Welcome to Alumni Live: The Podcast.

These are conversations with Grand Valley State University film and video

graduates about the industry, the film, video, major and alumni profiles.

Hello and welcome to Alumni Live: The Podcast.

My name is Caitlyn Shaw and I'm a senior in the film and video

program specializing in directing.

Today we're talking about pitching.

Odds are most filmmakers make a pitch at some point in their lives,

whether it's in front of a room full of Netflix executives, or you're

just texting a friend about the film you wanna make during the summer.

And If you're listening to this podcast, you might just be getting

ready to pitch one of your classes.

While our conversation today can be applied to all forms of pitching for

today's episode, we will be primarily focusing on pitching as it relates to

the Fiction Filmmaking I and II courses as of 2025 when we're recording this.

Basically, if you want to direct in those classes, you have to

pitch in front of the class.

Within the first few weeks of the class, there's pitch day where everyone

who wants to pitch gets five minutes to do so, followed by a brief Q&A.

After that, everyone in the class votes for their favorite ideas, and

the four ideas of the most votes gets picked to be made that semester.

To get started, we should probably say a bit of our experiences in

Fiction I and II, and what kind of films we pitched and if we got picked.

Now that I've given some context, I would like to introduce our incredibly talented

guests, Cam Layson and Caroline Hamilton.

So I pitched in both Fiction I and II.

I did not get picked in Ficiton I. We can talk about why later, but in Fiction

I, when I pitched a story, I wrote in my Scriptwriting I class it was called

"Conformity." It was about two girls moving into an apartment in New York.

So it was focusing a little bit on LGBT stories.

And then in Fiction II, I was very lucky to get picked and my story was

called "What To Do With You." And it was "Blade Runner 2049" style, where an

assassin ends up finding a baby left in an apartment where she just did a job and

she has to figure out what to do with it.

So yeah.

Nice.

I'll go now.

Hi, I'm Cam by the way.

I was gonna mention like you practice pitching in Script I

which gets you ready for Fiction.

Just like the idea of pitching a story, but pitching something that

you're actually gonna make in Ficiton I and II is a little different.

And I was fortunate enough to get picked for Ficiton I and II like Caitlyn.

So the first thing I pitched was called "Breach." I was just making a

little horror short in a school about a brother looking for his brother.

And then in Fiction II, I pitched "Metal," which is about

killing a demon with a guitar.

I just thought that'd be cool.

I was very lucky, I pitched and got picked in both Fiction I and II.

Um, In Fiction I I pitched a film called "Babble," which was about a

girl who got covered with paper, with all her anxious thoughts on them.

And it grew and it was a metaphor for like anxiety.

And then in Fiction II, I pitched a period piece called "If You Die

I'll Kill You," which was about a mom and daughter disagreeing

politically during the Vietnam era.

You guys have such profound, good reasons for making your movies, and I'm

just like, I just want to make a demon costume, I wanna put a saw on a guitar.

And I even like in my pitch, I was like, I don't have a reason.

I just want to do this really bad you guys.

And that's important too though 'cause like you don't need to

have the most profound story ever.

Which I guess leads me into my next point, which is I feel like we're all people who

prepare, for pitching very differently.

So Cam, I wanna start with you 'cause particularly with "Metal," didn't

you decide you were gonna pitch like the day of or like the night before?

Yeah, it was the night before I was so on the fence.

'Cause I was having a rough summer.

I knew I wanted to direct again 'cause I had so much fun directing "Breach,"

but I could not come up with something that I was passionate enough about.

And I feel like that's I'll get to this later too.

I feel like the best pitches come from if you are just super passionate and

super believe in what your story is , that will come through in the pitch.

And so I didn't wanna pitch if I didn't have anything that I really cared about.

To me it was like, other people have ideas that they really care about,

they're really passionate about.

I don't really have that.

But then the day before pitches were I just met up with some friends.

I was with like Nevin and Irene I think, I dunno, we had a little writers room.

