The 60-Second Pitch: Beginner's Guide to Creating an Elevator Pitch for Your Movie | Julia Ward | Skillshare

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The 60-Second Pitch: Beginner's Guide to Creating an Elevator Pitch for Your Movie

teacher avatar Julia Ward, Producer I Writer I Director

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

10 Lessons (33m)
    • 1. Introduction

    • 2. What is an elevator pitch?

    • 3. What are the factors of a pitch?

    • 4. The Logline

    • 5. Connection

    • 6. Audience

    • 7. Movies

    • 8. Visuals

    • 9. Practice

    • 10. Outro

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About This Class

Hello My Fellow Filmmakers and Welcome to my course: The 60-Second Pitch: Beginner's Guide to Creating an Elevator Pitch for Your Movie. 

In this course, you will learn all about the aspects of a 60-second pitch (aka. the elevator pitch) and how to make your own to use it to sell your movie or documentary idea. You can be at the idea stage or have written the script or produced a short for the feature or somewhere in-between, but it does not matter because pitching your movie can work at all stages, especially the 60-second one. 

To note: You do not need to have a movie idea in order to learn from this course. 

Why is it beneficial to create a 60-second pitch?

  • One of the best ways to sell your movie
  • Great to use for crowdfunding or funding in general¬†
  • To know if your idea is solid enough
  • Understanding your movie more
  • Can use the pitch anywhere

What you will learn in the course?

  • What is an elevator pitch?
  • What the factors of a 60-second pitch?
  • In detail about the different factors for a 60-second pitch
  • How to practice and present yourself with the pitch

Is this course for you? Well, are you ready to sell your movie or want to learn how to sell a movie, then yes this is!!

Goals for my students:

  • Understanding how to use a 60-second pitch to their¬†advantage¬†
  • Knowing the key¬†factors for a pitch and using them to enhance their 60-second pitch
  • Learning how to practice their pitch properly and being confident in themselves to be successful when presenting their pitch
  • Understanding through the process if their idea is solid enough to be ready to pitch¬†
  • Learning about the pitch¬†process and even if they do not have an idea currently, they are still ready to create a 60-second pitch when they have their idea
  • Feeling open to present their movie or documentary to the world

In this course, I have chapter exercises students can do after each chapter. The exercises can be found in the class project section.


If you have any more questions about the course, comment on the forum page or through my social media listed in my bio. Hope you all enjoy the course and happy pitching!




Meet Your Teacher

Teacher Profile Image

Julia Ward

Producer I Writer I Director



Welcome my fellow filmmakers, directors, producers, and writers! My goal is to help YOU on your filmmaking journey. Let's get started!



 Hi, My name is Julia and I'm a director, writer, and producer in my mid-20s. I have been passionate about filmmaking since I was 12 . In high school, I have directed a few plays, made films, and become an international thespian, and taught filmmaking seminars. While getting my degree in media production and journalism, I had a few filmmaking internships, one was teaching how to make a documentary to high school students, and another was at the Cannes Film Festival. Since graduating college, I had a student film at the Cannes Film Festival at 21, and at 22 I had my first award-winning documentary. Sin... See full profile

