Producing : Last Draft, First Date by Patrick Kovács

You don't have to be sexy Patrick Kovács but you and I do have to be steadfast while patient. Passionate about our work and be willing to let it go. Giving yet focused. And yes, I love making friends here too. It helps with the journey that we're on.

Leonardo Ramirez Thank you for your words. I hear you — and I believe in everything you said.

I've spent 15 years in the film industry in a country where independent filmmakers are actively suppressed.

In 2020, the University of Theatre and Film Arts in Budapest was occupied — students had to lock themselves inside, while riot police stood outside for weeks.

Public film funds were cut or hijacked. If you applied with an honest, critical script — you were done.

Still, I kept going.

Risking my family's safety, I learned screenwriting, directing — and out of necessity, scoring and editing too.

We shoot in the rain, in 40°C heat, in -20°C cold. I often carry props myself.

A few years ago, I decided: enough.

There are places in the world where you can be honest and effective.

And yes, I’m blunt. Not to offend — but because making films is hard work.

There’s no time to waste.

More precisely: my time is for writing the best screenplays I possibly can — not for convincing people that I’m capable of it.

If anyone is patient, it’s me.

I’ve been doing 18-hour days for decades — and I still love it.

I love you too. That’s why I speak plainly: to save you time.

And to help get good films made — for real audiences.

Hi, Patrick Kovács. I don't think people in the industry need to fall in love with each other first to make a deal, but forming a relationship/being friends can make things go smoother before, doing, and after production. And it's more fun making something with friends. And I don't think a screenwriter has to be sexy to sell a finished script in Hollywood. The concept and script just need to be sexy.

Hello Maurice – you just gave me the best news of the day. Guess I don't need to put makeup on anymore. :)

But I keep seeing it everywhere:

“Networking is everything.”

“You need someone on the inside to help you.”

Where I come from, we call that favoritism — and honestly, it poisons everything.

It creates a culture where people stop trying to sell the best idea, and just try to sell what their buddy can sneak in the door.

When I said “love,” I meant it metaphorically — film language.

So let me ask you this: imagine it’s 2026. Something happens on Earth, and suddenly, all screenwriters become unable to write.

People still go to the movies — but all that gets made is nonsense.

Except: a few writers are immune.

They’re writing great scripts.

Should the industry buy those stories — or wait until they become best friends with the writers first?

Should it matter who wrote them? Whether they’re charming or even good at dialogue?

If the concept works — let someone else polish the rest.

I’m just wondering: why do we overcomplicate this?

It wastes so much time.

And meanwhile, kids who are 15 today still haven’t seen films as powerful as the ones we grew up on.

What do you think? Why is that?

Patrick Kovács - Friend, I love your heart and I'm grateful and honored simply to know you. You certainly have a lot of wisdom that we could definitely learn from. I'm sorry for the hardships that you and your family have had to endure but I'm equally happy at the joy that you derive from it. And I have no doubt that the same passion that drives you to keep your family safe as you pursue these efforts are in the words that you pen. I hope that you break through any barrier that stands in your way and that many come to know not just your stories but who wrote them.

Leonardo Ramirez Dear friend, I truly can’t thank you enough for your words. I didn’t share my story as a complaint — only in the hope that it might open a few eyes. I don’t wish for fame, only for the films to be made. I began directing so that when people sit down in a dark theater, that old magic we once felt as kids could come alive again. Not for the red carpet — for the audience. I read all the pitches others post here, and I can easily spot several each day that could become real success stories. Yet I see them circling online for years. I see writers grow tired, even heartbroken. Some may give up. But I believe they are the ones who deserve the most support — because they still believe the most. What you wrote reminded me of a beautiful moment from What Women Want — when someone finally hears a voice that’s honest, simple, and deeply human. That’s all I ever hoped to offer. Thank you again for your kindness. It means more than you know.

“Networking is everything.” Networking is huge, Patrick Kovács, but I don't think it's everything. It's also about talent, the script's concept, the quality of the script, the pitch, the person you're pitching to, patience, and knowing things about the industry.

“You need someone on the inside to help you.” Sometimes. And sometimes it is favoritism, but a lot of times it's just people helping the people that they've built relationships with.

Thank you so much Patrick Kovács. And trust me, I did not take your words as a complaint but I did take them to heart. Keep going. You have truth and heart on your side.

Maurice, Exactly, you’re right — and that’s the problem!

