[DRAMATIC MUSIC PLAYING]
MATT DUFFER: The best way to explain
how we pitch is just to show you the "Stranger Things" pitch.
You're gonna be talking about a lot of stuff
and a lot of stuff that was in your blue sky document that
maybe just didn't make it into the pilot.
For instance, in your pilot script of "Stranger Things,"
we talk about how Hopper's lost a daughter.
We don't really talk about how that'
where he's going from there.
That A to B, we don't talk about.
We don't know from the pilot script
that Mike and Eleven are gonna have this innocent relationship
and sort of have a first love.
We don't get into that or that Jonathan and Nancy are
gonna end up teaming up.
So what you're able to do is you're
able to elaborate a little bit more.
Now, don't get all too carried away.
This is 15 to 20 minutes, so you're
gonna have to be very particular.
You're gonna have to pick your best
ideas and your simple ideas.
You could definitely lose people really quick.
If you start going too deep into mythology or whatever,
you're gonna lose people.
But you should touch on mythology.
We touch on what this other dimension is.
We talk about inspirations.
We talk a little bit about music, even, and tone.
You're just sort of hitting these big bullet points of what
the show is both gonna feel like and your
giving a sense of what the story arcs could be.
And then even at the end, you're talking a little bit
about what could be beyond this, if it happens to be successful.
This is not a document that we've really
shared with anyone.
We didn't even share it with Netflix.
MATT DUFFER: You know, we broke it down for ourselves,
starting with an introduction.
We talked about, did you see our look book trailer?
It's probably clear to you that now we're
gonna get into a look book later.
We were movie nerds growing up, so we
started to make it a little personal immediately
and talk about why we're passionate about this material.
We talked about going to movies with our dad,
and how we loved this growing up,
and how we then fell in love with TV with "The Sopranos."
And we talk about a little bit why we think it's unique,
and why there isn't a show like that,
and why we would like to see a show like this.
And then, if you look at this, actually, we
talk about a lot of things we had you kind
of blue sky or thinking about.
I mean, we talk about--
ROSS DUFFER: Inspiration.
MATT DUFFER: --inspiration, so the kind of movies
that inspired us.
ROSS DUFFER: And you can see here, it says, "ordinary
meets the extraordinary."
It's bolded, that's how important we thought it was.
We did not bold this for this class.
This was bolded for the Netflix pitch.
But again, we make it personal again.
Because then, we say right after that, "When we were growing up,
we were just regular kids living in the suburbs of North
Carolina, playing Dungeons and Dragons
with our nerdy friends."
And we're saying this is why this show is meaningful to us.
We're making it personal for them, again.
So I think that is important.
Then we get into setting.
ROSS DUFFER: Setting, for us, was not
the most important aspect of this storyline.
And we summarize it very quickly,
talking about how Montauk is this close-knit seaside town.
And we talk about Amity in Jaws.
We don't spend a lot of time here.
No.
And then we get into mythology.
So, it's funny I'm reading this.
Some of this is not even accurate.
But we basically get into the Montauk project
and why we're into the Montauk project.
And why we love conspiracy.
MATT DUFFER: And why we love conspiracy.
Again, we're making it personal.
ROSS DUFFER: We have these, again, bolded lines.
And again, this isn't for MasterClass.
This was stuff we had bolded, just as a--
I think, even though we memorized it,
we wanted to be like, you've got to hit this moment,
you've got to emphasize this because it's
so important, which is, a doorway or tears
open to another dimension.
We talk about these entities.
We realized multiple entities was more entities
than we needed.
And it became one, which was the Demogorgon.
And we end this with saying, "This supernatural kidnapping
sets our story into motion."
And I think one reason that's bolded
and we thought was so important was
this is going back way, way, way back to early
in the lesson when we said, big idea.
And our big idea coming out of prisoners
was, what if we do a show about a supernatural kidnapping?
So we wanted to make sure that they understood
that at the core of this, we're gonna
have a lot of crazy ideas, other dimensions,
and multiple entities--
Girls with side-eye powers.
Some psychic powers.
Yeah.
Well, listen, if you're getting-- just think about it,
at the end of the day, supernatural kidnapping.
And then we move into talking about the structure.
And these are really the arcs that we were talking about.
The story arcs.
The story arcs that we were talking about.
We were calling them generations slash structure here.
We're talking about the drive, of course,
which is what happened to Will.
How do we get will back?
Again, very easy for them to understand.
