WEBVTT
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Hi Guys, I'm to you and
my name is Joseph David Jones. Hey,
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this is Kevin Sausman. Hey,
this meaning suit. Don't restain this
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on. You're listening to script,
to scream, script to screen, script,
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screen, scripts, screens, series. Great content is king. This
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statement holds so much weight, especially
in today's world where, now more than
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ever, being a content creator can
be your actual profession. Well, content
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is also quite valuable for open gate
entertainment, a company that was established to
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disrupt the traditional way projects get developed
and sold and in Hollywood, and,
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let's face it, Hollywood is in
much need of disruption. The Open Gate
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team gets your project in the hands
of real buyers, leveraging a real team
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of industry executives, using a real
process in which or which is based on
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data driven decisions that creates real results. They give your ideas, stories and
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unique voices and actual chance to be
produced into a real, working, in
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sellable project. Sounds Great, doesn't
it? Well, last December I was
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able to meet with the team and
I signed on with them to work on
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my passion project, inheritance, a
family drama series that tells the story of
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a not so picture perfect Lebanese American
family who, after the death of the
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Patriarch, must fight against those who
wish to seize control of their legacy.
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Now I'm still only in the second
phase of the nine phase process. Yeah,
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no, you heard me right.
It is nine phases with the open
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gate team and I've already learned so
much. I'm actually at a point now
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where I'm looking at my work very
differently because, for the first time in
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a very long time, I'm seeing
it with a potential of being made.
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So to expand more on open gate
and what they do. My guests on
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today's episode is a Luke Oberholzer,
the director of content and story development at
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open gate. So join me and
welcoming my first guest of the scripto screen
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relaunch, Luke. Hello, luke, welcome to the show. Hey,
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Alan, thanks for having me,
of course, of course. So,
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Um, let's start by I guess
I'll give the mic over to you and
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I'll let you sort of lead us
on a journey of how you got to
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where you are today with the open
gate team. Yeah, so a little
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bit about me is I run the
day to day of the development process,
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so I'm kind of in charge of
the team and projects that you're currently experiencing
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with the nine phases. All that
is a byproduct of my team and our
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program from the beat sheet to the
final pitch deck. But for me I
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kind of started out by going to
film school and Colorado, at the Colorado
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film school and then transferring to Santa
Fe University of Arn design to finish my
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bachelor's a fine arts degree, and
then a year later Santa doesn't exist,
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so don't look them up. They
won't exist. But Colorado Film Schools Great.
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Yeah, they went under. But
Um yeah, after Colorado and San
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fe I moved to La and did
some freelance work here and there. I
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worked for various production companies and mentorships
and internships and freelance, especially lots of
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freelance, until I met Mike Anderson, one of the CO founders of open
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gate entertainment, and he came to
me with this great company that they just
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started and I hopped on board and
it's kind of been off to the races
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and in that time we've developed hundreds
of projects with hundreds of different clients from
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all different races, countries, genders, everything you can name. We've had
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a broad spectrum from kind of across
the world. So it's it's been pretty
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cool to dive into so many stories
that I went right as a screenwriter myself,
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and just different cultures you get to
learn about through these people and the
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experience, say, inevitably, the
inevitably put in their own scripts. So
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then you said you started off by
going to film school. What? What?
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What like? What was that moment? Because I feel like as filmmakers
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or film lovers, film enthusiasts,
there's always that like one moment where we
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realize, Oh my God, this
is what I want to do. Do
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you have that story, like,
do you have that moment in your in
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your journey, where you saw something
or experience something in your like this is
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exactly what I want to do when
I grow up? I wish I did,
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but I was an athlete growing up, so that was kind of my
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entire childhood and then I went to
community college straight out of high school and
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did that for ever, it felt
like, and it kind of got to
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the point where I need to choose
to do something with my life or else
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just take stupid math and biology and
geology. I couldn't think of that word
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because it's so dumb. All the
Jen Ed classes that really don't have a
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lot to do with most careers.
And I loved movies, I love cinema,
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I loved, you know, watching
things weekly and writing. It always
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kind of appealed to me and I
thought I would give film school a try
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because I kind of felt I was
at that age at twenty two, which
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is so long ago now it feels
like Um, that I need to pick
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a direction and just go with it, and so I decided film school was
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going to be that direction and it
kind of just took off from there.
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So it's tide easy, but it
worked out and I thought that I could
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make a difference in the film industry
with my stories in my brain and my
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writing, and so that's kind of
the direction I took. So there was
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no real magic moment. It was
just kind of like I don't want to
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work at nine to five, day
to day or some remedial job. I
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want to do something fun and exciting, and so I need to at least
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try something other than taking classes.
I have no interest in that. I
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mean that's still that's still a fascinating
story. Like it's so outside of the
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typical story in terms of how people
discovered they wanted look, as I know,
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I grew up with a father who
was an actor in Lebanon. He's
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very known actor in Lebanon. So
I always knew like for me it was
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it started off as acting, like
I wanted to be an actor because I
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wanted to be like my dad,
and then slowly discovered the different roles and
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positions that you could do in the
industry, finally landing on writing because I
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love words and I love to write
and tell stories and I feel like the
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I have the most control without the
majority of the headache as a writer,
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because even with directing, for me
at some point, like there's a headache
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involved, like it's sir, you
know what, as a writer I can
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just, you know, write freely, create world's, do whatever I needed
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to do and then let the producers
deal with the rest of it and,
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you know, so bring away.
You know, we were now at a
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point where you said that you you
met Mike Anderson, who was a CO
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founder of open gate, and he
brought you into into this new world.
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It seems almost a very disruptive one
at that. So in your in your
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like in your first initial meeting with
Mike, how did you know that this
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was something that you wanted to do. What was it about it that was
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enticing? Let's say so March nineteen, California. It was I was working
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at my second job, or my
main job, at a bookstore, at
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thirty at night and I saw a
thing that it was California was going to
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shut down, and I was like
okay, cool, I get a day
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off, and then an hour layer
they announced that it was California was going
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to shut down at as state for
a month. So that meant they were
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going to be extremely locked down till
April twenty. The previous year I'd only
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see my parents wants, who I
loved to death and like hanging out with
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them. So I was like,
okay, well, I don't like my
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living situation and I can have two
three weeks off because I my job will
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be shut down literally. So I
hopped on playing and went home to Texas
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and two weeks turned into what's going
to be two years, and that craziness.
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But Anyway, came back to the
point, hopefully. I met Mike
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about a month after I gone home, and so he gave me kind of
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their business model on working with diverse
creators and helping people that maybe not are
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in the industry but outside that,
can get their stories and forever real decisionmakers.
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So I love that concept and idea
of it. I love the fact
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that I'd be able to do what
I love every day. I love the
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idea of being able to help people
create and write their own stories or enhandsome
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I like the idea of getting my
own stuff in front of people and writing
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as well. So everything about it
just kind of was it clicked right away
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and it definitely was a huge blessing. So this two week vacation because of
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Covid and I use that word very
lightly, um going home, is turned
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into a full on reboot of a
career and source and just something I never
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would have imagined the day I made
that plane ticket. That's see again.
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That's that's super cool and I I
love what you said. It was like
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giving people a chance, giving people
with good stories or a voice, unique
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voices, a chance to have their
project seen by the right people, especially
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these people or storytellers are not in
the industry like their people outside of the
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industry or can't break into because it
because you know, not to sound controversial
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or whatever, I don't think that's
controversial. I think that that's pretty realistic,
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a realistic observation. Hollywood is seriously
gate kept right like it's gate kept.
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It's not easy to break in,
it's not easy to to get your
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stories in front of the right people, and so that was one of the
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is. What's funny is that that
was exactly why I was very intrigued by
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opingate. And I've and I've worked
in the industry ish right, not necessarily
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at higher levels, but I've done
my fair share of like, I've been
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on sets, I've done short films, like I'm you know, I worked
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in the industry and Lebanon Um.
So I've I've been around. I know
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what the industry's like. But even
then, for me, seeing what open
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gate was doing, I was like, this is what the industry needs.
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It needs something to go. You
know what, we don't need you big
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people like. There's more stories out
there. There need to be told and
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we're gonna go after these original,
unique, diverse voices versus the same typical
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voices that we keep hearing all the
time in Hollywood. Yeah, and I
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mean one of our can I give
one success story real fast? Absolutely,
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yeah. So one of our early
clients, his name was Brandon Tomas.
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He came to us. He's a
rapper actor. He's gone viral on Ellen
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with some of his videos with his
infants on. He came to us with
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an idea and it was great.
I saw it completely right away. But
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anyway, he came to us with
this idea and we were like, Oh
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man, I love this and I
was hooked immediately. And I'd started watching
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fresh prince of Bel Air for the
first time right as I kind of started
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working with them, and that first
episode when Will Smith like walks in the
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room, I was like, oh
my gosh, brandon has this energy.
