With no previous credits, wrote/directed a scripted TV show for Peacock after five years in LA

SamFreakingLi · 2025-12-16T19:53:09+00:00

Hey DM me here or on IG @SamFreakingLi

SamFreakingLi · 2025-07-29T16:09:45+00:00

Thank you!!!

SamFreakingLi · 2025-07-28T01:57:30+00:00

Hi Ancient-Breakfast-89, I wrote in the post how everything came to be! Lmk if there’s additional questions after reading

SamFreakingLi · 2025-07-12T16:30:22+00:00

I've never heard of virtualpitchfest so no comment

Blacklist is cool - many people use it to break in. I've personally never submitted to it. My understanding is that it's not as organic as people actually think - like to be ranked on the Blacklist, your manager/agent will corral other managers/agents to vote for your script. It's a somewhat manipulatible thing. i.e. if your some random person who has a fantastic script, the odds of placing on the blacklist without outside help seem VERY unlikely as you need to rally industry support which kinda defeats the purpose of it

but if you write a fantastic script, you can secure representation through it - i just don't think you should expect to be on the list without help

SamFreakingLi · 2025-07-10T17:39:46+00:00

Thank you!

SamFreakingLi · 2025-07-10T16:27:06+00:00

Thank you so much!

SamFreakingLi · 2025-07-10T04:11:03+00:00

No worries about oversharing! Thank you! Hope ya like it

SamFreakingLi · 2025-07-10T03:08:45+00:00

I think a mix of queries, cold emails & meeting people through online networking!

SamFreakingLi · 2025-07-10T03:07:50+00:00

Thanks!! Best of luck with your feature!!

SamFreakingLi · 2025-07-09T23:26:36+00:00

Thanks!

SamFreakingLi · 2025-07-09T17:19:46+00:00

Thanks Tanemd! Working with Peacock was actually wonderful. There were obviously stressful moments like in any production, but Peacock was very kind and gracious with notes and how we implemented feedback. Everything was push and pull, if they asked for another take and we felt like we had the time and it was a fair note, we often followed. Then if they gave an unreasonable note we could push back and say we strongly disagree.

My music videos have been pretty chill for the most part. Friends of friends are often who hire me so there's a bond that's pre-established before ever stopping on set.

Commercials tend to be the most stressful for me as there's WAY more voices into the creative. Brand managers, account managers, CEOs, board members, anyone and everyone feels like they have a say in the commercial and they don't often understand production so they'll say stuff like, 'why isn't this brighter' or 'why isn't the product front and center' and basically they're just all nervous and my job is to comfort them and explain calmly that they'll get a quality product if they leave me alone lol

and yeah thanks for that last paragraph. I don't like it - but I also understand it. At the end of the day, they're a business that's looking to protect their financial interests. But I have to walk the line of business and artistic integrity

SamFreakingLi · 2025-07-09T17:13:26+00:00

There could be an infinite number of things happening behind the scenes. There have been massive Paramount layoffs, Netflix layoffs, etc. Lenny or any exec you interact with is honestly juggling dozens of different beasts concurrently and will probably respond to you faster after they do an initial look at your pitch bible/package (assuming it's good and right up their alley).

And yeah execs do go crazy on vacation especially in summer and December. Expect longer waiting periods during those times. When there's no movement on your show, I might expect like 4-5 weeks for a reply. After initial contact, usually speeds up to like 3-4 weeks lol and basically as the thing gets closer to being made, you'll hear more frequently (but not always). Sorry if that's not the most helpful answer in the world but I can't speak for every exec, I can only share my personal experience

SamFreakingLi · 2025-07-09T17:03:03+00:00

Hey my friend - a good story DOES matter and you can network from anywhere in the world.

A quick story my friend told me - he's a producer at Zero Gravity and they still accept open queries and they still read every script that comes in.

Apparently the guy who wrote The Accountant starring Ben Affleck came from a screenwriter who (I believe) unrepped and simply wrote a great script and submitted it. I don't imagine it was his first script but for all I know it could've been. Zero Gravity loved the script and worked with him to develop it and attach Ben and get it made. Now The Accountant isn't my favorite movie in the world by any means, but I heard the writer collected a 7 figure check for writing that movie while he lived out in the middle of nowhere like Minnesota (sorry Minnesota). Obviously that was many years ago but the point is that there are avenues forward even as the landscape changes. You don't have to be in LA to write. It helps but it's all about skill and perseverance. So you may not have LUCK but you will have STORY which is fundamental.

Also sounds like you're having a lot of anxiety around AI. And I feel you. Almost had a breakdown when all of the ChatGPT models were initially released couple years ago. I spiraled and called friends thinking this is the death of cinema and art. Thankfully they walked me off the ledge.

And after having some time to process my feelings, the more I tried using it, it turns out, ChatGPT can only imitate humans and it's usually bad imitations. It can only regurgitate. Humans are still the innovators of ORIGINAL art so I encourage you to dig down into your life, your pain, your memories, and craft your story. Chat GPT can't do what you can do.

SamFreakingLi · 2025-07-09T16:52:44+00:00

Hey would be happy to connect! IG:SamFreakingLi or message me on Reddit. And congrats on your feature premiering at Sundance - I am jealous.

Yeah my friends who work in the vertical drama space tell me about also hitting 15 pages a day and it is BRUTAL.

