Today on the show we have an author, writer, and former studio development, Danny Manus. Danny parlayed his career as a development executive in Hollywood to becoming an in-demand script consultant and founder of No BullScript Consulting.
The author of No BS for Screenwriters: Advice from the Executive Perspective, which is now in its 2nd Edition, Danny was ranked in the Top 15 “Cream of the Crop” Script Consultants by Creative Screenwriting Magazine and was named one of Screencraft’s “25 People Screenwriters Should Follow on Twitter.”
Danny has taken over 3000 pitches, written almost 250 articles on screenwriting for numerous websites and publications including ScriptMag, for which he is a columnist, and has been a judge for the PAGE Awards four years running. In this episode, I wanted to see what the perspective is from the other side of the desk.
Enjoy my conversation with Danny Manus.
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Alex Ferrari 1:43
Well, today, we're literally doing that with our guests company called no bull script. Now, today's guest is Danny Manus, it's not Danny is a Hollywood development executive, and has been working in the business for many, many years working with huge companies and has taken over 3000 pitches, and is now focusing his life on helping screenwriters pitch and be able to get their projects seen by executives by the studio system. And he's coming at it from a very unique perspective, because he was on the other side of that desk for many, many years. So his experience is pretty priceless. That's why I wanted to have him on the show. And today in this episode, we really go deep into the weeds on what executives want, how to pitch properly, the do's, the don'ts, and so on. And Danny has been able to parlay his career as a development executive in Hollywood to become an indie band script consultant, and the founder of NO BULL script consulting. So he is definitely someone you guys should be listening to. So without any further ado, please enjoy my conversation with Danny Manus. I'd like to welcome the show. Danny Manus. Thank you so much for being on the show, brother.
Danny Manus 3:10
Thank you so much for having me. I'm really looking forward to this
Alex Ferrari 3:13
Awesome, man. Awesome. So before we get into it, I want to know how you got into the business?
Danny Manus 3:19
You know, it was kind of a boring story, but I'll make it fun. I I interned for a semester I went to Ithaca College in New York. They had a semester in LA program, which is half of the reason I went there. And so I interned at Columbia Tristar in TV development, and at Fox in feature casting. And I just, I loved it. I loved everything about LA I loved everything about the business. I was studying screenwriting, I came out here to write just after graduation. I you know, I had two big studio internships under my belt, I thought oh, I'll get a job no problem. And I stupidly which I kicked myself for one of the mistakes one of the many mistakes I've made you know, I didn't go into like the agency Trainee program or something like that, which I feel like I probably should have and I I tell people to do if they're moving out here young and hungry. But um you know, I looked for a assistant job and I you know, have the UTA job list when that used to be a thing you know, that you could really use and I got a job as the assistant at Sandstorm films, they had a first look deal with Sony Screen Gems. They had just had number one movie with them with the Forsaken, which was both there and Screen Gems first number one movie so they were very happy with them. And I was their assistant for about a year and I was awful. But you know, it was just like everybody else at that time in In the early 2000s, you interned, you're an assistant, you did your job. And if you were good at your job, you got promoted. And if you weren't good at your job, you floated around as an assistant for a little longer. Thankfully, I was useless as an assistant, but I gave great notes. And so they kept me. I had good ideas, and I gave great notes. And so they promoted me and we found a new assistant to help but it was, you know, as a small production company I had, it was for three heads. One person who was above me and me. And, and then when we brought in the assistant was one more, but we did a lot of movies. We did I think, in the three years I was there, we did seven films for watch, which is a lot. And most of them for Screen Gems. We did the covenant, which was a number one movie did the remake of prom night, which was a number one movie. And when we did a lot of movies that were not number one movies, back then you could make like straight to DVD movies and still make a lot of money. Right. So we did a lot of those too. And yeah, and I just kind of I love development. I really liked that world. I came out to write, like most development executives, and Joe Cardona, J. S. Cardona who was our principal, who's a writer, director. He's done 3040 films took me under his wing along with a couple of other writers that we were managing. That we worked with a lot. And so we kind of called ourselves their managers, we put them on projects, and they got paid. I mean, they were working writers getting paid and getting movies made. So you know, when he kind of took us all under his wing for a while, and it was really nice to have that person, you know, shepherding your, your career and then Sam storm ended. And I went over to Clifford rubber productions, to help had just done Cinderella story, which was a you know, $20 million grossing teen movie. And I love teen movies. And so I started there and was there for another few years. And I still work with Clifford, he's a great guy. And then during the writers strike, that ended we had things in, you know, that I had sold during the writer strike and, and it was still going and still going and still going, it was going at United Artists, which was at the time not to get too far into it. At the time, it was like, right after Tom Cruise did the jumping on the couch thing. Everyone was like, he's never gonna work again. And so he's like, I'm going to get into producing and really give my all into producing and so he loved the project that I had sold to UAE and things were go in and we were meeting with directors and we had a rewriter on and all this great stuff. And then all of a sudden Tropic Thunder came out. And everybody was like, Oh, wait, we still have Tom Cruise. Let's find another project for him. And then like everything got put on the backburner that was not Mission Impossible to turn around and blah, blah, blah. That's and that's Hollywood folk. But the breaking story was honestly just like everyone else's interned was an assistant, worked my way up to their director of development at Sam storm. And then went over to Clifford's as their director of development you know, got some things going and then decided half decided half writer strike, because there was kind of a hiring freeze, kind of, for like a year. I went on a lot of interviews, I did a short stint at eclectic pictures for lovely summer, for long for long summer. And, and while I was doing that, and working, you know, to other jobs, and trying to get my own stuff, you know, Project side already been attached to or that I was finding as a producer, as I was getting that going. I started an apple script and started consulting and, and it took off and so instead of looking for more exec jobs, I was like, You know what, I'm going to be my own boss for a little while, um, see what I can do and see what I can make of it.
Alex Ferrari 9:33
Good for you. So So you basically your your, you made your bones as a development executive, basically. Yeah. So, which is one of the reasons I wanted to have you on the show because I love to hear perspectives of development executive, someone who's been in the trenches, seeing these scripts come in, I'm sure you've heard a couple scripts in your day. And you've heard a couple pitches in your day. So
Danny Manus 9:55
Yes, so the about 360 current count 360 or so?
Alex Ferrari 10:01
So is that a dog ears are just normal counting
Danny Manus 10:04
That is it makes me feel like I'm living in dog ears. But yes, those are actual.
Alex Ferrari 10:10
Alright. So let me ask you, what is the worst pitch you ever took development executive because there has to be one that stands out.
