You Don't Know What You Don't Know...

In your scrolling of LinkedIn group posts, you may have come across this request seeking a number of positions on a future TV production:

"We're aiming to produce a TV series based on a series of (novels) I wrote... We need a TV showrunner, financing, and distribution from a major studio. Financing could run $100 million to produce (30) TV episodes, 3 per novel or teleplay at $10 million each novel/teleplay production budget. If you can help and have the TV industry contacts and power, contact me- PAUL (last name, contact info redacted)."

I have most of the experience he was looking for, and I had seen the ad several times over a period of time, so I figured he wasn't getting much of a response.

I decided to throw my hat in the ring and perhaps make this a viable project for 2025. 

Hi Paul, I’m interested in this project, as I believe the overall concept of the books... is strong enough to warrant a series... I would also make each BOOK a single, stand-alone episode of 60-75 or even 90-minute episodes... In the end, however, everything comes down to the teleplay... I may just be the person you are seeking, as I have accomplished each of the required experiences you’re looking for (I’ve attached my resume for your further perusal).

What I would do and what I could bring to this project:

Once hired... complete a professional-level teleplay in a 16–20-week window... I bring hundreds of industry connections, including many well-known names... I have expert marketing skills for screenplays... Having recently received full funding for $16.4 million dollars for a previous screenplay in 2023... I would implement a second marketing campaign for the book series... I’ve successfully accomplished each job that you are looking to fill on this project. Again- and I cannot stress this enough- it ALL revolves around the quality of the screenplay... Coming onboard this project as screenwriter and Executive Producer (and everything as described above) would require a... hire-on fee...

His response followed.

Dear Geno, Thanks very much for your interest and proposal... I've been working with a couple Hollywood producers (names redacted) ... As far as paying you a non-refundable fee... I’d have to see if Randy would raise that from investors. I guess that fee is for you to write a teleplay sample... I’ve already written teleplays for all of the novels in the series... I’ve been writing novels, nonfiction books, and screenplays for many years...

My response:

It sounds like you have a solid team on board. Looks like I was a little late in responding. Good luck with the project. I’m sure I’ll be a consumer on this one!

This is where it starts going off the rails. His response: 

Geno, you misunderstand. While I have a couple partners, we’ve been stuck in not making progress. So, if you can help get the TV series project going, we can use your help.

I'd suggest you order the novel series... in the paperback version. It will only cost $129.50. Thanks for your interest.

My comeback:

Dear Paul: It was a pleasure discussing the project with you. I wish you all the best!

Now, he gets rude, as his lies pile up.

His response: 

We should talk on the phone… You are jumping to conclusions that there is some major problem with the screenplay... I was a WGA agent in New York. I know what a good script is. I told you the guy (name of editor and TV show redacted) edited my scripts, novels, screenplays, and nonfiction books... The "screenplay" (NOTE: teleplay) is in good shape. I don’t need to waste money rewriting it just so you can make money. It’s an old Hollywood game to pay for rewrites over and over and over. And then they go back to the original screenplay anyway.

What I’d suggest is that- if you are so well connected- help raise say $15 million for the budget for the first novel... If you can raise the $15 million, that is all that matters. In checking your credits, you have zero credits as a film producer (shorts and associate producer does not count) and zero credits as a TV series Executive Producer and zero credits as a TV showrunner... I can forward the screenplay to you which is in Final Draft.

