Interview: Terrance Mulloy — Part 3

For the next week or so, I turn attention to screenwriters, TV writers, and filmmakers who are on the front edge of making their mark in the business. Their insights, so recently on the outside looking in, reflect the excitement of breaking in, yet the challenges of attempting to carve out a career. Today: screenwriter Terrance Mulloy.

Terrance Mulloy is an up and coming Australian screenwriter based in Brisbane, who is becoming increasingly known around the industry for his action writing chops. His first spec sale, Priority Run, was acquired late last year by Arclight Films and is currently prepping.

I managed to pull Terrance aside from his busy schedule to ask him some questions about how he managed to break into Hollywood without actually being there.

In Part 3, Terrance provides insight into how he landed representation and details behind the sale of “Priority Run”:

Scott: What was the single most challenging element to writing Priority Run?

Terrance: This is a two-hander, so getting the right balance between Anna and McBride has taken many, many drafts. Even now we’re still tinkering with it.

Scott: From the point you conceived it to the day it was acquired, how long of a time period was that and how many drafts do you figure you wrote?

Terrance: Off the top of my head, I would say I’ve written around fifteen drafts so far. Maybe more. I think the initial idea hatched around late 2008, and I spent the most part of 2009 getting through that first draft. I quit the script at one point to work on other stuff, but eventually went back and finished it. I’m sure glad I did.

Scott: How did you end up signing with UTA and Benderspink?

Terrance: I wanted this to be the script that landed me representation, so I spent a lot of time on it before showing anyone. All up I probably spent around a month sending out query emails to just about every literary manager in Los Angeles. Naturally I wanted someone with a solid track record, but I figured that would most likely take a while. I got a few nibbles, a couple of ‘who the fuck are you, and why are you emailing me?’ type responses, and generally a lot of radio silence which was to be somewhat expected. Nothing really substantial. So I decided to re-evaluate my plan of attack, and instead of a naive shotgun approach, started to narrow my focus and only target a handful of managers who repped similar genres. That approach worked almost immediately. At one point I had several managers all reading at once, including Jake Wagner. I knew about Jake and was definitely gunning for him, so I was pleased when he responded to the logline that same day and asked me to send it over.

To my shock, the next day he emailed and said he really dug the script and wanted to talk. So we both jumped on the phone and after chatting for over an hour, I knew I had to strike while the iron was hot and sign with him. Around that same time, Joe Nienalt, a writer I had known for quite a while around the traps, was also slipping it to his contacts at UTA, and eventually it started to quickly work its way up the ranks. A few days later, out of the blue, I get a call from Jon Huddle. After that call I knew I had also found the right agent. Everything just fell into place.

Scott: So you were quite surprised at how fast it happened?

Terrance: Of course. I always believed I could find reps, but I had no idea that it would happen so fast. It was a crazy week. Needless to say, I also owe Joe quite a few beers.

Scott: And how did the deal with Arclight happen? Did the director become involved after the script had sold?

Terrance: No, that happened prior to the sale. In late 2010 my reps got me in contact with a Swiss director living in LA named Claudio Faeh. He had already read the script and was interested in directing it. From our first meeting we pretty much hit it off. He really got the material and had some fantastic ideas about taking it further. He showed me some specific ideas he had for shooting the interior scenes inside the bus and I immediately knew he was our guy. So in between other projects, I spent nearly two years rewriting it with him before Arclight came onboard to acquire the script. It’s been a long journey, and there’s a way to go yet, but those guys have all been great and they really respect the story and the characters.

Scott: What’s the status of the project?

Terrance: Financing is in place and the cogs are all turning. Right now we’re in the process of casting the lead roles, so hopefully there’ll be some exciting announcements soon.

Scott: What are you working on now?

Terrance: I’m in the trenches on a new a sci-fi actioner which I’m developing with Benderspink, and I’ve just wrapped an action thriller for Vinson Films. I’m also about to start work on a new project soon with Aussie director Shane Abbess. Hopefully if all goes well, we’ll get to make that one here in Queensland.

Scott: Living in Australia, what’s your take on internationally based writers trying to break into Hollywood?

Terrance: This is an argument I often see around the place, where younger writers ask the question of whether or not they can do this outside of LA. Every situation is different. I know writers who don’t live in LA and are going places. I also know a lot of writers in LA who aren’t. So I think it’s a double-edged sword. I’ve never had an exec or anyone show concern about me not living in Los Angeles. Most people I’ve dealt with are only concerned about the material, not where I live. Plus everyone knows we live in a connected world, and Hollywood is now a global market. So whether I’m walking down Sunset Boulevard or sitting on a beach in Fiji, I’d still be getting the exact same notes from directors, producers and development execs.

That being said, there’s an obvious disadvantage to not being on the ground in LA. It means I can’t be out there every day having face to face meetings with the people that make movies. Career wise, that can be a hindrance. Pitching over the internet can be a nightmare. You need ‘real world’ face time. It’s vital. No one is going to hire you on Skype. That stuff can only go so far. So if you’re going to do this outside of LA, be prepared to travel a lot. I’ve often made it very clear to anyone I work with, that if they want me in LA, I can be there. And contrary to popular belief, Australia really isn’t that far away. Where I live on the east coast of Queensland, it’s a direct 13 hour flight from Brisbane to LA. That’s basically an overnight trip. And while I do have my roots firmly planted here, I’ve never ruled out moving to LA as a future possibility.

Scott: Where do you see yourself in 5–10 years? In an ideal word, what are you doing?

Terrance: I’m very interested in directing, so hopefully that opportunity will present itself one day. I also have some ideas for TV which I’d love to explore. But for now, as long as I can continue screenwriting while living in Australia, I’m happy.

Scott: Finally what advice can you offer to aspiring screenwriters about the learning the craft and breaking into Hollywood?

Terrance: I’m a new writer myself, so the only real advice I can offer is to write. Seriously, that’s it. Just sit down and write. Don’t worry if it’s bad, because chances are it will be. Just write. If you keep at it, eventually something in you will click and you will begin to discover your own voice. Everything else will naturally follow. This is a craft which I think no matter how seasoned you are, you never stop learning. That’s also what makes it so rewarding.

I would also suggest that you get out there and network, either online or by joining a writer’s group. I’ve met a lot of like-minded writers over the years, many of whom I now consider part of my support network. It can be a very lonely job, so don’t ignore the social aspects of it. Sharing pages, giving and receiving feedback on material, and just general industry discussion is all essential to your growth as a screenwriter.

As for breaking into Hollywood? I don’t think anyone ever really breaks into Hollywood. You kind of just write your way in until someone notices you. At least that’s how I see it. It’s also important not to be discouraged. It’s a brutally competitive medium, and there are indeed a lot of jaded people out there, but it really is the ones who never give up that make it. And when you boil it down, a great script is the best currency you can have. It’s the one thing that can blast open those doors. So just keep writing. Keep writing until they take notice of you. And believe me, I’m living proof that if you do that long enough, eventually someone will.

For Part 1, go here.

For Part 2, go here.

Terrance is repped by UTA and BenderSpink.

Twitter: @TerranceMulloy.

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