We were there 'cause Irene was gonna pitch her thing.

So we were just all there to help each other with that.

And just while we're there just hanging out with people, I start brainstorming

out loud and we come up with the idea for "Metal" in 15 minutes and right away

I'm like, yeah, I really like this idea.

Now I'm on it.

I want to do this.

I really want to make this thing.

That same night I made a pitch deck for it.

I had the vibe in my head and I was like, okay, I know what I'm doing.

I literally like the day of whenever I'm supposed to pitch, I have this bulleted

list of my name, where I'm from, what's the story I wanna tell, what's the ending?

And then give a why.

And while I'm pitching, I always keep in my mind like, okay.

Let's just get people excited about making this thing.

Let's make this sound like it's gonna be really fun to like, make the movie.

So I'm like, I am gonna need a really good Production Designer and great Sound

Engineer cause this is all about music.

And at the beginning of my pitch, I played a little bit of a metal song just

to get people thinking what I'm thinking.

And then, yeah, just like hyping people up.

If you're a really good Production Designer, I want you on my thing.

And they're, and then people are like, okay, yeah, I wanna do

some awesome production design.

And then people get excited about making it.

And then you just find your people who wanna make cool stuff with you.

You of all people speaking as someone who has seen you pitch three times now.

I think you're the best pitcher that I saw in our classes.

You just have such an infectious energy.

Nobody wants to make a film that the Director doesn't wanna make.

And you just go up there and , like you could make a film about paint drying and

I would wanna make it with you because you would go up there and you would

be like, this is the best paint ever.

And I'm excited to make it.

I'm gonna popcorn it over to CK now because I know you have a bit

more methodical process when it comes to prepping for pitching.

So what does that look like for you?

Yeah I definitely have a little bit of a different process and it's something

I've gotten better at over time.

When I first got to Grand Valley, I thought I wanted to write,

but then end of my Scriptwriting class freshman year, I was like,

oh yeah, this is what I wanna do.

But public speaking has never really been my thing.

I get super nervous, I forget what I'm doing.

Many people can probably relate to that.

I remember in Script I I I knew what I wanted with the script, but it's so

hard to figure out what is necessary information to share with people.'

Cause I know for myself as a writer, when I'm writing everything that I am

putting into that script is important to me, there's a reason it is happening.

And when you have five minutes, you don't have the time to go page by

page and be like, this is the story and this is why this is happening.

And so you have slowly figure out what is necessary to share.

And so when I pitched in Fiction I, I was very nervous.

I was made to go last because I think the professor knew I'd get nervous.

I'm not saying he did it intentionally,

But I managed to stay under five minutes surprisingly, but I just, I got really

nervous and I couldn't figure out in my head what was important to share.

And so I don't think people really understood what I was trying to do.

And so I wasn't really surprised when I didn't get picked.

But by not getting picked, that gave me the opportunity to not only watch other

people pitch that went on to direct or just talking about their stuff in general.

It let me see kind of, what were they doing that I could improve

on when I came back in Fiction II and also just doing research.

I talked to some writers in the industry and I went, how do I pitch?

I don't know what I'm doing.

And so I figured out, I just needed to find my own process of there's not a

rule, there's not a way have to do it, it's just what makes it easier for you.

And I also learned through watching people as well, at least in the film

program, the ideas that end up getting picked usually are ones where people

are A really passionate about them or there's something flashy about

them that gets people's attention.

And so I as a writer have a tendency to write very grounded stuff.

I like things that are very internal turmoil, like the characters or

emotions are what's driving it.

And so I really had to figure out what were things that would get people's

attention and make me excited.

And so I ended up pitching "What To Do With You" like I said.

And the thing that really I think got people's attention with that is I

thought we've done sci-fi where people are just running around fighting,

trying to survive in dystopia, but what's something we haven't seen before?

And so I was like you just found a baby in apartment and it's there and now what?