Danny Manus 10:21
There is I mean, the worst worst pitchers are not the ones given by the professional writers who come in for regular pitch meetings. I've had pitches that aren't so great. But the ones that you talk about
Alex Ferrari 10:33
the ones that you would be on a podcast and someone would ask you, what's the worst and the one that you would say? That's the one we're talking about
Danny Manus 10:38
When you might put in your book, and
Alex Ferrari 10:42
what not to do of what not to do? Yes.
Danny Manus 10:47
They come from the pitch fests and the, you know, the out of the box, kind of pitching things and, and events like that. The best one, the best. The best one I used to tell. I was still a Clifford's. I don't remember what event it was, but it was here in Los Angeles. And, and it was about a year or two after Garden State had come out. And, and so I had this guy and he, he sat down, it's like, you know, I have kind of an indie dramedy, kind of like Garden State about this guy who, you know, is high and mighty high and powerful. But he goes back to his hometown, which is being like his beachfront property, which is being taken over by evil developers or something. And you know, he really hasn't connected with his home in a decade, or with his family, and he's taking a stroll down the beach to just kind of, you know, get back into the field of his hometown and a huge wave comes up and washes ashore, and it washes this great big seal up onto the shore that knocks him over and the seal rapes him
Alex Ferrari 12:07
so for everyone, for everyone not seeing this on the video podcast version of this Danny's face is dead straight. It's a complete that can delivery was was brilliant. It's just brilliant delivery. Oh, how he did it. And the re the seal rapes him. It just stood there stone faced it was. Wow,
Danny Manus 12:29
I practice that one. My former life I was Jonah Hill.
Alex Ferrari 12:33
I got it. I can't believe that's a real thing. Seriously.
Danny Manus 12:37
Yeah, that was a good one. I mean, I've had a couple of incest ones, which was
Alex Ferrari 12:43
and these people aren't completely the screenwriters are completely straight.
Danny Manus 12:49
totally serious. It was in Portland at an event I go to every year it's a wonderful event. So nothing you can see event this was just this guy. Now keep in mind my company at the time it Clifford's. We did Cinderella story we did Sydney while we were doing teen coming of age shows, sweet comedies. And this was right after Brokeback Mountain came out the year after. And the guy you know, even he went he wasn't even sitting pitching to me. He stopped me in the hallway because he couldn't get a session. And he was like, I think this is really for you. I couldn't get a session. I couldn't sign up. But I really want to tell you about as I'm sure tell me about it. Because like it's a coming of age love story between a dad and a daughter. And I gave him three outs. I went like a stepfather and a stepdaughter. And he was like, no, no. I was like, like two older people who didn't know until they were in their late 40s and 60s that they were related. They didn't No, no, no. It was like, like, like two people who didn't know that they were related in the team together. It's like no, no, like a father and his 16 year old daughter. Oh, my when you're just straight pitching me an instance. Cinderella story. He was like, I really think the best part was like, I've posted parts of it online. And it's gotten a great reaction
Alex Ferrari 14:16
from we're incest our os.org
Danny Manus 14:19
Yeah. And I was like, you know, I think that might be a Pass.
Alex Ferrari 14:25
Pass. It's a hard pass
Danny Manus 14:27
about it. But for now I'm gonna pass. Thank you, though. No, I'm good without the handshake.
Alex Ferrari 14:36
I love but I love that you gave them outs. And you were like, and actually your stories were more interesting. I'll be like, Okay, those are like more interesting concepts than just straight up incest.
Danny Manus 14:48
Yeah, I've had a few of those. I mean, I've had butthead police, you know, where people come in with gimmicks. I used to talk about you know, don't bring any gimmicks here.
Alex Ferrari 14:59
Oh, like Yeah, like like A stripper will show up or they'll bring drop
Danny Manus 15:02
costumes and props. And I had a guy with literally a foam, but on his head, you know, and and to be fair, at least it tied into the concept. I mean, it wasn't like a random prop for Batman or something was it? It was, it was but it was butthead police. It was it was an animated show. So you give it a little bit of leeway. You know, but you realize, you realize that for five minutes, you're literally pitching to an asshole. I mean, like there's there's one staring at you on his head, as he's pitching and all you can do is
Alex Ferrari 15:46
Oh, my God. Wow. Why haven't
Danny Manus 15:52
I fall asleep in a pitch? Which was amazing. No. Yeah, that that was a really good one that in his defense, it was the condition or is it? No, the condition was it was like 430 It was one of the last sessions it was eight hours of pitching. Everybody was exhausted. And but if if your own pitch puts you to sleep, just think about what it's doing to us. And if I didn't have my friend that day and sitting next to me, I mean, he nodded off for like, four seconds. You know? Like you could tell he was like telling the stories like it's a road trip about you know, two girls and they you know, they got to go save their um in those four seconds, I look over to my friend like,
Alex Ferrari 16:46
Is he is he sleeping? Sleeping? I was never mind. I was actually doing a consult once and I was at at a Starbucks and I had this moment screenwriter in front of me, we were talking. And he literally God bless him. He just had a rough night, because he had kids and everything. And while we were talking, he was just like, just yeah, just like, like completely go out while I'm talking. And, and you're not feeling when you're so exhausted. That you're trying to keep your eyes open. Yeah, but you can't. That's what I was for 30 minutes. I felt so I'm like, Dude, do you? Do you just want to go home? Yeah, if I could, man, I can't sleep I haven't slept on I
Danny Manus 17:28
Don't have kids writers don't have.
Alex Ferrari 17:31
So okay, so that's the worst of the bunch, which are amazing. By the way, some I have not laughed so hard in this in this show ever. So I appreciate that. For people watching the video version of this, you will see me lose my crap. It is hilarious. I can't I can't believe some of the stories. Now what is the best pitch you ever heard? One that you said, wow, this guy just not this girl just knocked it out of the park.
Danny Manus 17:57
You know, I had a couple of them. I had a pitching team that really had their stuff down. I will be honest, I don't remember the story. But I remembered them. And I didn't really like the story. I just liked how they pitch. They felt very sort of themselves. They had it down so they weren't talking over each other. They knew what you know, what beats to press and who was going to say them and in what order. So you know, they felt rehearse. They didn't feel amateurish. They were tight. They were tight. Yeah, it was a tight pitch. It was in five minutes of rambling. Because you don't need five minutes to pitch your story. You need three tops. And so yeah, they just had it down. And I mean, unfortunately, you don't remember the great ones. You really don't. I mean, you remember great pitch meetings and great people that you meet in pitch meetings. But you don't remember every story. That's good. You know, or that's great. You just remember the really
Alex Ferrari 19:06
bad one remember the incest Do you remember the but remember the ones
Danny Manus 19:09
that leave an impression? Yeah. Remember the ones that you call your mom about and be like, guess what happened today?
