What they don't teach in film school

True

True

James H. said:
You could also just direct your own script if it means that much to you. =-)

Seriously, I know how you can feel married to certain scripts that are more personal to you than your average brainstorm concept. In those cases, maybe it is better to hold on to it until you can direct it yourself.

I tend to like how other artists mold my ideas. Though, I have written a couple memoirs that I just couldn't let anyone else direct. I save those for when I'm more experienced and can do them myself.
Click to expand...

If you have the means. Many filmmakers cannot or choose not to be the writer, and many writers cannot or choose not to be the filmmaker (director, producer, etc)

When ya got it all, you something like this ...

http://www.ifilm.com/video/2801548/collection/242/channel/shorts

... considered one of the best shorts of all time!

Alex

visit my blog at ...

www.alexwhitmer.wordpress.com
 
Hi Brian...sorry that you got that impression...I am suggesting that there are average screenplays out there that have a much better chance of being salvaged if they are part of the movie process than say in TV or certainly on stage...if you have read any of my posts you will know that I am a writer and my great hope is that all filmmakers will realize the advantage of having the best possible script...having the best possible script allows the director to focus his great skill on taking it from that level rather than try to salvage it...

I hope that clears it up somewhat...No offense taken or intended but it is difficult to make comments sometimes without them being taken to an extreme on such a passionate subject...

Stan Harrington
www.xristosproductions.com
www.igfdb.com
 
Agree in principal

Agree in principal

Gotta side with Stan here in that a bad script requires a lot of wrangling and head scratching to salvage: It's precious time and creative energy wasted on what should have been done right in the first place. As frustration builds, and budgets run dry, the whole suffers no matter how good the director, producer, performers, etc.

A good case in point is Boys Don't Cry. The script was mediocre and rife with continuity problems. It was one performance (Swank) that put the film on the map.

It's not unlike a good builder having to use crappy blueptints to build a nice house. yea, eventually it may come to be, but not with-out cost over-runs, a worker or two walking off the job, and a need to substitute materials.

Likewise, a great design can be screwed up with really crappy materials used by incompetent craftsmen.

All need to be at their best to produce solid work worthy of the ages.
(To kill a Mockingbird)

A

www.alexwhitmer.wordpress.com
 
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Going straight off the thread title:

Pretty much everything on which I've built a career. That's what they didn't teach us, in film school.
 
The sad thing, Alex, is that I have know of features (major ones) that are planned before the script even exists!!! Sometimes it is even cast ( but that often changes when the script finally surfaces) Thats the sort of sad situation that I was referring to when I said that the writer/director heirarchy was a product of the evolution of the film industry. I definitely don't like it but it happens. The writer is relegated to the back of the bus because of the prevailing attitude that a director and a name actor are the most crucial elements...to reiterate so there is no confusion, average screenplays are made into movies and sometimes successful ones...I don't support it, I am stating a fact..one wonders how those movies may have done with a great screenplay as well!? I do. The reality is that filmmakers get away with a lot because of the tools they have to create drama..ie. if an actor hasn't got enough going on, say emotionally, a gradual close in with the camera on his face can add drama, jump cuts in editing can add drama, score can add drama, cut aways can add information as can super imposed shots and a variety of other techniches. On stage it's just the actor interpreting the work as rehearsed,,,no cuts no re takes, none of the above techniques...TV is somewhere in between but becoming more like film. Thank God that TV still respects the writers status. Hopefully writers will appreciate it and put out a high level of work...

Sorry for the long response...just trying to be clear...

Best,
Stan Harrington
www.xristosproductions..com
www.igfdb.com
 
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Not about respect

Not about respect

I'm not asking / demanding respect for myself or any other writer, and I have no desire to be a God. I would hope all writers share a sense of humility and stick to the creative process.

My complaint is the 'seemingly' universal indifferent attitude toward the writer. I say universal because I work with, or have worked with, writers / directors / producers all over the world, and the 'courtesy' issue is always at play. Always.

Fact is, there are thousands of writers for every film produced. This puts the filmmakers at a tremendous advantage. While a precious handful of producers that request work will kindly decline in writing that which they do not wish to use, or keep the writer in the loop as to the projects status if they do use it, most will not.

Requested work simply vanishes, and follow-ups go unanswered. I found out one such 'producer' was really an acting school looking for original material for the students to perform. They could have been honest up front. Many writers would be glad to support the school, and get their name out there. But instead, the school outright lied and said they were a new production company looking for screenplays. They too never answered emails from myself and other writers, nor responded to the accusations. In other words, the work was stolen.

The hard thing about 'intellectual property' is proof of ownership or rights of use. Ideas are free, it seems.

All Filmmakers are looking for that one story, that one film, that will put them on the map. That one story they can really interpret and expand with their own signiture. And the performers are looking for that one role, that one character that will define their career and establish their credentials as a serious actor.

Nobody will pull off much with too many shortcuts, and the march to film glory will be nothing but frustrating. As stan mentioned, trying to work around a crappy screenplay with hopes a few camera angles can hide it. This will forever dog your success.

Embrace your writers, embrace your performers, embrace your musicians, and embrace your crews.

Alex

www.alexwhitmer.wordpress.com
 
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A gem

A gem

Found this little gem ...


''Gentlemen, the most important part in filmmaking is played by the writers, and we must do everything in our power to keep them from finding out.'' -Irving Thalberg, MGM Executive, 1924 - 1936
 
There's that old saying that goes like:

When you make a movie, you make three... The one you write, the one you shoot, and the one you cut.

Every situation is different. Sometimes the script is bought outright and any invitations to the writer (for consultation or set visits) are purely courtesy. Other times, the director or producer actually wants to work with a writer (not always the same one who wrote the original script) during production.

I've done both, and personally, I like the fire and forget method. Sure, you don't get paid by the day as you would with on-set work, but the stress level is WAAAAAAY lower. Then the trick is being able to let the child live on its own and not get offended when they change the best parts.
 
Ever see "Hollywood shuffle?" Remember Dom Irerra, as the screenwriter on set?

"Oh, my god...he's murdering my babies...my words are my babies, and he's murdering them...make him stop..."
 
Sad Max said:
Ever see "Hollywood shuffle?" Remember Dom Irerra, as the screenwriter on set?

"Oh, my god...he's murdering my babies...my words are my babies, and he's murdering them...make him stop..."
Click to expand...

Which is why the writer should NOT be allowed on the set after he or she has sold the screenplay. Time to let go, and allow the next layer to interpret, create, destroy and process. They in turn will need to do the same, with the almighty editor having the final say.

Howevere, if the writer is part of a team developing the story together ...
 
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