In an initial pitch meeting, if an executive is interested in working with you, he or she will likely ask you a series of tough, possibly annoying, and occasionally “trick” questions.
It isn’t really that the exec is trying to trick you. Trick questions are tests to see if you are a professional and know how to handle yourself under pressure.
The Secret To Answering Trick Questions
Trick questions often have a question hidden within. If you can figure out the hidden question, you can give a much better answer.
In this post, I’ll help you anticipate five of the most frequent trick questions, show you the questions hidden within, and help you to create better answers in advance.
Trick Question #1: How long have you been working on your project?
If you say that you’ve been working on it for years, you sound like an amateur who can’t write quickly enough to work in the big leagues. If you say a couple months, then it sounds like you’re not serious enough about your work to take the time to make something great.
The hidden question is: Do you really know what you’re doing?
Think about the different ways you could truthfully explain how long you’ve been working on your project, and put your best foot forward.
Examples:
- “I read this article three years ago and it really stuck with me. Then I had the idea, “What if_____?” and I wrote the draft over the last six months.”
- “When I first got the idea for (project title), I wasn’t sure what to do with it, so I noodled with it for a few years, thought about putting it down, but the story just kept sticking with me. Eventually I figured out the missing piece of the story and then I rewrote the entire thing in five months.”
- “About a year or so.”
Trick Question #2: How much would this cost?
You could make most movies for two million, $20 million or $200 million dollars depending on whom you cast. Even if you’ve worked as a line producer and have extensive experience budgeting, if you’re selling a script as a screenwriter, estimating cost isn’t your job.
If you provide an estimate (which almost assuredly isn’t what the executive is thinking), it’s easy for the executive to dismiss your perspective. Executives know that film budgeting, whether for an independent or studio film, is a moving target.
That’s really what this question is about—it’s a way to filter out the amateurs who take the bait and answer something way too low or way too high. Remember, in this meeting, you’re the creative professional. Your job is to imagine and create. The executive’s job is to budget and produce.
The hidden question is: Does this person understand how the business works?
Here’s how to answer: Don’t give a specific number and turn the question back to the executive.
Example:
- “I’m not sure. What do you think?”
Trick Question #3: How do you see the casting?
This is a trick question because you think they want to hear your opinions, but they’re asking you to make sure you’re not obsessed with wacky or outlandish casting ideas.
For example, when I was at MGM, the following would happen frequently: a new writer would answer, “My best friend has a small part on a TV show and would be so awesome for the lead. You should really consider him.”
This well-meaning statement would give me pause. Would you really want your friend who hasn’t ever acted in a movie to have the lead in your first major film more than, say, Ryan Gosling or Robert Pattinson?
Here’s another example: one time, I had a writer pitch me passionately that Dustin Diamond (“Screech” from Saved by the Bell) would be perfect as the lead for a big-budget action thriller. “My dream cast,” he said.
Dustin Diamond may be the right actor for a certain projects, but it showed me that the writer wasn’t on the same page of trying to make a big studio film.
The hidden question is: Are you aware of the marketplace?
Here’s how to answer: Mention a couple of well-known stars and well-regarded independent film stars and then turn the question back to the executive.
Example:
- “I think for the main character, (big star) or (big star), also possibly (up-and-coming star). For the father, I could see a guy like (established film actor) or (beloved TV character actor). Who are you thinking about?”
Before a script is purchased, talking about casting can be a slippery slope. Once the project sells, at the appropriate time in the casting process you can float any names that haven’t already been raised by someone else.
Trick Question #4: What’s the weakest part of the script?
This is a question for which you should be prepared at all times. It’s just like when you interviewed to get into college or for your first job. The standard question is, “What is your biggest weakness?” or “Why shouldn’t we hire you?”
This is a test to see how objectively you can look at your work. Pros know that every word they write isn’t perfect and they can immediately identify sections or aspects that are stronger than others.
The hidden question is: Can you handle being challenged?
Here’s how to answer: Be willing to show there are things you are working on, that you’re willing to work with notes, and keep a positive focus.
Examples:
- “I’m still looking for places to tighten up the second act.”
- “The humor feels stronger to me in the beginning and the end—I could use a few more good lines in the middle.”
- “I am concerned that the climactic fight sequence in Act III is a bit too violent, though I can turn the volume down on that if necessary.”
Trick Question #5: How did you get started as a writer?
The hidden question is: Are you an expert?
Fair or not, the executive is going to judge your expertise and capability as a writer from your story of how you became a writer.
The most common answer goes something like this: “I’ve always wanted to be a writer. Been writing short stories since I was a kid. Love movies. Then I took a writing class with a great teacher and (blah blah blah).”
Here’s how to answer: Demonstrate your expertise.
Examples:
- “I’ve been obsessed with (detail relating to your project) for years, and realized that there’s never been a story that focused on (a marketable aspect of the genre).”
- “When I was working as an (unusual previous job), (unique experience) happened. I started researching everything about the topic and this project was the result.”
. . . . . . . .
Now that you can answer these trick questions, I hope you’ll feel more confident going into your next meeting!
Have you experienced other “trick” or especially difficult questions?
July 02, 2012 at 6:48 am, Gordon Mathieson said:
Wise words for us all. I will take this lesson with me as I pitch my two Chinese American Film Scripts.
July 02, 2012 at 3:59 pm, Ruth Livier said:
Great advice. Very helpful as I prepare for my upcoming pitch meeting.
July 02, 2012 at 4:19 pm, Troy Allen said:
Terrific hearing how the gears turn during pitch meetings at studios and producer’s offices. Coming from a past creative exec at MGM turned mentor/coach/adviser helps really give honest pause for all the hopeful scribes out their who don’t want to put their own foot in their mouths. Thanks again!
