be shooting pretty much all through July. Slowly, but surely I’ll be putting the pieces together for, “The Pinch.” I’ve been meaning to getting a bunch of people getting closer to getting crew positions filled. I’m going to start into casting, probably in the next week or two as well. I did post a casting notice on the break down services. And have gotten even hundreds and hundreds of people responding to those. So, I’ve got to start going through those and schedule some casting sessions. One interesting thing that I thought was worth mentioning? What, to fill these crew positions, I’ve been posting a lot of ads on “Craigslist.” And I’m amazed at how many experienced multitude of talent are responding to my ads. You know, I’ve just been putting up ads for pretty much all the crew positions. And you know, lots, and lots of stuff really experienced, talented, you know, seeming nice people I’ve been spotting. A lot of those people I have been just trying to meet with, and talk to. And kind of see what level of commitment they can give to this project? Many of the positions, how many of the positions, some of them I’m giving a little bit of money to. Most of them I am not giving anything or any money to. You know, they are just unpaid positions. And again, I’m just amazed at how many good people are responding. But what’s even more amazing, and this is the part I thought was interesting? Was what was mentioned, how many people respond with ridiculously bad coverletters? And when I say, “Coverletter” essentially an ad on Craiglist goes up. And then they send you an Email. And they can make attachments, send their resume, they can attach. They can certainly send in their IMDB. They can put in links to their reel. If they are doing something, you know, that I can see on video. If it’s an actor, if it’s a you know, an AD, they might want to have some footage of something? So, what’s amazing to me, especially, it’s all great stuff. And it’s, I appreciate that, especially if it’s
IMDB links. I’m used to looking at those quickly and kind of see what kind of experience the person really has. So, but what really amazes me, is, people just send me these ridiculously bad coverletters. Where they’ll just be something to the effect of “Does this position still available?” They won’t send a resume. They don’t say anything about themselves. Literally, just an Email, un-capitalized, no punctuation “Is this position still available?” And I’m not sure what kind of response they want from me? I’ve also gotten a few where people waste all sorts of strange demands? You know, how long is it going to be shooting? Is there going to be any special effects like, any stunts, asking a whole bunch of questions? They have all kinds of crazy, you know, as I said, “Crazy.” These positions are unpaid, so, they want like the first Monday in. They want to make sure they get compensated before all the rest of the crew. They are also looking for differed pay. All sorts of crazy demands. Which I am obviously not necessarily even going to respond to. And the reason I thought this was worth mentioning on the screenwriting Podcast? Is that I’ve talked to a few producers over the years. And they tell me that the same thing happens from screenwriters. They’ll post ads looking for screenwriters. And teleplays are looking for screenwriters on some of the services. Like, I am selling my screenplay where we are looking for, where we have a service. That sends out leads to screenwriters. Producers will use services like that. And they will get a bunch of these really
half-baked responses back. People just responding, “Hey, is this position filled?” “Hey, is this a real job?” “Hey, are you for real?” Those would be the types of responses. And again, I don’t think people realize how competitive this industry really is? I mean, when I’m putting up an ad on Craigslist, getting dozens and dozens of responses from all these positions. And you know what, put yourself in my shoes? Put yourself in the producer’s shoes? What are you going to respond to? When someone tells you, how are you going to respond when you’ve got lots of people responding in a professional approach full manner. How are you going to respond to the sort of inappropriate, ridiculously silly Emails that you get, you’re just going to delete them if you were me. And that’s what I am doing. And that’s what these producers are doing. So, I would really urge people when they are going to make a submission, there’s literally no point to making a half-baked submission. It’s just going to get deleted and that’s going to be the end of it. So, you’ll, whatever time it takes you, even to write the half-baked submission. It’s not even worth it, it’s a waste of time. So, spend it, if you’re going to, it’s worth submitting. You’re going to spend time submitting something to someone? Think through your coverletter a little bit. I highly encourage people to not to just. Especially when someone is looking for someone, there’s a lead, from a producer looking for a specific script, or a specific type of screenwriter. Take some time to actually customize your quarry letter. Again, I can tell from these Craigslist posts I personally put out for the crew position. You