 to anyone who will listen.
And a year is nothing. Look at it this way - by that time, you'll have another script written, and a rock-solid relationship with this Director, as well as other people who work with him.
I worked with a Director once, reading scripts for no money.  He quit to intern at an agency, and I later left too, but we kept in touch, and when 'The Matrix' came out, his Agency had a meeting saying, 'find any sci-fi scripts you can!'. He knew of one of mine, called me, and I ended up getting an agent.
So you never know who the connection will be, or how many years down the line it will bear fruit. Keep writing, be nice to everyone, and tell anyone who'll listen about your stories.
That's just what has worked for me anyway.
I'm working free for the guy because I didn't want to lose the opportunity. I'm making enough money from my other job to support myself, and I figured that working for this guy would be worth it in the long run.
Has anyone been in a situation similar to mine? Thanks, everyone.
YES. Except on the producing end. I never asked a favor of her and now we have a great relationship. Now, she asks what I'm doing and offers her help or contacts. It's so worth it to build a relationship.
I'm not saying to not take advantage of your position, but make sure you're confident in your material and your relationship.
The best way to break in is by writing a great script. If that means you win a contest, great. If that means that you get discovered by this director, great.
There are more than one proven path to success. Explore all the roads equally. Or pave your own road.
The best way to break in is by writing a great script.
Jojo, years ago, I worked in many free jobs for the sole purpose of making contacts.
Having said that, I can honestly say that the best contacts I've made over the years, with the exception of one very dear friend, have been from none of those jobs.
I think the downside to these things (and pardon any redundancy from other posts) is that sometimes people associate you with the 'help' and either want to keep you as help, or they figure if you had a good script you'd find another way. Or...they're sadists.
Having said that, the best reason to work for free is to capitalize on the guilt of your employer, so I say go for it! Use that guilt. Get a read. It will still take a few months anyway.
Jojo, I know this is late, but I had to answer this question because I actually have a similiar, but different situation. I have a lot of connections through an organization I belong to and I made them work for me by becomming a sort of a "pimp".
First, I always offered to act as a go between so I can make even MORE connections with the people that this director knows. Don't ask for anything, just start building relationship. Then I started exchanging favors by name exchanging. I happen to have several connections but you can start with your one and build. An example, I happen to know a world famous baseball player and while talking to another producer, he mentions that he would love to have a pro athelete do a cameo, so I mention to him that I know this guy and that I can ask if he's interested, and instead of giving them the contact information, I'll ask the baseball player myself if he's might like to do a project like that.
That's one example. My primary objective in utilizing my connections is that I NEVER go to anyone asking for handouts and favors, I only approach with things that I think will benefit their business and if indicate that they don't think it's for them, I drop it immediately so they know I'm not being pushy with them to give me a free ride. In the meantime, if I am able to shortcut them having to have their people contact his people, sometime they will offer that "if there's anything they can ever do for me". So far, this has worked really well for me.
JoJo - I wouldn't ask for a read unless you happen to know the script rocks. If 7 or 8 people have passed for whatever reason, I would take that as an indication of something. I think it would be more than appropriate to ask for a read but here's how you blow a great connection: with bad material. Your reputation rides on the quality of the material. Wait, I think I mean me - I do screenwriting consulting as you might have gathered here on DD. I have some great connections and have gotten reads for my clients through them. But boy, I have to be so in love with a script before I pass it on.  Because the one time I pass on a script that's so-so? I just lost that connection for some time.
I know you care a lot about the script; I would find a way to check in on the material to see if it really is read-ready. You'd be cashing in on a pretty big favor. You could lose his respect in the space of 90 minutes flat.
Develop more connections, for one thing. And keep writing. You are being very generous with your time for this director and this connection could be a great thing for you. You are really in the cat bird seat; you see what his slate is, what his interests are, what his tastes are - does any of your other material fit the bill?
Why don't you send him coverage on your script (from an outside, reputable source), so all he has to read is that? If he likes what he reads, he'll ask you for the script....? Just give him a heads up and attach a note to the coverage that it's your script. Then ask him what other producers/directors would like a comedy such as yours.... A referral is GOLDEN.
Don't ask someone to do you a favor. Set it up so that they offer to do it for you.
People hate to be asked to read. I know I do. But I've snookered people into reading my material by asking their opinions on specific issues with my script without asking them outright to read it.
This has worked twice for me-- once with a showrunner, and another with a produced pro.
You're doing really well, and congrats.
I see 'connections' as that mythical 'one all-purpose solve everything' phone call which you can make. 
I'm lucky enough to have connections with a semi 'A' list actor - and I've a screenplay I'm tweaking and refining, which I know he'll be perfect for. But I'm not going anywhere near using up that 'one phone call' with him, until I'm certain that the script is at a polished level of quality that will override the awkwardness of raising it with him, as well as exceed his expectations.
So my take is: use connections respectfully, as they're probably a onetime shot - so make sure that what you're offering, is worth it.
If he's more a writer-director who produces his own movies then it might be best to ask him to read your script and give you his thoughts -- and whether or not you should take it out and to whom.
If he's more a producer, then those guys read scripts all the time so I'd say just ask him to take a look. You also form relationships with producers merely by having them read your work, whether or not they pass on it. If your writing shows any promise, they'll often be more willing to look at your future material -- though not always all of it.
I'd only show him a screenplay -- definitely not coverage notes or even a treatment. Let him see your writing so that he can see your talent, or give you advice on how to improve.
If he is an A-list director, then his schedule is likely pretty full, so I suspect your best chances won't be setting up a film with him as the director, but having him help you get your writing on-line and your script out to some people hungry for new talent.
If your hard work involves copying his rolodex and sneaking onto his computer to get personal contact details for agents and producers, etc, then it may indeed be of some benefit.
it sounds to me like your scripts are good, very good, but not great in the sense that they are ready to be produced... and not in his genre...
if this is an A-list director, I would develop a pitch/idea in his wheelhouse, ask him to co-develop the idea to his liking, and then go off and write a draft...
i'm sure i'll get eviscerated for the whole "free work" idea, but you're already 4 months down that path... why not get a script with an A-list advocate out of it?Sewing is such a versatile hobby, it allows you to express your creativity in so many different ways. If you combine this with a theme as inspiring as the sea, well the world is your oyster, and the results can be beautiful, interesting or challenging. Here’s an overview of some of the many types of sewing that have been inspired by the sea, I hope it helps capture your imagination as to just what is possible with needle and thread.
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