And then pretty lights and colors.

And then in Fiction II, we were also allowed to use pitch

decks, which helped me too.

'Cause I could illustrate I wanted.

So if I forgot what I was saying, I could go look the screen.

So I think that my process has definitely evolved over time.

'cause I also took Scriptwriting II this past semester.

But the more you sit with it and figure it out and then learning what are the

important bits to share with people?

So my senior thesis project right now is called "Philia," and it's about this boy

with depression who meets this nymph in the woods and then just befriends her.

And that story was important to me.

It has a piece that I'm interested in, which is that internal turmoil,

but also has another piece.

There's this new idea of Greek mythology being introduced.

And also I am super passionate about it and I know every little detail,

but I know what's important to share with people to get their attention.

I definitely relate to you on the struggle of wanting to tell every little detail.

I usually like write a draft of the script before I pitch.

For me, it helps me out if I can see my story.. But then my issue is , oh, I have

to explain every single beat that happens, but you just don't have time for that.

So usually what I do is once I have my script and I know I want to pitch, I type

out, like if I was just explaining this, what was everything I would say, and

then I read through it and I time it.

And then usually I'm like, oh, that was 10 minutes long.

I can't do that.

So then I go back through and I'm like, what can I shorten?

For my Fiction II film, "If You Die I'll Kill You" like there's this montage where

like the mom does a series of petty things to stop the daughter from going.

But when I first read it, I didn't say she did a series of petty

things to stop her from going.

I explained each one in detail, but then looking back I'm like,

they don't need to know all that.

So that helps me.

And then also , practicing a lot helps me 'cause I don't usually

have an issue of public speaking.

But I do have an issue of , when I get nervous, I ramble.

So I need to have it in my head.

So if I'm nervous, I already know it, like the back of my hands.

So Fiction I and Fiction II, I made my lovely roommates

listen to me practice pitching.

And that was helpful 'cause like they are not filmmakers, they're all STEM majors.

So I was like, if they can understand it, the film people can understand it.

And I made them listen to it a bunch.

And they were also helpful they were like this part's a little confusing or

like you spoke a little fast here, so I just practice a bunch and I do wanna

give a shout out that I've never used it, but I know a couple people who go to

the Speech Lab 'cause you can practice giving a speech that'll give you feedback.

So that can be a good resource your roommates are not as nice

as mine and don't wanna listen to you ramble about your film.

We have all pitched as we have discussed, but we also have

all seen other people pitch.

So I think I wanna open the floor now.

As a citizen and a voter of film classes what do you guys look for in a pitch?

What have you seen in a pitch that is like red flag?

I'm not voting for it.

To get the ball rolling people being excited for a film

is always a plus for me.

If someone's excited about a film, I'm like, if you're excited, I'm excited.

I don't know anyone who pitches, who isn't a little nervous, even if they

seem like they're on top of the world.

But like if someone's just mumbling and like being nervous the whole time, it's

I don't know if I want you as a director if like you can't pitch for five minutes.

For me, when I'm like, I'm sure I have noticed this in pitches, but I

can't say for sure because I can't read other people's minds, for me it's

like a pitch is only every pitch I've done is you only get five minutes.

Like we talked about that.

And there's all this stuff I want to convey in five minutes.

So I'll be in my room practicing my pitch out loud with a timer or something and

saying everything I think I wanna say.

And it's like I've got it down to almost like script right?

I've got exactly what I wanna say.

I'm gonna say all this stuff.

Everyone's gonna get it.

They're gonna understand the vibe I'm going for.

And then when you actually get up there and you're in front of people,

it's like that's goes out the window and it becomes just like, all right,

let's just say what I remember.

And I am very grateful and I'm fortunate and lucky enough to

have gotten picked both times that I pitched for Fiction I and II.

But I know for both pitches there was stuff that I had originally wanted

to say that I just didn't say because it's not even that I ran out of time.

Like I think "Metal's" pitch was like three minutes or something.

