I’ve been writing for almost 30 years. Always loved it. When I was a teen, I used to write crazy action films that I dreamed would one day star my childhood idols Schwarzenegger, Van Damme and Seagal.
Years later, I came close to realising my dream but fate, and luck, escaped me. I thought I’d write this little piece to show all of you what it’s like to try and sell a screenplay without an agent or having the desired connections.
In 2007, I wrote an action spec script called Lightning. I worked on it for months, adding details and toiling with the action and the pacing.
By chance, I was on a Screenwriting message board and started chatting with a personal assistant to a big action star. He was very approachable and put me in contact with the star’s right hand man, who suggested I submit something to his boss. Of course, I jumped at the chance.
What followed was weeks of back and forthing between me and the right hand man. I learned the star liked the plot and the central character he was to play, but felt the material wasn’t original enough and didn’t expand his brand. His right hand felt otherwise but his boss was adamant he wanted to do bigger and better things.
The screenplay with him was dead.
His next film, the film he went on to make AFTER passing on my screenplay, was one of the worst reviewed of his career and was lambasted for it’s ludicrous plot, bad direction and lazy execution. Seems you never know.
I was down and out, but not deterred.
Another chance encounter with a talent agent put me in contact with an exec from a studio who had a deal with Sony. They were looking for product to boost Sony’s DTV line. They’d already made several films with Lundgren and Van Damme and wanted more since they’d been big sellers. Off Lightning went to this indie studio. Again, another 90’s action star liked it, but wanted changes. I was happy to oblige.
Before the deal could be struck, the star committed to another film — a sci-fi action thriller in the vein of Total Recall. Lightning didn’t strike again. And the star ended up backing out of that film too. Seems it was a routine thing for this guy.
I was contacted again by the exec. A European action star who had a contract with his studio was reading. The exec mentioned Lightning. For the briefest of moments, this star, who I admire greatly, was seriously considering making my screenplay. Again, something better came along, and as much as it hurts to say, the film he went on to make was very good and I watch it often. I even own a copy.
Down but not out, I kept writing. At the same time, I managed to come into contact with an agent who represented a Tarantino regular. He was reading too.
This character actor was no martial artist, so I sent off something more in his wheelhouse — a cop thriller called Undone I’d been working on. I was more optimistic this time because this actor liked the script as is and only had minor alterations in mind. After being hot for the screenplay for weeks, he too dropped to take a break from acting. Figuring Undone was done (lol), I kept on writing.
A few days later, the actor’s agent contacted me again. He also represented another big time character actor, one who was known for being a wild man back in the day. He was interested in supporting role in Undone. The first actor who backed out heard and said he’d commit if the other actor did. Tragedy struck before a deal could be made when the older character actor passed away. This time, Undone was done for real.
Flash forward to years later. After having a family and putting writing on the backburner, I took it up again. Not long after, a director I met expressed his interest in a thriller I had written that was similar to Halloween. He said he liked the central character and the screenplay’s simple, but effective, premise. I was over the moon. This director had a substantial credit under his belt and liked my screenplay. What could go wrong?
What started off as simple alterations, soon turned into months of rewrites and modifications. By the end, the screenplay barely resembled what was first written. It wasn’t an A to B script anymore. Needless twists and turns had been added at the expense of telling a good story and keeping it simple. Characters I loved were turned into two-dimensional cartoons who seemed to belong a totally different script.
Even though this director was almost a sure thing, I slowly withdrew from his ideas. The project stalled and has since stayed that way.
I’ve written several screenplays since, but the ability to create opportunities and get the material out there is getting harder. Actors aren’t willing to commit unless someone big is involved.
I recently managed to get a verbal agreement from a legendary genre director, who said he liked my script and would helm should I get financing.
Despite having extensive credits, including a few bonafide 80’s classics, no studio or production company was interested. They wanted the latest and greatest “it” director.
If I’ve learnt anything from my time trying to get something made is that Hollywood is very fickle, very fast and very mercurial. Has it put me off writing? No. Has it muddied my enthusiasm for chasing the dream? Little bit.
