Writing the Comedy Blockbuster. Keith Giglio
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That’s what happened to us at Spielberg’s company.
My wife and I wrapped up the pitch. We knew it was dead and not going anywhere.
There was silence. The meeting was over. The ice-blended vanilla drinks had not even arrived.
“What about the drinks?” I asked.
“We have to-go cups,” the Exec said.
Holy crap!
And they did.
How many bad pitches had they heard to think, “We have to get some to-go cups in here”?
I can’t wait to meet her again and remind her of that story. Call me, Nina!
The truth about pitching is this: I compare it to the old Groucho Marx show where a contestant comes on and if the magic word is said in conversation, a duck drops down holding a placard of the word — and the contestant wins a prize.
If your agenda meets their agenda — you have a chance to sell your pitch.
Which is why you need to have the elevator pitch ready.
Do you know what an elevator pitch is? You’re in a building, going to a dentist or visiting a lawyer, and you get in an elevator on the twentieth floor. The elevator stops. A famous, successful movie producer or agent or star gets in the elevator with you. You say hello, and say you love their work and mention that you finished a screenplay.
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