WHAT DOES A PRODUCER DO???

The Producer is the one who buys your script.

You have to know what a producer looks for.

HI SCREENWRITERS!

Thinking your script is ready? Are you sure?

I’m Judy James, a producer of 30 years. I understand the pov that a producer has. Will a producer see what you’ve written as too much, too little, overdone or ignored?

EVEN WHEN THE STORY IS GREAT.

YOU WILL BE STARTLED BY WHAT YOU DIDN’T SEE.

(…IT MAY BE WHY SO MANY SCRIPTS EARN A “PASS.”*)

Input your quotation here. Also, you can cite your quotes if you would like.Mr. WordPress

JUDY’S OBJECTIVE PERSPECTIVE

WILL ACTIVATE YOU TO READ YOUR SCRIPT WITH NEW EYES, UNBIASED, ALL TO THE BENEFIT OF YOUR SCRIPT – YOUR SCRIPT. SHE DOESN’T POINT IT WHERE YOU DON’T WANT IT TO GO.

PRACTICING OBJECTIVITY, GUIDED BY JUDY, CAUSES LESS OR MORE IN ALL THE RIGHT PLACES, MAKING THIS EXERCISE REMARKABLY SUCCESSFUL. THE FINAL THING TO DO BEFORE YOU GO TO MARKET.

Judy has improved any script I show her by leagues…”Richard Dreyfuss, Producing Partner, Dreyfuss/James Productions
Judith James’ notes on my screenplay about the poet Edna St. Vincent Millay were superbly insightful and her support for the project through multiple drafts has been unwavering. She’s got a bullseye sense of what works on the line level (dialogue) and how all the pieces of a screenplay ought to hold together. That
aspect of creative producing is a dying art; Judith James is the real deal. —Charles Lyons, PhD, journalist and filmmaker”
Judy’s clarity, precision and above all else, her genuine respect for the writer, is what sets her apart from anyone else I’ve collaborated with over the past twenty years.Joe Cacaci -Writer/Director/Showrunner Television, Theater, Film. Teaches Television Writing at Graduate Film School - NYU and Columbia; Undergraduate at Wesleyan.
JUDITH JAMES — She understands that a screenplay is a living organism. She helps the screenwriter focus on getting to the point. She guides the project through the eyes of a Reader, the gatekeepers of the industry whose job it is to say “NO!” She also knows that screenwriting does not exist in a vacuum. Judy is all about focus with empathy and results. She is a treasure and she has become my friend.
Ross Vick - Screenwriter of 40/8

Judith Rutherford James –learned what she knows. She has 20 Producing credits, she developed more than 30+ screenplays under option, 25 years of working to bring projects to fruition. QUIZ SHOW, MR. HOLLAND’S OPUS, HAVING OUR SAY, The Delany Sisters First 100 Years….See more in “About Judy”.

Judith is a fantastic mentor to her writers. You will learn more from her in three hours than most writers learn in years.”Erin Condron -Writer/Conceptualizer Hasbro/Star Wars, DANNY for Irish Film Board
Judy James is a game-changer if you want to figure out the heart of your story and make it work. Her insights are priceless to me. There is no-one out there like her. She is truly unique among story/script consultants.” Anthony Buono, screenwriter

Some of Judith’s Producing Credits include:

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Scripts Judy Has Worked or Consulted On:


THE PROUD AND THE FREE -Howard Fast/Robert Bolt • THE QUEEN’S STORY- Tony Spiridockis • THE SECRET ANNIE OAKLEY – Marcy Heidish/ Gerry Ayres • THE TOWER -Ridley Pearson • THE TWO GEORGES – Richard Dreyfuss/Harry Turtledove • WINGS OF JOY – Eve Sereny • The Winnie Mandela project – Emily Mann • THE ORION PROTOCOL- Gary Tigerman • THE MUSIC TEACHER- John J. McLaughlin/ Richard Dreyfuss • THE LOVE OF HIS LIFE – David Rintels • THE BLUE ANGEL – Neal Jimenez • THAT OLD FEELING- Leslie Dixon • SWEATING BULLETS- Larry Bishop • LEONA’S – Steve Adams • REASONABLE SUSPICIONS Mark D.Rosenbaum/William J.Genego • PRISONER OF HONOR- Ron Hutchinson • LIVE – Bill Guttentag • MY FRIEND MATT AND HANNA THE WHORE -Ronaldo Vasconcellos • MSR HIRE Niel Jimenez • MOON OVER PARADOR – Leon Capitanos, Paul Mazursky • MOE BERG from book by Kaufman, Fitzgerald, Sewell • MEN -Joan Taylor/Elaine May • MAX BICKFORD – Joe Cacaci• LIGHT A NOONDAY CANDLE- Janet Heaney • KRIPPENDORF’S TRIBE – Charlie Peters • IT CAN’T HAPPEN HERE – Sinclair Lewis/ Michael De Guzman • JOURNEY WEST- Richard Dreyfuss • GOOD CITIZEN -Robert Parker/Bruce Graham • HAVING OUR SAY – Emily Mann • FUNNY YOU DON’T LOOK 200 – Amongst Many Writers: Jessica Teisch, Bruce Vilanch, Lorin Dreyfuss, Bill Maher, Randy Newman, Richard Dreyfuss • FREUD AND JUNG- Michael Lippman/Paul Mazursky• FAIRIES – Tony Spiridockis • REBECCA – Jessica Teisch• SOUTHERN EXPOSURE – W.H. Macy& Steven Schacter • DECALOGUE Series • DAYS OF FEAR – Aslami Amlani• DAUGHTER OF TIME – Josephine Tey/ • OTHER FIRES – Betty Kaplan • COPSHOP- David Black • DANCING STILL- Diane Houston • A FINE AND PRIVATE PLACE- Peter S. Beagle/Gerry Ayres • A BROOKLYN WOMAN- William May • COLLISION AT HOMEPLATE – James Reston • COMMANDANT- Frederic Morton • COAST TO COAST – Frederic Raphael • CITIZEN TOM PAYNE – Richard Friedenberg • CAPITOL FORCE – Ridley Pearson • BOSWELL FOR DEFENSE – Patrick Edgeworth • ASHES TO ASHES – Oren Safdie • ACID TEST – Mathew Chapman • ABERNATHY BOYS • WHEN THE PARADE’S GONE BY- Gerald Wilson • IMAGINING THE PEACE – Jay LaMonica • KISSINGER AND NIXON- Walter Isaacson/Lionel Chetwynd• • AN OLD FRIEND OF THE FAMILY- Fred Saberhagen• DUDDY AT 50- Mordecai Richler •EINSTEIN- Phil Rosenberg • DR. MIRACLE – Robert Dillon • Outside Inn – Loren Dreyfuss and David Landsberg• ROSENKRANTZ AND GUILDENSTERN • TO LIVE AND DIE A WOMAN- Kathleen Tolan • THEODORE ROOSEVELT -A LIFE • TEDDY AND ALICE – Ron Parker • TWICE THE PHOENIX – Leon Prochnik• WHATEVER LOLA WANTS – Kristi Kane • THE MARRIAGES OF ZONES THREE FOUR AND FIVE- Doris Lessing/Robert Dillon • THE FOREST – Ashvin Kumar • SEANCE ON A WET AFTERNOON – Bryan Forbes• SHUTTERBUG – Howard Franklyn • MAN OF THE YEAR- Millard Lampell • KID LOGIC- Mark Schilder • HEISENBERG’S WAR- • HEAVY DUST – Deric Washburn • • AN UNMARRIED MAN- David Black LAST COP- Evan Hunter/Ed McBain

