Goldilocks and the Producers
Monday, February 18, 2008 at 17:40 With my rewrite on track, I devoted more time to name gathering today.
Out of every 10 producers I look up, 5 are too established and 4 are too small. I feel like Goldilocks, desperately searching for the one that's "just right."
But truth be told, I don't have a clue how to judge "just right" yet. Like the time years ago. Fresh out of college, I had a job to put together a directory of Greek bankers in the US (don't ask). I was told to go through the industry listings and contact anyone who had a Greek-sounding name. Totally ignorant of the banking & finance industry but confident in my ability to spot Greek-sounding names, I sent our form letter to one George Soros. I got a very nice letter back informing me that Mr. Soros was Hungarian, not Greek. I showed my boss, and he nearly fainted.
It was then I realized that I had pitched our dinky directory (think the equivalent of a wrongly-formatted script full of typos) to the Steven Spielberg of the finance world.
Today I'm older and wiser, and yet just as green. I know that despite my best efforts, I will make some inappropriate submissions (not to mention a whole host of other mistakes). But I'm going ahead anyway. And I'm even looking forward to it.
Hey, think of the anecdotes I'll have to share!
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Reader Comments (1)
I thought I was the only one fighting this problem;) I constantly battle between "too small" and "too large" with production companies. My problem as a composer is that my target audience is directors. A composer has to establsh a relationship with a director, because it's the director you want to follow from film to film, production company to production company. Director contact information, however, is hardly ever the director themself, it's almost always an agent.
Trying to get music in a director's hand is a little like trying to get a jellybean into a goldfish's mouth, while traveling on an oceanliner.