The core of any great film is a great story concept. The root premise of a film, and the plight of its main character(s) is what anchors us in that story. And when that concept is marketable to a broad audience, it attracts talent and financing. Producers want those concepts, and studios want them packaged for production. At iPitch.tv, executives are looking for an angle in to a marketable project, and pitching a highly original concept of a story that hasn't been told before is a new writer/filmmaker's best bet at landing a deal. So lets talk about the most critical elements, and approaches you can take to give your pitch the best odds for success.

What To Create: While having the skills to craft a screenplay can deliver a sophisticated roadmap of story and nuance, enough to sell a studio on what the film can be, having the sensibility and imagination to conceptualize unique premises for films can deliver deals too, if you make the right choices for any specific concept. What makes a great movie idea? If you want to attract the attention of Producers, focus on creating pitches based on "High Concepts" and "True Stories". They're the most viable project types for good reason, and carry great opportunities for the new Writer pitching them. 

"High Concept" is the big picture idea behind what the story is. They're typically very clear in entertainment value, with such a unique premise and turn of events that the idea itself fuels all of the storylines very clearly. The Producer can see the potential for humor, drama, conflict, etc, simply based on the set-up, and unique twist in the story.

Creating concepts that are rooted in truth, or based on true events, also attracts the attention of producers and audiences. Searching out intriguing untold stories, or even new angles on familiar subjects, can often give a pitch the "tangible" component that Producers look for. Check out our article "Based On A True Story" for a deeper look into that subject.

Make Strong Choices: Film audiences arrive at theatres with a willing suspension of disbelief. They want to believe in your story, and connect with it. Its your opportunity as the Writer/Creator to make strong choices in every aspect of your story or concept. They want a heightened reality, with intensified circumstances, whether its comedy or drama. Create an ironic premise, but with a very plausible setup. This feuls the story, giving the main characters a lot to work with. Give your main character a very unique challenge, and in their journey have them encounter obstacles or influences. This will test their resolve, and sometimes change the course of their agenda, so ultimately we see them grow as a person. How that's done is up to you, the creator. Talent lies in the choices made by the artist, so make strong, unexpected, beautiful choices. It will resonate through every facet of your story, connecting with the audience...and buyers hearing your pitch. 

The Logline: This is the short pitch. It can be just a few sentences that boils your story down to its core, giving us the unique premise (the set up) along with the main character's extraordinary agenda. Its the anchor for all that happens in the story. Its the reason for the rhyme.

120 Pages Is Totally Reliant On 1 Single Page: A completed screenplay is the tangible property that studios will buy if packaged well with talent. But even a supurbly penned script has no chance at selling if a 1 page synopsis of its core concept isn't compelling and clever. The root idea of the story is what determines if its a subject people will be interested in. It gives us the overview of the road we're about the travel, and hopefully illustrates a unique set-up, a creative storyline, and a poetic resolution. 

Pitching: When creating your pitch in written form, or by video, be brief, and very specific. Often the new writer will write a whole page that should instead be condenced into one paragraph. Or a paragraph that can be expressed in two sentences. Efficiency and impact are the key. Keep it brisk. Keep it clear. Keep it moving. 

If you're submitting a video of yourself pitching - give your name, project title, and genre. Then very clearly and quickly deliver the logline. This allows the executive watching your pitch to know the story or concept they're going to be told, which actually relaxes their mind, making it easier for them to absorb the details you share, while not getting bogged down by trying to figure out what the story is basically about. Giving a great short pitch (logline) can win over the executive if they love the idea. At the very least, by them hearing the logline first, they'll be better equiped to know if the story you detail can actually worked, based on the logline they've been told. After the one or two sentence short pitch, very briskly tell them the premise, how we come into the story, how it sets up, the main character's agenda, and then move quickly into the storyline that should escalate in drama or comedy. In finishing the pitch you'll then be giving the resolution of the story. Then, very quickly, recap the pitch on a higher level by hitting on any moral or theme of the story. Its the essence of what it is we're actually watching. This may be the journey and lesson learned by our main character, or their personal growth. Think inspiring or ironic. 

Why It Sells: If you're going to sell an idea, that idea has to be extremely original, with a premise, plot and resolution that makes us want to see that film. Often, when a concept works for a buyer, they can clearly see how the story can play out, yet are pleasantly suprised by it resolution. They see that it is entertaining in a way that is marketable.