Graphics Reference
In-Depth Information
similar to yours? You can bet that someone at the pitch will say this sounds like “XYZ,”
the classic fi lm from 1932 directed by some obscure foreign director. Assume that
anyone in the pitch session has seen it and heard it all. Nothing is worse than the silence
you hear that follows the comment, “What else have you got?” A potentially embarrass-
ing moment can turn in your favor if you can intelligently discuss the other work, and
its relationship to yours. You will look good if you not only know of this piece but also
can intelligently discuss this reference.
You also want to make sure you have the rights to the properties and characters. Say
your story centers around a landmark building in downtown New York. Believe it or
not, you may not be able to obtain or afford the rights to use the building. The same
goes for characters and music. If your story cannot be made without that specifi c Beatles
song, consider the reality and cost of acquiring the rights.
If your project requires getting the rights, be prepared to discuss the status of your
negotiations in the meeting. If you do not have an original concept and cannot afford
to obtain rights for existing properties, check out the properties in the public domain.
Read the industry trade publications to see what types of projects are going into produc-
tion. If there is something similar to your proposal, then you should be able to address
any concerns about copyright infringement up front and explain what makes your idea
better. Let the people hearing the pitch initiate talk about what actors or other talent
would be good for the project.
Pitch the Entertainment Value
You can show you are looking at the whole package by suggesting the entertainment
value, genre, audience age, and appeal of your project. Describe the concept by giving
a general sense of the visuals for the characters, environments, and style. Use sketches,
color drawings, color palettes, reference material, special lighting, video clips—anything
that will get the visuals across. Sometimes you can get into the room early to stage the
pitch. This is another benefi t to knowing the “gatekeeper.” Remember, you are pitching
to people who hear dozens of ideas and you want them to remember your project. If
you can entertain them, they will see you can entertain audiences too.
Be ready to answer questions about fi nances and marketability since there may be
fi nancial people at the pitch.
At the Pitch
Remember that your pitch starts the minute you arrive—in the parking lot or in the eleva-
tor—you never know who you might run into so be nice to everyone. Once in the room,
have a friendly handshake, thank them all for meeting with you, and tell them you admire
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