Cause I just get nervous and I just start rushing through everything I wanna say

that I just forget stuff and it's just like I, that can't just be me, right?

Like I, there's gotta be other people pitching who practice it for so

long, practice it over and over, have a script down in their head.

But then they get up there and the nerves just start to take over

and then it becomes a rush you're forgetting everything you wanna say.

And maybe you leave out important bits like, ending a pitch.

And then it's oh, , I wanted to mention this thing and I just

didn't get to it ' cause it's like having that timer is stressful, man.

The clock.

The clock is daunting and I dread it, but it's important too 'cause

it's if you can get in everything or mostly everything you wanna say in

five minutes then it's a good pitch.

Then you've got, then you've got your story condensed into five minutes,

got everything you're passionate about and just that little amount of time.

So that's good too.

But that's just what I've noticed in myself, and I'm sure everyone

else has been like that so.

I think there is such thing as over preparing.

I have definitely realized in the few times I've pitched that if I over

practice, if I over time myself, then when I get up there I have a tendency to

panic more because then I'm not saying exactly what I thought I would say.

There's like a list of five things that you're supposed to say, or four

things, which is you say your name, say you're the writer, say what your

story is, say why you wanna tell it.

And so just having a general idea of what those things are and like,

okay, I have to hit these points, but everything else in between.

I can practice a little bit and then we'll just see what happens.

So I just, be prepared, but don't be so prepared that when you get up there,

you're panicking, at least for myself.

But when it comes to watching people pitch and stories that I've voted

for I definitely think that I'm watching to see if they're passionate,

like we said.

Even if they're quiet about it, if they seem to have a really big familiarity

with the story, if they understand why people are doing things or why this thing

is happening, what their goal is with the story, that definitely gets my attention.

Oh, they understand they are focused.

They know what they want, even if they're a more quiet or soft spoken person.

If they tend to ramble or not really know what they're doing or be like

I don't know what's gonna happen at the end, or I don't really have the

script written, or things like that.

That is a red flag for me of maybe I shouldn't vote for them because they

don't seem to know what they want.

I wanna add on to what you said because I feel like, for me,

a big thing is feasibility.

If Cam had pitched, I wanna make a film with 600 demons fighting each

other, I would've been like, love you Cam, but no way that's happening.

You really have to like know your angle and how to like pitch your film.

For me with "Babble" like we had one of the locations was like

the character's mind, and it was this giant box made out of paper.

And I knew that when I pitched, I was gonna be asked how am I gonna make this?

So I made sure I had a plan because I'm like, this doesn't seem

feasible, I'm not gonna get picked.

Our Fic 1 class, there was a pitch that was pretty solid and then we

got to the Q&A and someone asked like, where do you wanna film this?

And they said, oh, probably the sand dunes.

And this was during the winter semester.

And you could just immediately see the whole class was like, Nope.

That's gonna be cold and miserable.

So stay true to your story, but you just gotta think how you wanna pitch.

Like I also remember I heard one pitch where I knew the script had

five location changes, but when the person pitched, they were strategic

and did not mention that 'cause they knew that would be like a detractor.

So I would say like with pitching, it's like how realistic does this seem?

And again, like that doesn't mean I don't vote for ambitious films 'cause

I have, but it's is this feasible?

Can this be pulled off of our resources times?

And also what time of the year it is.

If you wanna make a movie about a beach party, maybe don't pitch

that in the winter semester.

It's gonna be miserable.

We're taking a short break to tell you about the Dirk Koning

Memorial Film and Video scholarship.

Here's Gretchen Vinnedge remembering Dirk Koning.

The Koning Scholarship enables students to get that kind of an education, to be

a good filmmaker, to be able to express their voice and to continue Dirk's dream.

For more information, and to donate to the scholarship, visit

the link in the description.

Now, back to the show.

I definitely a hundred percent think it's very important to stick to your

story, stick to what you wanna tell.

