Anthony Tringali is Vice President of Development for Radar Pictures, also leading the charge for Radar’s alternative content group, mainly animation, unscripted, and live theater. Before joining Radar in 2020, Tringali worked as an assistant to renowned casting director Marvin Paige and as an independent producer, where he focused on IP acquisition and development. He shared his insights with Creative Screenwriting Magazine on his role and the industry at large.
Who are Radar Pictures and where do they fit into the scheme of the entertainment business?
Radar Pictures is a film and television production company that has been in the entertainment business for nearly twenty-five years, founded by Ted Field, our Chairman, and CEO. We specialize in creating content that appeals to a wide range of audiences and work with established and emerging talent in the industry. Radar currently controls over four hundred pieces of IP with a growing development pipeline. So, we’re always keeping busy.
Do you describe Radar as an independent company, attached to a studio, or somewhere in between?
Radar is proudly an independent company. We have strong relationships with the various studios and distributors, which we work with often. But being an independent group allows us to be very nimble with our business, expand into different genres and verticals, and bring our projects to a wider audience.
What are some of Radar’s signature projects that best define your current brand?
We like to say that Radar and Ted have probably produced at least ONE of your favorite movies, whether that is The Last Samurai, Revenge of the Nerds, Runaway Bride, Bill & Ted’s Excellent Adventure, the Riddick franchise, or of course, the Jumanji franchise. Most recently, we’ve ventured into television in a big way collaborating on the hit series The Wheel of Time on Amazon.
Although Radar is undoubtedly most known for its big hit franchises, we occasionally dip into projects that purely inspire us creatively. For instance, Radar produced the seminal indie, Spring Breakers. Whether our characters are battling to save the world or just trying to survive high school, Radar’s projects always leave you with an unforgettable cinematic experience. That is our brand.
Describe your foray into non-traditional media like podcasts/live theater?
Radar is built on a philosophy of cross-platform development, so we are always looking for new and innovative ways to tell stories in all media. We are actively developing live theater productions and podcasts based on our legacy IP and original content. Though I cannot divulge specifically what we are developing, I can promise that in Radar fashion, we are entering into these new verticals in a very big way. And because of the popularity of our titles and brands, these industries have welcomed us with open arms. Right now is an opportune time to think about IP and projects through a transmedia lens.
How can writers best take advantage of these non-traditional platforms?
My advice is not to limit your project to one medium or another. Be open-minded to explore all possibilities for your project. With how fickle the industry is, you should always be thinking about the flexibility of (for example) your feature script being a limited series, an ongoing series, animation, etc. And then there is the “alternative content” space. Why not begin by creating a sort of “proof of concept” for your series by starting it off as a podcast? This will allow you to work out your idea, perhaps build an audience following, and if nothing else, it will create IP that will add value to your project.
A podcast or even a live stage show (à la Fleabag) could also help build buzz around your project, which could attract the attention of producers or studios who may be interested in bringing it to the screen.
How do you characterize the current state of the business as it relates to writers?
The rise of streaming services and alternative platforms has created a demand for content and original/fresh stories. It’s a promising time also for new perspectives to emerge and for underrepresented voices to be heard. That said, with more content, the industry is becoming more competitive by the day. So, for an emerging writer, it can still be a bit of a grind, but there’s a lot of potential to get your stuff read today.
Where do you think are the most opportunities for writers right now in terms of types of stories and platforms?
It might be a good time to pull out your feature scripts! With the unpredictability of the television market today and the volatility of many of the streaming platforms, I keep hearing about the growing demand for feature films with a scalable budget that can also be franchisable and more financially viable.
I would also keep an eye on FAST (free ad-supported television) channels like Roku, Tubi, and Freevee. In a market with so much to choose from, these FAST streamers are doing super well with audiences. I predict we will see more of these sorts of platforms cropping up with more demand for original content with mid-level budgets.
Anthony Tringali. Photo by Sarah Gaudoin
What makes you decide whether you want to pursue a project or not?
It really depends on the project and every situation is different. But in relation to screenwriters, sometimes, it comes down to: Do we like the writer? Are they easy to work with? Are they collaborative with our producing team? Often a writer will make a project undeniable for us simply because we want to be in business with that person. And if not that project, we always keep those particular writers in mind for future opportunities.
What are some of your key complaints about the scripts you read?
You hear this many times, but often in scripts I read, the story begins way too late in the script. Too many directorial notes that can add unnecessary length to the script. Remove lengthy descriptions of a character’s innermost feelings and motivations (that’s the actor’s job), camera shots/angles, and editing notes (unless essential to tell the story). You’ll be surprised how much shorter, tighter, and stronger your script will be.
Cleaner page formatting. Every page of a script should be formatted to make it easy for the reader to follow. Screenwriters should also keep the readability of a script in mind before submitting it. Make sure the page has enough white space instead of a wall of text from top to bottom. You’ll have a much better time hooking your reader that way.
The best scripts I read are the ones where the writer is clearly having a lot of fun. If something is important and you want to catch the reader’s attention, don’t be afraid to break from script convention to put something in ALL CAPS, bold the text, underline it, italicize it, or put it in a cool font (sparingly).
What are the ideal projects you wish would land in your inbox right now?
Radar is open to developing a variety of stories and exploring new terrain, so the ideal project isn’t necessarily based on any genre mandates. What will get the most attention in my inbox: something with an undeniable logline is always an excellent start for me. Get me hooked with a fabulous logline, and you’re halfway there. I’ve read loglines where after just two sentences, I can see the whole thing — the movie poster, the trailer, the cast. Those are rare, but I do get them from time to time. Also, a clever title can have a similar effect.
I’m also very big on receiving visuals along with a subbed script. Film is a visual medium, after all, so I love projects that come in with strong creative pitch decks that help illustrate the writer/filmmaker’s vision for what we might see on screen.
What is your best advice for screenwriters?
The most successful writers I know think like producers. This industry is a numbers game, so you must take a portfolio approach to your career. In other words, having a lot of different projects in a variety of genres. Have fun and try new and different types of storytelling that you might not otherwise be interested in. The results may even surprise you. I think you can exponentially increase your chances of success by having a diverse variety of projects in your portfolio. The writers I see getting the most work are the ones who have their hands in many different pots all at once. I don’t know how they sleep — and perhaps they don’t!