Alex Ferrari 19:15
Or you call your mom and go I don't know why I'm doing this and why am I in this business? What's going on? I need to reevaluate I'm making poor life choices.
Danny Manus 19:23
Look like last week was was uh, two weeks ago was my 16 year anniversary in this in this town and in this business, and I still call her every other day and say the same God.
Alex Ferrari 19:34
Just like I don't know why I'm here. I don't understand it.
Danny Manus 19:37
You should have made me go to business school. Exactly.
Alex Ferrari 19:41
Why did you support my dreams? How good you know what?
Danny Manus 19:49
A lawyer like all our other Jewish friends doing
Alex Ferrari 19:53
now Can you can you give some tips on how to do a good pitch like what are some of the keys that you need to have to have a pitch?
Danny Manus 20:01
Yeah, absolutely. You know, I've been teaching pitching is how I got into how I made the jump from executive to consultant, really, as I was speaking at a lot of these conferences across the country as a, as an executive, still taking all the pitches at the pitch fest, and I just keep seeing those same mistakes made time after time after time. And so I wanted to teach that class, which was called the no BS guide to pitching, which eventually kind of led to no postscript great and some great. I can't take full credit for it, I can only take half credit for it. My my first web developer, actually came up with it when she asked what do you you know, what do you want it to be a balance, like I wanted to really be my personality. And I teach a class called the no BS guide to pitching and the no BS Guide to Characters. And she was like, How about no bull script. And I went, Oh, trademark trademark trademark. So, but I started teaching that pitch in class, and over time, it has changed 100%. But for me, what I teach in pitching is the five C's and an H, especially when you have your short pitch, and you only have 235 10 minutes to do your pitch. It's all about concentrating on the five C's. The first one being context. where actually the first one is concept, you know, what is your idea? The second one is context, which is to me, you it's the template movies, you know, it's in the vein of this and that it's setting up the tone and the genre. It's setting up the context of why you're the person to write it, you know, what is your connection to the story or character? What is your connection or inspiration? You know, that's going to be somewhat anecdotal, maybe, but something personal, that's going to connect us to you, so that we know why you're the writer that was supposed to write this story. And, you know, and as well as anything about you that we need to know, you know, that's going to make you stand out if you've won prestigious contests, if you've been published or produced before, if you've been optioned before things that are gonna make you stand out against the pack. So the context to your project and the context to you. Next is character who we are going to follow. Why. And I always have my clients and writers say this is why this character why now, if you can't answer those two questions, you probably haven't figured out a strong enough character base to get your plot in moving or to make us invest in that character story. You know, what do they have to achieve? What do they have to overcome? Who's against them? You know, what is their goal, but also what is their deeper, you know, like emotional need and want. And just, and maybe a line of backstory, so we have some context to them, you know, what their baseline is. So we know once that inciting incident happens, like where their arc is going to take them. So the basics, you know, half a dozen basics about your main character. And, you know, I was a judge at Austin Film Festival, I taught their pitch prep class for their competition for a few years, and was judged for their pitch and calm for a few years. And you only get 90 seconds, and it's a tight 90 seconds. But every single pitch, if if writers spend 20 More seconds on character, their pitch would be 50% better. Because that is what's going to hook somebody. So that's character, concept, context, character conflict, what is the external conflict that's going to drive the story, we probably got a little bit of the internal conflicts in the character section. And then the fifth, C is confidence and just going in there, knowing that they want to hear from you, you have something to say, you know, and you are confident you know, your story backwards and forwards. You don't have to read off cue cards for three minutes. You know, like this is not your first time and if it is your first time you are faking it till you make it so we don't know it's your first time.
Just just go in there and own the table own the room so that you know, you're you're not cocky because we don't like cocky, but we do like confident in your story. You know, be collaborative. You know, if someone has a note, or someone makes a suggestion, don't be like No, that's an how it goes, I wrote this, you know, II open, but be confident in yourself and your ability. And the H which I tack on there is hook. Because we really have to know, once we know your concept, what is the hook that's making your concept different and taking it you know from a new angle, new, you know, direction, new thing that we haven't heard before. And if you can nail the five C's and the H in a 235 10 minute pitch, you will at least have the basis to bring somebody into that world and let them know you know what your story is about neither it's going to interest them or it's not.
Alex Ferrari 25:43
Excellent advice, sir. Excellent advice. And I'm assuming you go in much deeper detail on all of those in your lectures and courses and stuff.
Danny Manus 25:50
Yes, I do. Yeah, there's a there's tons of hours on it is one of my site it does go much more in depth as well as logline and forgotten context is where your logline would go as well. Okay, I mentioned that.
Alex Ferrari 26:07
Now, what is the biggest mistake you see first time screenwriters make?
Danny Manus 26:12
Um, you know, get this question a lot. And honestly, the biggest mistake is rushing it rushing the process, submitting before they're ready submitting before their scripts are ready. Not doing their research. And just the deadly combination of impatience, desperation, and ego.
Alex Ferrari 26:39
Danny Manus 26:41
If you get those trifecta, you are ft before you ever start, it's it's never going to happen. Because this this business takes four things. It takes luck. It takes timing, it takes
Alex Ferrari 27:05
your soul. It takes your soul. No,
Danny Manus 27:09
it does take your soul. It takes talent. It takes timing, it takes luck. And and it takes there was one other I always say talent, timing, luck. And persistence. Well, that too, and the right idea. And the right idea. And if you know, if the right writer doesn't have the right idea at the right time and have the right luck. It doesn't happen. Even if you have two or three out of those four. It's usually the force that becomes the X Factor. You know, there's so many projects I've worked on, or developed over the years that were just like, two years before it's time, you know, and if we hadn't, if we had just waited another year, everybody wanted that thing, you know, or there were writers who had the greatest idea I've ever heard. And it was the right time, but they weren't the right writer for that project. You know, and it's just when those four thing is, you know, the right idea, the right writer, the right time, and the right luck, all come together. That's when success happens. But too many writers are trying to force it. And their impatience and desperation will not only cost them sometimes 10s of 1000s of dollars, which, you know, as a consultant, I'm super wary of, because, you know, let's face it, it's not a secret. Some people don't like consultants, and there's some really shitty consultants out there who should not be charging for, for working with people. And, and they ruin it for everybody else. And the writers who are so desperate to get their first script out and made are the ones that are going to fall victim to that, and we hate seeing that happen. And so, you know, and executives, they can smell desperation, a mile? Bacon, you know, like, you it's the one thing you know, I know, a writer who's a good writer, prolific writer, hasn't quite broken through yet. But um, you know, he got a reputation as being a little too desperate. And people don't want to work with desperate writers. They want to work with people that that feel like they're already professional writers. They just, you know, don't have the, you know, the job's yet to prove it, but they feel like they are professional writers.
