Scott, do you think that this opens up the possibility of a more bidding war centric selling model, since there are more venues that have the money to compete with the known systems? I was wondering how this'll change packaging also, I would imagine we may see studios trying to shore up more long term deals with actors to try and keep them out of these other projects.

Thank you for providing more background. I think there is a certain unfairness at comparing Max's stats and achievements, and as I've seen on twitter instructing others to act like him. He seems like a great guy, a brilliant story teller and an incredible work ethic, that doesn't change the fact that he got a major advantages (being white, male, American, LA born and raised, wealth, access and mentoring) that brought him to his current position. I hate the silliness of people blaming his success to nepotism, but at the same level, most can't copy his methods or even get near them. Doesn't mean I won't get there, I'll do so by following a different path and I do hope to meet Max at the top. But currently, US visa laws doesn't even allow me to volunteer at a film festival.

Justin, as I noted in the OP, the easy answer is to say no, we won't see a return to the bidding war days of yore. BUT... I've learned to never say never about anything related to Hollywood. Honestly we have little idea the overall influence Netflix will have over the next decade on ALL fronts. That, Chinese money and influence, and virtual reality have HUGE potential to completely remake the entertainment business. Any of those could enhance the spec script market. Another possible factor: The sustainability of the current pre-branded / superhero / franchise / spectacle / nostalgia model Hollywood operates with. How long will audiences put up with this, let alone be drawn to pay $$ to see an endless barrage of this type of entertainment? Because if consumers grow weary of remakes, reboots, prequels, and sequels, and want something new and different, there again we might see growth in the spec market. But the bottom line - as the number of big deals listed in the OP suggests - in hot times and even not so hot times re the spec market, if you write a great script which the industry thinks is a hot commodity, they will buck up.

David, I have the script for Bright, have yet to read it, but I'm sure when I do, the marketable elements will be readily apparent. Beyond the $3M purchase price, there is a more important number for aspiring screenwriters is this: 93. That is what Landis says is the number of "completed feature" scripts. Regardless of the benefits he may have had due to his familial connections and upbringing inside the business, the fact is he pounds out scripts. He is productive. That is a lesson for ALL of us. It's all the more impressive because he could easily only chase writing assignments. But no, he continues to write specs. Here's a question: What if someone from, let's say, Sweden or New Zealand had written "Bright". Would that have ended up selling? I would say yes. Maybe not for $3M, but quality wins out. In terms of access, there's never been more opportunity for writers outside Hollywood to get their material into the system. Just yesterday, Calvin Starnes posted something helpful in this regard which you can read here. So come up with a GREAT STORY CONCEPT, then write a great script. That's what I try to do. That's what all my screenwriting compatriots in Hwood try to do. F. Scott Frazier, Brian Duffield, Chris Borrelli, Daniel Kunka et al, even though they write on assignment, they continue to write specs. It's still the best way to get attention in Hollywood, even when the spec market is flat.

I agree, 93 is an impressive number, and my claim is that the nurturing environment he grew up in, helped him get there, a lot of good starting points (even writing in English as a first language is a perk), that's the way it is. getting there, is a wishful goal for all. Chasing writing assignments is a middle point. At a starting position, you can't get any and when you're established, you can choose to be picky, which Max claims he is. I write specs only. The premise for "Bright" bores me, but I probably will like the script. We can't tell, it probably will, but how does someone from Sweden gets his script passed around? (I have some methods in my mind, but that's still submitting to a "contest", even if it's a The Blacklist reader) Thank you for the post. I'm familiar with the options he mentioned. other than contests (excluding fellowship and workshops at Disney, WB, etc), most are harder to attain if you don't live in the US or more specifically in LA. You can't build you way up, network, volunteer or work because you need a visa for that, you can't stay over 6 months as well. Creating is possible, but so hard (equipment costs more, harder to get English accent actors). I'm working on the fronts that I can (even filming my own), and it's harder, and it's a slightly different game, but I will get there.

Although confirmed details are a bit sketchy Bright seems to have been sold as a package (script + director + talent) which is the sort of thing mere mortals dream of but you can do with Representation + 92 scripts under your belt.

David, you may want to read an interview I did with the writing team of Stansberry & Tuneld, the latter who lives in Sweden.

Michael, yes, script was part of a big package. And as discussed earlier, Landis was at a big advantage as someone who had already established himself in Hollywood and is repped by one of the biggest agencies (WME). That said, tomorrow I will be posting a list of several 'first-timers' who made deals on their specs and broke into Hollywood that way. Behind them, there are countless others whose scripts did not sell or get optioned, but signed with reps off the strength of their scripts. As always, the odds are against us, severely so. But the fact is people DO break into the business via spec scripts. Like myself. The market may be in a lower point of activity now than in the past, but specs are still one way into Hollywood.