The two met while working at the Walt Disney Company. Cantwell's online movie company was acquired by Disney and he was moved into its marketing department, while Rogers was hired by Cantwell's team to manage Disney's editorial program for social media. After a year of working together, they learned that they had each graduated from screenwriting programs in college—Cantwell from the University of Southern California as an undergraduate student, and Rogers from the University of California, Los Angeles as a graduate student. Kennedy called The Knoll, landed on the Black List of popular unproduced screenplays.
Page limits are suggested lengths only.
Logline Sentences — Provide a brief, catchy summary of your story. Give an overview of your story, introducing the main characters and potential plot points. Describe the anticipated story structure and narrative trajectory, or potential character arcs for your project. Discuss your access to the story and characters.
Topic Summary Approximately pages Why is this topic important, timely, or relevant? Why are you the best person to make a film about this? Explain the cultural or social relevance and context for the topic, and why this project is timely or urgent.
Detail the topics, issues, themes, challenges, stakes, or questions that your project will cover. Describe your creative vision for the finished project — its visual look and feel.
Explain your intended use of cinematic language or any particular artistic approach that informs the storytelling. If applicable, mention any creative elements and assets, interactive elements, new technologies or non-traditional mediums that you intend to utilize.
Explain how these elements will enhance the experience and interaction between viewers and the world of the story. Project Stage Approximately 1 paragraph Explain the current status of the project.
Your timeline should cover both the creative and production processes and should detail major project activities, production schedules, and anticipated post production and release dates. If you have applied before, please share how your project has progressed since the last time your applied.
Audience and Distribution Strategies 1 paragraph for each Distribution and Marketing Strategy Characterize the intended distribution life for your film. How do you plan to reach your target audience?
How have you addressed the needs and interests of this audience in your film? What is your relationship and access to this community?
Audience Engagement and Social Impact if applicable Audience Engagement is a strategy designed to activate audiences and constituencies toward a specific goal.
Not all films are suited for social engagement, but if yours is, what actions do you hope for viewers to take after seeing your film?
Do you have partnerships with organizations in your issue area already, and if so, how are these relationships informing your project development?
Do not send resumes, CVs or extensive filmographies. Bullet list any other advisors or consultants, if applicable. Financial Info 1 paragraph for each Fundraising Strategy Describe the strategy for raising the additional funds necessary to complete the project.
Include all sources and amounts raised to date. Clearly distinguish between potential sources of funding and secured amounts. List the status of other sources of funding currently under consideration, whether to be applied for or pending.
If you were to receive a grant, describe how the funds would be spent. In light of your total budget, how would these funds help you move forward with your project?About Stephanie Palmer Stephanie Palmer helps creative people learn to pitch, persuade, and sell.
She is the author of the book Good in a Room and has been . Disney | ABC Television Group’s (DATG) Creative Talent Development programs are instrumental in identifying and developing creative talent with multicultural voices and perspectives. Hollywood Agents, Managers and Production Companies who might read my screenplay or television script.
As a screenwriter, it can be confusing navigating the multitude of literary agents out there. Big or small, almost all literary agents won’t accept unsolicited material. Many specify that unsolicited material will be returned or destroyed unread, in order to protect them from complaints or. Q: How long is a picture book?
The number of words is not the crucial issue. Books range from several words to several thousand (compare Goodnight Moon to The Polar Express).
More important is whether or not your book reads like a picture book -- succinct, musical, pictorial. A key issue is the fact.
Literary agents act as gatekeepers; they take the best new material and submit it to publishing houses for consideration. Because editors at these houses—especially the larger ones—are so busy, they lack the time to properly review book submissions.