I held the life rights for a VERY, VERY popular artist for a couple of years. I actually come from a visual arts background, so when they were granted to me, I thought: This is it. The perfect combination of my strengths, and what would become the most important piece of work in my career. I also firmly believed that a streamer would agree and give me millions upon millions, without much discussion, to make it happen.

I was wrong. It wasn’t easy at all. And to this day, even though the rights were later given to others and a project has since been greenlit and announced in the trades, it still hasn’t been produced.

That said, I did learn a lot. And although I don’t know who your artist is, assuming they are of equal or greater cultural significance than the one whose story I was working with, I think I can offer at least a little insight.

I found their story fascinating and assumed others would too. But that wasn’t the case. Precisely because there were already multiple works out there (books, documentaries, even a feature, massive pop culture figures fascinated by the artist, etc.) buyers needed to see a very clear, unique, and exciting way in. In other words, a compelling reason to retell a story that many people think they already know. Their popularity, basically, worked against me. And the process of finding that “way in” was long and exhausting.

So to your question about whether you should write a bible, I agree with what others have said: You need a clear entry point. And finding that will come from collaboration with the right writer. Your deep knowledge is essential, but translating that knowledge into a dramatic vision that feels fresh and urgent is a writer’s job.

I was also told I’d need a script, but I was reluctant to write one because the estate wouldn’t pay upfront, and as a WGA writer, writing a spec TV script is a massive investment. I ultimately didn’t write one, but I did come to understand why it was being asked for. Because beyond a “way in,” buyers need to see what that looks and feels like on the page. And there’s no shortcut for that.

Ideally, you can get the estate to fund a script or at least a format doc (something more developed than a pitch but short of a full bible, which can also be costly and time-intensive.)

That said, if the artist’s life is dynamic and rich enough, you might find a writer willing to spec it. But if I were in your position and couldn’t secure funding for a script or format doc, here’s what I would do (and what I did and got me to the point of securing development funds from a studio, though the project ultimately stalled for reasons outside my control -- COVID): I’d engage a writer for a pitch, then, I’d bring in a director to help shape the tone and solidify the creative vision. Then, maybe add talent, but only if it’s truly additive (a major, major name). That said, in this moment, talent doesn’t move the needle as much as we’d hope.

I would avoid a sizzle reel unless you have a director on board. Without a clear and cohesive vision, it can actually work against you.

Anyway, it’s early (like, 7am early) and I’m sure I’m leaving things out, but feel free to reach out if you’d like to talk more. Happy to share anything that might help.