Alex Ferrari 29:54
Danny Manus 29:55
I mean, that really is.
Alex Ferrari 29:56
Yeah, nobody wants to you know, it's like a girl doesn't want to date a guy Like so desperate or vice versa. It's the same in this business. And I remember being on both sides of that equation, me being the desperate one. And then me being the one that seeing that smells the desperation on people, and it's such a turn off, you can have the best idea ever and it's such a turn off.
Danny Manus 30:18
To be fair, to be fair, I think I'm more desperate now.
Alex Ferrari 30:24
I smelled, I smelled it on you, sir.
Danny Manus 30:27
You're just you're just desperate for different things, you know, 15 years in, then then you were when you you know when you're in your 20s. But you just you learn how to keep it under, you know, you don't let the desperation bubble up in a conversation. You just you learn to stamp it down.
Alex Ferrari 30:48
You hide it? Well, sir, you hide it well. Now, another big thing that screenwriters have to deal with, and we kind of touched on this earlier, but notes and how to deal with notes. Because that's such an issue, especially for, you know, amateur writers or new writers. I've seen it I've seen it I've been there I've been I've done it myself early on in my career, where you get a note from a producer or director or an actor, and and you just get completely defensive over your baby is like, No, I am the one you are not How dare you. professionals don't do that. professionals understand that there is much bigger, it's show business.
Danny Manus 31:30
Yes, it I always say, you know, this is not they don't call it an art colony. They call it show business. However, I will say that I think professional writers get even more angry about notes
Alex Ferrari 31:45
depends on how, depending on how big they are, and how much experience you have.
Danny Manus 31:49
Yeah. But the thing is that a professional writer notes, it's not about the note, it's about the note behind the note. And they know how to they know, they know the code, you know, they figured out the code that backs us, to give you the note they're trying to give you without saying you wrote a bad character. You know, there, there's something else they're actually saying. And professional writers have figured out how to decode that, and how to address their note, while still getting across what they want to get across. Or, you know, new writers are so scared of losing that deal that they're scared of asking the question like, What exactly do you mean by that? Or, you know, would you, you know, do you think this might be a good solve? They're just, you know, they just solve everything, you know, they just try to, you know, if it's exes, you know, the character is not that likable. You know, a new writer, will go back to page two, when they're introduced, and say, you know, Bill 35. likable. You address that.
Alex Ferrari 33:03
That's great. That's great.
Danny Manus 33:05
But but, you know, a writer, you know, that's been doing this a while, is going to go back and look at okay, well, why is that character coming off as likable is, you know, is the goal that they have, you know, not relatable? Is the, you know, are the stakes not high enough for us to be engaged? You know, is the dialogue not quippy enough to show off their personality and make us care? Like, what is the reason for that disconnect? You know, there's a, there's a note behind that note that you have to find. You know, and, and that's the real difference. And that just comes with experience and, and time and the notes process. It's part of why I think new writers should get professional notes before they start submitting to producers, because it lets you in on that process, and gives you someone to discuss those notes with so that you understand the note and can address the note and get the options for the note before you're thrown into the lion's den. And you're like, he doesn't like my characters. What what do I do? Do I make a new character? You know, and you freak out over a note that is probably easy to address, if you know how to address it. So but you have to be collaborative, you have to be open to notes, even if it's the dumbest effing note you've ever heard in your life, and you will get that note? Your response in the room is yeah, you know what? That's interesting. Let me think about that. And then you immediately do not think about it because it is the dumbest note you've ever gotten. But you don't say that you play the game a little bit and stay vague. And you know, and that's how you win. But
Alex Ferrari 34:56
it's but it's politics. It's a game and that's what that's what screenwriters Even filmmakers, they don't understand when you're working in the Hollywood system, there is so much subtext in meetings, there's so much subtext and conversations, there's so many politics going on behind the scenes, and the higher you get up on that ladder. The harder is like I can't even imagine what was like for someone like Zack Schneider, dealing with a franchise like Justice League and Superman, and Batman how what you had to deal with. At that level? Well, you've got a bunch of scared executives, who all think they're gonna lose their jobs, because this whole thing is coming crashing down. And they got to bring in Joss Wheaton to do something for it.
Danny Manus 35:38
And by the way, every executive thinks they're about to lose their job at all times. At all times, and half of them will, you know, but on the flip side of that, I will say, and I always stand up for execs, because whenever I'm on a panel with writers or you know, they're always hating on executives, you know, who are these people who just want to slap their names on my creation and feel like they're part of the writing process? You know, I call I call bullshit on that. And I do, because the executive who's working with you, on your rewrites, who you've pitched this to who is pitching your idea to their boss, they're your biggest cheerleader in that room, they are putting their name and reputation on the line for you and your idea. So if they're making a suggestion, it's not 95% of the time. Yeah, there's 5% of douchebags who just want to take credit for stuff, but 95% of the time, it's because they know what their company or their boss is going to respond to, or not respond to in a pitch or in a script. And they want to help you make that good impression. Because your good impression is their good impression. And your success is their success. And so they have no reason to give you crappy notes on purpose. Unless you're a horrible person, and they're trying to get rid of you.
Alex Ferrari 37:06
Which there is that there is that there is that there's a tiny
Danny Manus 37:09
bit of that, but But you know, they are your cheerleader in the room, they are not there to destroy you or your project or turn it into something else they are by and large, very creative people. And I will point out a sad but not sad but interesting fact that there are more executives or former executives that have sold their scripts in the last five years than contest winners. Interest so more execs, like me, we came out to write we have a background in screenwriting we do, right? You know, and, and we're not there to screw people over, we're there to get stuff done and be part of the creative process and kind of guide you through that company's creative processor or development process. But you know, a lot of writers and the higher up they are, the more they feel this way. They feel that the you know, the too many executor their enemy and they're they're really truly not almost all of the time.
Alex Ferrari 38:17
That's, that's very true. Do you also find it and I think it's something extremely important for screenwriters, especially young screenwriters coming into the business to understand that, in Hollywood, Hollywood is run by fear and avoidance. I mean, it's simply, you and I both know that from being here, but the whole the whole
Danny Manus 38:37
Im scared shitless right now.
