advice of dealing with a "Know it all" writer

[capitalP]

Not hearing the writer's side of the story and just yours, I'll try my best to weigh in regarding the writer thinking he knows too much. If he "hired" you with the intention of just giving you the script to just direct then he should just trust you as the director. I'm pretty sure he picked you for a reason as there are many directors out there.

Now if he hired you with the intention of colloborating on pretty much all aspect of the production then I would say he has a right to give opinions on the production, especially if the story is his creation. So it all depends on what actual verbal conversation you guys had before you came on board this project.

As a writer, I feel no one knows the story better than the one who created it. Of course the Director/DP may have a vision of the story, but no one truly knows the story then the one who drafted those first words. So I say if you really like this story like you say you do then I'd try to work it out. Keep in mind, you guys are never gonna agree on everything 100%. That is all part of colloborating, and frankly a team who agrees on everything 100% of the time is not leaving room for creativity. Some of the best things that happen in Cinema are sometimes by accident or by disagreements.

But ultimately the final decision really comes down to who is banking this movie. If its a situation of 50/50 split then it gets tougher to weigh in, but I'm assuming someone is fronting a big portion of the money, as it stands, this is the person with the final say(Executive Producer), whether it be you or the writer, and ultimately the executive producer has the option to get rid of whoever isn't on board.

It looks like you really want to do this movie, so I'd say hang in there. When you and the writer discuss the project, give opinions and listen to his also, if he shoots your ideas out the window every time, then move on, if you shoot his ideas out the window everytime, then... well hopefully you don't. And as far as the DP, keep him away from the writer, the DP should only be your responsibility, you are the Director, you work things out with the DP from what ever you work out with the writer.

Hope this helps as I know things can get frustrated when egos are involved. But who ever is banking this baby it's who is in charge like it or not.

And as far as the young lady with the panty and bra, not knowing too much about the script and the writer but if he is fighting this much to have her reveal her panty, it's gotta be a reason for the story or character(whether the tiniest detail), detail is detail, and since it's his story I'm sure he has a reason, of course assuming he is not a teenager with raging hormones... Good luck.

 

[Melvin Harris]

Now if he hired you with the intention of colloborating on pretty much all aspect of the production then I would say he has a right to give opinions on the production, especially if the story is his creation. So it all depends on what actual verbal conversation you guys had before you came on board this project.

... and a contract. No matter what monetary level at which one is working, a contract helps clarify a lot of things.

As a writer, I feel no one knows the story better than the one who created it. Of course the Director/DP may have a vision of the story, but no one truly knows the story then the one who drafted those first words. So I say if you really like this story like you say you do then I'd try to work it out. Keep in mind, you guys are never gonna agree on everything 100%. That is all part of colloborating, and frankly a team who agrees on everything 100% of the time is not leaving room for creativity. Some of the best things that happen in Cinema are sometimes by accident or by disagreements....

Yeah, I'm a writer as well as a director. I don't have any Hollywood sales, but have sold a couple of shorts that are being produced, and am working on a deal for my feature. I wrote a script that I thought was pretty good and put it up for grabs. The first thing that the director who optioned it did was change the time period from 2010 to 1984 and completely destroyed not only the feel, but the look and the ending of the script. I gave my opinion and was heard and respected, but ultimately ignored. I got to be on set and contribute story information and character information, but that was it. I knew my place as a writer because I am a professional. As a director, there were so many things I wanted to say, but I held my tongue because it wasn't my place. If they wanted my input on directorial things they would have asked, but they didn't so I didn't offer.

I think that the problem is not that the writer is not valued, but that the writer is constantly getting out of place. If he were there to give insight and information to better inform decisions then the conversation would be moot, but it seems like he is more in the way. The business office should help with this.

 

[Martay]

I think CapitalP's post is on the money. If this material is good enough for you to invest yourself in it, you ought to at least be trying to work out conflict with the writer.

Where's the Producer in all this? Whether they put the money up or not, the Producer should be assisting in this process as well. If you or the writer are the producer then obviously one of you has a little more leverage in the situation.

I just don't know how professionals can't work it out in these situations.

In the case of the actress.

The cases should be made for either scenario.

Actress A - Discovery Channel...closed robe. Pros: She's a pro, she'll have visibility, other
Actress B - Newbie...open robe. Pros: she'll do it, she's hot (??)...other

Which case wins for the MOVIE?

That's how any question should be decided.

This thread has been fairly entertaining actually to read, but the bottom line is get your issues worked out if you want to direct this project.

As for the script, are you not able to take out the camera directions yourself and make other changes? Not sure why the writer has to do that if the script is under the director's control now.

I produce and write more than I direct but I do take on the director role for scripts that I did not write at times and I simply make changes myself. I don't put it back on the writer to make changes I feel are needed. I'll give everyone the revisions once they're complete and invite any comments they may have, but it seems to me faster to just do it myself.

In terms of casting, don't know why the writer would be involved other than if you and the producer wanted them there for another opinion during the process.

The writer does seem a bit unseasoned but again, I don't know more about the dynamic.

However, if you have the experience, then I'd suggest patiently outlining how things should work in the process and keeping the door open for positive feedback that the writer may be able to contribute throughout the process.

Shouldn't be like pulling teeth. If it is, then one of you needs to move on...that's usually a producer's call.

Good luck and keep us posted if you go forward.

-M

 

[Martay]

The "Know it All" writer in the thread's title is classic, too.

Reminds of the The Player when Tim Robbins says, "I was just thinking what an interesting concept it is to eliminate the writer from the artistic process. If we could just get rid of these actors and directors, maybe we've got something here."

Funny.

-Martin