(Crossposted to cinema-l and screen-l, as well as scrnwrit) Hi y'all. Here, as promised, is the summary of what happened when _Empire_ magazine sent copies of a slightly altered script for _Sex, Lies and Videotape_ (renamed _46:02_, one of Steven Soderbergh's original titles) to 26 film production companies, "in a light-hearted attempt to see how easy -- or difficult -- it is to get started in the business of writing movies". A cover letter was sent with the script, which said that the author was studying film and writing in London, a brief synopsis, and that he would call in a week to see if the script arrived and to check progress. I'll summarize what happened with the various companies. They are ordered by the length of time they took to reach a decision. Please note that I am only doing this summary because I believe that it falls into the "fair use" category, regarding copyright. It is only a summary -- for more information, I suggest that you order the back issue in question (I've included addresses and phone numbers etc., at the end of this message). _Empire_ is an excellent magazine, and well worth checking out if you can. Please do not ask me, therefore, to go into any more detail. If, however, you want me to clarify anything that appears below, please feel free to mail me. * * * 20th Century Fox (UK) returned it within a week, as did Palace Productions. Fox refused to read it unless submitted via a third-party (such as a solicitor, producer, publisher or agent. Palace were "not in a position to take on board any further developments". Merchant Ivory Productions, Cappa Productions and Art Linson Productions responded during week 2. MI had projects planned for the next three to four years, and wouldn't consider unsolicited material. Cappa called to say that they don't accept unsolicited scripts, since they are too small to read everything. Even if submitted via an agent because "Marty (Scorsese, who owns Cappa) only does projects with people he has a close, personal relationship with". Linson sent a letter and three page release form, without which they wouldn't consider the script. It states "use of material containing features and elements similar to or identical with those contained in (my) Material shall not obligate (Art Linson) to negotiate with me nor entitle me to any compensation". Samuel Goldwyn, Walt Disney and Film Four International replied during week 3. The first two wouldn't accept unsolicited material. Film Four were "not enthusiastic enough about the project to wish to pursue it any further". Cinema Verity Ltd., Working Title (Developments) and Warner Bros, replied during week four. The first two caught on to the stolen screenplay. "[U]ncomfortably close to" and "bears an uncanny resemblance to" were the ways they put it, rather than outright accusation. Warners refused to accept it unless submitted by a "licensed literary agent". Six companies responded in week 6. Enigma read the script and realised its origins. Letter (they didn't return the script) said that it "bears more than a passing resemblance to _sex, lies and videotape_". 20th Century Fox (US) refused to accept it but a handwritten letter, attached to the typed letter, said "PS. I glanced through this script. For your information, plagiarism is illegal and despicable. I don't know who you thought you could fool by changing the names and location of _sex, lies and videotape, but I advise you to stop making a fool out of yourself". This was the only letter to actually accuse plagiarism. Handmade returned it unread, as did Tri-Star and Paramount. Imagine sent script and cover letter back, with no rejection letter. Envelope was stamped several times with "Return to sender -- Imagine does not accept unsolicited materials". First Independent returned it in week 6, claiming to have a full roster of finished product. Morgan Creek returned it in week 7, with letter saying that they didn't accept unsolicited or unrepresented material. British Film Institute Production sent a letter in week 11 from the BFI's script co-ordinator, saying that their script-reading group had read and discussed it, but it hadn't reached their short-list. That left five companies who hadn't replied by the time the issue went to press. It was the December 1991 issue, and the scripts were sent out on 22/7/91. The outstanding companies were Euston Films, Orion Pictures International, MGM/Pathe, Geffen Films and Universal. Eusten said at week four that it would be read. No word after that. Orion claimed that it was on its way back (in week 3!), since they only accept scripts via agents listed with the WGA. MGM said on the phone (week 11) that it would be sent back or "tossed in the trash, to be perfectly honest with you...", `cos they were moving offices. Geffen: Week three (phone), "It will be sent back to you". Week 7 (phone, office manager Gloria), "I'll take your number and have someone get right back to you. You're calling from London? Right _now_?" (Presumably Gloria thought he might have been phoning from London next week..! -- Liam). No word back. That just left Universal. All the contact that could be made with them was with the internal answer machine for the story department (week 3 and week 7). No word back at all. * * * The actual article goes into far more detail... it's worth tracking down if you are really interested (I'll include the address for back issues and submissions at the end of this message). There is a follow on (semi-serious) article about "How to Get Ahead In Screenwriting". The moral of the story..? The article lists 5 things that "Matt Tyler (the fictional author) wishes he had known back in July... 1. Don't go overdraft sending your script out ... on both sides of the pond. Instead work out a _very_ careful plan to minimise costs and maximise chances of being read. Call people to ask if they're looking for work, and heed their answers. 2. British companies will at least read your work. The Americans, though, ... [won't unless you're represented or sign away all sorts of rights etc]. There is no copyright on ideas and don't the studios know it. 3. In Britain #20,000 is about the limit for a screenplay by an established writer. [1st timers often get low thousands or even hundreds]. Hollywood pays `rather' better. 4. Get an answering machine and never turn it off. 5. Don't, whatever you do, give up the day job." (# = pounds sterling) A major question that comes to my mind is just how unread is your material, when it is returned "unread"? I look forward to your comments on this exercise (I hope it generates some discussion -- I spent long enough typing the damn thing!!!) Anyway here is the address for back issues: Empire Back Issues, P.O. Box 500 Leicester LE99 OAA or phone 0858 410510 Cheques should be for #2.80 per issue. Overseas readers (outside the UK) should list a second and third choice in case the original selection is not available. Personally, I'd phone... Only the following back issues are available (according to the April 1992 issue): December 1989, November 1991, December 1991, January 1992, February 1992, March 1992. (The fake script article appeared in the December 1991 issue) For subscriptions: Empire Subs Same address as above. Credit card payments: 0858 410888 Rates: #25.00 -- UK #29.00 -- Surface mail to rest of world #38.00 -- Air mail to Europe $68.00 -- USA direct They accept VISA, ACCESS, AMEX, DINERS CLUB, or cheque (mail). (Again, # = pounds sterling, and $ = US dollars (I assume) In addition to a twelve month subscription, if you apply before May 10th 1992 you get a long sleeve _Empire_/"Are you talkin' to me?" T-shirt, an _Empire_ calendar, and a copy of _Recommended_ (Empire pick of the movies and videos of the year, 1991). Phew! That's about all, except that I should add that I have no connection with _Empire_ or its publisher, except as a regular reader. Liam. ====- *"I mean. look at this. All e-mail to:- [log in to unmask] * What is it?" *"I'm surprised you've Kerr Avon (aka Liam C. Cairney), * forgotten my Lord." ICL Associated Services Division *"I haven't forgotten. It's * a rhetorical question." "I belong to Glasgow..." *"Nah... it's a potato." ** -- Blackadder & Baldrick**