Alex Ferrari 38:40
I live in constant state of fear all of my life. No, but But seriously, though, like this, there, that's why there's so many noes, because there's so much fear of like, I'm going to lose my job, I can't put my you know, balls out there. I can't kind of take the risk. And that's why there's that's why the films that come out of the Hollywood system are what they are. And occasionally you'll get some really interesting stuff. But that's not their business, their business is to put out product that sells to the masses. And that's the way the game is played the days of the days of the experimental studio movie. They're there, but they're rare. They're rare. It's a few and far between. Would you agree?
Danny Manus 39:19
Yes. Yeah, absolutely. It's, it's a different business than it was even five years ago, you know, 10 years ago, 15 years ago. It's a completely different business. The stakes are higher, the budgets are higher. The audiences are pickier you know, they have to make such different decisions than they used to. You know, when there was a DVD market. You didn't have to get it completely right. Because you were still gonna make another 60 million, you know, on DVDs. And you know, we made a lot of programmers at my first job at Sandstorm and they made a lot of money. You know, we did the sniper Movies.
Alex Ferrari 40:00
There are those that that franchises made so much money.
Danny Manus 40:06
So much money we did, we did sniper two, three and four, you know, and we just kept going, it's kept going, they kept going, we did, we did not there, they kept going. But, you know, we did two, three and for we did them for about five, five and a half million dollars. Plus with the rebate that we got for shooting and you know, Thailand or Budapest, you know, it's like four and a half million dollars. And they it's gross, like $50 million, you know, on DVD and, you know, package sets and stuff like that. And so those days are gone. And the days of of developing, you know, it used to be when I started in development, it was like the 50% rule, if you could get a good idea 50% There, we'll take it the other 50% narrow, it's like you needed to be 90% done with a package before we're even going to read it. And think about making it, you know, and you know, somebody at Netflix already has to want it. You know, it's with it with LOI. It is a completely different business now than it was 10 years ago. The upside is there's more ways to break it in more places to in more platforms to get your stuff made and a wider array of stuff being made. Outside of the studio system, the downside is that the studio system all want exactly the same movie by exactly the same person for exactly the same budget. And, and it is hard to crack into that system much more so than it even was. And I think because of Hollywood's attempted rebranding itself and and diversifying itself and finding new voices and new talent and new things. execs are even more careful 100 times more careful than they were three years ago, you know, they are looking for very specific things now. Whereas before, it was like look, just have a great idea and have a great script. And now it's it's not just that, you know, and so writers have to do their due diligence, and not follow the trends because it never pays to follow the trends. But you have to know what the trends are so that you can try to get ahead of them. You know, I said years ago, that very soon there's going to be a major rom com a major LGBT rom com that, you know, that hits, and that's going to be a new big thing. You know, and then love Simon came out and that I mean, there's a bunch of things, you know, in development right now that that fits that bill, especially for Netflix. So it's trying to find that next thing while knowing what, what people want to read.
Alex Ferrari 43:07
I actually you know, I know a lot of screenwriters, professional screenwriters, and I've read some of their scripts, some of their specs, and I and I sometimes I'll get done reading it, I'm like, why is it dismayed? Yeah, like, this is amazing. Like, what, like, I see Meryl Streep in this. I see. You know, I like I mean, it's just so good. Because I've read bad scripts, I write bad. I've written bad scripts. So I've read but I've also read bad scripts as well. And when you read something of quality is just obviously, they know the craft, they know the thing. They're, you know, they have credits of movies that you and I would if I said out loud, you would go Oh, that guy. And they even have a star attached. And it's still no,
Danny Manus 43:52
You know, I read just as much great stuff from writers who aren't getting produced as I read crappy stuff from writers who are getting produced. And you know, that just happens it just happens it's a numbers game. It's a referrals game. It's a budget game. There's a million reasons why good scripts don't get made and some bad projects you know, get sold or or get made. It's almost it's not usually the writers fault every once in a while but that's that's just how it is. I've had plenty of projects over the years that I was like, This is my no brainer. If this doesn't get made, I will eat my shoe. And you know, and you know, shoo,
Alex Ferrari 44:38
Shoo, a one steak sauce on it, you know, little SriRacha
Danny Manus 44:44
Yeah, it goes down easy. And then there's other stuff is like this is the worst piece of crap I've ever read. How is this getting? You know, how is this going in to every major studio with major producers attached? It's not good. That's just something you have to accept. And you can only do so much and write the best script for you for your voice that's going to help you get ahead and stop worrying about, you know, can this sell? And just, you know, worry about can this get me to that next place in my career that I'm looking to go to? You know, can this Phil you know, can this achieve for me my next goal instead of like, Can this win me the Oscar? Know what your first script it's not winning you the Oscar, you know just like trying to get read by you know, anyone three will first Yeah. And then worry about your Oscar like 10 years from now.
Alex Ferrari 45:43
Ridiculous. We'll be right back after a word from our sponsor. And now back to the show. Me mean people's egos people's egos gets I mean, this, this town is so full of ego is dive and funny. And we've, I mean, I've dealt with it I've had, I still have one, but I try to keep it in check. And I keep it relative. But there's some people who just I've literally had filmmakers in my post sweet. Tell me straight faced. I'll see you at the Oscars next year. Like straight faced, like not the sun at Sundance. Nothing I back up, not ask her. Like, that's where this is going. And I'm like, Wow.
Danny Manus 46:29
You know, I will say the tagline for my company is hate me today. Love me. In your acceptance speech? I saw that. That's correct. So you know, it could happen. I'm waiting. I'm gonna wait.
Alex Ferrari 46:39
Could we also win the lottery? Sure. Sure, it can happen. It can rob them. Now I want to talk about something that writers filmmakers as well. They all think that this is the magic thing that you need an agent. The agent is your face. Just kind of your eyes rolled back for people not seeing this. His eyes rolled back. I think he lost consciousness for a second as I said that. But the you already had a little mini stroke. Because Because agents and managers, all I need is I need I need Ari from entourage. I don't like I need Ari from entourage. There is an
Danny Manus 47:22
Ari has been fired in the me to movement. So you're screwed. Actually.
Alex Ferrari 47:27
I know both both the real RA and the x or Jerry pivots. But you we need, we need a Baracuda we need a shark like that to be our agent and that they're going to go out there and they're going to hustle and get my scripts read. Give me the millions I deserved. Please, let's just talk about that. Let's let that out in the air. Please tell me your perspective.
