# How To Get Producers Fighting For Your Screenplay Before They Read Page 1 - Pedro Correa

## Метаданные

- **Канал:** Film Courage
- **YouTube:** https://www.youtube.com/watch?v=9ZZ3jw24u5c
- **Дата:** 23.02.2026
- **Длительность:** 12:19
- **Просмотры:** 4,486
- **Источник:** https://ekstraktznaniy.ru/video/18055

## Описание

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Pedro Correa most recently co-wrote (with Fabio Frey), produced and stars-in the coming-of-age drama My Dead Dad (2021) executive produced by Declan Baldwin of Big Indie Pictures (Manchester by the Sea). In-front of the camera, he has recurred on ABC's hit sitcom The Middle (2009), and has worked with the likes of Hulu, Disney, Syfy and more.  Behind the camera, Pedro served as director for celebrity short films in the digital divisions of GQ Thailand, Esquire Singapore, Marie Claire Malaysia and Flaunt Magazine. Stars he directed include; Nick Jonas, Ruby Rose, Constance Wu and many more.

WATCH 'MY DEAD DAD' TRAILER
https://youtu.be/eyCcq-Wo_kI?si=5OxV5Gwyp8vVNwn1

CONNECT WITH PEDRO CORREA
https://www.imdb.com/name/nm5596197
https://www.instagram.com/pedrocorrea.mov
https://www.instagram.com/mydeaddadmovie
https://tw

## Транскрипт

### Segment 1 (00:00 - 05:00) []

Pedro, you went on a fellow YouTuber's channel, uh, Script Fellow. It's Dominic, aka Script Fellow, and you did a little video with him. It's 20 minutes, I guess, and it's entitled How to Sell Your Screenplay in 60 Seconds. What's the concept behind that video? — Well, video is a concept trailer, and kind of going back uh to do the opposite of what everyone else is doing. Uh, that's where that was born. Uh, and that's what helped me the most of being like, listen, everyone's sending scripts all day long. Um, you need to find a way to stand out. And that that's my way of standing out. selling somebody on the idea behind my movie um, very quickly in a way that's not a chore either. Uh, you know, if you do it at a high level, the high level part is important, it can be entertaining, you know, and even if it's not for you, it's like, wow, that was like a little delight of my day. you know, that was two minutes where you've entertained me. That was a great distraction from my emails I have to send today. Um, so again, it kind of goes back to bringing value as well. And that's it's kind of a um an interesting one where it's like pitching sucks and pitching is outdated and it's hard and everyone's doing it. So, how do you make it fun? How do you stand out? How do you bring something to the table that other people aren't? And usually that's like the vision very quickly. But also concept trailers are so important because in my opinion because they're exactly what studios and networks and even indie filmmakers do at the end of their journey. And again that kind of goes back to why this isn't just a movie making town but a movie marketing town because the trailer ends up being the most important asset over your actual movie at the end of the day. I would argue because the trailer is your gateway to everyone actually seeing your movie typically, you know, outside of just of course like good reviews and like uh you know peer-to-peer conversation on a scalable level. Your trailer is the movie poster, it's the movie ticket, it's the movie everything, right? You want to make sure that your trailer is um uh selling your story. And the concept trailer is taking that concept and putting it at the front end to be like, "Hey, we've already thought through the end goal here. " Um and actually, interestingly enough, the concept trailer for My Dead ended up being pretty similar to the final trailer that I ended up cutting for HBO, where we already knew what and who we were selling to. And you've said that get them to root for you before they look at page one. — Yeah. — How what is that? How do you do that? — I think it's so easy just to come up with objections, you know, unless you like are in love with the person sending the script to you. You're already thinking, is this going to be a success? Is this somebody I like? Is this a movie I like? Um is this well written? Um, can this be producible? You're thinking so many different things. Uh, and this is coming from my own experience being on the other side. I get pitched scripts all the time. Sometimes it's, "Hey, will you read my script? I I'd like, you know, to maybe collaborate on it. " And I just get an attachment and I'm like already all these things are floating through my head where I'm like, "Okay, you're asking me for like two and a half hours of my time. I don't know you. Objection. Objection. " So when somebody can break through and be like, "Hey, just look at this. I just need 60 seconds of your time or maybe a little longer, you know, 2 minutes, short period of time, you can get through a lot of those objections and answer a lot of the questions that they're going to ask being like, what's the scale of this? What's the vibe feeling of this? Are you a master marketer? Are you just kind of a script where you kind of leave your talents? " Um, and it's interesting because back in the day, like everything was so much more sectionalized where it's like a writer can just be a writer, a director can be just a director. But nowadays, again, if you can bring more value than the guy next to you as a writer and you do a couple other things or you're like a master again marketer and you know how this movie is going to be so sold and you can eloquently explain that, that sets you apart from the next guy. If you have two equally good scripts, you're going to be like, "Well, I want that guy. that guy's going to make my job way easier. So, it's about making other people's jobs easier on top of it as well. — Kind of going back to what you talked about being on set, shadowing someone or hey, can I just work with you? Not where they feel like they don't have to babysit you. — Yeah. — And you're just going to kind of anticipate the next step. — Yeah. — Without them telling you. — Exactly. And finding a creative partner, too. I have a coowwriter on a project that I'm working on right now who um I could have picked any other writer, you know, at a certain kind of echelon