know, I’ll say, let’s do, I say very specific things in my ad. You know, and then I’ll get these sort of form letters back. And yes, sometimes these people have experience, or non-experience. But, oh, I was looking for a sound mixer man? And I understand that this is a good example. I understand that ultimately I’m going to have to probably pay a little bit of money for a sound mixer? I want to make sure my sound is perfect and professional. I probably am not going to be able to get that position for free. So, I am not, that’s one of the positions that’s actually going to require a little bit of money. And again, I just get these form letters, in my ad to Craigslist I’m specifically saying, “What is your rate, how much would you charge us?” It is a summer shoot, it is in July. And people just send these form letters. Here’s my equipment, here’s the link to my online IMDB page. Again, those are really not professional. I probably will look at those a little bit. But, you know, you mine as well cut to the chase. If someone in the ad is looking for something specific, address that, talk about that up front. If someone is saying, “How much would you charge me to write this script I have? A comic book I want turned into a screenplay. How much would you charge?” Then answer that question, at least try to answer it. Don’t just send a form letter. Because again, I’m getting tons, the sound mixer position is a real good example. Because it is going to potentially paid position. And again, when I say paid, we’re talking well less than $100.00 a day. So, it’s not going to be a lot of money. It will be some money for the sound mixer. And when I put up an ad on Craigslist, and there’s a paid position. I probably already have 50, 60, 70 people responding to it. So, who are the people I’m going to go through and look at? The people that say, “The is my rate and I can actually afford those daily rates.” The people who are addressing it. And some of the people just, responded, “Hey, my daily rate is negotiable, I’m Indie friendly, I’ll work with your budget. Those are the kinds of responses I’m checking those Emails. And putting out a little star on those Emails. And those are the ones I’m going to go back to. If you don’t address what’s in the quarry letter? And the producer has hundreds, and hundreds of submissions. Those are the ones he’s just going to exclude and delete. He’s going to just maybe gloss over them and say, “Oh, I’ll get back to that one later.” And he just won’t go back to it. Because there will be enough other good Emails from people that actually do respond to what he’s actually looking for. Any ways, that maybe all a long winded explanation of what I’m working on.
But let’s move on now, to the main segment. Today I’m interviewing,
Anders – Thomas – Jensen, Screenwriter, Director, here is the interview.
Ashley: Welcome Anders to the, “Selling Your Screenplay Podcast.” I really appreciate you coming on the show with my today.
Anders: Thanks for having me.
Ashley: To start out, maybe we can just talk about your early career. Kinda how you got into the business and maybe walk us through that first actual job in the business. And then we can kinda talk about how you actually landed that job?
Anders: A well, I was very young. I mean, I always did film. I wrote and directed in high school. And then when I started university I did a screenplay, it just, this was in Demark and Copenhagen. So I sent it out to three producers. And I never heard from two of them. And just one went and came back and said, he basically said this, “This is shit! I can see that you can write. So, I’m going to give you an offer here.” I just, he was like an old producer, he’s done a lot of film. So, I took the offer, and I started doing shorts, I did a lot of shorts. Like, a, “Ten, Two” “Ten Minutes to Thirty.” And then it’s, like in Denmark we have a there’s an assistance, so you can actually get money to develop these shorts. And I think the first one I did was nominated for an Academy Award. And then from there it went very fast. So, my first mixture, I had my first like, feature films. I meant, so I never, I applied to film school. So I never had any, I never had any training in. I think I did like, ten or twelve feature films before I ever knew what I was doing?
Ashley: But in college it sounded like you were a.
Anders: I was, but I never started like, I never started, I never went to a school to learn script writing. So, it was more.
Ashley: Script production.
Anders: It was more, it didn’t work. But, I always sound like I’m just coveting Tarantino’s story, but I didn’t work ten years and immediate star. I was, I saw more films than most people. And more bad films. Which is, there is actually a clear point, there’s a good point that we should really learn a lot from seeing that film. That we’ve seen what you’re not supposed to do. So, my film school was just watching films. And then later on after I’ve done a lot of films. I sort of got into, the more like, how do you say? I mean, knowing what’s, I mean, you know, I’m sorry. It’s just a word… you know, the more analyzing part of it, let’s say. So, I mean, just doing it, but knowing what you’re doing. So, yeah, that’s my story, yeah.