My response:

Dear Paul: Perhaps I did misunderstand, and I apologize. If a project is NOT getting any momentum, it’s because of two things, generally; one- the material isn’t strong enough; two- a strategy isn’t in place or not being followed. Most people are under the seriously false impression that “having friends in high places” is the secret ingredient, and they rely too much on this stroke of luck... I often reach out to my PERSONAL network if I think there is a possibility they’d be interested, but there’s no pressure. WE understand business is business. Could I get this TV project moving? Probably- but it is dependent on those aforementioned two things: the material and the strategy. That’s it. If you wrote the teleplay, after writing the book, and you’re not a professional, full-time screenwriter with an as-of-yet successful track record, I would say the material- as currently written- is NOT good enough. No disrespect, but I’ve been reading scripts for over 20 years, and the number of scripts I thought reached a particular level of quality where I wouldn’t hesitate to share it with my connections… well, let's just say I could still name the script and the writer, and I have difficulty remembering my own kid’s names! I mentor over 700 students (lifetime TSM members) year after year; I have two such Zoom meetings today, in fact. The number of projects I offer to involve myself - at ANY level of participation- over the last fifteen years or so have been less than five, outside of my own client’s projects (of which one is in Michael Bay’s hands, and one with Kurt Russell- who ways to play the killer; one being read by the creator of the most popular TV franchise in history; three television pilots; ten features, four novels and one memoir). The others were “pretenders”- convincing themselves they could do it at no cost and very little advice... So, it now comes down to the teleplay. If you’d like to send me your adaptation teleplay (in Final Draft preferred; PDF if not in Final Draft) with an N.D.A. that I’d be happy to sign for you, I can give you my honest feedback. I don’t offer to rewrite scripts I think are already good just to make them perfect. If it is NOT good, I normally charge $7999 for a page one rewrite. I would offer my services to you for a full rewrite at (discounted amount redacted). I doubt your team needs to find “financing” for that amount. I would invoice this amount to you- payable in full within seven days of verbal agreement... Once the teleplay is completed, we can negotiate any interest in me staying aboard for the full ride of the project. 

His response:

Geno, keep in touch. If you can get financing let me know. I'm looking for financing for the TV series. Have a great day.

**UPDATE: I am working hard to secure the $15M budget that Paul requests, as I want to prove to him that I can do this job. I'm doing this for him FREE OF CHARGE because it would be a huge career move to be involved in a project with such an esteemed actor, writer, WGA agent, producer and director as Paul.

Hahahahahahahahahaha! That's sarcasm, folks!

WRITER'S BIO: Mr. Scala spent 24-plus years in the Hollywood community and was the Executive Director for the 72nd Annual Academy Awards, as well as The Soul Train Awards, The Grammys, The Blockbuster Video Awards Show and The Saturn Award Show.

Geno has dozens of completed feature film screenplays and television pilots, with three screenplays produced into feature films- "BLACK EASTER", "ASSASSINS 33 A.D." and "THE TOMBS". All are currently available on Amazon Prime and/or Tubi and other streaming locations.

His company has completed fifty-one (51) novel-to-screenplay adaptations for clients, and he counts many celebrities among his vast clientele. His TV project, "BAD PRIEST", with Brent Jones, is in development with a cable network, where one executive said the following:

"This pilot is compelling and clear and offers just enough to tease us with where these stories and characters might go. It begs for a full season..."

Today, he and his writing team are actively working on several ghostwriting projects and screenplay adaptations for his celebrity- and non-celebrity- clientele, including the autobiographical "Dancing on the Moon", the story of the life of iconic American pop singer of the 1950s and 1960s, who rivaled Elvis Presley's popularity- Jimmie F. Rodgers. His rendition of "Honeycomb" soared to the top of the charts for four weeks, selling over 1 million copies and earning a gold disc from the RIAA. Rodgers' success continued with other top 10 hits like "Kisses Sweeter than Wine" and "Oh-Oh, I'm Falling in Love Again."

Unfortunately, his life took a tragic turn in 1967 when he sustained traumatic head injuries in a mysterious incident involving off-duty police officers. It was later believed that the three officers involved in the near-fatal beating were hired by the owner of his own record label. Despite filing a lawsuit against the City of Los Angeles (settled), Rodgers never fully recovered, and was later hampered in his ability to sing or even talk. Rodgers and his supporters still believe that one or more of the police officers beat him.

(Poster for entertainment purposes only)