Role Reversal - When Your Manager Becomes Your Boss

Out here is a pool. A deep, deep pool. As screenplay writers, we're all swimming in it. Current stats have our population at 15,000 or more. Schooling in this pool is various sized fish. Most of us, guppy’s also known as amateur writers. Here we are, swimming around doing a complete reversal of what it means to fish. Instead of an angler working to catch that one big fish among us in a school of thousands, we are the thousands, all of us small, trying to catch that one big angler.

We're all looking for something out of this. Me? I started writing because I tried everything to overcome an 8th-grade reading-writing level that held me back in every part of life. I wasn't an idiot. I mean, I got by in life. I tried all the "standard" methods of learning to read and write. However, when I found screenplay writing, the rules, standards and the strictness appealed to everything I looked for in a challenge. I fell in love with everything it meant to write screenplays. Seven days a week...year after year. The criticism could sometimes be devastating. You know the websites and forums out there. That's a different blog altogether.

Years go by and I get a lot of work under my belt. I'm cranking it out just like you. Every night, just like you, at my keyboard, working towards anything I can get my hands on, and then it happens. A small break.

I submit a script and I get a very rare great review by Carson Reeves at Scriptshadow and like manna from above, I got some interest. A brief, intense amount of interest. For those of you out there writing and have not gotten this type of nibble yet, the answer is yes, it really does happen that fast and yes, it does catch you a bit off guard.

Several calls came in and I began to work with with several independents who became good friends. Of those, one of the managers I began working with understood my style and she wanted to work closer with me. I had gotten busy at the time and was working with two other managers on different projects, but she and I clicked on several fronts.

This is where my story begins. I found myself in a unique position with this manager when she became a producer in a film I was to be a part of.

For discussion purposes, let's say the "general" definition of a screenplay manager is one that is typically focused on the long-term overall career development of their clients. Meaning us...the writers...right? To me, that sounds about right.

We had (and still have) a great relationship. We spoke often on the "what's" and "why's" of our projects. She was and still is someone I deeply respect. In fact, we are discussing working together on a project right now.

Now onto the "general" definition of a movie producer. Producers are usually a projects creative force and are always looking for great ideas that speak to them. Plus they’re the ones who tend to act as the driving momentum when it comes to bringing your idea to the screen. Meaning they are the ones who broker the deals for the investors to get a film made and so everyone can make money.

But what happens when your manager brings you into a project not as your manager but as the co-producer of the project she’s backing? Keeping in mind, a manager looks out for the writer because they get a percentage of what the writer makes and a producer looks out for the movie projects bottom line for profit's sake.

What happens when those affiliations suddenly change? Where do you, as the writer stand?

This was where I was. My manager was now the film's acting co-producer on a project. I suddenly found myself negotiating with her as a co-producer on my contract.

Sound confusing? It can be.

When you have a manager who is suddenly aligned alongside both the managing and producing pools, how do you clearly know where their allegiance is?

Truth is, you can't. No amount of reassurance you’re given will take away the nagging feeling that you are negotiating with someone who now needs to bring you to the table at a rock bottom price while typically offering things like back end points that we all know usually don't ever amount to much of anything.

What did I do? I became my own manager while negotiating with my manager. You see, she had taught me some things about where to stand firm and where to yield. Places like back end points. If you are going to take back end points, make sure they are producer points and not what I call “end of the line” points where everyone on the planet gets their cut before you get yours. Simply put, any profit participation on the back end should come out of the investor/producer split. It goes by the names “adjusted gross proceeds”, or “modified gross proceeds”. If not, chances are you’re being given points of little to no value. Bottom line, points are tricky so you need to have them define exactly what they mean and where it leaves you regarding the back end.

Places to yield? Up front money? Perhaps. One of the writer’s jobs is the share the vision of the project. That means trying not to bankrupt the project that’s already on a slim budget by busting the balls of the producer for everything you have coming and more. Be fair and know that in order for the project to succeed, everyone needs to have the same end goal in mind.

How did the project I negotiated work out? Well, I got the option but like so many projects, the sails never caught wind and the script ultimately reverted to me. Needless to say, it was a great learning experience and now she and I have a new understanding on where we both stand if ever a situation like this were to occur again.