And then we talk about, there's gonna be three main storylines.
And we're going to break them into three
different generations, the kids, the teens, the adults.
And then, we also bolded, "We like
to think of each of these generations
as existing in a different '80s universe."
Well, and I think it also gives them a shortcut, right,
too?
Yeah.
Because saying, the adults are in a Spielberg movie.
The teens are an '80s horror film,
like "Halloween" or "Nightmare On Elm Street."
And then the kids are in a Stephen King novel,
like "Stand By Me" or "It."
And I think, again, these aren't--
these are references that we were
assuming that they would be able to understand and relate to.
And then we step through each of those generations for them.
So we're like, okay, now we're gonna talk about the adults.
Yeah, we actually say this, look.
"Now we will walk through the storylines.
First, we have our adults."
It's very simple.
Again, very simple, clean, simple introductions to this.
You don't want them to get lost.
If you start going into too much detail, they're gonna just--
they're gonna zone out, and they're
gonna start thinking about their next meeting or whatever it is.
Just keep it focused and clean.
And then, basically, what we do
is we talk about all the major adult characters.
When we go through each character,
we go through Hopper, and what we're doing
is we're talking a little about who Hopper is.
We're talking about the story arc, which
is something in your blue sky that you've come up with that A
to B. And we're talking about his story arc, A to B.
And then we're doing the same with Joyce.
So we're just hitting those huge, big points.
So hopefully they understand who this character is,
where they go in the story, and where they end up.
But I think that, again, you're staying really broad.
If you look at this outline we've got,
it's a short paragraph for each of these characters.
And then we sort of summarize, at the end,
you know, this is another bolded thing.
We say, "What really unites the adult storylines,
emotionally and thematically, is that both Hopper
and Joyce her parents who feel like they
have failed their children.
Specifically, they feel they have failed them because
of mistakes in their past.
But over the course of the show, they
find a way to forgive themselves,
to accept their mistakes, and to move on with their lives.
So it's starting to talk about what is gonna
unite Joyce and Hopper here.
We're just doing the same structure that we did with
the adults with the teams, which is we say,
"They've got adulthood looming, and it's terrifying,
which is represented by this 'monster' that is stalking
them.
And that's, again, just telling Netflix,
hey, this isn't just kids running away from monsters.
There's a little more depth to it.
So that can be a helpful thing.
And then we go to the kids.
And it was an obvious choice by us to end with the kids last.
We knew that was our stro-- like, really strong, probably
our most interesting storyline.
So we wanted to end on a high note.
That's why we structured it in the way that we did
or I'm imagining that it is.
We talk about Mike, he's still got that birthmark on hi face--
That's right.
--which leads to insecurity.
And then we describe this storyline of him and Eleven.
And we say, "We now have this E.T. fish-out-of
water storyline.
And with that, almost, they get it, right?
They get how it's gonna work with Mike and Eleven.
And we kind of step through some of the cool sequences
that the kids might have--
these fun sequences they're gonna
have with this psychic girl who's suddenly living with them
and how she's gonna learn how to live in the real world.
And we talk about all that.
And we say little ideas like, "she levitates their Dungeons
and Dragon figures."
Now, in the show, she does, I think,
the Millennium Falcon toy.
Which is a better idea.
But again, it's giving them a taste of, hey,
this journey's gonna be fun.
This is one of the things that could happen along
this journey.
Once we went through each generation and all the major
characters, we then went into-- we started talking about how
they're gonna combine.
We labeled this Finale.
We said, there's gonna be a big set piece, where the government
agents come to Mike's house.
Yeah.
This is actually pretty accurate, still, for the show.
Yeah, it is, yeah.
They come to the Mike's house.
That leads to the bike chasing, whatever we say.
So that moment, we knew that was gonna
be an exciting moment in the show
and that whatever happened there was gonna lead all three
of these storylines to collide.
We're not specific about how they collide here.
ROSS DUFFER: No.
We just said there's gonna be a huge event of the house.
And then we just wrote, "This is when our three generational
storylines merge, adults, teens, and kids."
And then we talk about a little bit what we were telling you
not too long ago, which is, "They each have
a key piece of knowledge, the adults
have learned where Will is hiding,
the kids have learned about this portal beneath Camp Hero,
and the teens have learned how to defeat the Entities," which
will become the Demogorgon.
"They now have what they need to free Will."
And then we talk a little bit about the climax.
We talk about--
But again it's like five sentences.
