So it goes without saying that having at least one screenplay with some form of IP attached increases your odds of actually getting it purchased and made. While the market is in search of original material, such screenplays are usually used as calling cards for studio assignments for other projects. Most new screenwriting deals that you read about in the trades have some form of IP attached to them.įilms based on original ideas and original spec screenplays are few and far between. Most blockbuster studio tentpoles are direct adaptations of comics and graphic novels. Most award-winning dramas these days are direct adaptations of best-selling novels. Studios have become even more risk averse as the ripple effect of those turbulent months is still felt a decade later. Anything that was even a slight risk had to go. Multiple studio development deals that writers had for the development of original material were quickly dropped. The concept of pre-established content recognition in the public eye offers studio executives, marketing executives, and corporate shareholders peace of mind. That obsession grew substantially after the one-two punch of the economy crisis and Writers Guild strike that both took place in 20. Hollywood has been obsessed with Intellectual Property (IP) for decades - but what are novice screenwriters supposed to do when the expectations of having attached IP are at an all-time high? Most screenwriters can't afford to buy the rights to the latest hit book or graphic novel - so they must turn to the Public Domain.
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