This is a great insight, Scott, yet it leaves me a little frustrated. For all the talk about how often these folks Pass and and then keeping in mind Oscar noms for a Consider, we still are stuck with the repetitious remakes on the screen and newbies can't even get read. These folks, presumably, are working for the houses that don't even read unsolicitated submissions. Until the newbie is given some kind of idea of who WILL read, this type of conversation contributes to the disappointment of all of us. Don't want to sound like I'm whining, but it seems like every post (here and other boards) from readers revolves around how many horrible scripts they read and yet, based upon the number of houses that actually read newbie material (darn near zilch), we have to assume they're complaining about everyone who's already gotten a foot in the door. I'd love to read a post from a reader who works for someone who accepts the unsolicited submission. I'd love to read a post that outlines the best way to submit that doesn't involve only responses for a read from houses that no one has ever heard of or has an 'iffy' reputation.

Love BSR's video "Shit Script Readers Say" - saw this a couple of months ago and laughed. "If I read one more Bridesmaids rip-off, I'm going to go shit in a sink!".

Donna, many managers will read unsolicited material. Email them with your logline. If your story concept interests them, chances are quite good they will ask to read your script. It's really that simple. Re what movies the major studios make: It's no secret, and I've discussed it here often. They operate with a guiding principle: Similar But Different. And because now more than ever, as they are all owned by ginormous corporations who only care about financial bottom lines, the studios will tend to make conservative decisions because they don't want to be held responsible for the next "John Carter" or an innovative movie that doesn't connect with an audience, and risk getting tossed out onto the street. As screenwriters, we have a choice. Either aim to work in Hollywood and make by and large mainstream, commercial movies, many of which are remakes, reboots, sequels, prequels, and or similar movies to other movies, or go off on the indie film route, or even DIY / make our own content. Per the latter, frankly there's no reason why writers nowadays can't make films of any sort and any length, then stick them on YouTube and see what happens. There is no one stopping us. We have the technology [digital cameras, digital editing, digital effects]. We have a built-in distribution system with the Internet. Sure, marketing is a bitch. But if you're smart and come up with a must-see story concept, write a great story, cast and shoot it well, there's no telling what can happen. Just look at what's going on in the e-book world. "50 Shades of Gray" has sold 10 million copies! I'm going to post an article about e-book phenomenon because it is precisely in the 'spirit of the spec' I talk about. So to sum up: Yes, Hollywood makes a lot of derivative movies. It's a business, they will do what they need to do generate revenues but also protect their ass. If you want to write in Hollywood, you have to live with that reality. You can write what they want or sell them your dreams. I wrote about that here. If you're having trouble getting read, that's probably because you have carpet bombed Hwood managers with enough email inquiries. You should be willing to send out 500 or more. Hell, a thousand if need be. It only takes one set of eyeballs reading your script to change your life! It could also be that up to this point, your story concepts / loglines have not been in the wheelhouse of what managers think Hollywood buyers want, so perhaps an adjustment is due re how and what stories you generate and choose to pursue. But if your storytelling sensibilities are not mainstream, commercial, then why not go the indie film route. Or got DIY. Make a movie yourself. Or some shorts. On the Internet, there are no rules about how long your movie can be, what type of genre it should be, none of that pertains. You are free to do anything. You never know what can happen. But that's the way it is and should be if you embrace the spirit of the spec. [Note: By 'you,' I mean everyone].

Haha! I have got to watch that video! I find it funny that these readers say they want something original, yet also that the studios only want remakes, sequels, prequels, etc... It's a very frustrating contradiction, and I think this conservative thinking on the part of studios is to their detriment. Somebody mentioned The Matrix got a pass, what, like 50 times? It was a huge hit that spawned a franchise and a major following. I also think such rigid, conservative thinking is a major reason theater attendance has dropped so significantly, because the movies reflect the mentality. I get why the bottom line is imperative. It is a business after all, but what business in any industry has succeeded by being afraid to take risks? And how many have succeeded beyond expectations because of that crazy risk? Especially when you consider how many movies have failed that do meet all the business criteria. Maybe Hollywood needs to consider opening the doors to fresh, new ideas and writers. Maybe then the readers wouldn't get stuck with so many boring, terrible, remakes, reboots, sequels, prequels, 'similar but different' scripts. Yeah, I know. It's a lofty dream. ;p

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