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If they make a good match, it’s a win-win-win for everyone involved – the agent or manager, the executive and you. If the company is enthusiastic about your writing and your potential, they might recommend you to an agent or manager. Weigh your options, and decide when it’s worth taking the leap to tie up your script in exchange for the expertise and access you gain when partnering with a strong producer. You’re eager to break in, but you envisioned money on the table. I’ve found that when you treat people with respect, and make a deal that reasonably protects everyone, you set the tone for a productive working relationship.Īdmittedly, the “Free Option” can be a tough decision for a writer. If it’s a paid option, Fees are spelled out. I have, however, cheated a lot of margins to keep it to one page.Īt its absolutely most basic, a letter agreement between a producer and a writer to option material should define The Rights Period, the Extension to The Rights Period, Post Term Rights, and an Exit Agreement. That’s what I’m going to be pressing for but I always offer a fair deal. My job is to buy us plenty of time to get the project in great shape and fully explore the marketplace.
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Generally, the Free Option is standard boilerplate with minor variables, mostly on the duration of the rights period.
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If you can get some professional advice, by all means do so. I’m completely comfortable with a writer having someone look over an option before signing.
My theory is that the minute you go over one page, people get nervous and feel they should lawyer up.
We would offer a fairly standard one-page “letter agreement” binding both parties, laying out the basic deal points, and giving us the time needed to develop and market the script. These projects had strong concepts and the writing showed potential, but the scripts definitely needed development before going to buyers.
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This was despite my being adamant in my dealings with agents that we weren’t interested in the genre.Īs President of Debra’s production company, I negotiated a lot of deals for free options on promising projects from writers without a track record. Working for Debra Hill, who among her more than two-dozen produced films, co-created and produced the highly lucrative Halloween franchise I saw my share of horror scripts. On the other hand, if you have someone with chops, be open to their notes. If you put people in your boat who are not rowing in the same direction, you won’t get very far. Make certain to discuss where the producer sees the project heading – in story especially – but also ask for their ideas on casting, directing, and budget.
In either case, don’t ignore the shared vision component. If the project moves forward, you can always extend the option period. If you do, keep the rights term short (six months) so you aren’t tied up for a long time if no progress is made.
If someone has lots of passion, but little else to advance your project, I’d be a bit leery about entering into a deal. It’s only going to improve your odds of getting your project made. If you have someone who has credits, connections, and a vision for the project that is in sync with yours, it’s likely well worth it to get their expertise and their weight behind your project. I believe the Free Option is a trade off that can pay off.