What Screenwriting Isn't.

Re: What Screenwriting Isn't.

Hi Jubal,

There was a time when I’d completely agree with you about the screenplay not being an art form but as I matured in the craft, I learned what Jack Warner, and Zanuck always secretly preached; “never let the screenwriter know how important he is…”

Jubal, the screenplay is called the “property”; the actors, “talent”. When a film portfolio is created, the first entry into the financing folder is the script, second, the director, producer(s), and finally, what ‘talent’ is attached or interested. Yeah, I know, it’s business and it sucks. But what I have learned is that the script is essentially the same as the architectural plans are to a builder. Without a great set of plans, the builder must constantly ‘fill-in’ and improvise for the gaps left by the architect (screenwriter).

Let me give you an example; the movie “Deep Impact”. Director Mimi Leder once complained that the script, which espoused a great story, was woefully lacking when it came to the comet hitting earth. In fact, in the script, Leder complained that the entire 15minutes where the tidal waves hits, New York is destroyed, the oceans parting and all that were written in the actual script as two words, ….Earth Destroyed!

Leder said that she and the production designers had to do all the work to create a believable sequence. What I’m saying is that a brilliant and artful script is the blueprint for the director and production designer. One can have a great idea for a movie but if the script does not demonstrate its proper execution interweaved with action elements and insightful dialogue, much of the process of making the film falls on the production designer.

As indie filmmakers, we don’t have the luxury of a production designer and therefore we much ascribe to the idea that if it ain’t on the page, it ain’t on the stage. An artful script means that actors hit their lines and marks because the blueprints assist them. Each element knows what must be done because the proper script is like a AAA Triptik and each page and scene are mile-markers that denote a coherent and cohesive film story. That my friends, is the definition of an artful screenplay.

And no John, I’m not arguing. I think you guys are great but I couldn’t urge you more strongly, to write an artfully correct script and your productions will flow like warm butter. By-the-way John, I know what you mean about re-writes. If I had a dog, I'd want to kick him too. Rewriting is the most excrutiating part of the whole deal for me, but you just gotta do it.

Mike ;)
 
Re: What Screenwriting Isn't.

Mike --

I totally agree with everything you wrote about the function of the script. I, too, above, used the blueprint analogy. We reach; we're brothers. :)

I'm not saying that screenwriting isn't "artful." I'm just saying that a screenplay, sitting there by itself, is not art in and of itself, any moreso than those building blueprints.

I think we're kicking the same dog, though, just with different shoes. (God, whatever THAT meant!) Could be that we're simply using "art" in different senses. I meant it in the sense of a finished product, whereas you (I think) use it in the sense of a process of creation.

Sound about right to you?
 
Re: What Screenwriting Isn't.

Jubal, you're dead right. I think we are mixing art and the art of creation.

You bet! Sounds just about right to me.

BTW I only check DVXuser once a day, so if I don't get back to you right away, it's never an intentional snub. You guys are GREAT!

mike 8)
 
Re: What Screenwriting Isn't.

[quote author=Mike_Way link=board=writing;num=1074723340;start=0#21 date=01/27/04 at 10:04:13]Hello all;


Best of luck to all you budding screenwriters but always remember; you must love to write, and re-write, and then re-write again. If you write to entertain, success and monetary compensation will follow you. If you write to be famous or rich, success and money will elude you. Love the work and the work will love you.

Mike
;) ;)[/quote]

wow. i've been reading this forum for the last month, and that's the only thing i've heard that really hits home. the people seem awesome in this community, don't get me wrong. you guys seem pretty tight and all the stuff you post really helps some of us you might not even know read here.

unfortunately, i feel people get carried away or ahead of themselves (which is fine, everyone is at different stages here, and that's what it's all about.. learning)

i wish people would understand more that it really doesn't matter what your medium is; if you don't pay huge attention to the writing. writing really is where it starts, and even good writers need to be revised over and over, and persue harsh crit... this process can take months (as for my project, now almost a year). Even after that, if you really care about the writing, it still drives you nuts to think about.

the other point i wanted to get off my chest is. I'd love all you budding filmmakers and writers alike here to start pushing yourself creatively and remember where you are at. If you are like me, budget is obviously an issue (hell, if you are here, you obviously know how to get the most bang for your buck). Lack of budget can be a liberating element with filmmaking, don't try to recreate big blockbuster movies, it doesn't work. they can always do it better... hehe.

