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Writing Wednesdays

Writing Wednesdays

Think Like a Studio

By Steven Pressfield
Published: October 29, 2014

When I was first starting out in Hollywood, a screenwriter friend gave me some advice that has served me well in all subsequent incarnations.

Our competition

“Steve, you and I, whether we realize it or not, are competing against Warners Bros. We’re competing against Twentieth-Century Fox and SONY and Paramount—and we have to think like they do. We have to be as professional as they are, and we have to think of ourselves in the same terms that they do.”

My friend showed me his “to do” list. It wasn’t a smudged-up scrap of cocktail napkin like mine; it was a full-on pro printout like something from NASA.

Studios have their production slates, right? I’ve got mine too. Here’s my development slate. I’m working on Script #1 now, but I’ve got #2, 3, 4, 5, and 6 lined up and in various stages of development. If I get a few days, I’ll go to work on them.

My friend showed me the books he was reading, seeking out new ideas and fresh material, and the foreign flicks and exploitation movies and oldies but goodies, films noir and so forth that he had at his bedside and beside his TV. “Fox and Warners have producers on the lot who are always trolling for new material. I do the same. I’ll find it in Mongolia or Zamboanga if I have to.”

When I first got out here to L.A., I’d go into meetings at the studios and as we were wrapping up, one of the execs would say to me, “What else have you got, Jack?” And I’d stare at him and go blank.

You can’t do that. We’re going up against A-listers. When a guy in an office asks you what else you’re working on, you’ve gotta be ready with it right then, ready to pitch it, and ready with Idea #3 and Concept #4 after that.

It’s not that you’re being mercenary or greedy. It’s just being a pro. Buyers wanna know you’re in business. They wanna know you’ve got ideas, that you never stop thinking. You’re a resource to them. Their jobs depend on you and people like you. You gotta be a pro.

One time this same friend and I were sitting in a deli called Brent’s in the Valley when a certain very successful screenwriter came in, accompanied by three gorgeous young women. We both knew the guy. He was a good writer (he had had two hits in a row and had another in the pipeline, so we had heard) who had been a lawyer in a previous professional incarnation.

“Three months ago,” my friend said, “I was pitching a project to MGM at the same time this guy was. He came in with these same three long-stemmed Stanford-educated blondes. His ‘researchers.’ Apparently he doesn’t leave the house without ‘em. But I gotta give him credit. He’s a business. He’s larger than life. He’s got more stuff in the works on his own than half the studios in town, and they know it.”
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Gates of Fire
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