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1. Introduction : Hello and welcome to Skillshare. My name is Julia and welcome to my course. If you can not tell by this title, it is all about as 60-second pitch. 60-second pitches are great for when you were in a rush and you really need to make a quick pitch. Or if you're at a pitch fest and you'll only have 60 seconds to prove why your movie is the best. And also if you think about it all around the world, not everyone has all the time in the world to listen to your pitch. So 60 seconds is the perfect time to be able to get your movie across to a filming executive, a pitch best, or if along your friends and family on why they should support your movie and why your movie should be made. A little bit about me. I am award winning filmmaker, film producer, film director. And I have been helping clients around the world through writing, directing, and consulting to help their films come to life. And also I do have my degree in media production and journalism. So this is a beginners of a course. If you really think about it, this course could be for all levels because we never stop learning. But I will bring this to a beginner's level just so that we can go very step-by-step on what to do to make your pitch beautiful, amazing, and to help to make sure that your movie would be sellable. Because if you think about it, we put tons of energy into our babies, which is our movie projects. And you only have 60 seconds to get all of that passion across. So I'm hoping that this course will definitely help to bring your movie Alive to film executives, pitch best film festivals, and to friends and family for support and more, and also any film crew that you need for your movie. And so through the course, we'll be going through what is the 60 second pitch or AK elevator pitch and where the key factors for this kind of pitch and what you could do to practice, to ace that pitch. Because remember, practice makes perfect and that never gets old. So for the project, you are going to be recording yourself doing a 60-second pitch. This can be on your phone. You can edit it if you really feel like it. But to me, I feel like that a 60-second pitch should be just very natural. No cuts needed. So you can just use your cell phone record yourself. You can use a camera to record yourself and you're going to upload here on the project page. And I will give you my best opinion about it and what you can improve on. Why thought you did great on et cetera. So for the project, the pitch, you can either do a pitch on a movie that has already been done before, which totally works because it's great practice. Or you could do a pitch on a movie that you're currently working on and that you're trying to pitch the world. So I'll be happy to give my best opinions possible for your pitch. And if you have any comments and questions, you can contact me. And also, if you need more advanced help, if this course is not enough. Because to me, filmmaking is so broad that not one size fits all in the filmmaking world, especially with my courses, because I know everyone has such different films. If you need more help, you can contact me for my services. I have my website on the profile page with what I do and how I help clients around the world. So without further ado, let's get right into the course and welcome, and I hope that you enjoy. 2. What is an elevator pitch?: Starting off, we're going to go into what is the 60-second pitch? A 60 second pitch is also called the elevator pitch. If you think about, let's come to those visual. You are just enter the elevator. Walk in. You just enter the elevator and your favorite film producer or film director is standing right there. It's just you two in the elevator, and he has about 60 floors to go up the elevator and you're with him for 60 floors, pretend there's no interruptions. The reality of interruptions in the elevator, okay? Such as YouTube and elevator for 60 seconds. And you want to pitch him your movie. Go. Okay, so this is how it works and that's why it's called the elevator pitch because it's quick to the point. Now, people do say an elevator pitches concerned Twenty seconds to 60 seconds. And buffer me, an elevator pitch is the 60 second mark. Now, if you only have 20 seconds to want to pitch your idea and that's all you have. The first thing we're gonna do is just use your logline. Your logline, which we'll get into in the next class. And you will see what I mean by a logline is going to be your best bet if you have limited time. So if you only have 20 seconds instead of 60 seconds, state your logline giving the genre of the movie. That's all you need to do. Okay? And that will do that will suffice for what you need for the full 60 second patch. Now, this kinda pitches very good, especially for film executives because a Places like a pitch fest you have, it goes quick so you can get through a lot of people. And if you think about it, if you can't talk about your movie fully in 60 seconds, amuse your idea is not solid enough. So that means you have to go back to the drawing board. Now through making your success second pitch, you can add visuals if you want, which we'll discuss later on, but I'll state it right here. I don't recommend showing a teaser reel. And he's a real is like a trailer. I recommend that if you do show visuals, if you would like to. I've seen someone walk in if a t-shirt with the movie poster on their t-shirt or showing a movie poster or showing one scene from the movie drawn out to show the mood, the kind of tone you're looking for, The the sense of scenery, the environment, especially if it's a fantasy kind of movie. But we'll go more into that. So what we're going to go into next is that we are going to go into the key factors. And in the key factors will be the log lines. We will discuss more about that 20-second pitch. But for this course, we're going to go into all the key factors you would need for a 60-second PECC. All right, let's get right into it. 3. What are the factors of a pitch?: So to me, there's about four key factors. Five, if