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So not say he's the next will
Smith. By has the charisma, he
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has the all around talent. But
as he was doing this story, they
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he has short film he'd made,
but not like a real pilot script.
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He was apprehensive to the fact of
writing it himself and I'm like, dude,
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no, you need to do it
because you're talented. I mean talent
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is talent, whether you are like
a childish Gambino who can act or act
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right, produce rap, you know, or do anything or you know,
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there's people that can stick to their
own lane and only have one talent,
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but this guy, I could tell
was multi talented just from all our interactions.
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So I convinced him to write the
script and the company we have first
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look what deal with at the time, whistle studios. They absolutely loved it,
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they signed on with them and now
they're in more active development where it's
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hopefully going to come to life in
the next year or two. So I
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mean that was a huge success story
on my end, I thought well,
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and his, but just because I
was able to say no, you need
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to take a shot and do this
and we guide him through the process and
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now he's kind of reaping the rewards
that hopefully just get better and better.
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Yeah, and and and, if
you know, I've perused the site.
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What's super interesting, I think,
is is that you recently also got an
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even bigger name in the industry very
interested in open gate. Correct, I
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believe so, but I'm not sure
what's the woods that. I should probably
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check that I'm specifically talking about the
Gina Davis Project. Oh, okay,
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yes, Um, yes, we
do have a Gena Davis project. We
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have shot the pilot and some exciting
things are happening in the distribution phase that
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I can't disclose, but I'm excited
for everyone to see it. I've seen
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the pilot. Knows it's exciting and
it was definitely great to have such an
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established actor who's won Academy Awards and
everything imaginable to work with. Yeah,
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so that's that's I mean, that's
great and and I absolutely love that.
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This is you know, I that
we're living in a world where something like
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open gate can exist. Shifting now. You know, we we've talked about
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the process in general, but I
do want to sort of like narrow win
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and discuss what exactly you do it
at open gate, as you know,
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as part of the story development,
as the director of story development. What
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is it in fact that you do
within that space? And you know Shit,
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you can share as much as you
can and but I do understand that
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you know there are certain aspects of
it if that are not necessarily sharable,
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but if you can at least share
with the people that are listening what it
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is exactly that, you know,
the story development team does, I think
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that would be super cool. Yeah, for sure. Sorry, my computer
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to that thing we were talking about. Um, so fine, Um,
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so the story development team. I
lead that and we take clients through the
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process of getting their script and project
into his best pigetable, marketable state.
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So they usually come to us with
a script. Sometimes people come to us
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with just an idea, sometimes they
come with an outline. Every client is
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different, but kind of like you, you came with something solid as far
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as your idea and some rough draft
of a script, and so we usually
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kind of reverse engineer the process.
Most scripts need work, and that's just
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not a comment on the writer or
anything, it's just everything can always be
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improved and my number one, I
guess, philosophy as the Director of development
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is we want the clients best version
of their script. I would write your
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script differently than you would, Fred
and twitch, our other executives would write
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your script differently than I would and
you would. So it's all about not
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what's right, it's what's best for
your project and to get the best possible
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version of your story. Does that
make sense to you how I word?
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No? No, absolutely. I
think that's very important and I think that's
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a very, very valuable piece of
information because I feel like a lot of
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writers, a lot of creatives,
fear is usually with companies like, let's
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say, open gate or or similar
to open gate, or even working with
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a story development team, there's always
this fear that you know, your voice
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is somehow going to be diminished because
they're going to tell you what is best
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in the industry and what's selling and
what's not and etc, etc, etc.
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Whereas with open gate, I think
it's you know, your description of
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it should ease the mind of a
lot of people who are listening, because
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it is all about making their work, their vision, their voice, be
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the best version of itself, which
I think is very encouraging and it's very
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I mean it's awesome. No,
and the best analogy or real life,
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and since I can give, is
in school. I would have one teacher
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that would say you need to change
this, this and this, and for
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me it was like, but it's
my story, like I need to be
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happy with it and I have to
go to bed with it every night after
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this class is over. You'll never
think about it again. You probably won't
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think about five seconds after you read
the first draft. And so I was
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like, I don't want to write
for him, I want to write for
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me. Um. And so then
another teacher would say, okay, this
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is how it get the best possible
version of your story. And then that
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brings it to a whole new level
because you're like, okay, I love
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what's happening and I love how it's
changing. Is still my story. It's
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just elevate and improved. And obviously
nothing is ever set in stone until you're
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working for producer. So you have
the opportunity and make those changes. If
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I were to buy your script out
and and say, Hey, you need
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to make this character different or something
like that, then essentially you would have
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to go into those changes because I
would own the rights, as opposed to
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what we are now is, I
guess, colleagues and work in a working
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relationship. You can say, Hey, I don't agree with that, but
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still my story, so I'm going
to have the final say. So at
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the end of the day, the
clients had the final say on every single
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thing in their script. We just
try to bring the best possible version of
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what they have out of their mind
and on to the page, and so
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from take from taking that, you
take the idea as it is. Let's
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say someone comes with an idea and
a rough draft of a script. So
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then there are like nine phases to
this process. Correct, correct. So
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usually we start and have them go
back to the beach she um, we
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work with a lot of first time
writers with this being their first screenplay they've
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ever written, and then a lot
of cases there needs to be a lot
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of structural ground work that needs to
be retooled. So that's why we usually
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advocate and harp down on the beat
she is so that we have that blueprint
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and that outline and so that we
can make sure those major plot points and
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beats are in the script and make
sure it's just structurally sound and that the
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foundation of the house or your script
can withstand the sixty or ninety pages you're
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writing and you don't have just a
great idea, but it should be a
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short film like an some an instance
or something. So that's why we harp
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on the beat sheet so hard in
those early process stages, is so that
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we really get that outline as thorough
and as good as possible, especially for
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those people that haven't written screenplays before, just to show the process of not
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jumping into the deep end right away
but building upon each other, because I
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know I used to kind of jump
into the deep end and now I'm a
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very strong proponent of outlining things and
making sure it saves me time in the
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long run so I can pick out
those problems that they don't work before I've
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even ran a real word. Yeah, it's very interesting because I keep flip
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flopping between outlining and not outlining.
It just depends on what I'm writing,
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I guess, or the day.
But this is which it which is awesome,
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because my you know, as I
said earlier, as I was,
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you know, starting the episode,
I've already learned a lot and one of
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the biggest things that I found very
beneficial was reading the book that you guys
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recommend, which I'm hoping is okay
that I mentioned the book here, but
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you know, you guys recommend reading
the book story maps, that the TV
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drama by Bye Daniel Kelvc. That
book blew my mind because it really made
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me look at my pilot and go, you know what, something ain't work
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in like, you know, like
there's something, there's, you know,
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like I knew that I wanted it
to be an ensemble cast. In my
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mind, you know, it's an
ensemble cast, so they're all protagonists.
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And then I started working on the
story maps and I was like wait a
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minute, wait a minute, nope, that's not how it works, you
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know, like I had to go
back and really look at the pilot and
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go okay, so who is really? Yes, it is an ensemble cast,
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yes, there will all share the
spotlight, but whose story is this
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really? And the moment I was
able to sort of solidify the answer to
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that question, everything changed for the
better, but everything changed. Yeah,
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and I mean I love that book. I use it, I outlined to
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and the book is great because it
gives so many different examples. So I'm
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assuming the one that spoke to you
the most was the walking dead one,
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because it is an ensemble show,
but it's ricks show. Rick is the
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protagonist and there's no doubt about that. And the thing I've learned, even
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watching, I mean anything, is
there can always be dual protagonists in a
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lot of ways, but really it
is one person's movie over the other.
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Very rarely are you going to have
like a butching sundance kid where they have
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virtually the same lines and you know
they truly are equals. So most stories
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are going to be one protagonist is
your lens to the story and then everyone
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else is kind of branches off of
that. So it's cool to hear that
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it worked for you, because it
does for me as well. Yeah,
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I know it was definitely a struggle. I tweeted about how much of a
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struggle it was and I had Dan
Kell VC actually tweet me back and go
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listen if you if you want to
work on like pick your favorite pilot,
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because I couldn't. That's funny,
because you that you mentioned the walking dead,
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because I could not relate to any
of the pilots that were sort of
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mentioned in story maps. I was
like, none of these resonate with what
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I'm trying to write, and so
I had to go and read, sort
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of Skim through the yellowstone pilot because
I was like that's the kind of tone
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and mood of a show that I
want. And as I was reading the
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pilot, I was like, Oh
my God, John Dutton is the protagonist
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here, even though I thought it
was just like the Dutton's not particularly John,
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you know what I mean. And
so the moment I did that,
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I was like, okay, so
that's how it works. It doesn't make
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it any less of an ensemble.
It's just that the audience needs that one
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key character in order to get into
that world. And so that is essentially
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what the protagonist becomes an ensemble drama
series, for sure. And then I
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mean if you think about that,
even goes down to the production and the
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marketing of the show. I mean, if they it's a Kevin Costner show,
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I mean he's the top only.
