Plummer, is your script posted in here?  If so, what is it?  I'll give it a quick look and give you some quick feedback, as well as whether or not IMO anyone would offer $40,600 for it.

Let me know.  Feel free to PM me if you prefer.

Quoted from Plummer25 I'll do my homework on this as it sounds too good to be true but still at least someone's reading it and liking it.  I can't get anyone to read it on here.  LOL.

How many scripts have you read and reviewed on here Plummer? not many I would guess with a total of 5 posts to your name.

Getting people to read your scripts is the easiest thing in the world to do, just read theirs.

Quoted from Dreamscale Ron, I think I do undertand the "Dream Scale", but your original comments confused me, in that you said a $50 Million movie that grosses $120 Milllion would lose $10 Million. That does not make sense to me.  In my mind, that would be a scenario in which everyone would be very happy. So, let me put it this way...how much would a $10 Million movie need to gross World Wide) in its theatrical run to be considered a success?  Am I crazy to assume a $15 Million gross would be considered a success?

It's almost an impossible question to answer because it all depends on how much money has been spent, on what and what the stipluations of the contract are.

Bear in mind that out of that gross figure (which is just the sum amount of money spent on tickets) there are the theatres takings, the distributors fees (as much as 30-40% of gross) distribution expenses (laboratory costs, printing costs, advertising expenses, an
added 8-12 percent advertising overhead charge, licenses, foreign
duties, taxes, checking costs, collection costs, guild residuals,
association dues and
assessments, translation and subtitle costs, reissue (or re-release)
costs, film reformatting costs, shipping costs, copyright registration
costs, insurance premiums, litigation expenses (if any) and royalty
costs.

The list goes on.

Then there is interest on negative cost (they charge interest on the actual production of the film until it is paid off), overbudget penalties and alll sorts of hidden costs that they will try and introduce.

Quoted from Dreamscale Plummer, is your script posted in here?  If so, what is it?  I'll give it a quick look and give you some quick feedback, as well as whether or not IMO anyone would offer $40,600 for it. Let me know.  Feel free to PM me if you prefer.

The only script of his on here, I believe, is "Tickets, Please" in the Comedy section.

Yep, I found it.  I don't want to be an ass or anything (like I usually am), but there are problems galore, starting with the tile itself. It's listed as "Ticket's please" on the title sheet, which is obviously a typo, as it should be "Tickets please", as you listed here.

Plummer, if someone wants to give you $40,600, or even $460 for this script, immediately sign the paperwork and laugh your ass off on the way to the bank.

No Offence Plummer, but i think either somebody is winding you up or you are winding us up. I have just skimmed through your script  and being brutally honest I cannot see anything there that would make me believe someone was prepared to offer you $40k for it.

Niles

Some producers are happy to deal with writers directly and if they are Indies with small budgets, they won’t want to deal with the experienced greedy agent who often cares more for his commission than his client.

I’ve done deals above the figure quoted, and I have elected not to have an agent although I’ve been approached by some.

I do have a friend who is a very experience and well respected Hollywood producer/writer who represents me.

He used to be a literary agent, so he knows his way around but I prefer to negotiate directly and then leave it to others to work out the legal side of the deal, and my producer friend advices me as I need.

I handled my first two commissions, my first editing job and first option directly with the producers or directors involved.

While some Producers may be happy to converse directly with a writer in this way, I would be highly suspicious of them - and in my humble opinion (not, obviously, being as successful as you are) I think that a writer would be well advised not to speak to anyone without the support of an agent or lawyer.

I would suggest that a reputable Producer would also want legal cover for themselves, in case of claims that they stole someone's work or failed to pay figures claimed.

As you will no doubt acknowledge, even the most successful writer can find themselves on the receiving end of a contract that is to their disadvantage. (They get screwed, in other words!).

Niles

I can understand why you might be suspicious of producers and directors contacting you directly and in that, there lies a problem.

Unless you have had some success achieve on your own most agents and in particular the better ones will not represent you until you have had a modicum of success on your own.

So when you find you are breaking the ice you have to decide to dive in or stand on the sidelines wondering.

If serious money is involved just employ an entertainment lawyer.

As for producers covering themselves most use a release form before reading or accepting a script.

The thing to realise is there are as many want-to-be producers as want-a-be writers and often it is the blind leading the blind.

Surprisingly most producers and certainly most directors are not looking to rip anyone off, they are just looking for great screenplays that fit the genre that appeals to them in the budget they have or can raise.

And most realise if they find a truly great screenplay, hopefully the writer can produce more than one, so why would they kill the goose that can possibly lay the golden egg.

Fear of moving forward is what holds most people back.  

I am fairly new to these boards and website and will read some scripts and give honest feedback.  I'm actually in the process of reading one now and giving some feedback.  The script is Tickets Please, the draft up here on the board is the "rough" draft I made while back.  A few things have been changed but its mostly the same one viewed by the producer that I've been talking to.  Thanks for the early and honest feedback.  I'm still waiting to hear back from the guy and will e-mail hm by the end of the week if I haven't heard from him.

Believe me guys, I am as skeptical as you are and since this is really the first time I'm doing this type of thing I really appreciate all the advice.  I'm starting to doubt if this guy is really the real deal or not.