The Moment of Commitment.

So here’s my dilemma this week. I have a script that I optioned from a writer. I like the script very much. I love it actually. Is it perfect? No. Is it funny? Yes, very. Can I visualize a strong, entertaining finished film? Absolutely. One that will make money? As certain as I can be.

Now, to getting it made. My steps thus far have been to send it to a few producers I know that I think will like the material and are appropriate for the size of the film. This is actually a big thing that’s worthy of it’s own blog, but you save yourself a lot of trouble and wasted energy if you first decide who’s appropriate for your project rather than just sending it to every producer on the planet.

Anyhow. So I have a producer who a) likes me and my work, b) likes this type of material, c) sees the potential in and liked a previous draft of this particular script and d) has the ability to raise the required funds but isn’t so high up the food chain so as to not be interested in making a low-budget film. (I mean DGA-style low, not in my backyard with a dvcam low.)

The dilemma falls within c) sees the potential in and liked a previous draft of this particular script. I turned in a new draft of the script to address her notes (she has great notes that I think will actually make the film stronger so the writer & I are psyched) but she wasn’t floored.

She felt her notes were addressed but not thoroughly enough. As if the writer lost focus pulling the changes through the entire script. A strong start but a murky finish. And I don’t disagree. Another draft is required.

But the writer needs some encouragement. He needs to feel safe that the time he is investing will go somewhere. He wants to know that he’s not about to do a bunch of free rewrites. Aside from that, quite frankly, he needs some dough. He has similar concerns as the producer – this time or money I’m about to commit, will it pay off? All legitimate.

My challenge is to get the producer to take a leap of faith with me to commit. And the first leap is always the hardest. It’s the one where a person must make some actual commitment – of time, money, contacts, whatever. It’s the first leap that says, “I am now making this a priority.” And that is actually much harder to do in this town than one might think.

Because once you’re in it there’s no turning back. Well, no easy turning back. So people like to hedge.

My job at this point is to help everyone clearly see the end result. To get them excited about the film that’s in my head so they can feel comfortable moving forward. So this moment doesn’t feel so much like a leap, but more of a first step towards a clear and positive end.

I’ve proposed that the producer put up a small amount of money as a good faith gesture to the writer. An amount that says, “This is important to me. I want to help you do your job.” It’s small enough that the producer shouldn’t be scared of the investment. But it is enough to get the writer to turn down other assignments, focus solely on this and write quickly. Something that will assure the producer that not only is the risk a small one, but she will know very soon whether or not it has paid off. And at that point we can revisit our situation.

I’ve proposed it. And now I wait. No way to tell how it’s going to go, but that’s my dilemma for the week.