But I think there's a lot of importance in being open to creative feedback

and mentioning that in your pitch.

I feel like it can get dangerous if someone's pitching and they make

it obvious from the get go that like we're, this is the story I want to do.

I will not waver like I've thought about this so much.

I think it's important to be attached to your script, but not so glued and attached

to it that you can't change some stuff.

Like, for example when I first pitched "Breach," it was

like a $50,000 production.

The script I had in mind, had like four characters.

Okay for the record, I still think we could have pulled it off, but Joel pointed

out like, yeah, this is like too much.

And it was.

So it started with four characters that were completely different

from what it ended up being.

It was four characters and it turned into just two characters, just two brothers.

The story completely changed.

The ending completely changed.

A bunch of production design completely changed.

But the one thing I'm proud of with that is even though it changed so much,

I think in my head, the original vibe that I was going for, we still, that

still came across we changed story stuff to make it make sense which

definitely made it better, I think.

But we still stuck to the main thing that I pitched, which was like a

analog horror, short kinda thing.

So of course it's important to know your script, love your script, but I

say definitely be open to feedback.

And be open to changing some stuff it will really only help.

I feel like that's the fine, 'cause you're not just pitching your story,

you're pitching yourself as a director.

Like the director really is the driving force and if the director's

not on top of it, it trickles down.

, but I feel like the Q&A too , especially in like Ficiton I,

when you don't really know all the people there, like it tells you,

who they are 'cause it, I agree with you, it is a red flag if it's like

every time someone's oh, have you thought of doing this with the ending?

They're like, no.

But also in the same vein, you don't want it to be like, oh, have you

thought about this for the ending?

They're like, I don't know.

It could be, or it could not be.

I don't really know.

Like the ending, it could be whatever.

So I feel like I agree with you.

It is a, green flag if someone's oh, I haven't thought of that.

I would consider that 'cause people have to work with you for a whole semester.

Yeah, and like that also, gets people excited about making it, because

then you get cool like-minded people around you that just want to help you

make this thing as best as possible.

And then they're excited to like, give you that creative input and help out.

And so taking that creative input, taking that collaboration is how

you meet these cool people who just want to make cool stuff with you.

The Q&A I do is very important too because it also gives you an idea

as a writer of if people are getting what you're saying and also if they're

interested in what you're saying.

I think too, when I'm picking people, I watch the way they pitch, but I also

watch the way they respond to questions.

If they're responding in a way that they seem like they know what they

want and what they're doing, or if they're being defensive about the

questions, like you were saying no, I don't wanna do that at all.

That's not what I want.

Those signs of lack of flexibility or if they seem a little

confused about what they want.

Sometimes it works out if they are like, I don't know what I'd exactly want,

but I wanna build this with people.

Sometimes if you are passionate about what you want, that you're

willing to build with people, sometimes you'll get some interest.

But again, having that familiarity with your story, but also

just, try to be a nice person.

Try to be open to feedback.

I know feedback is the hardest thing in the world to take, but if people

are asking you questions, they're usually more likely to pick you.

I know when I've pitched in the past, every time I finish a pitch, I always

know how well I did based on how many people are asking me questions' cause

that means they wanna know more.

I would argue the Q&A is as important as the pitch when it comes to that.

Your reputation as a person also definitely impacts votes because film

and especially like just the arts is all connection based, like you get work

because oh, I'm friends with so and so and I was on a set with this person.

Let's bring them on.

So I wanna warn the future generations that, like in our Fiction II class,

there were definitely some people who pitched who I like before they even

said their idea I'm like, you're not gonna get picked to direct 'cause, like

you weren't nice to someone in the last class or like you didn't show up on time.

I've seen people who like say oh, like I'll take it

seriously when I'm a director.

People don't forget the person who like forgot the tripod in Media I or corrupted

the SD card in like an editing class.

So I really wanna remind people that even if you don't get picked,

be a good person, be a respectful person, do your job, because

people remember that kind of stuff.

