An article written about Gary Shusett by Hal Croasmun:
I believe Gary Shusett has a unique perspective when it comes to the business of screenwriting. He runs Sherwood Oaks Experimental College where he brings in over 200 producers, agents, and managers to speak to very small groups - 8 - 12 screenwriters.
At the same time, his brother (Ronnie Shusett) doubles as both a producer and screenwriter on such movies as TOTAL RECALL, ALIEN, and MINORITY REPORT. Gary was also the driving force behind MOON OVER PARADOR with Richard Dreyfuss and has been a part of the movie business in Hollywood for over 30 years.
Every few weeks, Gary is in a meeting with screenwriters on one side of the table and producers on the other. For years, he's been listening to the goals, concerns and complaints of both sides.
Unlike most people, Gary can clearly see the gap between the two camps.
HAL: You know almost every producer in Hollywood and have had most of them speak at your classes. What do you think they most want from a screenwriter?
GARY: They want material they can sell. That they can get to an actor. That the studio will want to make into a movie. They want material that sounds good and is good. High concept and salable. Commercial. Similar to what they’ve heard before, but has a slight twist to it.
They’re all buyers and sellers. Unless they’re a direct financier, which is not typical. Even if they’re financiers, someone has to market it and distribute it, so they’re still buying to sell.
I believe Gary Shusett has a unique perspective when it comes to the business of screenwriting. He runs Sherwood Oaks Experimental College where he brings in over 200 producers, agents, and managers to speak to very small groups - 8 - 12 screenwriters.
At the same time, his brother (Ronnie Shusett) doubles as both a producer and screenwriter on such movies as TOTAL RECALL, ALIEN, and MINORITY REPORT. Gary was also the driving force behind MOON OVER PARADOR with Richard Dreyfuss and has been a part of the movie business in Hollywood for over 30 years.
Every few weeks, Gary is in a meeting with screenwriters on one side of the table and producers on the other. For years, he's been listening to the goals, concerns and complaints of both sides.
Unlike most people, Gary can clearly see the gap between the two camps.
HAL: You know almost every producer in Hollywood and have had most of them speak at your classes. What do you think they most want from a screenwriter?
GARY: They want material they can sell. That they can get to an actor. That the studio will want to make into a movie. They want material that sounds good and is good. High concept and salable. Commercial. Similar to what they’ve heard before, but has a slight twist to it.
They’re all buyers and sellers. Unless they’re a direct financier, which is not typical. Even if they’re financiers, someone has to market it and distribute it, so they’re still buying to sell.
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