By: Sarah Chaisson-Warner
Earlier this month, Shore Scripts hosted an exciting and informative webinar with Jack Donaldson, Executive Coordinator from Atomic Monster/Blumhouse (BACKROOMS, M3GAN, MORTAL COMBAT II.) Jack, who also serves as a Shore Scripts Feature Contest Judge, joined Atomic Monster/Blumhouse in April 2024 as Executive Coordinator in the office of James Wan. Previously, he served as Executive Assistant to CEO Bill Block at Miramax. Before joining Miramax, Donaldson worked at Dick Clark Productions, first as Executive Assistant to President Adam Stostsky and later as Development Coordinator. Donaldson holds a B.F.A. in Comedic Arts from Emerson College in Boston, Massachusetts.
In this free event with hundreds of writers from all over the world, Jack shared more about what production companies are looking for, how features get greenlit, what makes writers stand out, and opportunities for building industry relationships.
WHAT PRODUCTION COMPANIES ARE LOOKING FOR
The needs and interests of production companies are ever-evolving, and production companies are increasingly relying on social media outlets, including YouTube, to help source potential content and find rising talent. Jack pointed to the success of OBSESSION and BACKROOMS and how those films are continuing to shape creative outlooks for production companies.
“I think that with the success of OBSESSION and BACKROOMS, it is powering these companies to take more chances on first time filmmakers…Social marketing in an organic way is something that really can’t be bought. And I think we as viewers have the keys in our hands.”
After years of focusing heavily on big-budget IP-based projects, many production companies in Hollywood are now seeking new and independent voices to add to the mix.
“The calculated risk is now leaning towards [unestablished], independent screenwriters. It’s so awesome to be a part of a new wave of up and coming people who might not have had that opportunity before.”
But most of all, production companies are looking for writers with a unique perspective and distinctive voice. What makes your script different from the next person’s is you. Your voice, your experience, and why you feel compelled to write this particular script. “You have to elicit a response and feel emotionally compelled by the writer and want to work with them,” he advised. “I’ve been on pitches and it’s just someone talking – that’s all. But their story is so compelling and you’re on the edge of your seat.”
Jack also advised writers to avoid trying to fit a square peg into a round hole, just to meet what a production company might currently be looking for. “If you don’t like horror movies and that’s not your voice, don’t make horror films. You don’t have to bend to what companies are looking for right now. We’re hiring people, not screenplays. You wrote the screenplay, that’s why we want to hire you.”
HOW FEATURES GET GREENLIT
Atomic Monster, which has 11 people on the team (7 on the film side) has several different methods of greenlighting a script. “Sometimes, we get a script people are excited about and we acquire, option, and develop it with the writer. After a pass or two with notes, we attach a director, and the director will work on the script more with the writer, and then we hopefully go shoot it.”
Proof of concepts or short films can also help a feature get greenlit, but Jack reminded writers that this is just one of many ways a feature can get greenlit – “If you think you can make a great short film, all the better. I get to have all of that visual language and see that you know how to make a film.”
At times, Atomic Monster will bring on a second writer. This is often standard procedure across the industry, and isn’t necessarily a reflection on the original writer. “Some people are awesome at writing details in the script and aren’t great at dialogue. Others are excellent at writing dialogue and others excel at format. Some writers are great at writing endings for scripts and tying up all of the knots. Different writers have different skills – sometimes if the dialogue isn’t working, we’ll bring on another writer to help with the dialogue.”
WHAT MAKES WRITERS STAND OUT
There are multiple ways a writer can stand out in a sea of hopeful feature filmmakers, and Jack reminded event participants that there’s no one way to break into the industry. Of course, a warm introduction is often the most valuable – if you don’t have many connections in the industry, he suggested joining writers’ groups and other networking opportunities to build relationships with people who might already be repped and who can make an introduction.
Making a name for yourself on your own can also help you stand out. This includes leveraging social media following and creating your own content, but it also includes getting on the high-profile Black List (the list of the hottest unproduced scripts right now, not the online script hosting platform.)
“The Black List is a great example of people submitting scripts and getting feedback without that representation side, but then also getting representation off of that.” More here:
BUILDING INDUSTRY RELATIONSHIPS
Creating, building, and maintaining industry relationships can be challenging, but the entertainment industry runs on them. For writers interested in gaining representation, Jack advises against going straight to the top and instead suggests starting with assistants and newer agents. “I think one of the main issues people sometimes have is that people will go to the top. ‘I have a screenplay. I’m going to go to the biggest lit agent in town and I’m going to email them my script.’ It’s not going to work.”
Jack suggests instead starting with an assistant to a literary agent:
“They have way more power than they probably even know.” Hear more of Jack’s comments here:
Jack reminded participants that an agent likely has upwards of ten meetings in one day, leaving very little time to read scripts or take additional queries. But an assistant may have more time and willingness on their hands. Since the pandemic, Zoom meetings have become normalized, but in-person meetings are also valuable in creating meaningful connections.
TAKE THE NEXT STEP
You are closer than you think, you just need the right people to notice! Over the past fifteen years, we’ve built an unparalleled network of industry relationships, resulting in millions of dollars in spec sales, hundreds of writers signed and introduced to representation, and multiple films produced, including The Assessment, starring Alicia Vikander and Elizabeth Olsen, acquired by Amazon for mid-seven figures.
We are seeking emerging feature screenwriting talent across all genres. Our Feature Contests provides cash prizes, ongoing development support from our dedicated Writer Development Manager, and direct introductions to a curated network of 300+ producers, agents, and executives actively seeking new material. Learn more about the Feature Contest – Final Deadline August 28th!
Sarah Chaisson-Warner is the former Founder and Editor in Chief of Athena Magazine for Girls. Sarah is an award-winning screenwriter. She writes across genres – her feature scripts and television pilots range from LGBTQ period pieces to grounded sci-fis to mysteries. She has spent the last 20+ years working in state and national politics, allowing her to seamlessly intertwine themes of political intrigue into her scripts. Sarah enjoys spending time with her spouse and children, playing tennis, and traveling.
