Here's a question ... given the success of SLUMDOG MILLIONAIRE and DISTRICT 9, films like that, without stars or in some cases, what many in the industry considered "commercial hooks", can we expect to see some changes in the industry on how audience taste and story is viewed?

In other words, there seems to have been a decline in small, interesting movies in favor of tentpoles ... is it too much to hope that more time / money / talent will be developed in that regard?

Thanks,

What advice do you have for an unknown writer living outside Hollywood to secure an agent or manager?

Thanks for the opportunity to talk to Jason Scoggins of Protocol Entertainment, Scott. If you would be so kind here's a couple questions I'd like to ask Mr. Scoggins:

1. As a pre-pro screenwriter with 12 spec. scripts I'm currently trying to sell do you know any agents or producers who are currently looking to read scripts from pre-pro writers, with an eye on posssible representing that writer or championing their work?

2. From an insider's point-of-view, what methods do you suggest pre-pro screenwriters use to get Hollywood agents to represent them?

3. Who in the movie making industry has Jason Scoggins done buiness with?

4. What kind of screenplay material does Jason Scoggins like to represent?

5. Does Jason Scoggins like to read feature length screenplays?

6. What is the best spec. script Jason Scoggins has ever read? And what made it good/memorable?

Thanks for you consideration,

E.C. Henry from Bonney Lake, WA

Given the number of new mediums and new opportunities to make money creativity therein, does Hollywood risk losing its share of fresh talent and innovation by keeping itself closed off from original, outside ideas? Could Hollywood become to moving pictures what IBM became to computers?

Hi Scott!
Just recently found your blog. I'm sure you won't remember but I once took one of your Writer's Studio courses @UCLA, so it's great to find this incredible resource :)

Some questions for JS: Do you think the spec market will rebound this fall? Or do you think pre-sold material will continue to be favored by studios? Is it even harder for an aspiring writer to break in now than in the past? Thanks.

The spec market's been pretty miserable this year. People say that it's due to the economic downturn and that starting next year things should be better.

What does he think next year will look like for spec sales?