you like to include visuals, but to me, visuals are optional because to me when I think of pitch, I think of verbal, I don't think the visual, but like I said before, visual is optional. And if you are doing a fantasy kinda genre or a new worlds, sometimes historic, even the same thing. You would want to have a photo of something so people can understand the environment. For example, if you're showing a type of time period, uh, we'll go into all that later. So one key, the first key factor is your logline. And like I said before, long lines are great for 20-second pitches. If somehow you can't do a 60-second only can be 20 seconds. Your logline is great. We'll go more to logline in a second. Next one is your market audience or your target audience. I have heard people say both in the film industry and they both mean the same thing. And that would be anybody that is going to be wind to watch your movie. And like I said, we'll go more into that. Third one is how to, how you connect with your movie. It doesn't always have to be a personal connection. Mean that you're not the main character. I'm not saying like that, but is it What inspired you to make this movie? What's your connection to it? Because I've noticed a lot of people when they're trying to state their movies into pitch, when they don't add that little sliver of their personality or how do they make themselves into that movie, or how are they a part of that movie? You kinda get lost in it. So definitely recommend some sort of connection you have to the movie. And the fourth one is what movies are similar to the movie you are making. And this does not mean that you are copying that movie Exactly. It's just that, okay. Your toner environment is similar to this movie. Or the kind of theme is similar to this movie. Think of like a new wage of this type movie, things like that, but we'll go more into that later. And like I said, number five, which is optional, is the visuals, because we don't always need visuals because like I said, it feels more of a speaking, auditory sort of practice. But if you need visuals because of your time period that you're trying to show. All good for it. That's awesome. So let's get into our first one which will be logline. 4. The Logline: Now we're going to go into logline. A logline is a one to two sentence summary of the whole entire movie. Different from the synopsis. The synopsis is usually like a whole page of everything that's going on in the movie released a paragraph where this is only one or two sentences that catches the audience I, for your movie. Now enter logline. You would include characters. So you can include the protagonist, antagonist, at least the protagonist, but you can also include the antagonist, including the inciting incident. Or it also means the conflict of the film. Sometimes feel put it in the location if that means something, and also sometimes they put it in the stakes. The stakes are, what does the character need to do to what, what do they need? They don't want to fail the class. That would be the stakes. Stakes, they can't fail. They can't fail at something. Okay? So they can't feel their destiny in the movie. So the Styx, now also the logline is that like I said, it captures the audience's attention. A lot of times you can see log lines and places like Netflix where they will have a little description. And sometimes description is just the logline. It makes you want to watch the movie besides having a trailer. It's like a it's a written trailer basically. So instead of watching the trailer, you can just look at the logline and understand what you are wanting from the movie and what you can feel from it when you're writing your characters into the logline. The big thing to understand is that you don't just say the name of the character. What you do is you say what they do. For example, when I had a documentary about sea turtles and about this one particular sea turtle, instead of naming her her name in the logline, I said a loggerheads sea turtle. She doesn't have occupation or job, but she does have a personality trait. Or if she has a characteristic, characteristic trait of being a loggerheads sea turtle. So option that because then it makes things a little less complicated. So some people say a janitor, a teacher, a professor, a dentist, and with that profession, a lobule to put an adjective like excitable dentist, a cheerful teacher, angry janitor, a sad farmer. The Allied ships, of course, the adjectives would be much better than just sad. There'd be even more intense like melancholy, like a melancholy farmer. So just think of those things when you are writing out your LOC Lines. And like I said, a logline is very well used for your 20-second pitch. And that's the first thing you're going to say in your pitch is the logline soft. Do you have that? Let's get on to the next key factor. 5. Connection: Second factor I'm going to go into is your connection with the film. So before we get into it, I want you to sit down and really think of what does your part with this film? How are you in this film? You don't have to be the main character. But how do you fit in their meaning? Is there's something that movie relating to something in your own personal life. Or what is there that inspired you to make the movie in the first place and pitch People love to hear about it. People loved hearing about, but they don't want to hear it first. They first want to hear the logline. Then later on in the pitch, they want to hear about your connection with the piece. For example, you can have that your uncle owns a farm. So when you're on the farm, stay on the farm. You're inspired to make this farm kind of movie. Your friend could be working for nasa. And so you were inspired to make a movie based on space because you went to work at them one day to check out what nasa is like and you loved it. And he felt this connection with it. And you're basically off the story, maybe their side of working at nasa. Or you could be having the movie which are ongoing the farm and that you're based in a movie on this farmer who