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Colin O'Reilly interview by Lisa Ford Colin O'Reilly is a vital part of the team at Smart Entertainment, a literary management and production company whose clients include writers, directors and animators. Smart's film projects include ANGER MANAGEMENT and an upcoming film starring Johnny Knoxville called THE RINGER (written by Smart client Ricky Blitt). Colin works with both the management and production arms of the company. Currently, he's serving as co-producer on First Entertainment's BLADES OF GLORY (written by Craig and Jeff Cox), set up at Dreamworks Entertainment. The project is a high-concept comedy set in the professional ice skating world. Thanks, Colin, for participating in this email interview for The Screenplayers! Smart Entertainment
functions as a prodco and management company. How does this work? How
do the divisions complement each other?
Colin:
Smart Entertainment does function as both a management and production
company. On several projects, we not only represent the writer or director,
but we serve as producers as well. This can work to the benefit of the
artist we represent in that we as a company are playing a large role
in shepherding the project to completion. The production and management
divisions complement each other in that a lot of times our production
division will come up with a great idea or concept and then find a writer
who would be great for it through our management arm.
What kind of training in filmmaking/writing/the entertainment industry do you have? Colin: I started in the film industry as an intern at New Line Cinema. It was there that I got my first taste of the film business and how it works. Albeit from a very low level - i.e., the copy room. I also attended film school at Loyola Marymount University. What is the most rewarding part of being a manager? Colin: Helping a client achieve his/her goal of becoming a paid screenwriter. There is no better feeling for me than seeing a client go from rags to riches doing what they love. How do you find work for the screenwriters you represent? Colin: I find work for my clients through a combination of assistance from the various agencies and keeping up good relations with the various studios and producers around town who are regularly looking to hire writers. What do you look for in a new writer? Colin: A great script and a willingness to put in the work necessary to become a successful screenwriter. Are you open to representing writers who do not live in Los Angeles? Why or why not? Colin: Yes, I am very open to representing writers who do not live in Los Angeles. I have several clients who do not live in California and I've never found it to be a problem. At the end of the day, the only thing that matters is how good the script is. How important are screenwriting contests and fellowships for writing hopefuls? Colin: Screenwriting contests can be a very useful tool for up and coming writers. I would recommend someone thoroughly research a contest or fellowship before entering, but I have found several clients through different fellowships and contests whose scripts I went on to sell to major studios. Have you found any great writers through query letters/e-queries, or do most of the better candidates come from referrals? Colin: I have not as of yet found a client through a query letter but I feel as though it's only a matter of time before I do. I have found clients through referrals, contests, etc., though I make it a point to read every query letter I receive. I have requested numerous scripts through query letters, I guess I just haven't found the right one yet. What is it
about a screenplay that might make you say, “Yes, I must work with
this writer!” or “Yes, I must Colin: What makes me want to develop a project or work with a writer is simply how good the script is. I look for one thing in scripts, and that is excellence. Of the scripts I find that I like, I don't develop them that much out of fear of my watering them down. I feel that the closer I keep the draft to the way I found it, the better. Often Hollywood develops a script so much that what was great about it in the first place is lost. I think this is the primary reason that so many movies suck nowadays. What is the most common flaw you see in spec scripts submitted to you? Colin: The most common flaw I see in specs submitted to me is how bad they are. If you are going to write a script, be daring, be innovative, swing for the fences. Too many of the scripts I read are formulaic and seem to be written to cater to 'the industry'. The scripts that stand out to me are the ones that are different and that don't try to be a carbon copy of something else that was already successful. Write the movie that you'd pay 12 bucks to see. What genres are hot now? What genre wouldn’t move at all? Colin: As to what genre is hot right now - they pretty much all are. Yes, high concept comedy and horror seem to be particularly 'hot' right now - but I don't go looking for specific genres. All that matters to me personally, is how good the material is. I don't care if the script is a period piece musical taking place in 15th century China. I only care if it's good. Don't try to 'guess the marketplace', you'll always get burned. Just write what you are passionate about. If it's good, someone will find it. What are your tastes in film? Colin: My taste in film is pretty average. My favorite movies are: DIE HARD, THE USUAL SUSPECTS, FERRIS BUELLER'S DAY OFF and CINEMA PARADISO. TEEN WOLF 2 isn't bad either. Suppose you found the ideal client with the ideal spec script. Tell us about both. Colin: My ideal client with the ideal script would be someone who is insanely passionate about writing with a great script. I wish I could write something more profound but this is a lot of typing. Once you agree to represent a client, what is the relationship like? How is what you do for a client different from what an agent would do? Colin: My relationship with clients is a lot like a high school guidance counselor. I give them the best advice and guidance that I can in terms of both career and writing. My relationship with clients is different from that of their agent in that I am much more hands on in terms of development and story. I'm the guy they call at 3:00 a.m. when they are stuck on page 20. The agent is much more deal/business oriented. Agents also dress fancier than me. Advice for aspiring writers? Colin: Write an amazing script and you'll make a lot of money. If our readers want to contact Smart Entertainment for possible management, what should they do? Colin: If readers want to contact me - email me at: colin@smartentla.com |