Danny Manus 47:47
It is my least it's the least favorite question I get from writers. Which, because it's the number one question I get from writers is how do I get an agent? And for 90% of those writers, the answer is you don't you know, the agent will get you if you need an agent. But most writers don't. You know, unless you have three, at least three viable sellable pinchable commercial projects, and agents not going to pick you up yet go for a manager. If you really feel you need someone, but for those writers who only have one idea, or you know, they just have that they don't want to be screenwriters, as a professional as a long term career, they just have one great idea. One script they want to write, you know, one piece of legacy they want to leave because I think this is a great story. Don't waste your time with managers and agents and stuff like that they have no use for you. Right, you know, just try to make your script as great as possible. And then try to find a producer who will read it. And you have a very singular focus. And that's almost easier, a lot easier than a writer who wants to do this as a long term career. But if you want to do it as a long term career, there are plenty of ways to find representation. But know when you're ready. And most writers, again, are submitting far too soon. If you don't have, you know, a dozen ideas that you're developing, if you don't have at least two if not 3/5. Finish scripts, if you don't have, you know, if you've never pitched before, if you've never networked before, if you know if you've never done any of the homework and the research before, you're not ready for a manager yet. Keep working on your craft managers aren't going anywhere. You know, and it's not like if you don't get them in 2019 You'll never get one then they're always gonna be there. You have to wait until you're ready because you really do Want to get one shot most of the time. But between contests and events, and pitching and social media, and consultants like myself who have good contacts with those reps, and, you know, just friends and referrals, or whatever, there's a million ways to find a manager, and they can be super helpful in your career. But know when the right time is, and as far as agents go, I don't want to bad mouth agents,
Alex Ferrari 50:36
bad mouth agents, it's
Danny Manus 50:37
okay. But you have to know what you're offering them. Right? You know, they don't. I'm like a manager who's kind of there to guide your career, and they're in it for the long haul. And they're there to help you develop an agent is there to close that deal, and get you the best terms possible. And a great agent is there to make a great writer into a superstar. That's what great agents do. If you're barely on your first project, or you're on your second script, and you're just trying to get read, you are like two to five years away from needing an agent, you know, and if you do need an agent, your manager will help you get that agent, because they have those relationships. I always say look for a manager before you look for an agent, you know, unless you have something really specific. Or you have something in development with, like a client of that agent, you know, if you got to an actor, which by the way is way better than going to an agent? No, if you if you're looking for an actor, or you think you know, the actor that's right for your project, don't go to their agent unless you have an offer. Because the first words out of their mouth is hey, that's great. What is the offer. And so if you don't have financing, don't bother with the agent yet go to their production company, where they have assistants and executives who are in charge of finding and reading scripts for their talents to produce. And there is no no better silver bullet in this industry than having a great actor attached to produce your project opens every door. So if you're thinking that, you know, Shirley's theorem might be right for your project, to go to her agent, unless you have a $14 million offer to make her go to her Delilah, whatever it is, you know, films, you know, Banner, call and get in the system on the phone and tell them that you think this would be great for her to produce. And get in that way. And then if she likes it, and once the role great if she doesn't, you know, she'll get another actress of great caliber to read it. That's way better than ever calling an agent's. But that's something on the packaging side, if you're trying to get an agent yourself, go for a manager first, have a portfolio of work that is commercial and sellable and ready to go and know exactly who you are as a writer and who you want to be, which is something I work on with my clients and my mentees constantly. Because today, unlike 10 years ago, where you had to decide like, were you a TV writer, are you a film writer, and today everybody wants both, like you have to be both or want to do both. But you also have to know your voice. And you also have, what kind of writer you are and how you're going to be sold for the next two or three years. And you know, everyone's like, I don't want to be pigeonholed. I don't want to get into a box.
Alex Ferrari 53:42
Lucky to get into a box.
Danny Manus 53:44
Yeah, friggin pray for that box, jump into that box with both feet, like like my cat does. And just love that box. Because that box is making you money. That box is getting you scripts, that box is giving you a career that you're going to be able to jump out of that box and make an even bigger career two years from now. So I get real nice and cozy in that box for two years and stop effing complaining that you're being put into a box in the studio system. That's what you're being put into.
Alex Ferrari 54:19
It's insane when I hear that like I don't want to be boxed in like you you would be so blessed and lucky. If you could be boxed in I know what I know I used to my one of my good friends was West Cravens assistant years ago. And he would tell me stories of how upset Wes was about man. I'm stuck in this horror box. I can't do anything. And do you remember that there was a movie called Music of the heart? Yeah, with Meryl Streep. GLORIA And Gloria Estefan. That was a West Craven directed film. Absolutely. And you know why he got that? Because they wanted scream too. That's the only reason he got an expense. He wanted scream twos, like you want scream to give me it was called 500 violins originally and then then a music of the heart. And and I was like, but look at that the West Craven had one of the greatest horror, directing careers in the history of cinema. Honestly, he's his name is up there. But he was unhappy about being in the
Danny Manus 55:25
box. Look, I get it. I mean, you don't want to be in that box forever. Yeah, you know.
Alex Ferrari 55:31
So don't be too good, is what you're saying. Don't be too good in that box. Like if you're really good that you're stuck there. But just be good enough to get in a box. And then you could top out.
Danny Manus 55:40
Right? But that's the conversation to have with your rep saying, Look, I love doing horror. And that first script that got you a rap and got you 40 meetings around town was a horror script. So that's the the next two projects you're going to do our horror projects. But if you tell your rep upfront, like hey, I love doing the genre stuff. But I also want to do comedy. And I also want to do an action movie, then their job is to find that project, you know, to develop with you or for you to develop that is going to make that transition for you so that you're going from horror, to horror comedy, to comedy, you know, a horror, horror action to action comedy, to whatever, and so that they have a plan for your career. And I always tell you know, when when writers are trying to find their voice, find their box, but not get too stuck. I always tell my writers to look at the sub genres that you're writing to try and find a through line. That is your voice because it's not usually in that major genre, that first genre. But if you come to me and you say, Look, I have an action comedy, a horror comedy and a romantic comedy. I was like, Okay, well, you've got a through line there, that tells me what your voice is. You're just bringing that voice to different genres. But now we know what your voice, you know, what you want to do with that connective tissue is so that we can sell you as a type of writer, even though you're doing different genres, we know what your voice is bringing to that genre. And that's how you break out of that box is by using those sub genres and secondary genres, to bring out who you are, as a writer instead of just, you know, the genre of the premise you happen to come up with.
Alex Ferrari 57:34
That's awesome. Advice, actually, is really great, great advice. And I'm gonna ask a few questions. I ask all of my guests. What advice would you give a screenwriter trying to break into the business today?
Danny Manus 57:47
There's the funny answer,
Alex Ferrari 57:48
Danny Manus 57:49
Alex Ferrari 57:52
We both go to the same place.
