The.............?

Blaine said:
The writer who doesn't understand that it's the director's movie...
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The director who doesn't understand that the writer created a script and is going to have some opinions on how it should be filmed. :grin:


Actually, for the record, when I write a screenplay I do see it a certain way but if I am not writing for me I leave out all camera directions (as you should). Further, one thing I always tell director's is "This is your film, so..." in fact, looking through my emails you would think that was my favorite phrase. I actually do understand that the direcor is making the film and they have a right to do how they wish, even if it is different than what I pictured, I keep my mouth shut.
 
Having started as a writer who is now directing, I have a slightly different theory on why writers are not invited to the set. I think a lot of times there's a well-deserved fear that only the writer can claim true "ownership" of the project as an artist, since directing requires soooo many collaborators. There is very little left to chance when writing. A blank page doesn't accidentally reveal a great dramatic moment. But actors might accidentally do something stunning, and light from the streetlight outside might accidentally turn your shot into a cinematic wonder, and the editor might actually turn your adequately directed movie into a fast, successful masterpiece. I think directors (and I can speak for myself too) can fear the loss of a sense of ownership of their film. They need to mark their turf, and in a lot of ways their contirubtions can pale in comparison to the pure artistic contribution of the writer. So I can imagine why they'd want them out of the way. It reminds them an awful lot of their shortcomings, as well as the need to take ownership of "someone else's" film. It's a necessary thing. As a director, I wouldn't want the writer there either. I want it to become MINE, and until it's shot and in the can, it really does belong a lot more to the writer than the director. But as the means of filmmaking become cheaper and more accessible, watch as a lot of really good writers become the king directors, and the technicians are revealed as pretenders.
 
Okay, I am NOT TALKING ABOUT WRITERS OF A SCREENPLAY. I am talking about shooting commercials. Wherein you will nearly always have a gaggle of agency and agency's client folks sequestered in video village. The relationship between a director and the creative team from the agency is quite different than that between a director of a short/feature/non-commercial and the screenwriter. Basically, the agency writer and art director team picked the director (after watching many, many, many reels) and, yes, they want some of their vision to end up on the screen. But in the world of ad production, the agency generally rules over the production company and director.

Now, there are certain commercial directors to which this does not apply. Joe Pytka and Marcus Nispel, for example, are not going to take one suggestion from anybody. But agencies know this going in.

If I ever manage to sell a screenplay, would I like to be on set and involved? Sure. Would I rather be on set with my mouth shut if that's the way the director wants it vs. not being there? Heck yeah. Just cut me my check and I'll do whatever. If I wanted to shoot the thing myself, I would've raised the money myself.
 
Nobody screws with Joe Pytka, if they value their health or safety. The man's legendary.

Or notorious.

Take your pick.
 
In television, too, the directors are picked by and answer to the writer. The writer is on set. The writer oversees the tone and the creative choices. It works well in television for a reason. The writers in TV become very well trained in the dynamics of a set and how to work with directors in this way. If feature writers were given more of an opportunity and training, they could be equally valuable. It hink the whole "no writer on set" is a lot of bullying and insecurity on the part of directors.
 
filthrich said:
The crew that never shows.
The fact that I am now the crew.
The pissed off wife that hates the fact that our bedroom is now a set.
The 3 year daughter who screams "Daddy" in the middle of a great take.
The Noise my floor makes that is amplified 10 fold when the boom is recording.
The Lighting is not consistent...Again.
The lead actor is late...Again.
The bulb just blew and B&H is 4 hours away.
The Auto Reel Lock is back.
The "Dammit I forgot to charge the Batteries" speech again.
The "Dammit I forgot to turn on the adapter" speech again.
The edit just does not look right.
The script is in sitting on the table in the shot. how did i miss that?
The Joy of getting the perfect scene.
The Joy of getting the perfect sound.
The pain of starting the next projet.
The pain of ending this one.
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Pure poetry straight from the horses mouth.

Frank
 
The movie is finally finished
The Re-shoot schedule has now surfaced
The color correction I did is not too good
The Audio...well that's another story
The fact That I will have crew next time
The reasons I keep going.
 
The department head who tells you on Wednesday that he needs you so you can't leave to start a new show come Monday, who then tells you on Friday that today's your last day, so you miss the connection and lose the next show.

The department head who tries to persuade you that filing a valid grievance for breach-of-contract will be bad for your career.
 
Sad Max said:
The department head who tells you on Wednesday that he needs you so you can't leave to start a new show come Monday, who then tells you on Friday that today's your last day, so you miss the connection and lose the next show.

The department head who tries to persuade you that filing a valid grievance for breach-of-contract will be bad for your career.
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The guy that goes Postal in the department.
 
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