Electric Eel Sub

18 Mar

I suggested to Promark that Michael and I do a rewrite of Snakehead, substituting electric eels. I did some research: eels can survive out of water up to 48 hours, and they can crawl on dry land. The amount of rewriting would be minimal. We’ll see if it flies with Promark. They now want to see everything we’ve written, to cherry-pick (or reject wholesale) all our scripts. Not all of our scripts are right for Promark – they’re either too edgy (potentially R-rated) or too high budget. There are only two I could see as possibilities: Mambo Sun and Two Dead in Reno. I’ll have to look at Promark’s website to see what they’re producing.

It’s obvious that a lot of production executives think writers are craven boot-lickers. Promark seems to think that we’ll jump at the chance to bring all our scripts to them. Why? So they can sit on our best stuff for a year without making a commitment? Every script they provide coverage on most likely goes into a database. One scenario is Promark rejects our work and then goes on record with their rejection. Michael and I then have a useless pile of paper punched with three holes.

I e-mail Agnes and Gert telling them Michael and I are not about to bring them all our scripts – as though our screenplays were a plate of baloney sandwiches.

This sets off a firestorm. After Agnes and Gert blow gaskets, squealing in pain, they simonized their shark fins and we got back to business and worked out a compromise: They’ll see some of our scripts – the appropriate ones for Promark – and we’ll develop some sci-fi and horror treatments for them.


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