I mean that's what hooks a lot
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of viewers. Is His name,
his precede in the industry, whereas is
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someone else was above him that's not
as well known. It might hurt the
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show because people would just be like, oh, no, one, he's
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a side character, but costner has
weight behind them. So you want to
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have the free every poster for the
first season, for the first season specifically,
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every poster had Kevin cost like.
It was just Kevin Costner and Montana,
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like that was that was literally the
marketing for the first season. Then
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season two it was him and his
family and then season three was him and
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his family and season four was him
and his family. But that first season
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it was just Kevin Costner everywhere,
and now they've gone. You Fall in
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love with those other characters so you're
like, okay, yeah, I'm going
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to keep watching exactly exactly. So
okay. So after dealing with the bee
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cheat, afters doing that process,
what happens next? Like what is it
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that you guys that that the team
does and you don't have to go into
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all the deal, like the minute
details, because again, I understand the
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the value of what open gate is
trying to do, but just as a
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sort of an overview, what happens
post let's say, like let's say with
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me, like I'm rewriting my I'm
done with the second phase. I'm almost
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done with the rewrite. What will
happen next, let's say, just as
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an overview. Yeah, so,
once you're comfortable with your rewrite, you'll
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have the development team dive in and
they will go through your script and read
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it and then they will give you
notes on the story, the characters,
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the dialog, the over everything and
the structure, how it reads, you
335
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know, just give you real notes
on how to improve certain things, what
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can kind of be tweaked and elevated, whether it's conflict here and there,
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making the emotional bits more emotional,
making the action more action, e.
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I think that's the word. Will
just get a word. It's perfectly fine.
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It's just getting you an in depth
look at the strengths and weaknesses of
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your script. And where are you? My need to focus your most,
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your biggest effort on the following draft
and then you go and employ you meant
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your nose or you say hey,
I fundamentally disagree with that and that's your
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choice. So you guys will wall
discuss it on the phone and those strengths
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and weaknesses, and so then they
just walk you through what kind of needs
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to be changed and their opinion and
then you can ask questions as kind of
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a collaborative experience to try and get
even closer on that second draft. And
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then post that we ideally would start
going into working on the the more like
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like the pitch deck. Correct the
Bible first. So with that's right,
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the Bible and then and then the
pitch deck. Yeah, so the Bible.
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That will consist of your series synopsis
which in features is going to be
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your one pager. It's also your
television series one pager. We just put
352
00:29:29.839 --> 00:29:34.359
it all in one document for to
be easier. But we go through your
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Bible Outline what the show will look
like for the rest of that first season.
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It doesn't have to be super in
depth, just kind of saying hey,
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this is the arc of this character
and this the family and what happens
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and by the end of first season
this is where you're at. And and
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then giving a little depth to what
goes on beyond the first season so that
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producers and distributors can see that there's
a future to the show and that it
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has potential to make money, to
make money. Yeah, and it's not
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just right word, Eiot that goes
nowhere. It shows that there's a series
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behind this idea. And I can
go on for fifty, sixty, however,
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many episodes for multiple years after that, from your lips to Godzi ears,
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I hope. Hopefully. And then
we work on the pitch deck.
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Can we create pitchcheck for you?
There's two options. One is kind of
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the more basic version and then there's
the customizable deck where it's more tailor made
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to your specific project, and we
show examples of those to the clients so
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they can choose which one they want
to do. But the pitch deck just
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brings everything to live. It shows
the tone, the vision, it shows
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what actors could be in the role
hypothetically. It really gives things more of
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a director's feel in a way,
but also just the best version of the
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pot are, excuse me, the
best version of the project itself. Yeah,
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and and then once that is done, it's then put out there and
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and and the people. And you
mentioned the word first look before. Could
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you sort of explain that to the
audience and in case there are people who
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are listening who don't know what that
means? It's like production companies that have
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a first look deal. Yeah,
so usually a first look deal refers to
377
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the company that has essentially dibbs on
it, where you go to them first
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and they choose whether they want further
pursue the project or not. We had
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one with a company called whistle last
year. Right now we're working on a
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deal with a few other companies.
So those are kind of behind the scenes
381
00:32:02.930 --> 00:32:09.609
things that are not official yet,
but hopefully we'll be soon. All right,
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00:32:10.009 --> 00:32:15.490
and then that essentially sums up the
nine phase process. Yeah, pretty
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much. And then it's off to
the races to try to get pitched sold
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or made or funded. So that's
kind of the IT'S A it's a long
385
00:32:23.000 --> 00:32:28.480
journey, especially the distribution and just
because it takes so long to get things
386
00:32:28.519 --> 00:32:32.309
made in Hollywood. But we're doing
our best to speed up that process and
387
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we have a bunch of different process
projects in various stages and I'm excited to
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00:32:37.630 --> 00:32:43.670
see next six to twelve months old
for us and our clients. Yeah,
389
00:32:43.789 --> 00:32:47.019
I'm excited to see what what the
process holds for me as well as I
390
00:32:47.180 --> 00:32:51.019
love that I'm like hosting this podcast, talking to you, but at the
391
00:32:51.059 --> 00:32:54.660
same time experiencing it as as it
happens. That was one of the things
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that I spoke to Mike about and
I was like, I want to sort
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of like document this. I want
there to be like this journey that I
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took with open gate in, you
know, dealing with with inheritance, because
395
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it's such a victory to me,
especially after having gotten a few rejections on
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it in Lebanon, you know,
because of it just doesn't fit the market
397
00:33:19.680 --> 00:33:24.680
here for many reasons. But for
me it was such a victorious moment,
398
00:33:24.839 --> 00:33:30.789
specially hearing you know, twitch and
bread and Mike talk about and then you
399
00:33:30.230 --> 00:33:35.910
earlier today before we started the show, about how unique the project is.
400
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It just as a writer, it
made me feel very validated. No,
401
00:33:39.509 --> 00:33:45.579
especially with so much diversity and everything, I think something focusing, focusing on
402
00:33:45.740 --> 00:33:52.940
Lebanese family is definitely something that could
be pursued further and be real similar and
403
00:33:53.099 --> 00:33:58.089
the aspect that we've seen it before
through other lenses, but different because we
404
00:33:58.210 --> 00:34:05.730
haven't seen the eccentricities of maybe a
Lebanon family in this way or a story
405
00:34:05.849 --> 00:34:08.809
told in this way, because it's
different than our own culture that we kind
406
00:34:08.849 --> 00:34:19.079
of experienced daily. Yeah, exactly
so for you, as as this creative
407
00:34:19.079 --> 00:34:22.920
as the director of story developed,
man, if you had any, let's
408
00:34:22.960 --> 00:34:29.670
say, advice to give new creators, are new writers, are new filmmakers,
409
00:34:29.710 --> 00:34:34.070
or people who are trying to let's
say, you know, grab a
410
00:34:34.110 --> 00:34:38.019
meeting with open gate, what would
what would you say them as as a
411
00:34:38.059 --> 00:34:44.059
piece of advice or just, you
know, maybe a piece of motivation?
412
00:34:44.900 --> 00:34:47.820
Well, my biggest piece of advice
just in general, is to be patient
413
00:34:49.059 --> 00:34:55.050
and keep honing your craft. Nothing
comes easy and this world you just got
414
00:34:55.210 --> 00:35:04.610
to keep writing and keep pursuing it
through all the rejections and everything else that's
415
00:35:04.929 --> 00:35:12.760
negative and this industry, and just
as being entertainer, and that things take
416
00:35:12.840 --> 00:35:17.800
time. There's no real instant success. Those stories you see of someone going
417
00:35:19.079 --> 00:35:22.590
to the a list are usually years
and years of hard work that no one
418
00:35:22.630 --> 00:35:25.909
ever sees. You just see the
tip of the iceberg. I'm thinking of
419
00:35:25.989 --> 00:35:30.630
that meme where you see the tip
and then everything else below. Yeah,
420
00:35:30.789 --> 00:35:37.059
that's exactly what I saw in my
head to your tears crying rejection. So
421
00:35:37.300 --> 00:35:44.539
it's it's a process for a reason
and things don't happen in a week or
422
00:35:44.699 --> 00:35:49.500
two weeks. They take months,
they take years of grinding it out and
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00:35:49.739 --> 00:35:53.489
just going to day to day.
And my other big piece of advice is
424
00:35:53.610 --> 00:36:00.170
to folk once you finish one project, usually people's first project is the one
425
00:36:00.210 --> 00:36:02.329
they care the most about, but
go on to the next one. That
426
00:36:02.449 --> 00:36:06.239
doesn't mean put it to the side
and stop trying to get it out there.