reminds you of your uncle. So pitch people love again, they love to hear your connection in it because it shows you have attachment is shows you care more about your movie. When you have a movie like this, when you have a connection with it, it just adds that emotion that people are looking for. They're looking for your movie to be this piece of art. And when you're able to connect directly with it, people want to be a part of that. People want to know. Okay, So what you're gonna do is in this part of the course is sit down with your movie and really see how were you in this movie and how can you put yourself in the pitch that you're related to this movie somehow. And when you introduce your connection, you would ask them a question. Have you ever been on a farm before? Well, after I went on my uncle's farm, I felt this deep connection. And I thought this is my movie, things like that. So for example, of my own personal films is the unofficially murder one, which I think I've talked about way too much in everywhere. But when you make your first professional film, and it does well if you have some sort of attachment to it, regardless, like now this film has a really deep seated soul touching heart with me because I helped rescue that sutural I was with that suture on the journey ahead e-mail updates of how I was doing. I heard about when it was able to go back into the ocean and it was safe and happy. And I wanted to make a film about that, about what is the journey of a sea turtle. Because I think for a lot of us we don't really know. In growing up, I always love going to the sea turtle centers to see you, them in their recovery state and see how they're doing well and how they're covering and they're going to be released in the future. And such an exciting time that these people are able to help them. When I was pitching my movie unofficially, myrtle, I asked the question, do you know what it's like for a sea turtle to go through the rescue recovery release process. Behind the scenes. They say no. And I said, Well, that's what this film is all about. For people to be educated, to understand what's the neutrals go through in their journey of life, through recovering with us humans and having humans helped them. And through that, as then able to answer the question of why are sea turtles important? And that's also I was asking, so ask them, wires, thrills important and most people would say, they have no idea. And I told them, this documentary is going to answer that question. And the funny part is the point of the documentary when I made it wasn't to really find out that question. But while I was making it, I was able to find out why they're so important because I knew somewhere why they were I didn't know why they were important. I didn't know. So through the documentary is able to find out and people want to know too. So when you have a movie Excel sheet, when you're curious about something and you want to make it about that, especially this documentary, It's really good shape connection, personal, love for something single. I want to know more about this. And that's why I want to make this film. People want to give you their money. They want to throw it. They want to throw it. Especially if they see anybody passionate about something. They want to throw money at it. Because they know that it will get done because they already see the passion in your eyes. So always make that personal connection when you are pitching. 6. Audience: So now we're onto the market audience or the target audience. People have said bolt. This is important because film executives want to know who are you marketing to know you cannot say the whole global planet, that does not work. You need to have some specifics. And having something very specific actually works to your advantage because NPV then they accompany knows who to market to him. Because marketing is a big part of filmmaking, because that's how your movie is shown. Everywhere, is marketing, that's up. People find your film. Marketing. Marketing can be social media. It can be just social me is the biggest one into the p.ball on is that this very social media, we're just going to put other social media is the biggest one. Marketing channels to be word of mouth. It could be going to film festivals and showing it off. That can also be marketing. And if you think about it, you have to know which film festivals you want to show that if you are doing that, but if you're pitching a movie to accompany, to be on like a streaming platform, the need to know that company needs to know how they can mark your film, et cetera. So in this pitch, you need to say very quickly in one sentence, who this market audiences. I will give you some examples of Margaret audiences for it here. We have boys who are in college. That's one. You can have one that says action movie lovers in their 30s. You can have one where it's just Catholics. You can have one where it's just Christians, christians movies is its own complete genre, the religious films, its own thing. It's crazy. You can have ones that are for girls and their teams. You can have for girls, who are, you can even have for children who were under 10. If you think about frozen for a single movie, Frozen any Disney movie, for example, is for all ages, but they're really marketing for kids. But then everyone comes to the theater. So when they're pitching it, it's for kids, but they have little bit of jokes in there where they add a little bit more of adult humor. Same thing if like shows like SpongeBob. It's meant for kids, but they have low adult humor in there. And that's okay to say in your pitch, you can say things like, oh, it's a kids show. But you know, we dabble in some things here and there and people love it. They love it. That's how they have fun in life. But to go back to more of our target audience here that if you're thinking of making for your movie, you could have one where it just for mothers. You can have one where it is sorority girls in college. You can have them just for the LGBTQ community. Okay. And more. I think there's a plus