Ashley: So, let’s talk about some of those early quarry letters? First off, how did you find these three producers to even send that letter to? What was that process like?
Anders: A, that was like, it’s a very small community in Denmark. And it’s like, you know, it’s like, “The 3 Stooges” here. I mean, “The Stooges” here, it’s like, at that point there were like three studios, or three well known producers. So, it was there in the media. And this was just like, if you want to make films, those are the guys you, some big cigars and stuff.
Ashley: So, let’s talk about just, what was in there, the actual quarry letter pitch that you sent to the producers? Maybe just give us a couple of tips for people that are starting out? They want to send out that original fresh first letter to somebody. What was your first letter like, that actually worked? One out of three is actually a pretty good percentage.
Anders: Yeah, yeah it was, it was.
Ashley: Maybe there’s some tips there?
Anders: Well, I mean, I didn’t put much of a letter. I was very naive. I said, “Listen, I did a script, I want to do films. This is my script, read it. And it wasn’t a very good script. And.
Ashley: Was it a feature, or was it short film?
Anders: It was a feature. But basically, I mean, it was, I think I also I might have been lucky all these films. And you need that too. But what I learned on that, quite fast was? How much you learn from actually getting the stuff done. It doesn’t matter if it’s like, amateur production, just seeing it on screen. It’s really, really where you learn things. Because it’s a, when I was very young I had this idea that script was like a fine work of art. Which is like a working tool, yeah know? And you have to remember that. So, it’s, I think I learned the most with associates where I sort of wake up, get some stuff done. And then suddenly, you could see what was working on not? That’s where it I really learned something, at least that’s what I think anyway?
Ashley: Okay, let’s talk about those short films that you did early in your career. Any in Denmark is there some sort of, so you get some sort of system, so you get a sort of stipend? You have some living expenses, some production costs, budget? Were you were just doing these on your own, on your own dime. Walk me through that process a little.
Anders: The first one I actually couldn’t get anything, or funding. Because nobody knew. So, we did that, like with friends. And I knew a guy who knew a director, and we convinced him. We had him for four hours, waiting for him to shoot. It was horrible. But we did, we managed to do a film, create a film.
The next one and then you could, but it’s like, low funding. You can get like, but still like, $20. – $30,000.00 to do a short, from the government. Which is a great system, because it really develops talent. So, yeah, that’s how it works there.
Ashley: And getting it to this government system, where you go about getting this $20,000.00 – $30,000.00, how do you go about getting that? Is that your relationship with this producer, who answered that first quarry letter? He was able to get you in.
Anders: Yeah, but that’s actually, everybody can apply at that. I mean, you have to know how to be self-coursed like, geared towards a lot of applications. So, you, it’s, you have to have done something? And then just a short film. Yeah, that was mine, yeah.
Ashley: Okay, so let’s dig into, “Men in Chicken.” Maybe to start out you can just give us a quick log line or pitch of the film. Just for people, who haven’t seen it yet?
Anders: A yeah. That’s the impossible, if I could. That’s very hard to do. But it’s basically a film about five brothers. Who, it’s a film about five brothers who have to learn how to live together. They haven’t been given anything before-hand. They were deserted on this island and had to find their own rules and their own civilization. And find out how to survive for themselves.
Ashley: So, where did this idea come from? What was sort of the seed from this idea?
Anders: It was, I, since my last film. “Adam’s Apple” I had four kids. And I’m so glad I could have them for ten years on my own. We did screenplays, I did direct, it was watching those kids. It was.
Ashley: I have a six-year old, and in watching the movie. That too, it’s like, geez, people are acting like six year olds.
Anders: But they are, I mean, the scene where they are fighting over plates. I literally lifted it out of my living room. And I did, I hadn’t changed that, and it was real. Sitting there one night and getting this huge responsibility. How stupid are people, I mean, humans are? We don’t know anything we have to learn everything from scratch every time. We are so dependent on each other. And I mean, and just seeing how, if you have four kids, you know, they will fight. And they will keep on fighting until you learn them not to fight. And they will keep on, I mean, there are so many fights you have to brush off onto humans. And I sat down one night and I just had this idea. I said, “What if children were just deserted on this island? What would happen?” And that’s the good thing about being a screenwriter. Because then you can actually do a film about it, and not do it in real life. So, that’s what I did, I just started writing there.