--how they're going to-- yeah, that they're going to rescue
Will and how Eleven is gonna use her powers to help close
the rift and end the horror.
So that was us running through the entire series for them.
Again, it's a really zoomed-out view of it.
ROSS DUFFER: And then, we get into franchise, briefly.
MATT DUFFER: And I think, initially, this franchise thing
didn't exist in the original pitch.
But it was something we kept getting asked about,
so we were like, we better write down
some good answers for this.
And a lot of this we already went over,
in terms of, we started to talk about, listen, we
want this story to be complete.
We want them to rescue Will.
We don't want them to rescue Will and then lose Will again
and season 2 is about rescuing will again,
because we knew that would be boring.
So we knew it would revolve around--
revolve around what happens with Will when he's returned.
"How has his time in this other dimension affected him."
That's what we wrote.
He's going to be psychologically damaged.
He's gonna be haunted by very intense nightmares.
How do you come back from something like that.
And ultimately, that is what season 2 is about.
It's like, how does Will come back
from the events of season 1?
We've got 15, 20 minutes, and so we've got to be,
every word counts here.
And you've got to be very careful with not
falling into too much detail.
[DRAMATIC MUSIC PLAYING]
So in addition to the pitch and in addition
to that verbal pitch that we did,
we sent a look book prior to our meetings for them.
And, basically, a look book, this is optional.
This is something you definitely do not have to do.
You have to do the pitch, but you
don't have to do the look book.
But what we like about the look book
is it goes back to the idea of tone
that we talked about way earlier, in terms
of giving them a sense of, what is this show gonna feel like?
Or look like.
Yeah.
What is the texture of the show, right?
So you're doing things with images
that you just can't completely do with the written word.
So we found this actually pretty helpful.
And I think the studios and networks all responded really
positively to this look book.
And it was pretty simple.
We did it ourselves on Photoshop.
We're not particularly skilled at Photoshop,
so we kept it pretty simple.
If you don't know Photoshop, or Illustrator, or any
of those things, maybe you have a friend who does
or someone who can help you out.
Again, it doesn't have to be super fancy.
But, basically, we wanted to adopt the look--
if you check out-- we'll show you
some of the pages from this look book.
We were trying to evoke the feeling of a classic Stephen
King paperback.
You'll notice that the font is not
totally dissimilar from the font ultimately used for the show,
"Stranger Things."
But again, this is something very simple that Matt
and I were able to do on Photoshop.
So we included an introduction,
very much like we did in the pitch.
We did.
But the most important thing, aside from that, again,
are the pictures.
So this is something that we were unable to do on the pitch.
But we show images from the films which inspired it,
so some images from "E.T."
We show some images from "Hellraiser" and "Nightmare
on Elm Street."
And, you know, we show Camp Hero, what the base looks like.
So remember, again, when we're talking about the script,
you're very spare in your description.
So it's good to use a look book, we think.
It allows a bit of a shortcut to allow
them to start to visualize, what is
this show that I'm gonna buy?
What is it gonna look like?
And we do get into some of the character stuff.
But a lot of this is, we're trying
to get a little bit more, like Matt's saying, the feel of it
across.
We do talk about the conspiracy.
And some of the stuff we go over in the pitch
and the basic story beats.
But then we go into the tone and style.
We go into how we're gonna deal with the horror,
that a lot of it's gonna be off screen.
And the monster's gonna be obscured,
and you're not going to see things super clearly.
And just, sort of, wanted to approach it
like those old classic films that we grew up loving.
And so, we are able to talk about that,
which is something we didn't have time
to get into with the pitch.
We talk a little bit, even, about the music,
that it's gonna have-- we envision it as having like
a synth score, as opposed to like an orchestral score.
We want it to sound like a John Carpenter film.
So again, a lot of this is kind of--
and that was not something-- we didn't get into the soundtrack
when we were pitching.
And that was all about story, and character, and structure.
And if you are interested in looking more at, it I believe
you can just--
it is online.
Someone put it online.
Someone put it online at some point.
So you can just Google "Stranger Things" look book.
And it will come up for you.
[DRAMATIC MUSIC PLAYING]
We had the pitch, the verbal pitch.
We had the look book, which we sent them.
We did one other thing, which is sort
of an above and beyond thing, which is not necessary.
Our producer suggested that we--
Is that what it was?
Yeah, that's what it was.
Yeah, our producer suggested we do it, which we would do,
like, a sizzle reel or a fake trailer for the show.