Danny Manus 57:54
Run Forest. The, you know, the the real answer, there's two real answers I'll give. And one is a mistake that I made for many years in my career was, I thought I was going to be an Emmy winning writer. And so for the first few years, and before I was even in the business, I didn't pay attention to the other stuff. I didn't think I had to know about financing, or distribution, or, you know, or, or casting it. Well, I loved casting, but, you know, there were other things, the business side of it, that I didn't think I needed to know, because I was just going to be writing talents, you know, and that's, and that's it, I didn't know about the development process. Until you know, I was interning and started doing coverage. And you know, and then as an assistant, you know, doing scripts I didn't know about networking, like I just didn't know other stuff. Because I was so focused on my little corner of the world. And if you are a writer today, you have to multi hyphenate yourself. If you're a filmmaker today, you have to multi hyphenate yourself if you're an actor today you have to multi hyphenate yourself. So you need to do you need to treat it like a business and do the work and do the reading and be knowledgeable on way more than just your little corner of the office. That's that's one thing is have a bigger scope in terms of the information you're taking in so you really understand the business you're getting into from all sides. The second thing is right while you can because it's not going to get easier as you get older. I wish when I you know looking back when I was 24 and I had time oh god I ever those days, but I did. But I didn't write you know, because there was probably some party I was invited to you You know, and you're like, Ah, I had so much energy at 24 What the hell did I waste that for? If you are, if you are young enough, try to break in from the inside, come to Los Angeles, get a job in the industry, break in from the inside, it will cut yours out of your journey. If you can't do that. Then at least get out of your box, wherever that box is. If you are, you know, in the middle of Oklahoma and you are writing alone, find a group find a conference find people go online social media, use it to your advantage. You know, know when this business is a marathon, and when it's a sprint, no one to ask for help. Find a find a consultant or a mentor or a person that can help you. You know, there are no shortcuts. There's no shortcuts. And I wish I learned that. Earlier, I wish I learned that nobody owes you Jack. S. And it took me a little while to to learn that. I mean, look, I'm from Long Island. I mean, I've been working since I'm 14 I worked my ass off and in college, and since I'm 15 1415 years old, but um, you know, now they now they call it white privilege back then. And we were just assholes. Like, somebody owes you a little something just for getting through college just for doing the thing that you're supposed to be doing. You're like, where's my agent? And my million dollar career? Where's my Emmy? 30? Like I saw 30 year old Emmy winners, where's my Emmy? nobody owes you anything. And to keep working your ass off no matter how hard you work on that first script. Keep working on the second and the third?
Alex Ferrari 1:02:06
Absolutely. Now, you know Daniella, can you tell me what book had the biggest impact in your life or career?
Danny Manus 1:02:14
Like what screenwriting book or what
Alex Ferrari 1:02:16
Any book book book?
Danny Manus 1:02:18
Yeah, that's a good one. I'm running book works as well. I mean, I don't know that I loved their script. Okay, this is the probably the opposite version of what the answer you're looking for is, but there were screenwriting books that I read as an executive. And starting out that I disagreed with, so vehemently that I had to write my own and start teaching classes because I was like, if people are reading this shit, they're going to have the wrong impression of what executives really want. And so I need to write my own book, you know, and do my own thing to, you know, to tell them how it really is, you know, and tell them other, the other side of it, and so, I won't, I won't mean what, what books but their books on pitching and 62nd pitching and things like that, that you might be able to figure out that I just really disagreed with, you know, at the time 1010 plus years ago that inspired me to write my own articles on my own books and then do the consulting and, you know, bring something else that wasn't out there to writers in terms of like great literature come 1984 was always a huge, great favorite of mine. It's the one I remember in ninth or 10th Grade Reading and picturing as a movie and me saying in my head I really want to make the movie version of this one day. And so I you know, that was that was one that always stuck with me and then now we're living it
Alex Ferrari 1:04:08
We laugh because we're dying inside.
Danny Manus 1:04:11
Laugh because it makes us sad
Alex Ferrari 1:04:15
Now what is the what is the lesson that took you the longest to learn whether in the film business or in life?
Danny Manus 1:04:21
I think like I said, nobody owes you anything. And you're gonna make mistakes. I'm working on a new book and book proposal now about those mistakes. Who knows if it'll ever get done but
Alex Ferrari 1:04:41
Smoking like a true writer?
Danny Manus 1:04:44
Yeah. You know, a, you know, I hate to say it, but like, passion isn't enough. But if you don't have it, you'll never make it right. Um, you know, that's good. Like, if you don't absolutely love this industry and what it does and what you know, and what you can get to do in it, they get out because it's awful otherwise, like it is. It has its moments, don't get me wrong, it is. It's fun and stuff, but it's hard. I mean, if I knew then what I knew now or stuff, you know what I make different, I'd make a lot of different decisions. But if you don't absolutely love it, if you don't feel like you were trained for nothing else, I have no other viable workplace skills, I can't do math, I not created history. But there's very little else I can do,
Alex Ferrari 1:05:44
You've doubled down, maybe you've doubled down, you've doubled down, like you're in
Danny Manus 1:05:49
it until, until it's over, you know, but but that like, passion is great, but it's not enough. But if you don't have the passion to it, and you don't love it, get out because it will eat you alive and make you and make you a worse person. Instead of make you a better person.
Alex Ferrari 1:06:11
I always whenever I speak, I always say this to people in the room, like everybody here knows an angry filmmaker or a better filmmaker. Everybody here knows an angry screenwriter, a bitter screenwriter. And if you don't know one, you are the angry, bitter screenwriter, you are the angry, bitter filmmaker,
Danny Manus 1:06:28
you know, and we all go but if you haven't been bitter for a day, you know, you probably haven't been in this business long enough. Hey, man, no, no, no, no. I mean, look, I get dinged, I used to get things all the time for being cynical, and, you know, a little bit more of a pessimist and I try to balance it out. But you know, you are what you are, but you gotta you gotta look on, you gotta try to look on the bright side of things. And the hard part about Hollywood is that the carrot is always right. Yes, you know, and some times it's right here. And sometimes it's right here. And you're just constantly following that carrot. Because every once in a while, it just gets so close. And yeah. Ah, you know, and that just drives you crazy. But, but you keep going because as long as there's a carrot in front of you. You just got to keep following it. But that is the dangerous part of this business is you always feel like there's a carrot there.
