Melissa Goddard
- was born into a family of movie industry giants. Her grandfather was
public relations pioneer Henry Rogers; her father, Mark Goddard, was
the star of Lost In Space; her stepfather is veteran studio head and producer Mike Medavoy; and her uncle Budd Schulberg is the famed writer of On The Waterfront and What Makes Sammy Run. At age 24, under a housekeeping deal at new Line, Melissa produced the Sundance hit Poison Ivy, based on her story. The film starred Drew Barrymore and went on to become a franchise DVD rental: Poison Ivy II and III have been released, and IV and V are on the way. Premiering on the same night as Poison Ivy was Melissa's second film, Big Girls Don't Cry...They Get Even, also based on her story. Big Girls was
an ensemble family comedy directed by Joan Micklin Silver and starring
Dan Futterman, David Strathairn and Griffin Dunne. Some of Melissa's
other credits include Final Appeal(NBC), Father and Scout(ABC) and Sharon's Secret(USA Networks).
Additionally Melissa executive produced National Lampoon's Senior Trip. As Senior Vice President of Wind Dancer Goddard set up and developed the second largest grossing romantic comedy in history, What Women Want, starring Mel Gibson.
Melissa is currently concentrating on producing Damaged Goods, a
script based on her story, which Yann Samuel will direct. She is also
producing a film based on the life of Nobel Peace Prize recipient, Jody
Williams, written and to be directed by Audrey Wells. Naomi Watts and
Colin Firth are starring via Universal Pictures.
Cari-Esta: What are the most important considerations that go
into your decision making process when deciding which scripts you will
take on as a producer?
Melissa: I have to feel passionate about a script. the
project needs to not only tell an intriguing story but the characters
must be textured, interesting and authentic. I am very interested in
unique and layered characters that go on a journey of self discovery.
Cari-Esta: You've had a lot of experience with new riters and
filmmakers. What advice can you offer to a new writer regarding how to
choose which script to write on spec?
Melissa: I would tell a writer to go with his or her
heart. Write what one knows and write what inspires you. You can't
force yourself. It must come organically and feel right for you. Do
not write to sell a script...write because you have something to say.
Cari-Esta: Similarly, what is your advice to a new writer who is
trying to get his or her script read by producers, agents and/or
managers?
Melissa: Be genuine, real and passionate. It is all
about your passion and your determination. Do not give up. Be
creative how you approach a manager or agent. Find someone who can
open doors for you. Bribery also works(ha!).....
Cari-Esta: When you're wearing your manager hat, what criteria
do you use in order to decide whether or not to take on a new writer or
director client?
Melissa: I take on someone who has a specific voice.
Someone who has a unique perspective on the world and has something to
say. Someone who writes deep and compelling characters and whose
script engages me from start to finish. I feel moved by reading it.
Cari-Esta: Please let us in on a few do's and don't do's for a
writer's first meeting with a prospective manager or agent or producer?
Melissa: Be true to who you are. Show your passion and
your interest in film. Be open to criticism. Be willing to learn and
grow. Show you have outside interests besides Hollywood. Know your
film history and be knowledgeable about different subjects. Do not be
arrogant. Respect old Hollywood.
Cari-Esta: What is your opinion regarding going out with a
"naked" spec script vs. packaging with an element, such as a star or
director?
Melissa: I do not think going out with specs is a good
idea unless you have a very high concept idea and you just want the
money. If you want your film to be made it is much better to package
your project and nurture it. Get the right team in place. Find a
director. Find the right producer. It takes longer but if you just go
and throw your script out there and you are lucky enough to have a sale
you may be in development forever. You then have a bunch of executives
giving you notes and your project goes through many stages and the
essence of the screenplay is lost. If you are passionate about your
script take the time and package it. Keep your voice alive.
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