sign after it. So there's more. That's a whole community right there. Just a really narrow down. It can be for women in their 70s. There's a, you can have it for yoga lovers. You can have it for people who are vegan, all sorts of things. You can narrow down, you can even narrow it down VG in mothers in their 50s. You can even narrow down that much of you wanted to. You can have ones like I said before, with action movie lovers. Men in their 30s. So all sorts of different movies like that. But really look at your movie and think about it. Who wants to see your movie? Who exactly narrowed down as much as possible. It does not limit the amount of people that will seat because those people will drag their friends do go see it. Okay, That's how it works. But what you have to understand is that the more you narrow down, the easier it is to mark it to. And then those people want to tell their friends and that's how it works. So make sure you pick when you're pitching, you have a very narrow down market Slash target audience. 7. Movies: So number four is what movie or what movies does this seem similar to? Do your movie or to your film, to your documentary and your web series, etcetera. Now, this is no way as a copyright infringement kind of thing. This is important. I've had some clients, they have said to me, oh Julia, I don't know if I'm allowed to say if this is similar to this movie or just like this movie, I'm like it's fine because it just helps people more to relate to your movie. Okay? So let's just say you want to make a movie similar to Star Wars. So it's like a Star Wars mixed with James Bond movie. That's okay to say in their head, they're thinking, Okay, similar to this, similar to that, put 22 together. Remember, people like familiar things, okay, so make sure that it's something people can be familiar with. A movie that people have seen. Something like Reservoir Dogs meets the Breakfast who sounds like it would never exist in life, but you know what? They made things like Shark nato. They have made things like snakes on a plane. Okay. They can make those two movies. They can make anything. All right. It's just that how do you sell it to the audience? The thing is though, when you're trying to pitch your movie, just make sure that you have one or two movies in mind that could help relate to your movie. It is a 21st century version of Breakfast at Tiffany's. That's okay to say. So either you say to movies, but it can be like or you pick a movie with a time period. Both are great. I did this play and his pride and Prejudice in the sixties, things like that, or Pride and Prejudice in the 1920s, prime prejudice in the 1930s. Okay? So it could be anything of those sorts. So what you need to understand is that really will get your movie and say what movies can relate to that people can understand my movie more. And if a is similar to a movie, but a different kind of time period, say it. So next, looking at your movie that you are trying to PECC, see what other movies could really to your movie. Of course, if it's the same exact plot, do not, Don't do that. Don't, don't do extreme as I plot. It's okay to have a similar kind of feel or tone, but not the same plot are the same kind of scenery. That's okay. Or is similar theme. That's okay. Because, you know, there's only so many themes you can do. So it's okay. If people copy themes, that's a whole nother thing. For example, a theme would be the boy getting the girl who hasn't done that theme yet. So just keep that into consideration. So let's get on to our last factor, which is optional, but I do recommend to still listen to. 8. Visuals: The last factor we have today is visuals. Now the big thing about vegetables is that it really helps if you have an historic film or if you have a fantasy film because it helps to bring alive the scene and what you're trying to show. Because to me, I feel like if you say a certain time period and people don't really know what that time period was like. Having a photo of what people dress, slag or the environment really helps to people, for people to understand what you're talking about. Especially if they, like I said, kit, remember the time period from history class because that happens now with fantasies. Same thing. If you're trying to create a new world, show a picture of what the new world sort of looks like, give some tones and moods. Another thing pupil can do is movie posters. Movie posters are great. I've seen a movie poster on a t-shirt which kinda looks sick. You know, that was kinda cool. And then also, I've seen just a visual on the t-shirt that was fun and they'll have their tagline. The back tagline is shorter than your logline. It's just quick, catchy and pupil, remember your movie from that tagline, but the tagline is not the summary because the logline is a summary of your movie. Where the tagline is is just like a quick one sentence like you words. Few words is necessary where people they get it's like think of like a hashtag. Okay. A hashtag versus your Instagram description Coleman our caption on your photo. So that'll be the difference there. And also, if this was not a 60-second pitch, then you can show a teaser reel. A teaser reel is just like a trailer. Trailer could be anywhere from ten seconds to two minutes, I think. Diagnose a minute and a half. Either way you show about what the movie could be about. But like I said, things like that are recommended for a bigger pitch pitches. On my other course, you would see that royal talk more about user reels and what other documents you need for a bigger pitch that's more than 60 seconds. So that's everything about visuals. And let's get to practice. 