Ashley: So, when did it sort of morph into this sci-fi angle to it? I don’t want to give away spoilers or anything? But there’s definitely a kind of sci-fi angle that you delve into. Where did that, in the process of writing this? With your four kids and what if adults were acting like these five year olds. And they, where do you make that leap?
Anders: Yeah, it was in there, sci-fi, yeah it is sci-fi. But it’s much about genes technology and it’s sort of, it came naturally to the story. And also I have this when I, do so many scripts that I like Shauna scripts from other directors. So, when I’m doing something myself, I really like this mixture of Shauna. I know distributors hate it. Because it’s very hard to sell a film with when you can’t put a label on it? But I love films myself, if that surprises me. Where I hate knowing that it’s, of course I like it where it’s not always westernized and really well made. But I really like films that are made play with Shauna’s. So, I also think the very first film I did, I knew that I liked to move around and Shauna’s. So, yes, I know distributors hate it because it’s very hard to sell a film if you can’t put a label on it? But I love films myself. If that surprises, I hate knowing that it’s, I know I like to see a good western or really well made. But I really like films that play with Shauna’s. So, I also think the very first film I did, I knew that I liked to move around and Shauna’s. So it was, we, yes it was only natural to take it out there, yeah, for me.
Ashley: And so, let’s talk about that. One of my focuses on this Podcast is trying to help screenwriters sell their material and make that first sale. And so, this is, as you pointed out, this is not an easy film to find. I can see distributors being a little hesitant on it? How much of that plays into your writing process? Is that in the back of your mind when you’re writing this? What am I actually going to do with it, how am I going to get this produced?
Anders: Yeah, but in the sense much more with this because this was the artist. This film was actually the first time I’ve said, “I’m not going to think at all about how to sell it?” I mean, I just, I want to do this film. I want to do a film that is exactly the way I wanted it. And then I met the role of, the film would never. I never would have been done, if it weren’t for my previous work. And if I didn’t, I would had the cast. The mat, and the huge star in Europe and Denmark. That sort of, to be honest? I mean, A lot of distributors and co-signers, and they were like, what? When they had the script, this is never going to work. Because, they went along with it. On the broad year they have, and because of the cast. So, this film is actually an awful example of to talk about, in that sense. But it’s good because it’s, you can use it to say that this time I did this. Normally I will always, I remember with my first film. I was, and also when I was I worked a lot of times with directors who are doing their first film. And they, a lot of the times they wanted to do everything. And you wanted, it’s very, very, good to be clear about the Shauna. To be for instance and to have a, I mean, to have a small story that is, I mean, you can start out by doing a sci-fi film that is, you know what the budget is going to be, $200. Million dollars. That’s probably not going to be honest. If you’re a genius and perhaps you’ll get lucky. But, it’s, try to do this a more confined character for dramas make better work. That’s it anyway, I mean, that’s what I always try to say to the director when I start doing a project. Because it’s as again, as I said, it’s only fun to do a script if they get made from the end anyway. I think that’s where it all happens. So, normally I’m very, very aware of if there is a realistic expectation idea. If this is something that would happen. And again, with the language, if you do it clean. Most things, most films will never surpass 12-15 million dollars. That’s the, “Not even” that’s they will never surpass 8-10 million dollars in budget. So, you see to do a huge sci-fi film, it hasn’t happened yet. But to do that we’ll probably not be the one of his choice.
Ashley: Yeah, yeah. So, let’s talk about your writing process a little bit? And we can talk specifically about, “Men in Chickens.” But let’s just, in general other stuff and screenplays. What is your process like? I’m always curious, like how much time do you spend outlining before you open up “Final Draft” and start writing the script? So, maybe we’ll start there? Is there, how much time do you spend literally with it? With index cards, or outline? Then what do you use, index cards for outline?
