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Panel wrap: The Black List
Friday afternoon, Leonard was joined by four writers who have had scripts land on the coveted list. As Leonard said, it turns out he wasn’t the only one who was having a problem discovering great work, a collective problem that led to the list being so heavily sought out by development folks in the industry. Over the years, as the popularity and success rate (in 2006 and 2007 40% of the Oscars handed out in the top categories went to Black List screenplays) has increased, so has the number of participants. Last year’s list had the participation of 330 people.
One of the panel participants was Austinite Kyle Killen, creator of the recently (and unfortunately) canceled “Lone Star,” who landed on the list in 2008 with his script for “The Beaver.” Killen said the list gave him instant legitimacy.
“Getting on it means you’re instantly taken seriously,” said Killen.
Not only does the list offer industry insiders a concentrated list of talent, it also provides them some cover in that if they want to buy one of the scripts or sign a deal with one of the writers, they can point to the list as a fact that other people had shared their opinion.
When Matthew Cook’s agent told him he had landed on The Black List, the Hollywood neophyte who had gotten the script for his “By Way of Helena” noticed by Mike Simpson following a hunting trip responded, “That doesn’t sound good … what the hell is that?”
He soon found out. He also realized that with great honor comes great responsibility and admits that following his appearance on the list he felt increased pressure to produce solid work. But Cook admitted that while landing on the list is a career jumper with almost unmatched power, writers should avoid trying to write specifically to land on the list, as such calculating will destroy a unique voice.
Not everyone who lands on the list comes through a script that’s been passed around or through a chance encounter with an industry executive. Malcolm Spellman and Tim Talbott ended up being selected for the list after their script for “Balls Out” became an internet sensation. The two writers created an admittedly antiquated website and posted the screenplay for the subversive comedy. To date it has been downloaded almost 100,000 times. Their success, according to Leonard, is one indicator of the fact that over the coming decade people will be getting their work into the hands of industry decision makers through more and more varied outlets.
While some cynical folks may think of the list as a bragging contest between development folks, Leonard seems unconcerned. He simply wants to continue to help great writers get their voices heard.
“I have a deep and abiding love for storytellers,” Leonard said.
Photo of Franklin Leonard by Jack Plunkett/AUSTIN FILM FESTIVAL
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