If I were to pitch
A Boys Life, the very first thing I would say is this is a movie about an alien who has come to our planet. Because that's the hook, and the most intriguing part about the movie. Especially if I were to pitch it way back when, before movies with aliens were played out. But then I would explain that the alien is a friendly one, lost and alone on a foreign planet. But it's not long before E.T. is discovered by a young boy named Elliot, who brings the alien into his home, unbeknownst to the rest of his family. As the movie goes on Elliot and the alien become close friends. The boy teaches E.T. all the things a young boy is able to teach about the world, and E.T. shows Elliot all the amazing things from his world. The movie is right for comedy. With a strange little alien getting into trouble, and making use of his supernatural abilities as he explores his new foreign environment and young Elliot trying to keep him hidden from everybody, there are many laughs to be had. But most importantly, this is a tender, heartfelt movie about two beings who are all alone, and are in great need of a friend. The two find each other, and even though one is an extraterrestrial and the other is a human, we see that their are no rules when it comes to friendship. But it's not long before the government finds out about E.T. and Elliot has go up against the evil adults in order to save his friend. Ultimately
A Boys Life is a story about the healing power of friendship, with emphasis on childhood innocence and idealism. Set against the backdrop of a science fiction thriller, complete with C.I.A. agents, car chases, telepathic spectacles, and flying bicycles.
When pitching a movie, do you think its better to explain it at face value, meaning talking up the action scenes, the funniest gags, and other exiting stuff or is it more important to get into the abstract allegorical meaning?
When pitching, is it a good idea to recommend directors and explain why they would be good for the particular movie. How about actors, or cinematographers. Or is that irrelevant at the pitching stage?
I think trying to include actors or cinematographers or any other staff is probably unnecessary at the pitching stage. I think if you're pitching a story to a production studio, it would be in the best interest of the studio to hire who they feel comfortable or suited for the position since you, as the screenwriter, will most likely not have a huge impact on the final product and its appearance.
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