Hi everyone,
I had a chat with a filmmaker this week and he highly recommended that I create a lookbook for my screenplay. It is supposed to give an idea of the look and feel of the screenplay visually. I can imagine how a document like this might make it easier for potential producers to enter the world of the particular piece of writing. Therefore I think this might be a valuable tool when trying to find a producer.
I started my research and also came across the idea of using a pitch deck. From my understanding a pitch deck includes elements of a lookbook but also additional information like staff or actors that might be involved in the film. Since I am not at the stage where I have information like this yet I think the lookbook is the next project for me.
Has anybody used lookbooks and/or pitch decks and would like to share their experience?
Thank you!
Christian
Hi, Christian! I have created one on Script Hop before. It was in beta and free when I signed up, but I think they may charge a bit now. My casting director for a particular project we have had an Emmy judge take a peek at it because we were starting the search for financiers. Anyhow, her feedback was that it looked professional and well done (and that we just needed to fill that female lead role with a bankable name! But that's another story). It allows you to show your actual actor attachments and/or your actor wish list. It does track when someone clicks the link and/or downloads the script etc. I'm
I also did a visual sort of pitch to go along with my treatment on contract for another project and all that entailed was a sort of Powerpoint style presentation.
Other than that, it's rare that anyone asks me for a visual pitch on any of my feature scripts, but for series it's probably requested more often. I'm going to private message my samples of both. I'd post here, but I'm trying to keep my "click counter" accurate! It's kind of a Fomo situation.
Hi Cannon,
thank you a lot! This kind of input is very valuable for me right now :-)
Christian, I can tell you that with the teams I've worked with, a lookbook, pitch deck, character bios, etc, have all been used and are used. Some are not created by the writer, but perhaps the first A.D. (as in my case) and even the director (also in my case.) I've created my own as well and they can be an essential part of the pitch when dealing with investors. On the writer level, it's probably okay to just deal with a great synopsis, character bios, and a location guide. When asked if you have a pitch deck, then consider putting one together.
Hi Gary,
thanks for the detailed Info!
I created a lookbook a while ago and a synopsis before that.
So I guess a pitch deck including everything you mentioned might be the next task (as there is no director or A.D. yet).
Thanks again and best regards,
Christian
It's getting common now for writers to get pushed in this direction and I have mixed feelings about it.
I think many writers are losing perspective because they are being handed strategies producers use to secure funding. In some cases this is being done cynically by producers who cannot be bothered to put in the leg work themselves.
As screenwriters, our aim is to get read, not greenlit. Anything we can do to cross that gap between making contact with an industry member and getting a read is worth it.
I'm telling you now, most pitch decks, particularly those from writers but also those from first time filmmakers, are complete garbage and do more harm than good.
Synopses, posters, look books, concept films, graphics, I'm all for because they do a great job of quickly conveying the concept, basics, and tone in a dymnamic and emotional way. Budget, attachments, locations, nope. They mean little even at a funding stage unless the producer presenting them has experience and contacts to back it all up.
Thank you for your assessment CJ,
I have to admit that the idea of creating a pitch deck appears quite challenging to me. Despite the fact that I can act and taught myself how to write screenplays I am not an experienced filmmaker and there are many factors that come into play when creating a pitch deck that I have never been in touch with.
Also the possibility of doing harm with any type of material used in a pitch seems very real to me.
On the other hand one has to find ways to get read. For me it is not very clear yet how to achieve that. There seem to be lots of things one can do about it but without the required experience it is hard to tell which approaches are more useful than others.
That's why it's wise to do a bit of everything. There's no one-shot solution and, despite what people on forums will tell you, no generalisations can be applied.
I hope my perspective is useful. It's something I've run into many times and I hope it helps other creatives.
There are many industry members, including producers, who really aren't creative, at least not in the same way that you and I understand creativity. There are many who are both creatives and producers. CJ is one of them. But for the post part, whenever someone, such as a producer asks for something creative, what they're really doing is asking for your help, to do the thing they can't do. Hence, business relationship.
Having said that, there are, unfortunately, plenty of people who demand for creatives to do everything for them instead of communication and working relationship, or, you know, doing a bit of work themselves.
Just because someone asked for a lookbook, pitch deck, TV bible, and they're all the same concept of visual presentation to raise money, does not mean anyone is under any obligation. I personally believe it helps to be aware of these things. However, if you say no, I don't have one, it won't be a dealbreaker for the entire film industry. It might be a dealbreaker for this particular producer, but, you know, plenty of fish in the sea and all that. Food for thought.
Thank you Lily!
Food for thought is always a good thing and helps to figure things out.
When I was acting in theater I found that sometimes directors had a hard time telling what they want but when they saw it they could tell you if the do or don't like it. In a situation like this it can be helpful to be more active as a creative person and support directors etc. in figuring out what they actually want to see.
I think it is a valuable if you can understand a specific situation and lead others through your ideas in a productive manner.
I love that. Perfect summary.
I've done a bit of volunteer work for my local theatre, so I understand what you mean. There can be a whole lot of frustration and miscommunication behind the curtain. It's an adventure.
I love that! "I think it is a valuable if you can understand a specific situation and lead others through your ideas in a productive manner." I'm new here and am working on my marketing materials for my first feature. Watched some producers' videos on YouTube, and they gave away pitch/leave behind templates. So I made my own leave behind/pitch deck on Power Point. Pretty user friendly.
Won't be long before this conversation takes place:
Producer to Writer: It would really help me produce this script if you could find a way to film it first...
David Lambertson ... we're already there...
Probably
For filmmakers, more than writers: I do feel creating a pitch deck can be used by the filmmaker to further strengthen the project.
Each way of telling your story - of which a pitchdeck is just one in the many ways you will have to convey your vision - is another way for the filmmaker to build on the various aspects of the project. I did a podcast with a film lab here in India where I work, if anyone may be interested : https://open.spotify.com/episode/2ZgKK27J5ZNsupwvEyyiLy
These days, the phrase "This is a visual medium" gets thrown around a lot. Pitch decks have become essential door openers, especially in a world where many decision-makers only read when prompted by a trusted source. Now, even pitch decks are stacking up, with more demand for Rip-O-Matics and Proof of Concept videos. Still, a well-crafted pitch deck remains a valuable resource. If you're in need of one, we can help.
www.decksyndicate.com
I have never been asked to provide a pitch deck. No one has ever even mentioned them. Not agents, managers, producers, directors... no one. Same with most of the other weird little magic words and secret handshakes that so many aspiring screenwriters obsess over as if their lives depend upon those things.
Here's the screenwriter's job: Write screenplays.
Screenwriters do not pay people to read their work.
Hopeful aspiring screenwriters have become the personal ATM of every two-bit shyster and fraudster within a thousand mile radius of Hollywood, and throughout the length and breadth of social media.
Anyone demanding money from a screenwriter in exchange for reading the screenwriter's screenwriting is a charlatan, one who is in no position to do anything for the screenwriter besides making them poorer. Ignore their false claims and empty promises.