427
00:36:06.800 --> 00:36:09.039
It means keep writing, keep reading
your next story, because someone might
428
00:36:09.079 --> 00:36:14.880
like, let's say, your pilot, but it's not for them, like
429
00:36:15.039 --> 00:36:19.510
you said, it's not for the
demographic where you are, but maybe they
430
00:36:19.670 --> 00:36:22.710
like your writing style and they'll say
hey, what else you have? And
431
00:36:22.789 --> 00:36:25.829
then you have a second project that
you can show them that might be further
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00:36:25.829 --> 00:36:31.710
up there alley. So it's all
about getting to the next one and keep
433
00:36:31.789 --> 00:36:37.619
adding to your portfolio and having more
things to show producers. Don't put all
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00:36:37.699 --> 00:36:42.659
your eggs in one basket. Spread
them out among as many projects as you
435
00:36:42.739 --> 00:36:49.090
can that are of high quality so
that you can have better your chances are
436
00:36:49.369 --> 00:36:55.449
improved by having more projects out there. This is like the the ntie less
437
00:36:55.610 --> 00:37:01.239
is more statement. This is the
have more, because you don't know when
438
00:37:01.320 --> 00:37:04.840
that phone is going to ring or
rend that door is get a knock,
439
00:37:04.880 --> 00:37:08.159
and that's something that my film teacher
always used to always say. Is like
440
00:37:08.280 --> 00:37:13.559
you have to be ready, and
if you're a writer, as you said,
441
00:37:13.920 --> 00:37:20.269
you know you're ready by having enough, you know, artillery in your
442
00:37:20.550 --> 00:37:24.349
in your you know, in your
back pocket. Yeah, like I mean
443
00:37:24.469 --> 00:37:29.909
blumhouse might not like your script because
it's not a horror script, but HBO
444
00:37:30.139 --> 00:37:32.860
will like it because it's a drama
or, you know, horrible exactly,
445
00:37:34.699 --> 00:37:38.739
but not everyone. It's wanting every
single project, and that's what people need
446
00:37:38.820 --> 00:37:43.179
to realize, is it's not getting
your project in front of everyone. I'm
447
00:37:43.219 --> 00:37:46.969
not going to send my creature,
freeture, to Pixar. I'm going to
448
00:37:47.050 --> 00:37:53.769
send it to the people that make
those movies. So it's it's targeted distribution
449
00:37:53.809 --> 00:38:00.480
and querying to as opposed to just
saying here's my script, take a look
450
00:38:00.480 --> 00:38:06.320
at and they're like that. We
make shows on Nickelodeon exactly exactly. So
451
00:38:06.519 --> 00:38:12.679
be targeted, keep writing and don't
give up. Is Essentially to summit.
452
00:38:12.800 --> 00:38:15.670
All Up, Luke, I want
to thank you so much for taking the
453
00:38:15.789 --> 00:38:21.829
time. I understand how busy you
guys are at open gate, so I
454
00:38:21.949 --> 00:38:24.469
do want to thank you so much
for taking the time to join me on
455
00:38:24.630 --> 00:38:32.460
script, to screen as one of
the one of three open gate members that
456
00:38:32.539 --> 00:38:37.059
are going to be on the show. It's exciting. I'm super excited to
457
00:38:37.380 --> 00:38:39.940
to sort of document this and to
talk about this, so I am very
458
00:38:39.980 --> 00:38:44.929
grateful for you for doing that.
Yeah, you're welcome. Thanks so much
459
00:38:44.929 --> 00:38:46.610
for having me. It was fun
to talk to you and I'm excited to
460
00:38:46.690 --> 00:38:52.650
see things further develop with your script, because I'm excited to see what happens
461
00:38:53.409 --> 00:38:57.960
and how the pitch that turns out
on the long run, trust me.
462
00:38:58.199 --> 00:39:04.079
So Am I. on that note, everybody can, if you want to
463
00:39:04.159 --> 00:39:07.079
get to this point, if you
want to meet with the people that open
464
00:39:07.119 --> 00:39:10.949
gate, you can visit them on
their website. Luke, would you mind
465
00:39:12.030 --> 00:39:16.309
sharing that with our with our audience? Yeah, the website is open gate
466
00:39:16.510 --> 00:39:22.469
nowcom and there's a contact bone where
you can request more information or get in
467
00:39:22.510 --> 00:39:30.260
touch with someone to learn more and
hopefully join us on your other trust me,
468
00:39:30.780 --> 00:39:34.059
for anybody out there who's interested,
it is one hundred percent worth it.
469
00:39:35.099 --> 00:39:39.570
So thanks again, Luke. Thank
everyone for joining us on today's episode
470
00:39:39.570 --> 00:39:43.730
of script to screen. Again,
if you want to follow me on social
471
00:39:43.730 --> 00:39:47.050
media, you can do so at
stories by Alan on twitter on instagram.
472
00:39:47.369 --> 00:39:52.800
You can also help support me and
all of my endeavors by buying me a
473
00:39:52.920 --> 00:39:58.760
coffee on buy me a coffeecom stories
by Alan, and you can also check
474
00:39:58.760 --> 00:40:02.599
out my website, alamahanacom, for
all the updates. I am literally updating
475
00:40:04.639 --> 00:40:08.389
the inherited like everything that I'm doing
with inheritance in terms of open gate is
476
00:40:08.510 --> 00:40:14.269
being updated on the website as if
you visit it, you check out the
477
00:40:14.389 --> 00:40:20.110
open the inheritance page, you can
see that I've already completed phases one and
478
00:40:20.550 --> 00:40:23.579
two, with everything else sort of
listed only the phases, not necessarily what
479
00:40:23.619 --> 00:40:28.940
I'm doing in each phase. So
don't get too excited about that. I'll
480
00:40:28.980 --> 00:40:35.730
probably podcast blog about those in more
details. So thanks again, Luke.
481
00:40:35.889 --> 00:40:39.929
Have a wonderful rest of your day
out there in where are you exactly?
482
00:40:40.130 --> 00:40:46.650
I don't I never even asked.
I am in Texas still, so hopefully
483
00:40:46.650 --> 00:40:51.639
I'll be back in California. I'm
just kind of waiting for things to get
484
00:40:51.639 --> 00:41:01.159
a little bit more open up so
that I can pay rent, and I
485
00:41:01.239 --> 00:41:06.909
mean I'm I'm I'm praying for that
for you in order for things to get
486
00:41:06.909 --> 00:41:10.429
back to normal. So then I
will repeat what I said earlier. Have
487
00:41:10.590 --> 00:41:15.869
a brilliant rest of your day.
It's nighttime where I am as we're recording
488
00:41:15.949 --> 00:41:19.219
this right now. You know,
in the time that we're recording this,
489
00:41:19.659 --> 00:41:22.820
it's nighttime where I am. So
thanks again, Luke, and thank you
490
00:41:22.940 --> 00:41:25.260
everyone for joining us. Have a
wonderful rest of your day. Take Care,
491
-->
1
00:00:00.040 --> 00:00:03.520
Hi Guys, I'm to you and
my name is Joseph David Jones. Hey,
2
00:00:03.680 --> 00:00:07.080
this is Kevin Sausman. Hey,
this meaning suit. Don't restain this
3
00:00:07.190 --> 00:00:11.550
on. You're listening to script,
to scream, script to screen, script,
4
00:00:11.669 --> 00:00:34.460
screen, scripts, screens, series. Great content is king. This
5
00:00:34.700 --> 00:00:39.289
statement holds so much weight, especially
in today's world where, now more than
6
00:00:39.369 --> 00:00:44.130
ever, being a content creator can
be your actual profession. Well, content
7
00:00:44.289 --> 00:00:48.929
is also quite valuable for open gate
entertainment, a company that was established to
8
00:00:49.090 --> 00:00:54.600
disrupt the traditional way projects get developed
and sold and in Hollywood, and,
9
00:00:54.920 --> 00:01:00.240
let's face it, Hollywood is in
much need of disruption. The Open Gate
10
00:01:00.320 --> 00:01:04.709
team gets your project in the hands
of real buyers, leveraging a real team
11
00:01:04.750 --> 00:01:11.230
of industry executives, using a real
process in which or which is based on
12
00:01:11.469 --> 00:01:18.310
data driven decisions that creates real results. They give your ideas, stories and
13
00:01:18.390 --> 00:01:22.140
unique voices and actual chance to be
produced into a real, working, in
14
00:01:22.260 --> 00:01:27.019
sellable project. Sounds Great, doesn't
it? Well, last December I was
15
00:01:27.099 --> 00:01:30.980
able to meet with the team and
I signed on with them to work on
16
00:01:30.099 --> 00:01:36.010
my passion project, inheritance, a
family drama series that tells the story of
17
00:01:36.049 --> 00:01:40.250
a not so picture perfect Lebanese American
family who, after the death of the
18
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Patriarch, must fight against those who
wish to seize control of their legacy.
19
00:01:45.250 --> 00:01:49.959
Now I'm still only in the second
phase of the nine phase process. Yeah,
20
00:01:49.079 --> 00:01:53.280
no, you heard me right.
