Chapter 1: The Pitch Meeting

As I gaze at a life-sized cutout of a legendary film character from an Oscar-winning movie, I’m struck by the power of cinematic icons. This cardboard figure stands just a few feet from a desk where the actor who played that character is seated. A simple flick of my eyes allows me to shift focus: Actor. Iconic figure. Iconic figure. Actor.

“So,” the actor prompts, “What’s the story?”

We’re here for a pitch meeting. Both the actor and our team have overarching agreements with the studio, and we're encouraged to brainstorm an exciting action narrative tailored for him. This collaboration could also help offset the financial commitments tied to our deals.

After generating numerous concepts, we settle on a plot featuring a Vietnam veteran coerced by villains to commandeer an eighteen-wheeler loaded with mysterious, explosive cargo, navigating a perilous route through a war-torn nation. While the idea may not be groundbreaking, we are confident that we've developed a compelling protagonist that will resonate with the actor.

However, we soon discover our miscalculation.

We commence our pitch, detailing an explosive opening sequence filled with action, gunfights, and the introduction of our antagonists, all while building suspense around the cargo. Then we transition to our protagonist’s introduction.

This is where we encounter our first hurdle.

As writers, we believed that if our hero must navigate danger from Point A to Point B, then we should layer the journey with emotional depth—a redemptive arc to accompany the physical challenges. So, we present the protagonist as a down-and-out alcoholic, a tortured soul slumped on the steps of his rundown trailer, overshadowed by his battered truck. He awakens to find an old acquaintance from Vietnam standing over him.

“I have a job for you.”

Just as we prepare to delve deeper into our narrative, the actor interrupts, shaking his head.

“No, no. Let’s try this instead.”

He leans closer, his eyes fixed intently on us.

“I’ll go along with the opening. But after that, let’s cut to two bright lights, growing larger and larger. A menacing rumble fills the air, then silence. A door creaks open, and a shadowy figure emerges from the fog. As our vision clears, we see it’s a colossal truck. I step out of the cab, a powerful silhouette moving with intent. With each purposeful step — thwack, thwack, thwack — I advance toward the camera, my face filling the screen, my eyes burning with determination. I’m ready to… kick… some… ass.”

Now standing beside the cardboard cutout of his iconic character, which towers over him, it hits me:

We’re presenting a character. He’s envisioning a hero.

While we see a complex, flawed character, the actor is focused on the expectations tied to being a movie star. No matter how compelling our redemption arc may be, he has no interest in portraying a down-on-his-luck Vietnam vet.

He’s a star, and merely glancing at the cardboard figure reminds him of his legendary status in the film industry. Every screenplay he evaluates, every pitch he hears, and every role he contemplates is filtered through the lens of his celebrity.

So, our project? Declined. And here’s the lesson: There are actors, and then there are movie stars.

Before entering a meeting with talent, ensure you comprehend who you’re addressing: the actor at the desk or the towering cardboard representation.

The Business of Screenwriting series features insights drawn from my journey as an outsider in Hollywood who sold a spec script for a significant sum, which opened doors to a screenwriting career filled with both wise and foolish decisions. May you find wisdom in these experiences.

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Chapter 2: The Actor vs. The Icon

In this video, "Breaking In: The Business of Screenwriting," we delve into the nuances of navigating the screenwriting landscape and the expectations of actors.

The second video, "How to Sell Your Screenplay in Hollywood with Ashley Scott Meyers," provides valuable tips on effectively pitching your script to industry insiders.