I know the industry. I can build any kind of mainstream film from scratch — alone or with a team. I even know who it’s for, how to distribute it, position it, pitch it. But seriously:

Why does a screenwriter need to have the knowledge of an entire studio just to write, sell, or develop a film for a studio?

Do you think the person who once wrote Casablanca on a typewriter, with a little alcohol and some late nights, had to understand development pipelines, marketing, social strategy, coaching, networking, or packaging?

Back then, all you needed was paper, imagination, and some time.

Now we have time for everything — except imagination.

Sure, maybe some people enjoy learning the entire industry.

But then I have to ask — when are the studio execs learning how to write screenplays?

When are they pulling all-nighters, building characters from scratch, wrestling with theme and structure?

When are they suffering for years to shape a story?

I’m not saying “that would be fair” — but honestly, it would.

I’m not saying “it makes sense” — because it doesn’t.

The writer should write.

The studio should read. Not the packaging — the actual work.

And here’s something no one really says out loud:

A screenplay’s true value often isn’t in the pitch.

Maybe not even in every page.

Maybe only 30% of it is pure gold — but that gold is there.

And all it takes is one professional eye to see it.

But if we’re only judging based on the wrapping,

it’s like saying:

“Wow, this Christmas gift is wrapped so nicely, the kid’s gonna love it!”

Even though — guess what? — it’s not what the kid asked for.

A screenwriter doesn't need to have the knowledge of an entire studio just to write, sell, or develop a film for a studio/indie production company, Patrick Kovács, but knowing about different areas of the industry can help a screenwriter navigate the industry, especially if they want to be a writer-director, writer-producer, etc.

I agree. A screenplay’s true value often isn’t in the pitch. It's the concept and script, but the pitch is how a writer gets people and companies to know about the script.

Maurice, let’s take a quick trip through film history together:

At first, films were adapted from novels and short stories. Then someone said, "Let’s create a screenplay format so decision-makers can read submissions in a unified style."

But that wasn’t good enough — too many to read.

So came the 2-sentence logline.

But that was too little.

So, “Write a 2-page synopsis!”

Then that wasn’t convincing enough: “Give us a 10-page treatment.”

In recent years:

“Write 2 sentences… but also a synopsis… and a treatment.”

Wait — “We need a pitch deck.”

“But that’s not enough — make a mood board.”

Still not sure? “Build a website for the film.”

And now? We’re generating posters and animations with AI.

At this rate, we’ll end up making the whole film before we even sell it.

Give it a few more years, and we’ll be the audience too.

Yes Patrick exactly! I agree 100%, we the writers have to supply everything and don't forget "development" money. I'm a writer...who the hell says I have any money? But I must surely have friends/family/investors who do and don't get me started on producers who want money before they do any work, they want to be paid to go find the financing...how do I know they will find it (even if I did have money to give them) and they all say "I can't work for free" EARN YOUR PAY like most other occupations. I've worked on 5SR for the last year and I didn't get paid a dime. If a producer knows they can get financing then prove it.

Phil Savage I still believe in the American and broader international film industry. I truly think that most people out there want to make good films – and I want to be a real partner in that. Yes, it’s hard for everyone: for writers, directors, and producers alike.

But let me offer a glimpse into what it’s like in some parts of the world – places like where I’m from, which I’m currently trying to move away from, along with my scripts.

In my country, what we call “producers” are often just people who know how to fill out a 100-page government grant application for the one state-controlled film fund – let’s call it "NFI." If they have the right connections inside (family, friends, even pets…), they might get $1-5-10 million in public funds.

It used to be $1 million. But then they realized they could steal more with $10 million.

The so-called “studio” receives the public money, produces something that merely resembles a film, then the funds are distributed internally. There’s no accountability. No responsibility. The producer isn’t liable. No one cares whether the audience watches it or not.

And the writer? If they're part of the inner circle, they might get $10,000 for a half-baked story no one actually wants. If you're not in that circle, good luck finding any support.

There are no professional screenwriting organizations, no education, no training, no recognized industry path. As a writer, you spend years writing at night, trying to find a fake “studio” that can apply for funding. Writers can't apply directly.

Oh – and what kind of scripts do they want? Only the ones that follow their messaging, their approved narrative. Every dialogue, every plot point is filtered. The state even has final cut rights.

So no – I’m not surprised by anything anymore. But I do want to believe in the power of storytelling, and in the idea that good stories – even raw ones – have value. That scripts matter, regardless of how polished they are.

I know others are going through tough times too. I’m sorry to hear that. But some of it could be avoided – if we treated ideas and writers with the respect they deserve from the very beginning.