Anders: I start, I put it into two categories, I say, I mean, if you have like the proper one at least. I spend a lot of time, and almost to write it, a very thorough outline before I start writing anything. Which character, like this film, I think it was Gwenn Vere. I have almost no outline, I fear. I have three lines about where the story could go? But then I have a lot of it, discussions about characters. And then basically I start writing, and doing drafts to find the. To yet to find the characters and the story. So, I sort of go along with it. It’s much more work than if you do a suitcase full of dolls and see one. But also it’s very sometimes to do it. Even though you might do end up with it. Doing like, I don’t know, 800 to 1000 pages of script in the end. It’s a bit accurate. But you do some times you do a lot of drafts. For me, that what works for me, when you do characters. I’ve seen it very, very difficult. You tend to, if you try to figure out the whole story? If you try to do this really strong structure on a character? It tends to sometimes become mechanic. So, I like to keep a lot of stuff open, then just do more writing. The opposite on if it’s a plot turn. I like to have everything down before work. So you don’t have to go back and rewrite that much.
Ashley: Yeah, yeah. So, what is the day, a writing day look like for you, how many hours a day do you actually spend writing? And how many pages work, is a good day for you? In terms of just page count?
Anders: Well, I’m, it’s very much like this. Because it’s a, like I’ll do two months where I’m structuring. And a month where I’m thinking. But I always do this, I’m, when I do my first draft I’m away to a hotel or a I have a house. I did that before I.
Ashley: Wait, away from your family is the idea?
Anders: Right. A yes, I wait out, and I did that before I had kids. And sometimes I have to go with the director. Sometimes I bring back, it’s just to know when everybody knows you’re not available. A you just, I left these little results because after one day you can do some work. And you can actually start working. So, I would do that and it all depends? I can do a first draft in two weeks, three weeks I can do it, sometimes it’s a month. But it’s yeah, it’s a that’s the time frame.
Ashley: Okay, okay. And then let’s just talk about these developments? So, once again, we can be specific with, “Men in Chicken.” So you have your draft done, what was the next step once you have that first draft. What is your development you have? Friends, do you have, it sounds like your evolution is without actors. You just start to send it out to them and get notes? Do you do rewriting, maybe we can talk about that process a little bit?
Anders: At first it doesn’t say, I mean, I will do like a flash draft. But where I sort of get this structure, the story. I mean the story and structure are basic outlines of the characters. Because I know these guys, I mean, and I know who’s going to play them when I’m directing myself. I will first get on actually the production the sign very early. And then the leading characters. And that’s even, my producer has them built in and send it out to everyone.
Ashley: But even just the development does your producer give you? Notes like you got from anybody? This is just pure early in this?
Anders: I mean this is very early stage. Because this is, I mean, that’s where it is, it starts. I do this, I will bother my wife with telling the story. And then I have a couple of meetings with the director and a couple of screenwriters, but that is later on. I mean, here it’s just, unless you try to get the characters in bed this early, the actors. Any actors, just two readings. Just to get some feedback on the characters. And once that’s done, I have like the same thing I’ve been using since I started. Which I, the directors, the screenwriters, producers knows. So I think I have like four or five I really, it’s a difficult job to read for someone else. You tend to put yourself in there, and you tend to. It’s very difficult to be objective. And see, okay, this is the movie, this is the kind of make. So I’m going to make notes from that. But that has to be like four or five people that will do that to me and I listen a lot to them.
Ashley: Okay. Talk about getting on cast? Sounds like in this case you had some relationships with this cast? But was that producer you just mentioned. So, you sent the script to him? Then you start doing the cast? Let’s talk for a second about the producer? How did you meet that producer? Is it someone you’ve known for your whole life, or career? That must have, still?
Anders: Yeah, yeah. I did three shorts, twelve features, that director with him.
Ashley: Okay, okay.
Anders: So, yeah.
Ashley: So then, let’s talk about some of the cast, how did you go about getting some of the cast on board?
Anders: It’s, I’ve had the same characters and cast in the last I don’t know third, it’s a very we sort of lean on this stuff we’ve bound together, and we look forward to doing something together again. So it’s a very special relationship we have. In comparison to when we had worked with other directors. But I do always, we try to and it’s more difficult here, in the system here. But, I mean, the good things I’ve done. We’ve had like a lot of rehearsals with the actors, like readings and before. But, and being able to do rewrites after the actors, like in “Chicken.” So, it’s spaniel, how difficult it is here because people are attached like, it’s not doable in the same way. But, I think like, “Woody Allen” that thing he does.
Ashley: I’ve heard a lot of his stuff. It’s a lot of fun because he grew-up.