### Segment 2 (05:00 - 10:00) [5:00]

I guess, but I chose him over all the other people because he is more talented than just the screenwriter. like he's somebody I can make a concept trailer and be like, you know, do you think this is going to hit this audience or what do you think about this? Um or just be like, what do you think about the writing of this kind of structure? He'll tell me about the structure, but then also tack on some things I didn't notice where I'm like, oh wow, yeah, I guess that, you know, I guess I didn't think about that casting choice, you know. Um, and ultimately I developed a much greater partnership in that way where this guy's going to bring value. Um, even if I didn't ask for it. — How did you meet? — At Venice Film Festival. — Oh, very cool. — Yeah. Over in Italy. We were staying in a um — I had a friend's movie uh premiere there and they invited me out just to go support and so I did. Uh, and we were staying in the same kind of filmmaker frat house, uh, which is a common theme at these festivals. And he was on the couch. I was lucky enough to get a room. And we were real close together for about seven days. And we were like, "Oh, yeah. " He actually gave me script notes on another project that I'm just about to start uh financing on. And his notes were so good that I was like, "Huh, what do you think about this other idea? " Yeah. And then he started giving me notes and I was like, "You want to co-write it? " And he was like, "Yeah. " So, you never know. Again, somebody bringing value that I didn't really realize. I didn't seek him out, but he came to me with extreme value and I was like, "Wow. " And I like the dude. — So, yeah. — I believe you offer concept trailers as a service. — Yes. Right at this uh day and time, I do. I don't know if I will forever, but uh it's become a really kind of cool sort of side quest for me. I didn't really uh plan on doing that, but I just uh I really enjoy doing it for myself and I really believe in it. Uh just the ethos of it and uh that I like to believe that in a couple years that'll be the standard. Just where's your concept trailer? like where is the other piece of uh of uh of marketing that we can really you know sink our teeth into and show our boss essentially at the end of the day. Um but I find it really fun uh because I get to work with uh writers and directors uh and it's uh it's kind of like making a little mini movie for me um every week sometimes when I get the opportunities to do it when I'm in between other projects. um and has sharpened my storytelling so deeply where I get to put on kind of that executive hat and kind of play the other side of it and be really objective with other filmmakers of being like listen I know your scripts this but if you kind of like focus on this aspect that's really what people are going to understand as the selling point. Um, and what's been interesting about that too is it's become kind of its own development lab where oftent times we'll make these concept trailers and in the conversation with the writer or the filmmaker um we'll be like listen again I know your story is like this we can go this route that's more representative of your story but we're also considering this route like this is a little lesser story but I know you're still kind of writing like which one do you want to go often times they'll be like oh that is a good idea and the concept trailer, it'll clarify the story so succinctly that it then often times inspires a lot of rewrites in a positive way. Um because you get to see your movie or your uh TV show in such a short period of time, you go back to your script and you realize, ah man, like I can cut that character. I don't even, you know, that they're not even necessarily relevant to the pitch or you know, maybe let me lean in further to this arc or this philosophical conflict. So, it's a really kind of cool development process, too, I think. And actually, one of the projects I'm working on right now, we're doing a concept trailer for it before we even write the project. And, uh, that's been so helpful in just again clarifying like what you're after. — With the concept trailers, who is this service for and who is it not for? — It's a good question. Well, originally uh I actually to me just because I went through the process of making a concept trailer for myself before I had ever made a movie that was clear to me where I was like, "Oh, this must be a format for somebody who is not good at pitching, i. e. me, you know, many years ago. " And what I learned along the way is when people started seeing these concept trailers kind of in my inner circle and like through friends and now it's kind of become a little bit of a bigger thing. But um filmmakers much further in

### Segment 3 (10:00 - 12:00) [10:00]

their careers have found the value in it. And uh what I mean by that is um uh somebody like you know Dom who I've worked with script fellow he's sold 35 plus scripts and now we're doing his second concept trailer because uh he's found it so effective just in getting people to read things quickly and really understand them. Um but separately to that now I have production companies reaching out who uh have projects in development who understand that financeers don't love to read you know they either want to make money or they want to have fun and a concept trailer is fun and if you can bake the value of the movie or the TV show into the concept trailer then they're going to get both of those things. So, I'd love to answer uh of who it's not for. Um but I um you know, I haven't found that demo yet. It's been uh helpful to people on both sides of that spectrum. Yeah. And I encourage anyone to do it, too. It's like I help filmmakers make their own, but I re you know, if you know editing, if you know uh anything about film making, I encourage everyone to do it for their own projects. — Yeah. watching some of the testimonials on your site. Um, you know, a couple people especially were just like I was just blown away at like seeing my story that I'd worked on for years and these characters come to life. So, — yeah, — it's effective. — Yeah. No, absolutely. And just on an emotional basis, too. It's so interesting to uh, you know, writers, you spend your entire life indoors in front of a computer, you know, plugging away. And it's just so wonderful to be able to like show your like family like what you're working on people not in the industry and you know you'd think like oh well so what that's more just an emotional thing but oftent times then they'll be like oh wow you should show this to Dave or whatever and Dave happens to be a stock broker who's looking to make more risky investments and is like oh my god I love this like how could one get involved in this and you might find your next investor. Thank you for watching the video all the way to the end. Here is a complimentary question from our book story questions.