Basically, all this is, is you take a bunch of clips.
This is, again, something that's so simple that Ross and I were
able to do it on Final Cut.
We took a bunch of clips from movies that were ins--
a lot of the movies that inspired the show--
Yeah.
--old movies.
We had "E.T."
We had "Nightmare on Elm Street."
We also had new movies.
We had-- what else did we have in there?
We had "Super 8"
We had like 30-some movies.
Yeah, "Super 8" was in there a lot, right?
"Halloween."
Just a lot of our references.
And we put it together.
"Altered States" was in there.
And we added this--
what's cool about it and it just further
helps tell them or show them--
The tone.
--the tone, how you envision the show.
What do you imagine it's going to look like?
What do you imagine it's gonna sound like?
And it was cool, even for us.
I don't know how much it helped, in terms
of the selling of the show.
But it was fun to put together and actually helped educate us,
in terms of what this show was gonna look like.
Was it gonna work, our idea of synth music?
So we put, like, John Carpenter synth music over images
from ET, which has kind of a really uplifting John Williams
score and it was, like, really cool.
And we were like, okay, I think, actually, this
is going to work.
It's definitely not something you have to do.
Hard to know how much it moves the needle, in terms
of selling the project.
But I do think, ultimately, something specific to us
is that we had wanted to direct this one.
So--
Right.
--I think it helped sell us that we had a clear vision
for what this should look, and sound, and feel like.
And so, I think it helped in that regard.
So it can be a helpful thing, certainly not necessary.
[DRAMATIC MUSIC PLAYING]
We had our producers.
We had our verbal pitch that we had memorized.
We had our look book, we had our sizzle reel.
So now was the time to really go out and pitch this
to various companies.
Which both our agents and our producing partners
came up with a list of, hey, I think
these are the companies that potentially would
be interested in this project.
So then you start a sort of grueling-- the grueling
experience of actually going and doing these pitches in person.
So why it's exhausting is you're doing
this 15 or 20-minute pitch, but you're
doing it over and over again.
Yeah.
I believe-- how many did we do?
I think, in that first week, was it fif--
I mean, you say I exaggerate, but I feel like it was 12--
Yeah
--in that first week.
Yeah, I would say it was probably 12 in that first week.
And what can be--
it can be exciting, but it can be discouraging.
I mean, you're gonna hear stories again about, hey,
someone just bought [SNAPS FINGERS] this
in the room.
Again, that didn't happen to us.
And I would say a chunk of the places, at least half of them,
were probably hearing the pitch just out
of to be nice to the agents because they
had a relationship with them.
So like, okay, yeah.
I'll take 40 minutes out of my day to hear this pitch.
But they weren't really interested in the project.
So that can also become--
be a painful process, because you're trying to be excited.
And if you're not getting anything back,
if they're just zoned out, then that 15 or 20 minutes is
gonna feel like two hours.
And so, you just do that--
Right.
--over and over and over again.
And it can be disheartening.
Some people you'll pitch to, they'll
seem completely disengaged, uninterested.
And you're not surprised when you
get the phone call, ultimately, that they passed on it.
That's frustrating.
It's more discouraging and frustrating
when you have that person or people in the room who really
seem to connect to it, who really
do seem to understand it, who seem to love the project,
and you come out of that room kind of bouncing.
You're like, wow, I think that really worked.
That really went well.
I think they're going to buy-- that went really, really well.
And you get the phone call that they brought it
to their boss, who was like--
for whatever reason, kids, I don't know, kids and monsters?
No thanks, that's not for us.
And they end up passing on it.
So within that first week, it was--
so you're pitching your heart out,
and you're traveling all over town.
And I think we had 12 pitches in that week,
and it was 12 rejections, ultimately, in that first week.
And then, on that Friday, I remember
we got a call from our agent, who said that--
don't get too discouraged that it was a special project that
was gonna find a special home.
And it was just not the phone call you want to get.
Because you're like, what's wrong with my child?
Like, what's wrong with this?
The idea that he was calling it, um--
Special.
--special.
Kind of like, it was like, okay, well, this
is gonna be harder than we thought to sell it.
Butt--
Because we did feel very strongly about the script.
And we felt strongly about the pitch
and the additional materials.
And the producers had responded so positively.
And we were just--
it just felt like, for a second there, it wasn't gonna happen.
So I think what happens, inevitably--
and this is something that's important to know--
is that you do get rejected a lot,
you get the door shut on you a lot.