It is nine phases with the open
21
00:01:53.319 --> 00:01:57.680
gate team and I've already learned so
much. I'm actually at a point now
22
00:01:57.719 --> 00:02:00.879
where I'm looking at my work very
differently because, for the first time in
23
00:02:00.920 --> 00:02:06.269
a very long time, I'm seeing
it with a potential of being made.
24
00:02:07.269 --> 00:02:12.789
So to expand more on open gate
and what they do. My guests on
25
00:02:12.949 --> 00:02:20.699
today's episode is a Luke Oberholzer,
the director of content and story development at
26
00:02:21.259 --> 00:02:25.379
open gate. So join me and
welcoming my first guest of the scripto screen
27
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relaunch, Luke. Hello, luke, welcome to the show. Hey,
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Alan, thanks for having me,
of course, of course. So,
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Um, let's start by I guess
I'll give the mic over to you and
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I'll let you sort of lead us
on a journey of how you got to
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where you are today with the open
gate team. Yeah, so a little
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bit about me is I run the
day to day of the development process,
33
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so I'm kind of in charge of
the team and projects that you're currently experiencing
34
00:03:06.990 --> 00:03:13.020
with the nine phases. All that
is a byproduct of my team and our
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program from the beat sheet to the
final pitch deck. But for me I
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kind of started out by going to
film school and Colorado, at the Colorado
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film school and then transferring to Santa
Fe University of Arn design to finish my
38
00:03:30.370 --> 00:03:37.729
bachelor's a fine arts degree, and
then a year later Santa doesn't exist,
39
00:03:37.969 --> 00:03:40.439
so don't look them up. They
won't exist. But Colorado Film Schools Great.
40
00:03:44.360 --> 00:03:47.719
Yeah, they went under. But
Um yeah, after Colorado and San
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fe I moved to La and did
some freelance work here and there. I
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worked for various production companies and mentorships
and internships and freelance, especially lots of
43
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freelance, until I met Mike Anderson, one of the CO founders of open
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gate entertainment, and he came to
me with this great company that they just
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started and I hopped on board and
it's kind of been off to the races
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and in that time we've developed hundreds
of projects with hundreds of different clients from
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all different races, countries, genders, everything you can name. We've had
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a broad spectrum from kind of across
the world. So it's it's been pretty
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cool to dive into so many stories
that I went right as a screenwriter myself,
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and just different cultures you get to
learn about through these people and the
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experience, say, inevitably, the
inevitably put in their own scripts. So
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then you said you started off by
going to film school. What? What?
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What like? What was that moment? Because I feel like as filmmakers
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or film lovers, film enthusiasts,
there's always that like one moment where we
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realize, Oh my God, this
is what I want to do. Do
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you have that story, like,
do you have that moment in your in
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your journey, where you saw something
or experience something in your like this is
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exactly what I want to do when
I grow up? I wish I did,
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00:05:20.379 --> 00:05:23.610
but I was an athlete growing up, so that was kind of my
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entire childhood and then I went to
community college straight out of high school and
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did that for ever, it felt
like, and it kind of got to
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the point where I need to choose
to do something with my life or else
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just take stupid math and biology and
geology. I couldn't think of that word
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because it's so dumb. All the
Jen Ed classes that really don't have a
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lot to do with most careers.
And I loved movies, I love cinema,
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I loved, you know, watching
things weekly and writing. It always
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kind of appealed to me and I
thought I would give film school a try
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because I kind of felt I was
at that age at twenty two, which
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is so long ago now it feels
like Um, that I need to pick
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a direction and just go with it, and so I decided film school was
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going to be that direction and it
kind of just took off from there.
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So it's tide easy, but it
worked out and I thought that I could
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make a difference in the film industry
with my stories in my brain and my
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writing, and so that's kind of
the direction I took. So there was
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no real magic moment. It was
just kind of like I don't want to
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work at nine to five, day
to day or some remedial job. I
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want to do something fun and exciting, and so I need to at least
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try something other than taking classes.
I have no interest in that. I
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mean that's still that's still a fascinating
story. Like it's so outside of the
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00:07:04.899 --> 00:07:10.620
typical story in terms of how people
discovered they wanted look, as I know,
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I grew up with a father who
was an actor in Lebanon. He's
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very known actor in Lebanon. So
I always knew like for me it was
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it started off as acting, like
I wanted to be an actor because I
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wanted to be like my dad,
and then slowly discovered the different roles and
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00:07:27.250 --> 00:07:32.120
positions that you could do in the
industry, finally landing on writing because I
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00:07:32.319 --> 00:07:36.759
love words and I love to write
and tell stories and I feel like the
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I have the most control without the
majority of the headache as a writer,
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because even with directing, for me
at some point, like there's a headache
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00:07:46.350 --> 00:07:50.629
involved, like it's sir, you
know what, as a writer I can
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00:07:50.750 --> 00:07:56.589
just, you know, write freely, create world's, do whatever I needed
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to do and then let the producers
deal with the rest of it and,
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you know, so bring away.
You know, we were now at a
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00:08:05.139 --> 00:08:09.500
point where you said that you you
met Mike Anderson, who was a CO
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00:08:09.660 --> 00:08:13.689
founder of open gate, and he
brought you into into this new world.
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00:08:13.370 --> 00:08:20.329
It seems almost a very disruptive one
at that. So in your in your
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00:08:20.449 --> 00:08:28.480
like in your first initial meeting with
Mike, how did you know that this
97
00:08:28.639 --> 00:08:31.639
was something that you wanted to do. What was it about it that was
98
00:08:33.000 --> 00:08:39.799
enticing? Let's say so March nineteen, California. It was I was working
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00:08:39.840 --> 00:08:43.629
at my second job, or my
main job, at a bookstore, at
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00:08:43.149 --> 00:08:48.429
thirty at night and I saw a
thing that it was California was going to
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00:08:48.509 --> 00:08:50.269
shut down, and I was like
okay, cool, I get a day
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00:08:50.309 --> 00:08:54.860
off, and then an hour layer
they announced that it was California was going
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00:08:54.899 --> 00:09:03.820
to shut down at as state for
a month. So that meant they were
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00:09:03.899 --> 00:09:09.820
going to be extremely locked down till
April twenty. The previous year I'd only
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00:09:09.860 --> 00:09:13.730
see my parents wants, who I
loved to death and like hanging out with
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00:09:13.809 --> 00:09:16.409
them. So I was like,
okay, well, I don't like my
107
00:09:16.570 --> 00:09:22.889
living situation and I can have two
three weeks off because I my job will
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00:09:22.889 --> 00:09:26.919
be shut down literally. So I
hopped on playing and went home to Texas
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00:09:28.080 --> 00:09:33.559
and two weeks turned into what's going
to be two years, and that craziness.
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00:09:33.679 --> 00:09:37.590
But Anyway, came back to the
point, hopefully. I met Mike
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00:09:37.629 --> 00:09:41.190
about a month after I gone home, and so he gave me kind of
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00:09:41.230 --> 00:09:48.990
their business model on working with diverse
creators and helping people that maybe not are
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00:09:50.149 --> 00:09:56.940
in the industry but outside that,
can get their stories and forever real decisionmakers.
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00:09:56.620 --> 00:10:01.379
So I love that concept and idea
of it. I love the fact
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00:10:01.419 --> 00:10:03.500
that I'd be able to do what
I love every day. I love the
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00:10:03.580 --> 00:10:09.889
idea of being able to help people
create and write their own stories or enhandsome
117
00:10:11.210 --> 00:10:13.330
I like the idea of getting my
own stuff in front of people and writing
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00:10:13.370 --> 00:10:20.809
as well. So everything about it
just kind of was it clicked right away
119
00:10:20.129 --> 00:10:28.240
and it definitely was a huge blessing. So this two week vacation because of
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00:10:28.360 --> 00:10:33.559
Covid and I use that word very
lightly, um going home, is turned
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00:10:33.600 --> 00:10:39.070
into a full on reboot of a
career and source and just something I never
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00:10:39.190 --> 00:10:45.750
would have imagined the day I made
that plane ticket. That's see again.
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That's that's super cool and I I
love what you said. It was like
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giving people a chance, giving people
with good stories or a voice, unique
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voices, a chance to have their
project seen by the right people, especially
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these people or storytellers are not in
the industry like their people outside of the
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industry or can't break into because it
because you know, not to sound controversial
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or whatever, I don't think that's
controversial. I think that that's pretty realistic,
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a realistic observation. Hollywood is seriously
gate kept right like it's gate kept.
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It's not easy to break in,
it's not easy to to get your
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stories in front of the right people, and so that was one of the
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is. What's funny is that that
was exactly why I was very intrigued by
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opingate. And I've and I've worked
in the industry ish right, not necessarily
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at higher levels, but I've done
my fair share of like, I've been
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on sets, I've done short films, like I'm you know, I worked
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in the industry and Lebanon Um.