Hi I’m Judy James.

Before you consider your script done, ready to go to market, it’s very important to understand how a producer will “read” your script.
Conversely, is your script saying what you mean?

I strongly recommend you stand back, look at your script objectively, from a pov that will count, that of the buyer/producer/or readers for same. They are in the business of imagining it on screen. Take this step to make your script the best it can be, before you go to market.

At this most vulnerable point in the process, you and your reader-who-can-option/buy it, need to SEE the same film and the same opportunities. And speak the same smart film language.

If you are prepared to see your script from this ready-or-not pov, we could work together. My greatest strength, honed by years in the business, is talking through the script with the writer, asking questions, discussing the answers. Notes aren’t enough. In one-on-one sessions -via phone or Skype – we’ll explore the essence of your script without damaging the quality of what you’ve written. I can help you refine and define the elements of your script. I offer straightforward savvy and objectivity.

Would you like to discuss this further? Pricing is in the above menu bar. You can reach me at judith@djprods.com. Let me know when it would be convenient and we’ll set up a conversation.

I look forward to speaking with you,

Judith-James-Sig

Before I knew it, the script had come together in a way I didn’t expect… and for the better. Working with Judy was a great learning experience and a lot of fun too!”
Rob Smithline - Writer/Editor/Director - TRUST US, THE HUNTER'S ANTHOLOGY
Judy James understands the difficulties of screenwriting and the movie industry. She understands the process and she understands that rules are made to be broken. Her depth of experience gives weight to her thoughts, opinions and expressions about any given project she is working on.
She also has the insight to understand the delicate nature of the screenwriter. She understands those words are our children, our stories are our lives and that each letter, word, dialog and exposition must be treated with respect and dignity, even if they are to be deleted!more from Ross Vick, screenwriter 40/8

WHAT DOES IT COST?
Working on your script
from the objective pov?

Judy will read and acquaint herself with your script readying for an hour-long discussion ($250) with you. You decide jointly if you want to go ahead.

Going ahead the sessions are $125 an hour.

If you are about to start a re-write, 3 session hours should do it. You’ll get her advice about what works and where to spend your time.

She suggests 5 session hours if you want to go to market with it soon. She will encourage you to spend some time on some undeveloped wicked idea or a clumsy scene (or similar questions particular to your script.)

It may take 8 hours of sessions if applying the producer’s pov has turned up a lot of missed opportunities. You two will decide.

Every now and then, when you want to, you’ll go away and write. You’ll call when you want Judy to read and you’ll talk and discuss changes, new ideas that have come out of the writing.

And at the end of each of your discussions,

You Will return to your writer’s den fired up

* InfoGraphic: Why Scripts Earn A “Pass”
A Script Reader and reddit user, (“profound_whatever”), compiled this list of Reasons for a Pass from experience!


Very few film people can dissect a script as thoroughly and capably as Judy, who comes to her work first and foremost as a producer. David Paulsen - TV showrunner, 15 years, the only person to have directed, produced and written for each of the three big prime time soaps of the 80s – Dallas, Knots Landing and Dynasty.

So What Happens Now?

Click the “Get Started” button below. You’ll fill out a short application answering a few questions so Judy knows where you currently are in your process. You’ll submit that application along with your script and the read/explore $250 to-get-started fee!

Sound Good?

Let’s Get Started!
One of Judy’s myriad talents is her innate ability to successfully guide a writer to the movie they’re trying to describe on the page. ”David Knell - Writer/Actor, Whizz Online Person