Anders: Yep. It’s really, really, I mean it gives so much to the film to be able to do that. It’s, yeah.
Ashley: Let’s just talk briefly about that, let’s see, you’ve got the actors, got your producers, what were the funds actually raised, I mean money? Was that a long process, a slow process?
Anders: It went pretty fast. But, a I meant part of that. Actually I know it sounds, I give it to the producer, and I ask him, “Can you raise the money for this?” Obviously, too expensive, rewrite, or say, it’ll fly. And he said, “I’ll try.” In this case, but sometimes in this case? He’ll come back and say, “We can’t get any more than that.” And I say, “can we find a way to make it work?” Normally, you almost can always make it work. I mean, you can always rethink and go for rewrites or something?
Ashley: So, how many scripts over the years would you say would fall into that category that, sounds like this one. That it? Whatever project you propose he says, “Yeah, it’s that much money.” How many scripts were there sent to him? Like that, just on a percentage basis? You know, half the ones you send him, it’s like, yeah, you gotta lower the budget. You gotta make some modifications.
Anders: With all those films I think it, there’s always like the last. Just like last before we start, when you figure out everything, there’s always the last rewrite. Where you discover you haven’t got enough money. That’s almost in everything, where it’s like, okay, we said we needed to go and then a month before. It’s like, some of the finest, sometime there’s always this rewriting at the end.
Ashley: Let’s talk for a minute, about working with other directors? And obviously inside the studios, to meet other people and producers. And people giving you notes, especially as a director. I’m curious to kind of hear what your opinion is about the process is? Is it painful for you to watch other people and directors direct your material when you know you’re a director yourself? And just how do you handle that process? Because there’s always going to be screenwriters that go through it.
Anders: It’s a, I think it’s a really, really good idea to direct something yourself. Because you discover how difficult it is. Because remember the first times I saw my screenplays and I felt, it was like, and then you go out and see how hard it is to direct. And how many noises, and how many, I mean, you’re confined in so many ways. You sort of get, you have no respect for, you can see why it sometimes scary as it goes. I mean, on the other hand, you should try. I know it’s like the ride should be angry. And that many time I think it’s like 50/50. Less I have been surprised where, wow, they see, they’ve added a lot of stuff to it that I didn’t see in there. So, sometimes it’s good, sometimes it’s not.
Ashley: That’s very encouraging to hear. So, let’s talk about, because I always like to throw this to screenwriters. How do you handle notes that you get from development people, directors, who maybe haven’t, actors, that you just know are totally ridiculous? How do you handle those notes professionally? And just on your psyche? How do you know, just going in and having to write pages. That you feel are going to work?
Anders: Yeah, it’s very difficult. And it’s the worst. And it aches going through an entire script at the time it takes to do. The two things you don’t want to do. It’s just so painful to do. And I, it’s, I’m,
Ashley: How do you pump yourself up?
Anders: Yeah, but you pump yourself up more and more to take the discussions. And try to make your arguements and. But of course sometimes, and again, you have to be sure to, as long as there is something in there where you think. You have to try, try to find that thing where your soul. Yeah, there might be an idea in there somewhere? Because then it’s actually doable. Then you can try to seek out, okay, is there something about it? Of course there are sometimes where its just ludicrous. And that’s, you just have to tell the fight. You have to try to take the fight. Of course sometimes, it’s still senseless to do it? I mean, you should just go along with it, forget the fight.
Ashley: Yeah, yeah.
Anders: Even though you’ve lived at the office. Do something you may have done. Try to, I mean, I haven’t tried when it was like the Hollywood cliche. I think it was pure unreasonable. If, I mean, it this conversation. If you can put out an argument that is strong enough, feel people will listen. But I’m sure kudos will work, I’ve heard stories.
Ashley: Yeah, yeah.
Anders: I’m sure you could wind up with someone better. And I’m sure they, I don’t know what to do, except to get out of there. Create, keep worrying about it, get out of there.
Ashley: Yeah, yeah. So, how can people see “Man in Chicken” Do you know the release schedule? When it’s going to be in theatres, ON DEMAND.
Andres: Nope, I know it’s opening here in ten days. But I don’t know the?