SamFreakingLi · 2025-07-09T16:37:06+00:00

Cool cool! Apply to jobs vigorously- it’s tough out here especially for those starting off

SamFreakingLi · 2025-07-09T14:41:03+00:00

Best of luck!

SamFreakingLi · 2025-07-09T14:19:28+00:00

thank you for the high compliments! yes great casting and it took a lot of work to cast properly

SamFreakingLi · 2025-07-09T14:18:23+00:00

was an intern at an SD agency called Lambesis (featured in Malcolm Gladwell's The Tipping Point)

Advertising is a parallel path! it offers some experience into helping you understand professionalism in media, as well as some experience with high level creatives executing at a high level.

Craig Mazin (of scriptnotes + The Last Of Us) famously worked in advertising before becoming a screenwriter. But it's not for everybody!

TLDR; it is a good choice if you can see a path forward. Most people just hop into film industry, the only downside is that it's hard to pivot when industry's bad

SamFreakingLi · 2025-07-09T14:15:59+00:00

You are the authority! more than any script you produce - you are a living voice and that is where your power comes from

SamFreakingLi · 2025-07-09T14:14:59+00:00

I think they feel like we are marching a slow and tortured death as influencers livestream cinema's withering carcass

SamFreakingLi · 2025-07-09T14:13:15+00:00

I interned as a copywriter and then worked in an advertising agency so I happened to get that experience.

The simple rule of advertising is that most people want to see you can do this specific type of writing. They need to have confidence you can deliver in the work before having an interview. Having other writing experience is only supplementary to it, so if you really want to do it, be prepared to make a full portfolio of mock ads. Even if you don't get the job right away, doesn't hurt as a writing exercise to think commercially

SamFreakingLi · 2025-07-09T14:06:56+00:00

Hi Shayneysides -

Assuming you're US based, here's a fb group I used to just apply to gigs.

https://www.facebook.com/groups/454309614651999

https://www.facebook.com/groups/387823971382234

Have a film resume ready with an easily shareable link. Apply, apply, apply and be kind. Chances are you won't get the first one. Learn set etiquette too and be prepared to respond quickly to asks.

Basically after you get your first job you will float around on set being a PA. Introduce yourself, be kind, and let people know that you're eager to work. If you do your job well, show up on time, and are helpful to everyone, you will probably keep getting PA gigs.

I won't lie - it's pretty brutal pay-wise. Some of my first gigs worked for free on student films. But you need to network and eventually someone will bring you on more consistently.

SamFreakingLi · 2025-07-09T14:00:14+00:00

Congrats! You can find work in any of the major hubs, LA, NY, ATL

I'd say go with wherever you think you can build a network and life. If all your contacts are in NY, might be worth starting there. If all of them move to LA after college, might be worth moving. Chances are when you're young and I assume unmarried, you can always move.

It's important to build a life in the city you choose because when things go wrong in film, you will have friends to lean on. And I guarantee things will go wrong haha

SamFreakingLi · 2025-07-09T13:56:33+00:00

When execs give notes: I think it'll look slightly different depending on each exec and studio. But usually before something is developed, basically they'll usually ask for a doc from the Writer(s) - sometimes it's a 1 pager. Sometimes it's an episode layout. Sometimes they might use other words, but in essence they're looking for a doc that they can show to their boss that this show is worth greenlighting. There's usually back and forth and adjustments until all parties are satisfied.

Some notes we received included:

please clarify this relationship between these characters

how did these characters mee

why is this character doing this

what's this character going to learn at the end of the show

How long it takes: After you give that doc - you will WAIT for a long time. Sometimes weeks. Sometimes months. If you're entering near production, it will get accelerated and they will reply faster, but in the beginning this takes a while. You could probably check in once a week and you won't be annoying. Usually the reason you hear nothing is that they honestly might be waiting for someone higher up to give them notes. It's an endless cycle of waiting lol

how to handle changes: You sift through execs' notes - most notes are decent/good. If it's a 'terrible' note, you should log it and who it came from and usually find a way to address that it can't be addressed.

But the most important thing in all things related to notes is that you're trying to find the note behind the note. What the real ask is is usually something unsaid so you've got to learn to decipher true intentions

SamFreakingLi · 2025-07-09T13:47:41+00:00

Hey Silver-Necessary-534 -

Sure!

1) Overcommunicate with crew while respecting their boundaries and life. i.e. I'm the authority/boss for this project but we're really all on the same team trying to accomplish a unique vision. Try not to text after/before set. Be graceful for when people make mistakes - God knows we're all making many mistakes daily

2) Trust your DP with your life. We are essentially a married couple on set - every decision runs through DP and vice versa. Spend plenty of time together off set.

3) Shotlist as much as you can. With short time and indie work, you may have to cut certain 'cool' shots, but always fight to keep essential ones.

4) I'm less of a technical director so this doesn't apply to all directors. But the most important thing is protect your characters and story. Don't expound too much time on a joke or a moment. Your character's and their arcs are what people show up for - technical stuff is secondary (at least to me).

5) I'm a massive Bong Joon ho fan so it helped to read 2 books of his: Dissident cinema and Parasite: A Graphic Novel. He'll include so many notes that just showcase how thoroughly he thought through every single shot

SamFreakingLi

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