And that impacts how people vote.

And even in a good way too, it's like, oh, like so and so like was

such a lifesaver on this one set,

I'm gonna vote for whatever they vote for.

So I don't think it's the only factor, but I think it is a factor.

Oh, for sure.

I think you don't have to be friends with everyone, but you have to

have enough professionalism and respect to at least get along.

And I think when people pitch, if you've had a bad experience

with them or you've heard things that definitely can influence.

I do think too, it's important to keep in mind that people

are human, they make mistakes.

Things happen.

Maybe they were having a bad day on that set day, like what do I know?

So while I do think that could be a swaying factor, if these people seem

to genuinely be trying to do better and improve and make up for their

mistakes, I think that definitely can also influence who gets picked.

Because if they see that you're growing as a person and you're still trying to get

better and you're not just like sitting and you're like, ah, everyone just hates

me and I can't better, and it's them.

Then like that attitude is so easy to spot and definitely

something that discourages people.

There's so many factors, so many things.

So what is your biggest advice to someone?

Like you didn't get picked, what do you do going forward?

Yeah, that can be really demoralizing.

It can be really hard.

But we're in an industry where getting told no is very common.

It's gonna happen a ton.

Getting used to that and developing that thick skin is helpful.

But I always think it's good to try to find the positive.

Like I didn't get picked in Fiction I and I pitched and I was like,

I don't think I did well in that pitch, but I can hope I get it.

And then I didn't get picked and that was okay.

But a perk to that is that meant I got to work on one of my friends' films.

It's called "What's In Our Son's Room", which is about these two parents

trying to decide what do with their son who's turned into a monster.

So I got to help him do that project and I got to help him grow

as a writer and a director, and I got to watch other people grow.

And if I had gotten picked, I wouldn't have necessarily gotten that experience.

So there was my perk in that.

The other thing is give yourself a couple days to mourn it

before you start doing anything.

It's okay to be sad that you didn't get what you wanted.

But also recognizing like, this doesn't make or break you as a

person or your career or anything.

Recognizing that, but being okay with feeling your

emotions before doing anything.

And also just thinking about what you could do to improve,

not what did I do wrong, but what can I practice to get better?

So in Fiction I, when I pitched, I've rambled so much.

I don't know if I actually told the story at all.

Yeah, I think I barely remember what happened.

I was so nervous.

And so I recognized that, and so when I pitched in Fiction II, I was writing that

story before the semester even started.

I was working on it.

And then when I went to pitch, I made my pitch deck and then I wrote down

the key things that I knew I had to say even if I forgot to say them, but just

remembering those things and knowing okay, I need to prepare in this way this time.

And then the third thing that I did is also just knowing

yourself when you're presenting.

I know I'm not super good about eye contact when presenting, and sometimes

people think that if you're not looking at them, that you're not, as confident.

And so I had to figure out what could I do to make it look like I am confident

without stressing myself out, trying to look at each individual person's eyes.

And so I figured out oh, I can look over their heads at the wall and

it looks like I'm looking at them, but then I don't have to stare at

people and forget what I'm saying.

It makes me feel better if I have something in my hands when I'm pitching

and someone actually gave me this great advice that I do every time.

Now if you hold a pencil in your hand, it makes you look more intellectual,

but it also gives you something to hold.

So now whenever I pitch, I hold a pencil because then I have something to hold and

I can also just have it to fidget with.

Now, that can go wrong you drop pencil, but in theory, it's a great idea.

Trying to refine what you can do to be better, but also looking at yourself and

thinking like, what do I as a person need in order to be successful in doing this?

Because everyone pitches a little differently.

Everyone has a different way of talking, a different way of telling their stories.

They think certain things are more important than other things.

Like between writers Cam was like, I wanna make something cool.

And I'm like, I want to destroy your emotions.

I'm just kidding, but I wanna make you feel something.

