Meet The Producer

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onference calls are the worst. Can I get an amen?

I don’t know why, with the Dick Tracy style video telecommunications we have at our disposal, we still resort to crappy cellphone feeds and try to “conference” with one another.

What’s more, is my conference call with the producer optioning my screenplay meant a transoceanic call. Which meant a slight time delay.

Okay. Sitting back, I just realized that I’m finding fault in speaking to someone real-time who’s literally on the other side of the planet. Which is actually incredible. So… With my new found perspective on high technology I’ll continue by saying…

My first conference call with Producer went great!

That is to say, my manager didn’t have to take me aside afterward and say why on Earth did you say that to him? And by my standard for inter-human communication, that’s pretty great.

This was a meet and greet call. But also my first chance to hear from the horse’s mouth Producer’s notes.

This is also a call that could have – arguably should have – happened months ago. It was Manager who suggested we wait until the option was on the table. I was dubious at first. I am, after all, signing the rights to my script over to these guys. I wanted to make sure that they didn’t have any weird plans to for the customary rewrite. Plans like… I don’t know…

“Adding a talking cat?” asked Manager.

Exactly.

But Manager assured me back then that he’d heard their notes and that there was no talking cat. The reason Manager wanted to hold back our introduction until after the negotiation was so that Producer couldn’t persuade me to do any free rewrites. Good looking out, Manager.

So I met the Producer.

We had a good, choppy, compressed-audio talk. He gave me his notes and as promised, there was no talking cat. No shocking demands that would ruin my precious work. And he seemed as nice as anybody can seem during a half hour chat.

And that was it. I await his detailed notes via email. What was particularly optimistic was how many of the notes were questions about what could happen next. Does this character have to die? How would this action effect the future of the storyline? Questions you’d only be asking if you were hoping to turn the film into a franchise.

So yeah, I like this producer just fine.

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