From Aaron Sorkin's MasterClass

Group Workshop: Pitch Session

You've got a screenplay—now it's time to pitch. Learn what questions Hollywood's decision makers will ask you during a pitch and how to effectively answer them.

Topics include: What makes a good pitch • Elements needed in every pitch

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You've got a screenplay—now it's time to pitch. Learn what questions Hollywood's decision makers will ask you during a pitch and how to effectively answer them.

Topics include: What makes a good pitch • Elements needed in every pitch

Aaron Sorkin

Teaches Screenwriting

Learn More

Preview

I'm terrible at pitching and, fortunately, I haven't had to do it that much. And I'm really terrible at describing what it is that I'm going to do. So all I can do to help you is try to anticipate what you would be asked in these pitch sessions. [MUSIC PLAYING] -Go ahead. -I'll get it out of the way. So after college, I got a Fulbright grant to go and do research in Italy. I was studying the history-- Sorry, yes? I was-- -I've never come close to getting a Fulbright grant. Go ahead. -But I was studying this practice in the 17th century in European cities, where they would stage these really highly ritualized and elaborate public anatomy lessons. They were these really bizarre events. In Bologna, they would do it during Carnival, so people would be-- doctors and scholars-- looking at the body, but you'd also have people in masks drunk in the back. You'd have burly students at the door to fight off the people trying to come in and reclaim the body of their loved one. And out of these stories that I was getting doing this archival research this thing eventually evolved. Yeah? -When would this happen? -This would happen during Carnival in the 17th century. -In the 17th century. OK. Go ahead. -So in the context of all this, I wound up eventually coming up with this idea for a mini series. And so just sort of for the pilot episode of the series, called The Anatomist-- -Does this series take place in the 1600s? -In the 17th century, yeah. -Yeah, OK. Go ahead. -So it follows the official dissector for the public anatomy, a guy named Niccolo Segni, who finds himself on the trail of a killer who is staging a sort of very public perverse anatomy of its own by killing anatomical abnormalities and then staging them around the city. But the real challenge and the sort of central idea of the thing is that Niccolo, in order to catch this guy, has to invent forensic science. There is no such thing and so he has to sort of invent tools along the way to figure this out. In an era where even empirical thinking was slightly dangerous and new. So, there's my pitch. -Why, I think that's really cool. I've never heard of what you're talking about. I think it's really cool. I think that just 10 or 15 years ago, you'd get laughed out of any room that you pitched that in. But we're no longer living in a time of, it's got to be ABC, CBS, or NBC. And there are cable networks that would do that kind of work. So I think it's terrific. If you were in an actual pitch session, they would ask you to describe some future episodes down the line. But because I want to get to everyone who has a pitch, I want to move on. But I totally wasn't expecting that. And I think it's cool as hell and keep thinking the way you think. OK. Who's next? [MUSIC PLAYING] -So I have been my sister's guardian since I was 20 years old. ...

Your script starts here.

Aaron Sorkin wrote his first movie on cocktail napkins. Those napkins turned into A Few Good Men, starring Jack Nicholson. Now, the Academy Award-winning writer of The West Wing and The Social Network is teaching screenwriting. In this class, you’ll learn his rules of storytelling, dialogue, character development, and what makes a script actually sell. By the end, you’ll write screenplays that capture your audience’s attention.

Reviews

4.7
Students give MasterClass an average rating of 4.7 out of 5 stars.

Brilliant. I feel like if I only remember 5% I will be 150% better writer. Thank you!

Excellent. It's not a Master class it is a Master's class.

I think we're excited and committed to be motivated, directed and inspired to believe in our writing. I'm ready. :)

I loved virtually sitting in a writers room, the collaboration and the students' pitches.

Comments

Nolan J.

The information on in-person pitching is very useful; however, I am curious how those that don't live in Los Angeles can get producers to read their work. Do you have any information for sending query letters? Would you recommend those without many contacts in the industry using sources such the Virtual Pitch Fest?

A fellow student

G. M. Thomas, WA We witness three student pitching their stories. What will the producers ask of my original idea for a series? They listen to J.J. Braider, his pitch. It is about fornsics of 17th. century Europe. Second is Jeanne Bergen.She tells a story about a twenty year old girl who has to raise her sister while schooling herself and making a living. Next: Evelyn Yves, The Merc vertrss Wall Street. Aaron is amazed at the original writing.

Lisa

Pitching is so hard for me. I've listened to videos and read all about it. I'm pretty good at telling my stories to my cat, but as soon as I'm in front of a human it sounds like Charlie Brown. My hats off to the students. Years ago, I was watching a girl pitching her work on Project Greenlight. She was amazing, like it was a walk in the park. She's my motivation to keep practicing and know I can be close to her level someday.

Carla C.

The story takes place beginning in Baltimore at Poe’s funeral and moves to Philippi, Virginia, not Philadelphia, as the story goes and stays in the peaks and valleys as Civil War breaks out and the 35th state is born. A working title is Spirits, Est.1836.

Cooljim

I'm reviewing Aaron Sorkin's Master Class, the class on 'Pitching your Screenplay.' He has a writers' forum with a panel of (simulated?) students. In this episode, each screenwriting student pitches a screenplay. Each student's pitch (whether a real pitch or not), is good, but the plot of each pitch is lacking. If nothing else, viewing these pitches gives me confidence that my pitch could surmount them all... and if only one were to be selected, my screenplay would be the one. Thanks to this class for helping to give me that confidence.

Maria S.

Interesting. What resonated with me is one must be ready to pitch the second episode in one's TV series.

JWB

I have found that my most successful pitches have always come from personal stories where it didn't feel like I was pitching at all. I found Evelyn's pitch to be the least engaging as it was clearly rehearsed.

Margaret C.

Why is the Black student completely silent through these workshopping and pitching segments? This is deeply uncomfortable.

Max R.

this was interesting and a great thing to learn. is it possible to make a power point to pitch the idea or something else?

Emilio F.

Wow! Pitching an idea for a show or a movie can be a challenge and it is very important to prepared of course. Very good session.