And so for me, that would mean I wanna figure out how I can display

that emotional context in a way that gets people's attention.

And then, just knowing yourself, what are the things you need to be successful?

Do I need to hold a pencil and not drop it?

Or things like that.

I also think if you don't get picked to pitch, maybe this sounds corny

or something, I don't know, but there's always a chance, have your

pitch in the back of your mind.

For example, I was out at like a Wealthy Theater showing for something

and I saw someone, I knew he was in the film program, but didn't really

know him and just got to talking.

This was before filming "Metal." So this was like a couple months

ago now, and just outta nowhere, he is like, what are you making?

Gimme your pitch right now.

I was like, oh, okay.

And then I'm like on the spot and I'm like, okay.

And I did, I tried to the best of my ability just 'cause I had it still

fresh in my head like, yeah, it's about this guy and his girlfriend drive

through the woods and then there's this demon, and I'm giving him my pitch.

But there could be a time where you're put in a situation with someone who

wants to make movies and wants to make movies with you, and they're like, gimme

your pitch, and you have something.

And they're like, that's such a good idea.

I'll help you make this thing.

And then you're just making movies with friends, just having something,

even if you don't get picked to pitch, just having something you're passionate

about, having something you want to make, if that's what you want to do, is

good to have in the back of your mind.

Yeah.

And the kind of bouncing off of that, this is like Caitlyn pitching to her roommates.

I think the more you talk about your idea and the more you, as you say, pitch

it to people or just say it to random people, the more you will be confident

in your story and the more you will be able to tell it to people whether

you're watching their body language or seeing when they check out of when

you're pitching, just the more you say it, the more confident you are in what

you are trying to say on your piece, and the more you are able to effectively

communicate that when you are pitching.

To close us off, I'm gonna ask everyone what is your biggest piece of advice

you would give to someone who wants to pitch I think I would say you have to

be like your own biggest cheerleader and just believe yourself and do it.

I pitched, I like went to someone I really respected and I told them my

idea and I was trying to get some feedback and they told me it made no

sense and that no one would vote for it.

And I was devastated.

I went home and I like questioned my whole life choices and I almost didn't pitch

but then I was like, no, like this is a story that I really believe in and I wanna

make the film my younger self never had.

'cause again, it was about like my struggles of anxiety and then I

went and I pitched and I got picked.

But like if I had listened to that, naysayer I wouldn't have.

Even if other people don't get your idea, just pitch, you don't lose anything from

just trying and like, you never know.

And not every story is gonna be for everyone.

Not everyone's gonna get every film, but just go for it and pitch 'cause

you never know what's gonna happen.

So that's my advice, which is just be your own hype person and just go and

do it and don't worry about what anyone else thinks 'cause all that matters

is that you went out and you tried.

Yeah, going off of that I know we mentioned it before, but like if you're

just passionate enough about your script, it will come through in the pitch.

And that's that's what I look for in a pitch and if you really believe in

yourself and and believe in your script and your story, and you really just want

to make this thing, people can tell that you just really wanna make this thing

and you're gonna make this happen because you're passionate about it, that will

come through regardless of your story.

Passion will come through.

Yeah the first thing I would say is what Caitlyn said.

You lose nothing by pitching.

For my shy people out there, just put yourself out there.

Go for it.

You never know what's gonna happen and you know the world's

not gonna explode and become an apocalypse if you don't get picked.

It just means, okay, it's not my turn.

What can I do?

How can I improve?

Don't let your fear stop you from doing that.

And also, I think too, this kind of ties into not getting picked or being afraid

to get picked, but if you are worried, people are not gonna get your idea.

That's okay.

Your ideas don't have to be for everyone.

You just have to sell one person in the room or a group of people in the room,

just so that they will give you a chance.

Or if you feel like you don't have something to say, I guarantee

you have something to say that someone else will be interested in.

Alrighty.

Thank you guys for being here today and good luck to anyone who's

pitching after listening to this.

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