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Posts Tagged ‘Pete Jones’

There’s been a big surge this month on my post Screenwriter/Saleman Pete Jones.  Why would there be a surge from a post written over four years ago? I haven’t seen the rebooted Project Greenlight, but I have a felling it’s connected to that since Jones was the person who wrote and directed the first Project Greenlight film, Stolen Summer.

And since I’m on the tail-end of a month long of posts centered around filmmaker Robert Rodriguez it’s a fitting time to talk about his salesman side that’s helped allowed him to build a creative career.  Earlier this year on Tim Ferriss’ podcast he asked Rodriguez this question, “When you hear the word successful who’s the first person that come to mind to you?”

“I always thought my dad was successful because he was an entrepreneur in that he had ten kids and he sold cookware door to door. And the beauty of that was he’d come home and my mom would say, ‘the kids need braces,’ and he’d calculate how much cookware he’d have to sell to pay that—and he’d go sell it. Once he knew he had a target, If he worked a job where if he got the same amount of money no matter what you’d be screwed, but because he could go sell harder—sell somebody on something. It’s really strange, I have five brothers and none of them work for anyone, they’re all entrepreneurs, they all have their own businesses…No one wanted to work for anyone else. Partly because it’s in the DNA, you just don’t want to be under someone else’s thumb….I used to read his little entrepreneur magazines and I’d say, ‘that’s so cool that guy owns video machines in the back of his truck and drove them around the malls.’ I was always encouraged by these entrepreneur stories. People finding another way to go, instead of following everybody else and finding success and happiness. Successful people to me are people who put it all together. Because you can have business success, and job security and be miserable in your personal life, or always having that falling apart or some crisis always happening, and I’m eating it up and loving it and I got that from my father.”
Filmmaker Robert Rodriguez

On a related note, last night I watched on Netflix Milius and enjoyed the doc as it filled in some gaps on the life and work of writer/director John Milius (Conan the Barbarian, Big Wednesday). Besides being a gifted storyteller, Milius sold his persona of bravado and machismo that was a mixture of Hemingway, John Ford, and John Huston. He came on the scene in the late 60s with Coppola, Lucas, and Spielberg. He wrote iconic lines such as “…You’ve got to ask yourself one question—do I feel lucky?” (Clint Eastwood in Dirty Harry) and “I love the smell of napalm in the morning” (Robert Duvall in Apocalypse Now). Oliver StoneJoe Eszterhas and Quentin Tarantino all followed the larger than life Hollywood persona using a torch borrowed from Milius. (And one that Milius took from his childhood heroes John Wayne, Gene Autry, and Chuck Yeager.) More on Milius later when I can do some research.

Scott W. Smith

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“A-B-C. A-Always, B-Be, C-Closing. Always be closing, always be closing.”
Blake (Alec Baldwin) in Glengarry Glen Ross


Do you remember Pete Jones? He’s the guy who was the first writer/director picked by Project Greenlight to have a movie made. He has a new movie out today called Hall Pass starring Owen Wilson and Jason Sudeikis. (Jones is credited as co-writer with Kevin Barnett, along with the Farrelly bothers from There’s Something About Mary fame.)

Ten years ago Jones was this guy in Chicago selling insurance and hoping to be one of the lucky ones chosen by Matt Damon and Ben Affleck to have their script plucked from the Internet to be made into a movie. The result was the movie Stolen Summer. It was far from a blockbuster film, but it launched Jones’ career.

Back in ’03 or ’04 I met Jones in West Hollywood. I was in LA for a TV program I was producing and the cameraman on that shoot was Pete Biagi. Biagi is well-known in indie circles in Chicago and was the director of photography on Stolen Summer. So when we wrapped our shooting after a of couple of days Biagi called up Jones and a small group of us had dinner at the Formosa Cafe in West Hollywood.

The Formosa is one of those classic old Hollywood restaurants that’s been around since the ‘30s and whose guests over the years have included Humphrey Bogart, Clark Gable, Lana Turner, James Dean, Marilyn Monroe, Johnny Depp and so on. The Formosa was also featured in the movies L.A. Confidential and The Majestic.

So I’m at this restaurant with this Chicago-connected gang and I’m the outsider from Orlando. So I don’t say much but I learned something important that night.

I asked Jones how many screenplays he had written before he got discovered on Project Greenlight. He said six. If you remember the HBO special made on the making of Stolen Summer you may recall how they played up the fact that Jones was an average Joe insurance salesman who wrote a script. I know people who call themselves screenwriters who haven’t written six scripts—I don’t know any average Joe salesmen who have written six screenplays.