July 02, 2012 at 4:27 pm, Sarah Beach said:
Another trick “question” for those with something-off-mainstream scripts is “I wish there was a graphic novel so I could see what the film would look like.” The hidden question in that is “Is there an audience for this?”
But learning to hear the hidden questions is important for survival in Hollywood.
July 02, 2012 at 5:47 pm, Stephanie Palmer said:
Ooh, that’s a great one! Thanks so much, Sarah.
July 07, 2012 at 12:48 pm, scott123 said:
I was pretty happy with myself that, while reading this I as able to answer these questions pretty well with my own script. Good Article!
July 07, 2012 at 12:53 pm, Keith Sauerland said:
Stephanie, Thanks for all the insight and tips. I have always thought that a good writer would never inflate his own balloon. I am fascinated by your explanations of how the questions can steer the progression of and the failure of a pitch meeting. Unfortunately, I have not yet had the opportunity to present any of my scripts. Perhaps, my loglines need improvement.
Fifteen years ago, when my children were younger, they would ask me to tell them a story after I tucked them in bed. It started during the Christmas holiday and continued on most every night after that. Over a great many story times, I soon developed a skill for making up the stories as I went along.
Years went by and I also began to realize that unusual things always happened to me. Sometimes on the way to work and then other times they would surprise me even when we were on vacations. They would occur when I was alone or when I was in a crowd. Occasionally, I would tell my wife, my kids and sometimes my friends about them. Some were funny and some were scary, but all were definitely quite different. From time to time, friends would tell me that I should write them down in a journal, and I did. As I undertook the enjoyable work of transcribing the stories, I discovered that some unrelated smaller episodes could be tied together to make a longer thriller.
Five years ago, I began to put them together. Finally, I finished my story in manuscript form. Since then, I have worked on other script ideas but completed the script for the movie. Though, I have rewritten THE DEERFIELD HOUSE many times, each time I was not satisfied. Perhaps there is still more that can be enhanced.
I would like to have people enjoy what has evolved in my mind and born onto paper. My writing should grow the same experience in the readers’ mind that I felt in living the story in my imagination.
Is this the kind of intro that I should use when I pitch one of my scripts?
July 09, 2012 at 9:11 am, Stephanie Palmer said:
Glad to hear that you’re keeping track of your ideas and have a script you’re excited about. How wonderful that you evolved it telling stories to your children!
Regarding how you pitch it, I would not explain the genesis of your idea in this way.
The decision-maker is evaluating the quality of your project based on the quality of your idea’s genesis story. Any explanation of “How you came up with this idea?” should showcase your relevant expertise and credibility.
Your source of inspiration is part of what gives the decision-maker confidence in you and your work. Think about how you might position yourself as an expert in the thriller genre. Good luck with The Deerfield House!
July 12, 2012 at 6:02 pm, Hank said:
“Would you really want your friend who hasn’t ever acted in a movie to have the lead in your first major film more than, say, Ryan Gosling or Robert Pattinson?”
Yes. Over Robert Pattinson? Yes.
July 12, 2012 at 6:12 pm, Stephanie Palmer said:
Fair point. Perhaps I should have said Sean Penn?
July 15, 2012 at 7:52 pm, Katherine Bennett said:
Stephanie: These tips and tricks are so important – I have found similar practices in other fields – not surprising. We as writers are asking someone to take a chance on our story and us, as a writer. Their questions along these lines, understandable. I appreciate the frame of reference you’ve given us all. Thank you so much.
September 07, 2012 at 8:51 pm, Paul Undari said:
To share is a writer’s compulsion. To share wisdom is a writer’s confidence. You have my confidence. And, now, I have yours. I will be attending the Pitch Summit in Burbank in two weeks. And it is to you that I have to thank for my new-found courage. Hollywood, here I come.
December 11, 2012 at 1:05 am, Flora said:
Stephanie, thanks for the great practical advice. I am glad that you take the time to respond to your fledgling writers. When I get scared or pressured about my writing, I think of the Depression era copy writers who wrote for their next meal. Now, that’s pressure!
December 11, 2012 at 9:34 am, Stephanie Palmer said:
Well said!
January 17, 2013 at 10:51 pm, Clorine said:
Thanks again Stephanie for the wonderful advice, it will help lots to know this information.
January 29, 2013 at 11:38 am, Myrna Lou Goldbaum said:
Hi,
I just learned a ton of valuable info here. I am a published author with 3 non-fiction books. Just completed CRUISE TO THE OTHER SIDE, a paranormal fiction book. It has been edited and now I am re-working all the suggestions and corrections. I will be sending out query letters this spring and also pitching it as a movie.
Because I am a Master Palmist of course there is a palm reader in the story line. They say write what you know about; I did.
January 29, 2013 at 11:45 am, Stephanie Palmer said:
Thanks, Myrna!
March 25, 2013 at 11:51 am, Essie said:
I was directed to your site by a link from another writer, and have spent the last half hour looking through your back blog posts. They’re all great, but this one in particular resonated with me. I’m currently putting together a pitch for a stage play, and reading your advice it clicked how I could specifically use my expertise in another field to sell my idea in the pitch. Thank you very much for all your advice. Much appreciated.
March 25, 2013 at 1:14 pm, Stephanie Palmer said:
Thanks so much for your note, Essie. I have a special fondness for theater because I majored in theater directing in college. So glad the posts have been helpful to you.
April 19, 2013 at 4:21 pm, Becky Van Deraa said:
Thank you so much for sharing your advice,I am very encouraged.
May 01, 2013 at 8:37 am, willis ikedum said:
This is awesome. Thanks for sharing, it has blessed my life and prepped for the future. God bless you Stephanie.
May 01, 2013 at 9:46 am, Stephanie Palmer said:
You’re welcome, Willis.