9. Practice: All right, when you practice your pitch, of course, you will be standing, but you can also be sitting. The best part I suggest is you take a notepad. I love using these kinda pads is a great and I want you to write down on your pitch unusual. Write down your logline, write down your connection to the film, right down your market audience, and write down what movies are similar to your movie. So this is how we're going to start practicing our pitch circle flow. The biggest thing to memorize is your logline. Everything else will come easy to you. It's just that your logline is most important and the best part about practicing is it helps you to memorize. Your 60-second pitch should, should be so solid that you will not, I'm telling you, you will not, not, not, not, not, not want to read from it. Do not read from it like this. And then quote the glucose. Once your eyes hit the page, the audience and the film executives are lost. They're gone, they're done. They go to their phones. They're gonna go right down something else. You need to keep them engaged the whole time. And I note the use of St. Peter link just above at their foreheads. You can do that. But I suggest, yes, looking at their foreheads, you don't have to stare into their eyes, but just give them a little bit little eye contact here and there, but do not serve someone down. Okay. We do not need you to stare somebody down that won't go so well. But even though I'm sitting, but I'll instruct when you're doing your pitch. You want your shoulders back. Okay. Shoulders, back, arms down. Do not touch your hair. If your hairs in the way put it up. Okay. You're not allowed to do this during any of it. Don't touch your face. Don't scratch if you have an itch, it's 60 seconds for gosh darn it. It's only 60 seconds. You don't have to. It's anything hair back. And if it gets in the way into been in a bun, I don't care if you have long hair. Put it in a bone, give your face. Okay. Show off your beautiful cheekbones. New beautiful jaw line. Okay, smile lot. Have them engaged. Show emotion in your eyes. And like I said, don't stare at them like this. Don't stare. Stare. Okay. Don't stare at people. Instead. Go over their foreheads, right here, look right here at their foreheads. If you do make well, I contract, that's fine. But keep afloat. Motion like this. See how I'm going. Fluid motion. Just like this as you're talking is you're telling them, this is my logline. Isn't such a great idea for a movie. You should buy my movie. Okay? Now we have to talk about voice, calm, locks, but demanding. Okay? We want to demand attention. We want them to want to listen. If you feel you have a sucky voice, then watch some YouTube videos and trying to calm down your voice or relax. I did have I did act for 15 years, so that probably helps me a bit. But what I'm in the action of presenting very calm, relaxed voice, very clear. I make sure I can pronounce everything correctly because I think all of us are human, where we're mainly all human, okay? Sometimes we say something wrong, that's the point of practicing. So then we don't say it wrong in person. I want it to be so clear that any one who says, what's your pitch right there, no hesitation, you know what to say. So after you have your shoulders, back, chin, not up like this. We we don't need to see this. Just, just normal, normal chin, smile, hair back if possible. And also where acute alphabet, don't just worry q alpha, where a nice alphabet, because especially if there's been listening, where something that's classic looking don't show up in a tank top, male or female. Know where something that covers your shoulders. I recommend for both sexes. Okay. Where some of that compliments what you look like. Nothing too tight. Just something that is business professional. Because even though I know some people would probably say, oh, but I want to look myself, No, this is you're trying to sell something. Your movie you were trying to sell your movie for 500000 dollars to try and sell your movie. Where do you going to look like? If you're trying to sell your movie for $10 thousand, you should be addressing the same way is if you're trying to sell your movie for $10 million, both you should be looking the same way. This is my business Alpha. And that's I were just for today. I don't always read this daily, but I'll wear for more business occasions. So it makes you find the alphabet that you really like and practices many times you can't in the mirror. I suggest if you want to warm up your voice, do some vocal exercises on YouTube. There's loads of great vocal exercises you can do and be ready to go. And if you're nervous, that means you're doing the right thing. When you're nervous for the pitch, That's good and for his script, for it. So after you have all the information down of what the pitch is going to look like, then you're going to write it all out. Write everything out, right? The whole PECC, 60 seconds only. Okay. It's not a lot of time. Every word you can. And when you're in that picture him, this is gone. Okay. So just make sure that when you are staying your pet, she feel comfortable, confident, and that you practice. And that's our practice is so important. So that's everything you need to know about the practice of doing a PECC. And like I said, you will be standing up when you do it. And that's the whole thing, but the pitch. So let's get into the outro and any final thoughts and can't wait to see your guys projects. 10. Outro: Thank you guys for watching my course today. I hope you enjoyed and don't forget about the project where you'll be recording your pitch, either for a movie that's already been made or for movie are making. And I'll give my critiques on your pitch and what you can improve on, and also what I loved about it, et cetera. So I really hope this course helped you in your journey of making the 60-second pitch and to make your movie sellable so you can sell it for millions of dollars. Now if you have more questions for me, need advanced help on making your pitch or need advanced help with your movie. I can help you with my services, but you can find on my website or you can email me through my website that I have and I can help you out more of their hope you guys have a wonderful day and check out my other Skillshare courses all about filmmaking, mainly in documentary, but I'm doing dabbling in some more narrative like this course, more of a narrative film. So hope you guys enjoyed this. And I will attempt to us too.