Ashley: Okay, no problem. And I always just like to wrap up the interviews by asking my guest? If you have a Twitter account, or a Facebook wall, or anything you feel comfortable sharing. Just so people can kind of follow along and maybe learn more about you.
Anders: I have nothing!
Anders: Yeah, I’m not on Facebook, sorry.
Ashley: No, no problem at all. Anders I really appreciate you coming on the show, I really enjoyed it and the movie and I wish you a lot of luck with it.
Anders: Thank you.
Ashley: Yeah, thank you.
Anders: Thank you.
End Interview – [33:48]
Ashley: I just want to mention two things, I’m doing at – www.selllingyourscreenplay.com to help the screenwriters to find producers who are looking for material.
First, I’ve created a monthly newsletter that will be sent directly to producers. Every member of SYS Select can submit one log-line per newsletter. I went and Emailed of my large database of producers. Asking them if they would like to receive this monthly newsletter of pitches? So far I have well over 300 producers have signed up to receive it. These producers are hungry for new material and happy to read scripts from new writers.
And secondly, I partnered with one of the premier paid screenwriting leads services. So that I can syndicate their leads to SYS Select members. There are lots of great paid leads coming in each week from our partner. Recently I’ve been getting 10 to 12 new high quality paid leads per week. These are producers and production companies who are actively looking to buy new material. Or are looking to hire a screenwriter for a specific project. If you sign up for SYS Select Services, you will get these leads Emailed directly to you several times per week. These leads run the gambit from production companies looking for a specific type of spec. script screenplay, producers looking to hire a screenwriter to write up one of their ideas. There are producers looking for shorts, they’re producers looking for TV. Pilots and TV, it’s a huge aray of different types of projects. And these leads are exclusive to our partner and SYS Select members. If you would like to receive these leads, just got to – www.sellingyourscreenplay.com/select, again that’s – www.sellingyourscreenplay.com/select.
Also recently I set up a success stories page, for people who have had success through the various SYS Select Services. So, if you want to check out some of the people who have tried our services are saying? Go to – www.sellingyourscreenplay.com/success.
In the next episode of the Podcast, I’m going to be interviewing Writer/Director William Lu. He had just finished production on his debut feature film called, “Comfort.” Which he wrote and directed, he’s got a lot of advice for anyone planning on shooting their own film. So keep your eye out for that episode next week.
To wrap things up just want to touch on something from today’s interview with Anders. I thought it was very, very, very interesting thing that he said, about being a writer/director. And then watching other directors direct his screenplays. Since he’s a director, he understands how hard it is to actually direct something and make the film as good as you see in your head. And I really agree with this comment. It’s so important to understand how your script is actually going to get translated into film. This is going to help you as a writer. And it’s going to help you help the director translate your film into the film that you see in your head. And really the only way you can understand and sort of this mechanical, physical process is by going through it by actually writing something, and then getting it filmed. This is basically what I am trying to do with my own feature film. I’ve seen a few of my scripts get produced at this stage in my career. I’ve got a bunch of produced credits. But, I’ve always felt like they were a lot like a lot less that what I actually written. I always felt like the script were better than what the movies turned out like. And I know all writers probably think that. But now what I’m trying to do with, “The Pinch” is get out there, direct something myself and see if I can make the movie as good as what I feel what I have written. With, “The Pinch” if nothing else, and it turns out to be a terrible film? At the very least I’ll hopefully gain a little empathy for the directors who have directed some of my scripts. And this is why I recommend doing some shorts in this day and age, you can do shorts for practically no money. And even if they are not good, it will help you out as a writer. Just write a scene or two, something that you can shoot in your own home. Get a couple of friends, even if they are not actors. If you have actor friends, all the better. But even if they are not actors, get some friends who are out-going and can perform on camera a little bit. And just shoot the scene. Even if it means shooting the scene on your IPhone, or whatever phone you have? Download some free apps. Software, and just go ahead and put something together. Again, there’s the very little downside to doing this. And I can almost guarantee, even if it turns out terrible and you don’t win any film festivals. I can almost guarantee you will become a better writer by actually going through this process. By actually seeing how things fit together. And actually understanding something, through this physical process of where things go wrong? And the potential problems that a director can have.
Anyway, that’s the show this week, thank you for listening.