Pitching the same projects over and over is a little like married sex — sometimes you have to work to keep it fresh. I find it’s best to ask a producer/manager/agent what they’re looking for before I start in. This way, you don’t start pitching a thriller, for example, only to find out they’re no longer producing thrillers, which at best is a buzz kill. I’ve also learned only to share two or three projects with a producer. When I started, I’d manically talk about everything I had as if my client list were a buffet table. It’s much better to talk about a couple of projects that might actually be right, like when a personal shopper suggests two suits out of the twenty she has because these are the two that will fit.
How much do you tip the guys who valet park your car? Is $2 bucks the going rate?
There is a salad at the Beverly Hills Hotel called the McArthur or McCarthy, and if I get executed and I get to pick my last meal, it will be this salad. They chop it so fine that you barely need to chew and I’m guessing that if you’re about to take the pipe, it might be hard to chew.
ALL anyone can talk about is how Dear John bumped Avatar off the #1 Box Office perch. NO ONE can believe this. And they all want to know if we have something like a Dear John on our list. I have a Dear Adolph. Does that count? How about Dear Sirhan Sirhan? Or Dear Ted Bundy. Oh, yeah, they’d also be interested in then next The Blind Side and The Hangover. Whatcha got people? I’m here, it’s now. Pitch your high concept movie here and earn big bucks!
One last thing: Lots of producers offices have chocolate at their reception desks. What is up with that? And how many pieces is it appropriate to take?
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Congratulations to Temple Grandin’s
Congratulations to Dave Cullen on his Edgar Nomination in the non-fiction category for