So I've I've been around. I know
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what the industry's like. But even
then, for me, seeing what open
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gate was doing, I was like, this is what the industry needs.
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It needs something to go. You
know what, we don't need you big
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people like. There's more stories out
there. There need to be told and
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we're gonna go after these original,
unique, diverse voices versus the same typical
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voices that we keep hearing all the
time in Hollywood. Yeah, and I
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mean one of our can I give
one success story real fast? Absolutely,
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yeah. So one of our early
clients, his name was Brandon Tomas.
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He came to us. He's a
rapper actor. He's gone viral on Ellen
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with some of his videos with his
infants on. He came to us with
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an idea and it was great.
I saw it completely right away. But
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anyway, he came to us with
this idea and we were like, Oh
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man, I love this and I
was hooked immediately. And I'd started watching
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fresh prince of Bel Air for the
first time right as I kind of started
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working with them, and that first
episode when Will Smith like walks in the
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room, I was like, oh
my gosh, brandon has this energy.
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So not say he's the next will
Smith. By has the charisma, he
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has the all around talent. But
as he was doing this story, they
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he has short film he'd made,
but not like a real pilot script.
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He was apprehensive to the fact of
writing it himself and I'm like, dude,
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no, you need to do it
because you're talented. I mean talent
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is talent, whether you are like
a childish Gambino who can act or act
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right, produce rap, you know, or do anything or you know,
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there's people that can stick to their
own lane and only have one talent,
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but this guy, I could tell
was multi talented just from all our interactions.
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So I convinced him to write the
script and the company we have first
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look what deal with at the time, whistle studios. They absolutely loved it,
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they signed on with them and now
they're in more active development where it's
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hopefully going to come to life in
the next year or two. So I
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mean that was a huge success story
on my end, I thought well,
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and his, but just because I
was able to say no, you need
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to take a shot and do this
and we guide him through the process and
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now he's kind of reaping the rewards
that hopefully just get better and better.
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Yeah, and and and, if
you know, I've perused the site.
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What's super interesting, I think,
is is that you recently also got an
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even bigger name in the industry very
interested in open gate. Correct, I
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believe so, but I'm not sure
what's the woods that. I should probably
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check that I'm specifically talking about the
Gina Davis Project. Oh, okay,
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yes, Um, yes, we
do have a Gena Davis project. We
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have shot the pilot and some exciting
things are happening in the distribution phase that
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I can't disclose, but I'm excited
for everyone to see it. I've seen
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the pilot. Knows it's exciting and
it was definitely great to have such an
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established actor who's won Academy Awards and
everything imaginable to work with. Yeah,
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so that's that's I mean, that's
great and and I absolutely love that.
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This is you know, I that
we're living in a world where something like
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open gate can exist. Shifting now. You know, we we've talked about
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the process in general, but I
do want to sort of like narrow win
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and discuss what exactly you do it
at open gate, as you know,
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as part of the story development,
as the director of story development. What
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is it in fact that you do
within that space? And you know Shit,
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you can share as much as you
can and but I do understand that
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you know there are certain aspects of
it if that are not necessarily sharable,
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but if you can at least share
with the people that are listening what it
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is exactly that, you know,
the story development team does, I think
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that would be super cool. Yeah, for sure. Sorry, my computer
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to that thing we were talking about. Um, so fine, Um,
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so the story development team. I
lead that and we take clients through the
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process of getting their script and project
into his best pigetable, marketable state.
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So they usually come to us with
a script. Sometimes people come to us
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with just an idea, sometimes they
come with an outline. Every client is
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different, but kind of like you, you came with something solid as far
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as your idea and some rough draft
of a script, and so we usually
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kind of reverse engineer the process.
Most scripts need work, and that's just
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not a comment on the writer or
anything, it's just everything can always be
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improved and my number one, I
guess, philosophy as the Director of development
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is we want the clients best version
of their script. I would write your
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script differently than you would, Fred
and twitch, our other executives would write
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your script differently than I would and
you would. So it's all about not
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what's right, it's what's best for
your project and to get the best possible
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version of your story. Does that
make sense to you how I word?
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No? No, absolutely. I
think that's very important and I think that's
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a very, very valuable piece of
information because I feel like a lot of
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writers, a lot of creatives,
fear is usually with companies like, let's
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say, open gate or or similar
to open gate, or even working with
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a story development team, there's always
this fear that you know, your voice
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is somehow going to be diminished because
they're going to tell you what is best
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in the industry and what's selling and
what's not and etc, etc, etc.
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Whereas with open gate, I think
it's you know, your description of
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it should ease the mind of a
lot of people who are listening, because
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it is all about making their work, their vision, their voice, be
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the best version of itself, which
I think is very encouraging and it's very
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I mean it's awesome. No,
and the best analogy or real life,
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and since I can give, is
in school. I would have one teacher
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that would say you need to change
this, this and this, and for
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me it was like, but it's
my story, like I need to be
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happy with it and I have to
go to bed with it every night after
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this class is over. You'll never
think about it again. You probably won't
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think about five seconds after you read
the first draft. And so I was
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like, I don't want to write
for him, I want to write for
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me. Um. And so then
another teacher would say, okay, this
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is how it get the best possible
version of your story. And then that
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brings it to a whole new level
because you're like, okay, I love
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what's happening and I love how it's
changing. Is still my story. It's
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just elevate and improved. And obviously
nothing is ever set in stone until you're
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working for producer. So you have
the opportunity and make those changes. If
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I were to buy your script out
and and say, Hey, you need
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to make this character different or something
like that, then essentially you would have
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to go into those changes because I
would own the rights, as opposed to
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what we are now is, I
guess, colleagues and work in a working
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relationship. You can say, Hey, I don't agree with that, but
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still my story, so I'm going
to have the final say. So at
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the end of the day, the
clients had the final say on every single
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thing in their script. We just
try to bring the best possible version of
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what they have out of their mind
and on to the page, and so
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from take from taking that, you
take the idea as it is. Let's
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say someone comes with an idea and
a rough draft of a script. So
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then there are like nine phases to
this process. Correct, correct. So
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usually we start and have them go
back to the beach she um, we
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work with a lot of first time
writers with this being their first screenplay they've
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ever written, and then a lot
of cases there needs to be a lot
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of structural ground work that needs to
be retooled. So that's why we usually
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advocate and harp down on the beat
she is so that we have that blueprint
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and that outline and so that we
can make sure those major plot points and
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beats are in the script and make
sure it's just structurally sound and that the
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foundation of the house or your script
can withstand the sixty or ninety pages you're
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writing and you don't have just a
great idea, but it should be a
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short film like an some an instance
or something. So that's why we harp
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on the beat sheet so hard in
those early process stages, is so that
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we really get that outline as thorough
and as good as possible, especially for
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those people that haven't written screenplays before, just to show the process of not
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jumping into the deep end right away
but building upon each other, because I
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know I used to kind of jump
into the deep end and now I'm a
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very strong proponent of outlining things and
making sure it saves me time in the
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long run so I can pick out
those problems that they don't work before I've
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even ran a real word. Yeah, it's very interesting because I keep flip
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flopping between outlining and not outlining.
It just depends on what I'm writing,
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I guess, or the day.
But this is which it which is awesome,
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because my you know, as I
said earlier, as I was,
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you know, starting the episode,
I've already learned a lot and one of
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the biggest things that I found very
beneficial was reading the book that you guys
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recommend, which I'm hoping is okay
that I mentioned the book here, but
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you know, you guys recommend reading
the book story maps, that the TV
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drama by Bye Daniel Kelvc. That
book blew my mind because it really made
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me look at my pilot and go, you know what, something ain't work
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in like, you know, like
there's something, there's, you know,
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like I knew that I wanted it
to be an ensemble cast. In my
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mind, you know, it's an
ensemble cast, so they're all protagonists.
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And then I started working on the
story maps and I was like wait a
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minute, wait a minute, nope, that's not how it works, you
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know, like I had to go
back and really look at the pilot and
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go okay, so who is really? Yes, it is an ensemble cast,
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yes, there will all share the
spotlight, but whose story is this
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really? And the moment I was
able to sort of solidify the answer to
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that question, everything changed for the
better, but everything changed. Yeah,
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and I mean I love that book. I use it, I outlined to
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and the book is great because it
gives so many different examples. So I'm
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assuming the one that spoke to you
the most was the walking dead one,
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because it is an ensemble show,
but it's ricks show. Rick is the
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protagonist and there's no doubt about that. And the thing I've learned, even
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watching, I mean anything, is
there can always be dual protagonists in a
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lot of ways, but really it
is one person's movie over the other.