Playing up that Jones was a salesman is called PR. Because everyone wants to think, “I could probably do that if I tried.” The fact is Jones was an insurance salesman, but he had also graduated from the University of Missouri School of Journalism. (That school has turned out a lot of accomplished writers.) Keep in mind that he was in his early thirties when he was chosen for Project Greenlight. His sales training played a critical part of his success. Graduating from J-School couldn’t have hurt. But he still wrote six dang screenplays before being discovered.

You can pick up a used DVD set of the complete first season of Project Greenlight for under $10 on Amazon, and that’s a solid investment in getting a foundation of what it takes to make a film. I’ll go as far as to say that I think it’s the single best example on DVD I’ve ever seen of watching the entire filmmaking process unfold.

But my favorite part of Project Greenlight is when Affleck, Damon, producer Chris Jones and others have narrowed their selection down to three screenwriters. It’s late at night and after six hours of deliberations the producers have to finally make the call on what film they are going to spend a million dollars to make.

In desperation Affleck asked the sound guy working on shooting the HBO special who they should choose, and he says, “Pete. Pete’s the guy that’ll never get the chance unless you do it.” Miramax VP Jon Gordon jokes that they should just have the screenwriters wrestle for it.

What they do is bring the three finalists back individually to have them make a final pitch on why their script should be chosen.

That’s when Jones’ insurance sales background kicks in. Where the others talk about their story, Jones hits the producers emotions. He tells the group;

“It’s about making the best film. And I’m getting a little emotional and I shouldn’t be, but it’s about making the best film…and the HBO thing is great—I would personally love it. Call me narcissistic, but I enjoy that. That’s not what it’s about, it’s about you guys screwing the studio system and saying let’s make the best film. Market the film? F*#K you. Who cares? We’re making the best film, we’re putting out a million bucks. I don’t have a million bucks, but studios have some money and a million dollar budget is not going to crush them. So he’s let’s make the best film that we can make. And, obviously, I’m biased, I think my movie’s the best film to make. I think my film probably wouldn’t get made by a studio—by a big studio, you know? I think that Greenlight is the kind of project  that would make a film like this.  I’m not a Hollywood expert, so I don’t know—I’m just going on a stereotype here.”

You can tell by the faces of those in the room that it’s a done deal. Sold.  Damon and Affleck are either dead tired, stoned or mesmerized. Chris Jones says, “I don’t have any other questions after that answer. “ Remember people invest in passion. And the part where Jones says, “F*#K you. Who cares? —I’m pretty sure Jones was channeling Mamet/Baldwin from Glengarry Glen Ross. “Coffee’s for closers only.” Jones was a closer that day.

And that was the turning point in Pete Jones’ career. The man was good in a room. He understood the basic sales principles of features and benefits and hitting human emotions. Next thing you know Jones was directing Aidan Quinn and Bonnie Hunt.

The movie Stolen Summer had a limited theatrical release making only $140,000.  But Jones got to make another film. Oddly he chose to follow a kid film with the gay-themed movie Outing Riley (2004) which went direct to DVD. And the next year he sold the spec script Hall Pass for high six figures and it eventually, six years later, became the movie that opens in theaters today.

Everyone’s got a story, right? (Even if you haven’t seen Jones’ movies or like the ones you have seen, you have to appreciate his journey.)

The common recurring theme on this blog is Pete Jones did the leg work before he got a shot. He wrote six screenplays before he was discovered. Just like fellow Chicagoan screenwriter Diablo Cody, Jones had been writing for over a decade before his big break.  And he used that sales experience from his day job to sell Hollywood producers and actors that he was the right person to be chosen for Project Greenlight.

Related posts:

Beatles, Cody, King & 10,000 Hours

Learning to be “Good in a Room.” (part 1)

Screenwriting Quote #87 (Ray Bradbury)

Stephen J. Cannell’s Work Ethic

Screenwriting da Chicago Way

Writing “Good Will Hunting

Scott W. Smith

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“Everybody lives by selling something.”      Robert Louis Stevenson

“Tell stories! Great Speechifying = Great Storytelling. Period.”    Tom Peters

Stephanie Palmer’s Q&A on her book “Good in a Room” generated the second highest views to this site. (Right behind “The Juno-Iowa Connection” after Diablo Cody won the Oscar for Best Original Screenplay.) So I thought it would be worth exploring a little more in detail.

According to Stephanie (a former MGM executive):  “Good in a room” is a Hollywood term referring to creative people who excel pitching at high-stakes meeting. 

 

Outside of Hollywood being “good in a room” may be pitching an investor in your project. In advertising circles around the world it may be trying to get a client excited about your creative ideas.

Let’s not kid ourselves, public speaking is part of being good in a room. The thing that many people list as their #1 fear. If you’re a writer who pumps out great thoughts and people send you a check without you having to get out of your bathrobe then you can probably afford to skip learning to be a public speaker.