And it can be really wearing on you.
It can wear you down.
I mean, I know a lot of people have left,
you know, they stopped even pursuing it
because it got worn down so much by the rejection.
And at certain points, it can seem impossible.
It can.
I think the best thing to do when you're
feeling like you can't go take another step is you just
got to get back up, and you have to go back out there,
and you have to pitch it, like, with the confidence
that this is really cool and you really
do believe in it, which was the case.
I mean, I think we kind of got over it over the weekend.
I mean, we were starting to get, actually, pretty nervous
about it selling.
The challenge with all of this is
that there's an element of luck and timing involved.
So for the instance--
Yeah.
--on "Stranger Things," the instance was we weren't even
pitching to Netflix that wasn't even part of the plan Netflix
was making shows for Dave Fincher and Jenji Kohan.
She wasn't gonna make a Duffer Brothers show.
That wasn't even on anyone's radar.
They were so selective.
So we didn't even set a meeting with Netflix.
Someone new had just started to work there,
had a meeting with one of our agents on our team.
And they said, hey, we're looking for a show.
It should be youth-oriented, but we want it to be supernatural.
I don't remember the other key words he used,
but our agent was like, wait a minute, wait a minute,
wait a minute, I have the script for you, oh my God.
And he slipped him "Stranger Things."
This executive happened to really like the script.
And that got us our meeting.
But this is also where you need a good agent.
Because then our agents are kind of going, you know,
if you really are interested in this, it's really hot.
Like, a lot of people are interested in this,
you better act pretty fast.
Like, nobody was interested in this script.
No.
That is the other element of this,
which is you just need that first little bite of someone
being interested.
Right.
But they leverage that.
You need something to leverage.
And then, suddenly, there's excitement builds.
And then people go, oh, there's this hot script in town.
And that led to, ultimately, our meeting with Netflix
and them buying the project.
So--
No, but suddenly, people are taking us to steak dinners.
And, like, this from nobody was interested in this at all--
That's right.
--to one person expresses interest.
Suddenly, there's panic, everybody wants it.
And we're getting, like, they're buying us $100 steaks.
It's ridiculous.
But there's an alternate--
But that's how it works.
--but there's an alternate universe where that meeting
with that new Netflix exec doesn't happen.
Right.
It doesn't get in his hands.
The interest doesn't build like that.
So the point of this story is to not get discouraged.
Because there was definitely a version of this story
where the script doesn't sell, or maybe
we get a small little option fee and we develop
it a little more at a company.
And it just never gets made.
So that's the scary thing about it.
And so, there's always gonna be that element of luck
and timing, that it's just always gonna be there.
There's nothing you can do about it.
So there's gonna be a little bit of crossing your fingers.
And all you can do is write the best script possible,
get the best pitch, and go above and beyond
with your additional materials, whether that's
a look book, or sizzle reel, or both,
or whatever it is that you think you can do,
whatever ideas you have, to get people excited.
That's really all you can do, that's All
that's in your control.
The rest of it is up to fate.
[DRAMATIC MUSIC PLAYING]
Initially, Ross and I did not want to write,
or didn't see ourselves as writers,
I guess is a better way of putting it.
We really wanted to direct, that was our goal.
So it was very important to us that this was a show
that we would be able to direct, that we at least wanted
to direct the pilot.
But ideally, we wanted to direct the majority, if not
the whole show.
And so, that's one reason we did the look book, one reason we
did the sizzle reel, the fake trailer,
to show that we had a vision and understanding of this
beyond the written form.
But it was hard, because at that point,
we had made that one movie at Warner Bros., "Hidden," which
we talked a little bit about, which
was a bomb, which was a dud, which was never
released, right?
Which people always seem to have,
like, sort of lukewarm responses to.
I remember there was a company that really wanted
to make "Montauk" or "Stranger Things," that loved it,
like, they got it completely.
The phone call did come.
This feels like the one, yeah.
Yeah, it was like, this is the one.
This is where we're supposed to be.
They're gonna make this show.
Like, it really did feel like that.
I mean, this was a studio that had money,
that could make the show.
And they said, yeah, we don't want the guys directing.
So that was really hard.
I mean, first of all, it hurt my feelings
that they didn't like the film and they didn't
think we were good directors.
But secondly, we were in a tough spot, because at that point,
nobody was interested in the show.
And I don't know, it was a tough decision,
but we told our agents, listen, we're
not interested in doing this if we're not directing it.