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Very rarely are you going to have
like a butching sundance kid where they have
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virtually the same lines and you know
they truly are equals. So most stories
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are going to be one protagonist is
your lens to the story and then everyone
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else is kind of branches off of
that. So it's cool to hear that
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it worked for you, because it
does for me as well. Yeah,
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I know it was definitely a struggle. I tweeted about how much of a
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struggle it was and I had Dan
Kell VC actually tweet me back and go
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listen if you if you want to
work on like pick your favorite pilot,
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because I couldn't. That's funny,
because you that you mentioned the walking dead,
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because I could not relate to any
of the pilots that were sort of
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mentioned in story maps. I was
like, none of these resonate with what
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I'm trying to write, and so
I had to go and read, sort
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of Skim through the yellowstone pilot because
I was like that's the kind of tone
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and mood of a show that I
want. And as I was reading the
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pilot, I was like, Oh
my God, John Dutton is the protagonist
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here, even though I thought it
was just like the Dutton's not particularly John,
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you know what I mean. And
so the moment I did that,
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I was like, okay, so
that's how it works. It doesn't make
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it any less of an ensemble.
It's just that the audience needs that one
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key character in order to get into
that world. And so that is essentially
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what the protagonist becomes an ensemble drama
series, for sure. And then I
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mean if you think about that,
even goes down to the production and the
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marketing of the show. I mean, if they it's a Kevin Costner show,
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I mean he's the top only.
I mean that's what hooks a lot
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of viewers. Is His name,
his precede in the industry, whereas is
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someone else was above him that's not
as well known. It might hurt the
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show because people would just be like, oh, no, one, he's
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a side character, but costner has
weight behind them. So you want to
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have the free every poster for the
first season, for the first season specifically,
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every poster had Kevin cost like.
It was just Kevin Costner and Montana,
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like that was that was literally the
marketing for the first season. Then
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season two it was him and his
family and then season three was him and
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his family and season four was him
and his family. But that first season
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it was just Kevin Costner everywhere,
and now they've gone. You Fall in
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love with those other characters so you're
like, okay, yeah, I'm going
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to keep watching exactly exactly. So
okay. So after dealing with the bee
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cheat, afters doing that process,
what happens next? Like what is it
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that you guys that that the team
does and you don't have to go into
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all the deal, like the minute
details, because again, I understand the
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the value of what open gate is
trying to do, but just as a
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sort of an overview, what happens
post let's say, like let's say with
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me, like I'm rewriting my I'm
done with the second phase. I'm almost
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done with the rewrite. What will
happen next, let's say, just as
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an overview. Yeah, so,
once you're comfortable with your rewrite, you'll
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have the development team dive in and
they will go through your script and read
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it and then they will give you
notes on the story, the characters,
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the dialog, the over everything and
the structure, how it reads, you
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00:27:53.789 --> 00:28:00.019
know, just give you real notes
on how to improve certain things, what
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00:28:00.140 --> 00:28:03.779
can kind of be tweaked and elevated, whether it's conflict here and there,
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00:28:04.220 --> 00:28:10.819
making the emotional bits more emotional,
making the action more action, e.
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I think that's the word. Will
just get a word. It's perfectly fine.
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It's just getting you an in depth
look at the strengths and weaknesses of
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your script. And where are you? My need to focus your most,
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your biggest effort on the following draft
and then you go and employ you meant
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your nose or you say hey,
I fundamentally disagree with that and that's your
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choice. So you guys will wall
discuss it on the phone and those strengths
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and weaknesses, and so then they
just walk you through what kind of needs
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to be changed and their opinion and
then you can ask questions as kind of
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a collaborative experience to try and get
even closer on that second draft. And
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00:29:02.700 --> 00:29:10.890
then post that we ideally would start
going into working on the the more like
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like the pitch deck. Correct the
Bible first. So with that's right,
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the Bible and then and then the
pitch deck. Yeah, so the Bible.
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That will consist of your series synopsis
which in features is going to be
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your one pager. It's also your
television series one pager. We just put
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00:29:29.839 --> 00:29:34.359
it all in one document for to
be easier. But we go through your
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Bible Outline what the show will look
like for the rest of that first season.
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It doesn't have to be super in
depth, just kind of saying hey,
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this is the arc of this character
and this the family and what happens
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and by the end of first season
this is where you're at. And and
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then giving a little depth to what
goes on beyond the first season so that
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producers and distributors can see that there's
a future to the show and that it
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00:30:02.259 --> 00:30:08.049
has potential to make money, to
make money. Yeah, and it's not
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00:30:08.250 --> 00:30:12.730
just right word, Eiot that goes
nowhere. It shows that there's a series
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behind this idea. And I can
go on for fifty, sixty, however,
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many episodes for multiple years after that, from your lips to Godzi ears,
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I hope. Hopefully. And then
we work on the pitch deck.
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Can we create pitchcheck for you?
There's two options. One is kind of
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the more basic version and then there's
the customizable deck where it's more tailor made
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to your specific project, and we
show examples of those to the clients so
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00:30:49.579 --> 00:30:53.579
they can choose which one they want
to do. But the pitch deck just
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00:30:53.700 --> 00:30:57.140
brings everything to live. It shows
the tone, the vision, it shows
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00:30:57.220 --> 00:31:03.930
what actors could be in the role
hypothetically. It really gives things more of
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00:31:04.009 --> 00:31:10.210
a director's feel in a way,
but also just the best version of the
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00:31:10.369 --> 00:31:15.730
pot are, excuse me, the
best version of the project itself. Yeah,
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00:31:15.970 --> 00:31:22.480
and and then once that is done, it's then put out there and
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and and the people. And you
mentioned the word first look before. Could
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you sort of explain that to the
audience and in case there are people who
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00:31:33.309 --> 00:31:37.829
are listening who don't know what that
means? It's like production companies that have
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00:31:37.869 --> 00:31:42.109
a first look deal. Yeah,
so usually a first look deal refers to
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00:31:42.150 --> 00:31:48.500
the company that has essentially dibbs on
it, where you go to them first
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00:31:48.539 --> 00:31:52.940
and they choose whether they want further
pursue the project or not. We had
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one with a company called whistle last
year. Right now we're working on a
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00:31:57.180 --> 00:32:02.809
deal with a few other companies.
So those are kind of behind the scenes
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00:32:02.930 --> 00:32:09.609
things that are not official yet,
but hopefully we'll be soon. All right,
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00:32:10.009 --> 00:32:15.490
and then that essentially sums up the
nine phase process. Yeah, pretty
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00:32:15.529 --> 00:32:17.400
much. And then it's off to
the races to try to get pitched sold
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00:32:17.440 --> 00:32:22.920
or made or funded. So that's
kind of the IT'S A it's a long
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00:32:23.000 --> 00:32:28.480
journey, especially the distribution and just
because it takes so long to get things
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00:32:28.519 --> 00:32:32.309
made in Hollywood. But we're doing
our best to speed up that process and
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00:32:32.549 --> 00:32:37.549
we have a bunch of different process
projects in various stages and I'm excited to
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00:32:37.630 --> 00:32:43.670
see next six to twelve months old
for us and our clients. Yeah,
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00:32:43.789 --> 00:32:47.019
I'm excited to see what what the
process holds for me as well as I
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00:32:47.180 --> 00:32:51.019
love that I'm like hosting this podcast, talking to you, but at the
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00:32:51.059 --> 00:32:54.660
same time experiencing it as as it
happens. That was one of the things
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00:32:54.700 --> 00:32:58.259
that I spoke to Mike about and
I was like, I want to sort
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00:32:58.299 --> 00:33:01.690
of like document this. I want
there to be like this journey that I
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00:33:01.849 --> 00:33:06.609
took with open gate in, you
know, dealing with with inheritance, because
395
00:33:06.650 --> 00:33:10.890
it's such a victory to me,
especially after having gotten a few rejections on
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00:33:12.009 --> 00:33:19.559
it in Lebanon, you know,
because of it just doesn't fit the market
397
00:33:19.680 --> 00:33:24.680
here for many reasons. But for
me it was such a victorious moment,
398
00:33:24.839 --> 00:33:30.789
specially hearing you know, twitch and
bread and Mike talk about and then you
399
00:33:30.230 --> 00:33:35.910
earlier today before we started the show, about how unique the project is.
400
00:33:35.950 --> 00:33:38.990
It just as a writer, it
made me feel very validated. No,
401
00:33:39.509 --> 00:33:45.579
especially with so much diversity and everything, I think something focusing, focusing on
402
00:33:45.740 --> 00:33:52.940
Lebanese family is definitely something that could
be pursued further and be real similar and
403
00:33:53.099 --> 00:33:58.089
the aspect that we've seen it before
through other lenses, but different because we
404
00:33:58.210 --> 00:34:05.730
haven't seen the eccentricities of maybe a
Lebanon family in this way or a story
405
00:34:05.849 --> 00:34:08.809
told in this way, because it's
different than our own culture that we kind
406
00:34:08.849 --> 00:34:19.079
of experienced daily. Yeah, exactly
so for you, as as this creative
407
00:34:19.079 --> 00:34:22.920
as the director of story developed,
man, if you had any, let's
408
00:34:22.960 --> 00:34:29.670
say, advice to give new creators, are new writers, are new filmmakers,
409
00:34:29.710 --> 00:34:34.070
or people who are trying to let's
say, you know, grab a
410
00:34:34.110 --> 00:34:38.019
meeting with open gate, what would
what would you say them as as a
411
00:34:38.059 --> 00:34:44.059
piece of advice or just, you
know, maybe a piece of motivation?
