Re script readers and coverage (cont’d)

It started off here: Citing a Vulture post from manager-producer Gavin Polone about how few people in Hollywood actually read scripts, and the harsh reality of coverage and script readers.

Then it went here when screenwriter Geoff LaTulippe expanded on my point about embracing why this state of affairs can actually be a good thing for screenwriters [at least in terms of motivation and getting our heads into the right place for our writing].

And now this: A great thoughtful comment from long-time friend of the blog and future super producer Nate Winslow who works for two production companies in Hollywood. In his comment, which I am reprinting here, Nate gives us a front line perspective on what it’s like to be a script reader:

As one of those underpaid and overworked interns/assistants, I back wholeheartedly what Geoff just said and agree with him completely.

I read a lot of scripts. Right now, I’m currently working for 3 companies (that shall remain nameless–so, like Geoff, forgive any vagueness here) and one Black List. Between two of those companies, I’m in an office 5 days a week, spending the majority of that time reading scripts: when I come home from those offices, I spend the majority of my time reading more scripts. In the off chance that the other testimonies weren’t good enough, I can tell you first-hand that the majority of the scripts that I read are not great, life-changing pieces of writing. The VAST majority of them aren’t, actually.

I can’t speak for my fellow underpaid and overworked brethren, but for myself I can say that Geoff is spot on when he says that I really, really REALLY want to read a great script. More than you know: I’m sure the writers that get back my coverage (with my name hopefully erased. I want to live to be 30) with a big fat PASS on the bottom might struggle to believe that, but I start every single script hoping and praying with all of my might that I’m about to read something great. Because not only would a great script be a huge relief to my soul and briefly restore my faith in the art of storytelling; not only would it have me fist-pumping and emailing everyone else I know who are looking for great scripts; it gives me, for however long I manage to have it in my hands, the most valuable currency in this entire town.

A. Great. Script.

When you write a great script and I get to read it–in an official or unofficial capacity–you’re doing me an enormous favor. You’re giving me something I can yell about and fight for. You’re giving me something that I can get behind and believe in and gush about and rant about and talk about to my friends and–most importantly for both you, writer friend, and me–go to my boss about. If I have the opportunity to read something that I think is absolutely fantastic, and something that I think my boss will potentially love just as much, I’ll find a way to get it in front of him.

And the reason for that is exactly because there are so many crappy scripts that cross in front of my eyeballs. Too many! And readers, like Hollywood at large, are ALWAYS looking for a great script–and when you find one, it’s like finding a Golden Ticket.

I speak from experience. (Apologies for vaagueness here) In the past year, I read a script for coverage that I absolutely adored. Flat-out loved, and believed incredibly strongly that it was destined to not only be a movie, but a huge hit movie that would potentially win a ton of awards and entertain millions and millions of people. So I gave it a RECOMMEND and unconditionally raved about it in my coverage. I told a supervisor this story the other week and he looked at me like I was insane: he’s got a few years on me and he told me he expects to give three RECOMMENDS out in his ENTIRE LIFE. Rare birds, those recommends. But I gave this script one and instead of just sending it to my direct superior and letting them read it, I sent it to my direct superior and then emailed them a 4 paragraph email explaining to them that if they do nothing else this weekend, please please please please read this script. Please. I was a little more eloquent, but that was the gist. They read it. They loved it. I got asked to explain myself to THEIR boss, and I did–they read it and THEY loved it. Then it went up the chain to THE boss, and it sat on the top of their to-read pile and waited.

Unfortunately it was right in the middle of an incredibly busy time at said company and there just wasn’t quite enough time to get it read and do anything with it. (Coincidentally, two weeks later, that script sold to a studio for a large sum of money and is going to get made imminently. Validation of a certain kind.)

But that was a script that blew me away to the point where I cared enough to bug people that I normally have no cause or reason to bug. And, luckily, after they had read it, they all shared the same feelings I had for the script so I didn’t get fired, but that’s all it takes. Make one person care enough to make other people listen to them.

We read far too many screenplays. The idea that we’re rooting for a screenplay to suck or sharpening our claws to rip it to shreds while cackling gleefully is ridiculous. Readers aren’t masochists. I love movies. I want to make great movies. And my part in all of that right now is reading a lot of them and trying to find the great ones. Good scripts are a drug and whenever someone I know finds one, immmmmeeeeediately emails get sent out and PDFs are shared and read and shared again. One intern with a decent amount of friends and contacts reading your script and loving it is one step removed from fifteen other people getting sent that script — each of them send it to fifteen of their friends, each of whom send it to fifteen of their friends, each of whom…20 minutes later, 500 people have heard about your script. Be nice to the little people.

I probably read 15 scripts a week, I don’t get paid to read a single one of them and I open every last script hoping I’m about to find something that I can take to my boss and force them to make it.

Readers are your friends. Make someone fall in love with and believe in your script and you’ll be shocked at how hard someone is willing to work for you.

There you go. Just like what I said. Just like what Geoff said. We may think every reader in Hollywood is a cynical asshole. In fact, most are passionate lovers of movies. They do become hardened over time by the amount of shitty scripts they read. But if there’s one thing I’ve heard consistently from script readers since befriending my first one back in 1988, they always hope the script they crack open will be a great one.

Now it’s just up to us to write it.

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