#scott kirkpatrick

[filmcourage]

(Watch the video interview on Youtube here)

What Does A Filmmaker Need To Know About Delivering A Movie To A Distributor? by Scott Kirkpatrick via FilmCourage.com

Film Courage: When a filmmaker is making their movie, what should they keep in mind while making it and making sure they get a distribution deal? Are there things that they should target making the film, changing certain scenes that they know distributors are going to want? Let’s suppose they have their goldmine genre, they realize what they’re making and who that audience might be, but in terms of securing a distribution deal, are there certain things they should be aware of in making the film?

Scott Kirkpatrick, Author: There are. A lot of them aren’t the obvious things in the sense of filmmakers for the most part tend to focus on the movie, the movie, the movie. And some of them (the more astute ones) will definitely put some time into trying to find a name talent to put into the film.But there’s a lot of paperwork and a lot of other details that go into the delivery process of getting a movie to a distributor that become very important...(Watch the video interview on Youtube here).

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[filmcourage]

(Watch the video interview on Youtube here)

A Screenwriter's Guide To The Movie Business - Scott Kirkpatrick [FULL INTERVIEW] via FilmCourage.com.

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[filmcourage]

(Watch the video interview on Youtube here)

Principles Of Screenwriting by Author Scott Kirkpatrick via FilmCourage.com.

Film Courage:  Since [your book] Writing for the Green Light which was published in 2014 or?

Scott Kirkpatrick:  2015.

Film Courage:  2015…okay.  Has your personal opinion wavered on anything in the book that you were maybe more dogmatic about and then since [such as] a new film has come out or some thing has shifted, you’ve actually changed your opinion?

Scott Kirkpatrick:  No.  I mean only in the sense that when you’re writing a book…you know…if it were a blog or something else, you can be a little bit more like this is what is working today and right now.  I wrote that book and the book I am working on also about distribution, I focus on principles, not rules, not gimmicks, not trends, principles.

Think about engineering for instance.  We sent human beings to the moon and we returned them to the earth with  as much computing power on board as 4-function calculator.  People were using slide rulers at NASA to calculate how are we going to land an object on the moon. So you think technology today is going to send us to wherever and all these other things.  The truth is the principles that work in technology today in an engineering level are exactly the same as they were in the 60’s, just different tools to get to the same result.

Writing for the Green Light is the same idea.  If you are trying to be a writer, if you are trying to build your career as a writer, there are certain tools that you have in your tool kit that are going to propel you and there are others that are just going to hold you back.  Those Goldmine Genres that I wrote about in the book are as true today as they were in the 60’s, as they were in the 40’s, as they will be 30 years from now...(Watch the video on Youtube here).

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[filmcourage]

(Watch the video interview on Youtube here)

What Writers Need To Know About Breaking Into Television by Scott Kirkpatrick via FilmCourage.com

Film Courage:  In [your book] Writing for the Green Light, you have Chapter 4 and that’s entitled ‘How I Learned to Stop Worrying and Write for Television.’  I love that title.  Can we talk about some of the highlights of that chapter?

Scott Kirkpatrick:  Yeah…when I was newer to the industry, there was always sort of two schools of thought.  You either wrote for television or you wrote for movies.  The movie side is kind of cut and dry.  There’s the 3-act structure, etc. Whereas television is kind of all over the map.  And what I was always taught when I was younger was…(Watch the video interview on Youtube here).

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[filmcourage]

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100,000 Screenplays Written Every Year, How Does A Screenwriter Stand Out? by Scott Kirkpatrick via FilmCourage.com.

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[filmcourage]

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How Does A Screenwriter With No Connections Get A Pitch Meeting? by Scott Kirkpatrick via FilmCourage.com.

“If you’re going into a company and attempting to build that initial ‘let’s see if some of my ideas are going to work well and we can get something going.’  You have to first understand what the company does, what it is they like to work with, what media they’re actually in need of, and then the best way to get a pitch meeting is to poise your kind of introduction as a way of being able to serve their needs to help them accomplish their content goals.”

(Watch the video interview on Youtube here)