We believed in it enough that we felt
we would find another home.
We're like, if these people responded
to it or this studio responded to it--
Someone else--
--another studio is gonna come and respond to it.
But it was at risk, it was a bit of a roll of the dice.
But it was like, for us, it was not
worth making if we weren't allowed to direct it.
It's like the whole reason we wrote
this was so we'd have leverage to be able to direct.
So at that point, we didn't have a lot of money.
We had worked on that one TV show.
We were running out of money from that television show.
Because we kind of hoarded that money
and used that to buy ourselves enough time to write this--
On the bank.
--show.
So with the bank, you know--
so we were basically gonna end up
having to work for another TV show or something,
if this didn't sell.
So it was a hard decision, but it was honestly
one of the best decisions we ever made,
which was to walk away from that company.
And the only lesson in that is, I
think, you know, stick to your guns, trust your gut.
If you really want to direct, or you want to be involved,
you want to be the show runner, I think you should say that.
I think you should stick to that.
I think a lot of people, especially
if you're inexperienced, they're gonna
be trying to push you out of that position
because it's just an easier sell to their bosses, basically.
But if you see yourself in that role, you got to say it.
You got to say that that's the requirement if you
want this script.
If your script's strong enough, hopefully--
if that company doesn't allow you to do it,
hopefully you'll find a company that does.
Netflix did, Netflix believed in us.
There are two things that also lessons
from that, which we found, at least in our experience, which
is confidence.
Even if you don't have it, which we certainly-- we
didn't know how to make a show, we just said we did.
Right.
There is something to be said about faking it
until you make it, which is just, project confidence,
if don't hedge your bets.
Do you guys know how to do this?
Don't say, well, I mean, hopefully, we
can figure it out.
No, no, no, just say, absolutely, this
is what-- we have a vision, this is how
we want to impart that vision.
And if you just fake confidence, you're
gonna make people feel a lot better.
And you're more likely to get what you want.
And also, there's a power in saying
no, if someone says, hey, we'll buy this project for you,
but these are the requirements.
If you say no, it actually gives you more leverage
than you think.
Because then what happens is they go, wait a minute,
this is someone who has a clear vision
and they're sticking to their guns.
And I think that that is something
that, at least in our experience,
has actually proved pretty beneficial.
So you shouldn't be afraid to say
no in certain circumstances.
What is gonna be your ally here
is just doing everything we've kind of stepped you through,
which is doing the work, planning, writing things down,
like you notice with the pitch.
Even that, every aspect of that was written down.
We weren't winging it.
We weren't having to--
that will give you the confidence when you go in these
meetings to sound like you know what the hell you're talking
about, even if you don't.
Just--
We were so nervous--
So nervous.
--going into the Netflix meeting.
We were terrified.
But if we got in there, uh, shaking and mumbling,
that probably wouldn't have gotten us the project.
But because Matt and I had rehearsed that pitch so
many times, that once we got going,
once we started it and said, hey, so you've probably
seen our look book, and we started those first couple
sentences, it fell into place.
We had done this so many times.
And we just pretended like we're just pitching to each other.
That confidence just-- even though we
weren't confident at all, Netflix saw it as confidence.
And that's all that mattered in that moment.
So, again, it's just, put in the work--
Put in the time.
--put in the time, plan it all out, don't wing anything,
and you know, you'll be fine.
[MUSIC PLAYING]
So now, you know, you've started your script,
you're feeling confident about it.
I think it might be worth taking the time to develop
some of this pitching material.
It's good to put together a look book, if you can.
If you know how to edit on Final Cut, or iMovie,
or any of those programs, then it's fun
to start to put together, hey, this
is, maybe, what my world could look like.
Start to develop those materials you
would need to develop your own pitch.
And, you know, write out the pitch.
I mean, again, look, this pitch is one, two, three, four, five,
six, it's only seven-- it's 6 and 1/2 pages.
Yeah.
So it's not that long.
It's not that much longer than the page you wrote.
It's just basically organizing all the ideas you have.
You're not gonna have to be generating new ideas.
You're gonna have plenty of ideas at this point,
writing them down, organizing them
in the way that sounds as cool as possible.
And then, suddenly, you're gonna to have a pitch.
The minute you hire a producer, you're
gonna be like, hey, listen, I already
have a pitch ready to go.
I have this beautiful look book.
Here we go.
And that's fast.
And then they can send that out to the town.