I recommend taking that approach to projects, it might help you in the long run. who knows, maybe this makes no sense :-/

peace fellas :)


P.S. i always love to get people to read the script my crew is working on... it's been a long and tiresome process, and any crit is welcomed. the harsher the better! anyway... if you'd like to read this email me at kyle.doris@dementropy.com and i'll shoot it over to ya. as is, it's 116 pages so it's a pretty quick read.

much thanks.
 
Re: What Screenwriting Isn't.

Hello Kyle,

Welcome to the community. I'm with you. This forum is tops. I'm also with you on the writing. I'm in the middle of location scouting, script breakdowns, etc.  But when I get a break, I'll email you about your script.  The one thing we all need more of is time but I also know how it is wanting to get a "fresh" set of eyes on your work.  BTW, is this your first script?

Jarred and Jubal and John, I owe you guys a huge thanks. I was reading your post on the NLE side and based on both your comments, my Vegas +DVD just arrived today.  I've spent the whole day playing around with it. I also ordered the dvd set by Spotted Eagle to get a jump start. I've been using Premiere since 4.0 through 6.5 and 7pro.  I gotta tell ya, this Vegas looks great and I'm looking forward to sinking my teeth into it.

Oh yeah Jared, I printed out the photo of your editing suite....sweet! ;)

Mike
 
Re: What Screenwriting Isn't.

hi, i should prolly kinda formally introduce myself, as i'm new, and hopefully this will answer your question about the script.

it will be long sorry :(

starting making short films when i was 15, studied film (16mm reversal) at 16 at Ithaca College through NYSSSA, and 17 worked for Kaufman Films in NYC...Ithaca was prolly the most amazing expeirience regaurding the craft. in college, spent at RPI (www.rpi.edu) i went away from it pretty much, besides some video, because i'm a giant computer nerd and electronic media really appealed to me.

Sr. Year, a good friend of mine collaborated with a few people on his 'capstone' (sorta like a thesis), on a comic-documentary (50-minute run time) about this famous mattress saleman. It got some pretty big local (upstate NY) buzz and we were approached by some friends (one an NYU taught screenwriter and his brother who is a journalist) about possibly collaborating on a narrative.

I quickly shot it down, siting my numerous assumptions, mainly it came down to money. I basically said... listen, it's a great idea, but we are all extremely poor, and unfortunately even for something very very 'indie' -- it's big money.

So i guess we kinda convinced eachother through a series of meetings, that it was worth entertaining, and a script 'guideline' was set into motion, some of these were A. not many main characters, so it reduced our need for trained actors. B. cameo's based on people we know C. all plot direction would be provided through dialogue. I was very insistant on this... hehe i know some might disagree, but i'm weird like that, it's just something i really was unwavering on. This was Feb of 2003.

By April i had recieved the script, and while awesome, it was a whopping 160 pages... go by the page-a-minute rule and you got 160 mintues of no action... haha. (not good). So through a series of constant read throughs, some with the New Actors Workshop in brooklyn and some on our own, we have it down to 116 and still dropping.

In sept, i started doing research on cameras, and the DVX-100 just hits you like a ton of bricks. my first reaction was, one of disbelief, it almost sounded to good to be true. from the 16mm work i've done to my distain for normal video and even sometimes, DV itself, this camera just blew my mind. that along with mini35, which we actually are also trying to make one of our own (the whole poor thing).

Now it's Feb of 2004 and we feel the script is in a workable state, the process is far from over though. i almost feel like it never ends, even after the whole project is over in a way.

sorry for the long winded-ness.

so in short, this script is not mine, but because i'm in charge of the whole project (Director, Co-Producer, etc.) i feel it nessessary to get my writers all the feedback they can get from all walks of life.

peace.
 
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