412
00:34:44.900 --> 00:34:47.820
Well, my biggest piece of advice
just in general, is to be patient
413
00:34:49.059 --> 00:34:55.050
and keep honing your craft. Nothing
comes easy and this world you just got
414
00:34:55.210 --> 00:35:04.610
to keep writing and keep pursuing it
through all the rejections and everything else that's
415
00:35:04.929 --> 00:35:12.760
negative and this industry, and just
as being entertainer, and that things take
416
00:35:12.840 --> 00:35:17.800
time. There's no real instant success. Those stories you see of someone going
417
00:35:19.079 --> 00:35:22.590
to the a list are usually years
and years of hard work that no one
418
00:35:22.630 --> 00:35:25.909
ever sees. You just see the
tip of the iceberg. I'm thinking of
419
00:35:25.989 --> 00:35:30.630
that meme where you see the tip
and then everything else below. Yeah,
420
00:35:30.789 --> 00:35:37.059
that's exactly what I saw in my
head to your tears crying rejection. So
421
00:35:37.300 --> 00:35:44.539
it's it's a process for a reason
and things don't happen in a week or
422
00:35:44.699 --> 00:35:49.500
two weeks. They take months,
they take years of grinding it out and
423
00:35:49.739 --> 00:35:53.489
just going to day to day.
And my other big piece of advice is
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00:35:53.610 --> 00:36:00.170
to folk once you finish one project, usually people's first project is the one
425
00:36:00.210 --> 00:36:02.329
they care the most about, but
go on to the next one. That
426
00:36:02.449 --> 00:36:06.239
doesn't mean put it to the side
and stop trying to get it out there.
427
00:36:06.800 --> 00:36:09.039
It means keep writing, keep reading
your next story, because someone might
428
00:36:09.079 --> 00:36:14.880
like, let's say, your pilot, but it's not for them, like
429
00:36:15.039 --> 00:36:19.510
you said, it's not for the
demographic where you are, but maybe they
430
00:36:19.670 --> 00:36:22.710
like your writing style and they'll say
hey, what else you have? And
431
00:36:22.789 --> 00:36:25.829
then you have a second project that
you can show them that might be further
432
00:36:25.829 --> 00:36:31.710
up there alley. So it's all
about getting to the next one and keep
433
00:36:31.789 --> 00:36:37.619
adding to your portfolio and having more
things to show producers. Don't put all
434
00:36:37.699 --> 00:36:42.659
your eggs in one basket. Spread
them out among as many projects as you
435
00:36:42.739 --> 00:36:49.090
can that are of high quality so
that you can have better your chances are
436
00:36:49.369 --> 00:36:55.449
improved by having more projects out there. This is like the the ntie less
437
00:36:55.610 --> 00:37:01.239
is more statement. This is the
have more, because you don't know when
438
00:37:01.320 --> 00:37:04.840
that phone is going to ring or
rend that door is get a knock,
439
00:37:04.880 --> 00:37:08.159
and that's something that my film teacher
always used to always say. Is like
440
00:37:08.280 --> 00:37:13.559
you have to be ready, and
if you're a writer, as you said,
441
00:37:13.920 --> 00:37:20.269
you know you're ready by having enough, you know, artillery in your
442
00:37:20.550 --> 00:37:24.349
in your you know, in your
back pocket. Yeah, like I mean
443
00:37:24.469 --> 00:37:29.909
blumhouse might not like your script because
it's not a horror script, but HBO
444
00:37:30.139 --> 00:37:32.860
will like it because it's a drama
or, you know, horrible exactly,
445
00:37:34.699 --> 00:37:38.739
but not everyone. It's wanting every
single project, and that's what people need
446
00:37:38.820 --> 00:37:43.179
to realize, is it's not getting
your project in front of everyone. I'm
447
00:37:43.219 --> 00:37:46.969
not going to send my creature,
freeture, to Pixar. I'm going to
448
00:37:47.050 --> 00:37:53.769
send it to the people that make
those movies. So it's it's targeted distribution
449
00:37:53.809 --> 00:38:00.480
and querying to as opposed to just
saying here's my script, take a look
450
00:38:00.480 --> 00:38:06.320
at and they're like that. We
make shows on Nickelodeon exactly exactly. So
451
00:38:06.519 --> 00:38:12.679
be targeted, keep writing and don't
give up. Is Essentially to summit.
452
00:38:12.800 --> 00:38:15.670
All Up, Luke, I want
to thank you so much for taking the
453
00:38:15.789 --> 00:38:21.829
time. I understand how busy you
guys are at open gate, so I
454
00:38:21.949 --> 00:38:24.469
do want to thank you so much
for taking the time to join me on
455
00:38:24.630 --> 00:38:32.460
script, to screen as one of
the one of three open gate members that
456
00:38:32.539 --> 00:38:37.059
are going to be on the show. It's exciting. I'm super excited to
457
00:38:37.380 --> 00:38:39.940
to sort of document this and to
talk about this, so I am very
458
00:38:39.980 --> 00:38:44.929
grateful for you for doing that.
Yeah, you're welcome. Thanks so much
459
00:38:44.929 --> 00:38:46.610
for having me. It was fun
to talk to you and I'm excited to
460
00:38:46.690 --> 00:38:52.650
see things further develop with your script, because I'm excited to see what happens
461
00:38:53.409 --> 00:38:57.960
and how the pitch that turns out
on the long run, trust me.
462
00:38:58.199 --> 00:39:04.079
So Am I. on that note, everybody can, if you want to
463
00:39:04.159 --> 00:39:07.079
get to this point, if you
want to meet with the people that open
464
00:39:07.119 --> 00:39:10.949
gate, you can visit them on
their website. Luke, would you mind
465
00:39:12.030 --> 00:39:16.309
sharing that with our with our audience? Yeah, the website is open gate
466
00:39:16.510 --> 00:39:22.469
nowcom and there's a contact bone where
you can request more information or get in
467
00:39:22.510 --> 00:39:30.260
touch with someone to learn more and
hopefully join us on your other trust me,
468
00:39:30.780 --> 00:39:34.059
for anybody out there who's interested,
it is one hundred percent worth it.
469
00:39:35.099 --> 00:39:39.570
So thanks again, Luke. Thank
everyone for joining us on today's episode
470
00:39:39.570 --> 00:39:43.730
of script to screen. Again,
if you want to follow me on social
471
00:39:43.730 --> 00:39:47.050
media, you can do so at
stories by Alan on twitter on instagram.
472
00:39:47.369 --> 00:39:52.800
You can also help support me and
all of my endeavors by buying me a
473
00:39:52.920 --> 00:39:58.760
coffee on buy me a coffeecom stories
by Alan, and you can also check
474
00:39:58.760 --> 00:40:02.599
out my website, alamahanacom, for
all the updates. I am literally updating
475
00:40:04.639 --> 00:40:08.389
the inherited like everything that I'm doing
with inheritance in terms of open gate is
476
00:40:08.510 --> 00:40:14.269
being updated on the website as if
you visit it, you check out the
477
00:40:14.389 --> 00:40:20.110
open the inheritance page, you can
see that I've already completed phases one and
478
00:40:20.550 --> 00:40:23.579
two, with everything else sort of
listed only the phases, not necessarily what
479
00:40:23.619 --> 00:40:28.940
I'm doing in each phase. So
don't get too excited about that. I'll
480
00:40:28.980 --> 00:40:35.730
probably podcast blog about those in more
details. So thanks again, Luke.
481
00:40:35.889 --> 00:40:39.929
Have a wonderful rest of your day
out there in where are you exactly?
482
00:40:40.130 --> 00:40:46.650
I don't I never even asked.
I am in Texas still, so hopefully
483
00:40:46.650 --> 00:40:51.639
I'll be back in California. I'm
just kind of waiting for things to get
484
00:40:51.639 --> 00:41:01.159
a little bit more open up so
that I can pay rent, and I
485
00:41:01.239 --> 00:41:06.909
mean I'm I'm I'm praying for that
for you in order for things to get
486
00:41:06.909 --> 00:41:10.429
back to normal. So then I
will repeat what I said earlier. Have
487
00:41:10.590 --> 00:41:15.869
a brilliant rest of your day.
It's nighttime where I am as we're recording
488
00:41:15.949 --> 00:41:19.219
this right now. You know,
in the time that we're recording this,
489
00:41:19.659 --> 00:41:22.820
it's nighttime where I am. So
thanks again, Luke, and thank you
490
00:41:22.940 --> 00:41:25.260
everyone for joining us. Have a
wonderful rest of your day. Take Care,
491
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