Alex Ferrari 1:07:28
Isn't that carrot. So? Well, anyway,
Danny Manus 1:07:32
three of your favorite someone to help you help you reach that carrot. Oh, and then you can't do it alone. Right? That networking and friends in this business is important. And I made a horrible mistake. And I talked about this pretty openly in my classes. Like, you know, when I was starting out, I separated I had a lot of friends from school that came out here we were all you know, TV film students. But they were my friends. And then he were my business people. You know, here were my business acquaintances, or my colleagues, or the word that I like to use a friend and says, That's a great word. Yeah, that's what my coining friends is. But I never it was quite a few years until I really started to realize that you have to make those a friend and says and colleagues, friends, yes. Because you don't, you're always going to be on the outside a little bit. And we all feel like we're still on the I feel like that every single day my wife and and most people do. I know people who are very much on the inside who still feel like they're on the outside. But make friends and treat people like they could be friends and not just colleagues that can get you something or, or someone you can do something for, or some sort of favors this. Because even though Hollywood does work on a favorite system a lot of the time it doesn't feel like a favor when it's with your friends. And so, you know, networking is great and everybody talks about networking. But and I was okay at networking when I was younger, I hate it now, but I was okay at it when I was younger, but what I wasn't good at was turning those networking moments into friendships. Fair enough. That's great. And I try to do that especially as they're coming up because the people you come up with or who you're going to be in this business with for 2030 years.
Alex Ferrari 1:09:35
Now three of your favorite films of all time.
Danny Manus 1:09:39
I knew that you ask people this and I I tried to I came up with so many things of what you could ask me writer influences that I love and like, you know, underrated scripts and topics. I've been trying to figure it out. And of course they do change you know, every year Favorite Movies. The ones I always tend to go back to are a few good men, great American Beauty. And, and a comedy that I think is so underrated but every time I say it's I wouldn't say it's my favorite movie of all time, but the original Death at a funeral. Oh, it's such written by Dean Craig it's a British one, not the Chris Rock one. The the original one with Alan Tudyk. And, and, and a wonderful cast of characters is such an insanely hilarious underrated comedy. That when I read it as a script, I had to call the agents and just be like, Can I meet with him? This is the funniest thing I've ever read. I don't I don't think I ever actually did get that meeting. But, but I love the movie. My cousin Vinnie is up there. Love cousin Vinnie. In terms of comedy, you know, I can watch heat you know all day they The Nice Guys and sort of like newer movies that I think should be classics. Shane Black's The Nice Guys is right up there
Alex Ferrari 1:11:13
All good titles. They're all good titles, not where can put all the copper. Now where can people find you? And can you list off the books you've written and what you offer and all that kind of stuff and where they can find you?
Danny Manus 1:11:25
Yeah, people can find me on my website, which is nobullscript.net if you .com It'll take you there too. But no,
Alex Ferrari 1:11:35
I was gonna say is there another noble script that we're not aware of
Danny Manus 1:11:39
Funny enough, it was taken, you know, not 10 years ago, this this year 2019. This may as my 10 year anniversary, congrats, running this company. I don't know how that happened. But it happened. When I started the company, my hair was here. And so at the time when I got it somebody another consultant friends of mine, who I didn't know at the time, oh, noble script.com. And there was nothing there, but they owned it. Now I own it. But uh, yeah, noble script dotnet. You can find me on Twitter at Danny Maness. I put tons of screenwriting stuff and other comedy news ranting, you know things.
Alex Ferrari 1:12:24
And then you get a new offer a mentorship and you also offer consulting?
Danny Manus 1:12:29
Yes, absolutely. On noble script, you can find all my consulting services and packages from I mean, I've really worked soup to nuts from concept and brainstorming, through all the different drafts to polishing and rewriting query letters, pitch help. It really is pre managing, I like to call it pre managing, because I help my writers figure out what they should write, help them develop it and write it. And if it's great, and it's ready, and it's a recommend I try to get it out there, you know, to my context, so I think we'll respond. And a year ago, I started this mentor service, I only take 15 writers at a time, or somewhere around there. And it's a five month mentor service, it's much more in depth, we do calls every two weeks. So you're getting lots of notes calls, we're going through your ideas, we're developing them, and instead of just you know, paying for one set of notes, and then you know, maybe come back for a second set and which is great. This allows us to go through the process of however many drafts it takes to get it really polished upset. So by the end of the, you know, five months, you've got at least one if not two scripts that are really ready to go. And it includes career, you know, coaching and pitch coaching and query letters. It's very all inclusive. I'm about to start my third cycle of that. Now for the spring I still have slots, so I have a handful of slots open and I'm always always looking for more because I actually really enjoy being able to mentor writers it's not for first time writers I should say that this is not for first time writers writing their first script. This is for writers who have written a couple things and really want to take their you know their career and their scripts and their next projects to the next level. But you can reach out it's on my website or through Twitter you can email me always at Daniel at Noble script dotnet you can email me and and I'm happy to help and my book, no BS for screenwriters advice from the executive perspective. It used to be it's still on the writer store website but now that the writer store doesn't exist anymore.
Alex Ferrari 1:14:44
Is it gone gone?
Danny Manus 1:14:46
It's gone it's gone gone.
Alex Ferrari 1:14:48
Like I know it's gone in Burbank, but like is it's gone on the website too?
Danny Manus 1:14:52
No the websites still there. Okay. Still there. They do still sell some webinars and books and things that you can still get my book on. on there. You can also email me for an E version, they have a hardcopy version. I do have an E version that that you can always get from me. And yeah, and I'm always looking for new groups and conferences out there. So if you're listening and I know there are a ton of great people listening to this, you know, this pod cast if you've got a conference or a film festival or a panel and you want someone to you know, bring the fun
Alex Ferrari 1:15:32
Bring the spice,
Danny Manus 1:15:34
Bring the spice
Alex Ferrari 1:15:42
Remember the whole desperation thing we were talking about? It's starting to come off.
Danny Manus 1:15:45
Can you smell that?
Alex Ferrari 1:15:47
It's a good quaf could smell it to the air. Dan, it's been a pleasure talking to you, man. Thank you for dropping some great knowledge bombs on the tribe today, man.
Danny Manus 1:15:58
Thank you so much for having me. This is great.
Alex Ferrari 1:16:01
I want to thank Danny so much for coming by and dropping some major knowledge bombs on the tribe today. It is always nice to have the executives perspective when you're pitching to executives. So if you want to get links to anything we talked about in this episode, including contact information for Danny, his book, and so on, head over to indiefilmhustle.com/bps042. And guys, if you haven't, please check out my new book shooting for the mob, which is a allegory of what not to do when chasing your screenwriting or filmmaking dream it is a an insane down the rabbit hole story of how I almost made a $20 million movie for the mob and I was taken on a rollercoaster ride through Hollywood. It is based on a true story. And definitely anybody in this business. Anybody who wants to get into this business should definitely read it. Just head over to shootingforthemob.com that shooting with two O's. The mob.. And that's it for another episode. Guys, as always keep on writing no matter what. I'll talk to you soon.
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