For everyone else it’s a great skill to learn. But can one to learn to be a good speaker? Some of the answers found in the post “Can Writing Be Taught?” apply here.

First speaking is like writing, the more you do it the better you will become. A friend who is a fitness instructor told me years ago that the key to staying is shape is, “It has to be a lifestyle.” The results aren’t pretty when we try to jog a mile after a year or two layoff. But how can you practice public speaking?

One of the best places to go to learn and practice public speaking is joining Toastmasters International. I moved to L.A. when I was 21 and the first thing I did was follow everyone’s advice and buy a Thomas Bros Road guide for LA and Orange counties. (I used to drive 30,000 miles a year in those days and those spiral bound detailed map books were gold. I imagine these days in an GPS/Mapquest age those books are less in demand.)

But the first thing I wish someone would have told me to do was to join Toastmasters. It took years of prompting in Tom Peters books before I finally visited a club Toastmasters meeting and then (after a couple of years on the sideline) to join. I now have been a member of a Toastmaster group for two years and it has been a wonderful experience and I recently received my Competent Communicator certificate for completing ten 5-10 minute talks.

Here’s what Peters’ writes in his book Brand you 50 (50 Ways to Transform Yourself):
Join Toastmasters. You are your own P.R. “Agency.” 

Building a local reputation is part and parcel of building Brand You. That means using any opportunity to…Tell Your Story.

 

Tame your (v-e-r-y natural!) fear of public speaking. There are doubtless lots of strategies for this. I am an unabashed Toastmaster fan. Toastmasters is a bit too structured for me, but that’s the smallest annoyance. It is the premier self-help organization  that has led hundreds of thousands to master Self-Presentation.

Toastmasters is a safe place to begin improving your speaking skills and with dues under $30. a year it’s one great investment. I am amazed to watch how people improve in just a couple of weeks. There are Toastmaster groups around the world…even in Iowa. There are probably several groups in your area that meet at all different times to fit into your schedule.

(Just learned from writer Lisa Klink’s blog that there is a Toastmaster flyer on display up at the WGA offices in Los Angeles. Could be an excellent networking opportunity for those in L.A.)

But Stephanie points out that being good in a room is more than just being a good speaker and pitching your ideas. It’s about building rapport. She says that in her experience as a studio executive the buyers are asking themselves if they want to spend a couple of years of their life working with you on a project.

“The Ultimate goal of ANY pitch is to establish an ongoing relationship with the person you are pitching…when I hear a two-minute pitch, I’m also checking out if this is the kind of person I’d like to do business with.”
Shelia Hanahan Taylor, Practical Pictures

Obviously your story must be solid but it helps if you’re likable as well. Stephanie lists three secrets for building rapport:

Secret 1: Allow yourself to really care about the other person and to be curious about who he or she is. Empathic interest creates trust.

Secret 2: Common ground cannot be faked or fudged. Rapport requires honesty.

Secret 3: The warmth that signifies true rapport is not something you can force. 

She unpacks these more in detail in her book so make sure you pick up a copy “Good in Room” and join Toastmasters as well. And embrace the fact that you are a salesperson. If you want to see a novice screenwriter be brilliant in a room find a DVD of the first season of Project Greenlight and watch how first time director Pete Jones does a master sales job on Ben Afflack, Matt Damon and Chris Moore as he pitched his story Stolen Summer which they did produce.

Where did Pete learn to be a salesman? He sold insurance in Chicago. (Always pushing for that Midwest angle, aren’t I?)

Speaking of Midwest angles —  in the latest Script Magazine (Vol. 14/Number 2) there is a photo of Kevin Costner from Field of Dreams.

Scott W. Smith

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

“IS THIS HEAVEN?”

 

 

(That movie was filmed about an hour away from where I’m typing this blog and you can tour the Field of Dreams Movie Site from April through December.) Anyway, the photo of Costner in a baseball pitcher’s windup is in an article by Lee Zahavi-Jessup titled Perfect Pitch. It’s a solid article and a good read.

Zahavi-Jessup writes, “With a strong pitch, the writer is allowed an opportunity to display the brilliance, efficiency and creative prevalent in his 120-page screenplay in a focused and concise fashion.”  That takes practice.

I’ve also noticed online pitches starting to pop up and I don’t think that’s a trend that will fade away. I believe it will open the door for more writers outside LA to be able to pitch their stories. If all this seems too much to grasp remember the Milton Glazer quote, “Art is work.”

 

“A lot of the time it’s essential that you have some P.T. Barnum in your personality. That is, you have to know how to sell.

                                                        Andrew Marlow (screenwriter, Air Force One)

Copyright 2008 Scott W. Smith

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