Creative Executive Amrita Kalsi Explains How Screenwriters Should Think About Getting Their Scripts Financed

Amrita Kalsi is a film and television development creative executive specializing in creative development, film financing, and the intersection of culturally resonant storytelling and business strategy. Her work focuses on bridging the gap between artistic vision and business. She has worked with executives from major companies such as Disney, Netflix, Hulu, ABC, Prime Video, CW, and HBO. Amrita shares her insights with us.

How do you view the current landscape terms of the types of projects being made?

Based on my experiences in both studio and independent projects, a well-packaged project with a relatively decent script immediately guarantees a meeting and is likely to be the project that will push through to greenlight. The catch 22 is that most independent projects need some type of pre-existing financing in order to secure attachments and build a “strong” package. Studio-aimed projects are low risk, emphasize track records, and pre-existing success (hence the IP craze).

In the last five years, I’ve seen greenlights increasingly shift towards the well-packaged project with existing track records of success (IP, social media following etc.) versus original scripts with original ideas. However, it doesn’t mean it’s impossible for these original ideas to break through. You just need to find the right producing partner.

Given the current climate, it’s more important than ever for writers to network and find managers, agents, and producers who believe in your work and can give the project the legitimacy it needs to get into meetings with financiers. You don’t need to have Spielberg on your project. There are plenty of talented independent producers with track records who have the same goals as you.

Additionally, it’s also the duty of creative executives and managers/ agents to make the time to meet with and find new talent. We can’t live in a vacuum where we are recycling the same A-listers. Audiences are craving novelty and generational-defining talent.

Apart from budgets, what do you see as the main differences between independent vs studio films?

There are a lot more decision makers and stakeholders involved at the studio level. The person you pitch to is almost always not the ultimate decision maker. They have to convince multiple people above them in order to push for a greenlight. In the process of trying to greenlight a project they love, they may encounter a higher level executive above them who doesn’t believe in it. The process is arduous and emotional, and requires a lot of convincing, especially for an up-and-coming writer pitching their first show or first film. It’s not impossible, just make sure you have a great producer, a great agent who follows up for you, and a great team supporting you along the way.

For independent films, you are likely pitching to the ultimate decision makers. Don’t rely solely on the creative vision. Make sure you have a very intact finance plan outlining various levels of risk. Be honest, be passionate, but be ultra-prepared. Make sure you or someone on your team is well-versed in selling the financial viability of the film. Build charts, make sure you draw comparisons to other indie films with similar budget and cast – sell the financial viability. Discuss the distributors you’re having conversations with ahead of time, even if they are casual conversations. Outline low, medium and high success ROI potential.

Discuss tax incentives and ways you are willing to reduce the budget, without compromising the vision. Make sure your ask is reasonable and build reassurance that your priority is to get the financier’s money back. For independent films, there is a higher risk, but also a much higher reward. On a hopeful note, some financiers aren’t investing in the project solely based on financial viability. Sometimes they love what the project is trying to say.

Find a middle ground between creativity and financial realism when pitching your project.

Describe your role with regard to how you deal with financiers and studios.

I worked as a creative executive at a financier company, a creative assistant/ executive, I consult with writers about their projects and participate in judging panels and pitch festivals to discuss screenwriting and help writers gain a realistic perspective on how to sell their projects.

In my cumulative experiences, I learned that creative development operates the same way in most environments, there are different metrics to look out for in evaluating a project. You also have to know the taste of your higher-ups.

How do you typically develop/consult on projects with screenwriters?

It’s very important for me to work with a writer who is grounded and has a clear “why” for what they’re writing about. Then I try to get an understanding of what the writer is trying to achieve in their career in a broader sense. If the script is intended to help them secure representation, I give them stricter structural notes to showcase a strong understanding of the screenwriting craft. If a writer wants to sell their project or get it made, I focus more on the creative aspects and the marketability of the project.

Should screenwriters only be thinking about their scripts or should they be thinking about how it might get made?

It depends on your goal.

If you’re looking for representation, write a script that is most honest to your voice and make sure you can showcase a strong understanding of structure. When meeting with agents and managers, you must also show that you respond well to feedback and notes.

If you want to get it made, there’s a larger journey involved. First, focus on writing the best version of the script that makes you the happiest and represents your distinct voice. Save that version for yourself, because it is something that is 100% yours.

If you’re trying to get this made, be emotionally and mentally prepared to undergo rounds of edits as you meet with prospective financiers and buyers – while still maintaining your integrity and voice as a writer. Show that you’re a collaborator, willing to work with others’ feedback. Be ready to sell your script, not just pitch it. Know your audience and be knowledgeable of the mandates of the executives you are pitching to in advance (something your rep or producer can get intel on).

What are some common misconceptions writers have about the industry?

That all it takes is a great script and a great idea. Don’t get me wrong – that is a very strong foundation and the IDEAL foundation for a successful film project. But it takes finding the right team and creative producers to carry the project out to fruition.

Partner with the right producers who believe in your vision. Be very cautious about who you decide to work with while building your creative team. The wrong producer or studio can tarnish the chances of your project developing to its full potential. Find someone who understands your script and believes in your potential, but who also knows how to market it and bring it to the right eyes.

You are never “set.” Even after you sell your first script. Even after you make your first show on a streaming platform. Even after you win an award. Anyone in this business (writers, directors, executives, crew, managers, agents) knows that this career is a long, tumultuous marathon. It makes your head and heart explode in various ways. You will continue to get rejections. You will continue to have obstacles thrown at you. You will continue to doubt yourself. That is why building resilience and endurance is more important than having talent and the right connections.

In order to build the endurance and resilience to run this insane marathon, you need to make sure you’re surrounded by people who keep you going. This doesn’t necessarily mean industry folks. I’m talking about people in your life that make you who you are – maybe it’s your childhood friends or your family, your loved ones. Take breaks as needed, stop for a breather, take care of yourself.

What are some recent projects that best describe your tastes?

TV

• Late Bloomer
• Sort Of
• Adolescence

Film

• Hamnet
• Project Hail Mary
• The Glass Worker

What final advice can you give to writers wanting a career in this business?

Someone’s title doesn’t dictate their importance. The opinion of a VP at a major studio may lead them to greenlight a project that completely flops, whereas the opinion of a coordinator at a production company may introduce the world to a beautiful film and incredible new talent. Never judge a person’s importance based on their job title or where they work, find the partner who believes in you and whom you believe in. Everyone is running the same marathon, regardless of their title.

Finally, take what everyone says with a grain of salt, including myself. We can only speak to our experiences, nothing is actually factual. In fact, I hope I’m wrong about a lot of things.

by Staff Writer

From our in-house editorial team.