I think the definition of "going wide" has changed slightly. I'd be curious Scott what one of these spec machine agents (Esola e.g.) considers going wide... 15 companies? 20? It's still targeted to the places that make the type of movie your spec is. I think exposure is a good thing and I have personally had a spec taken wide, not sell, then six months later have a solo producer read... like... and then he sold it to one of the studios that passed. Boom. I don't think specs are dead if they don't sell going wide, and the upside is that the exposure tends to give you momentum in general. People are reading you, and chances are you get a round of meetings that can lead to good things. And here is problem with NOT going wide. In other words your reps are going to "select producers." So they slip it to a few producers and if they don't get any bites, guess what... the agents will lose interest very quickly -- you will get "reasons" these select producers pass, since no one can pass and say "this is really good, but not right for us right now" -- they always seem to give some sort nebulous pass like, "I just didn't connect with it." So then the agents come back and start talking about fixing the script... Can you tell this has happened to me more than once? I am not a fan of taking a project out like this. In a business where it only takes one, I like my odds of finding that one with 20+ opportunities vs. 3 or 4. Also, the producers that get "slipped" this project will invariably wonder why it's not going wide and sniff out the reps lack of confidence in the material. Plus there is no ticking clock for them compared to a script that is out all over town. No, or little competition. Now packaging is a different story. Going out to a few directors, actors, etc. is fine/good. But the go wide vs go select for producers... I will never take a project out select again.