Good writers tend to be secluded animals by nature. They are constantly thinking of new story ideas and tend to focus a long time writing on one story. If you have ever met a true creative writer you know what I am talking about.
Writers are sensitive because they spend there lives developing structure, plots and characters. Its like a flower and often times these writers get trampled upon by other artest producers and so on.
Learning to mange your person and experience as a producer or director when working with writers is key. Remember all artest have different voices those voices interpret into creative tone.
For example, I love to make dark drama. I can add comedy, but its going to have a dark comedy feel. One time a writer came to me and asked me to reshoot a short film he wrote. When I watched the film I saw that it was funny, had dark comedy moments and a killer ending. But the technical aspects of the film was really bad. You could see power cords lying around, lights in the shot, fake prop tables. the production value was just not that great.
Normally I don't like making remaks of other peoples projects, but this was an exception. I worked for months with the writer and there where many times he was down right frustrated with me. The problem I had with the script was not the story but with the back story and the spine.
Many artest out there have big egos, but not all of them. Profesional artest are not so ego driven because the really don't have to fight to get to the top. An artest having a big ego is a huge sign of weakness but it could also mean he feels superior. So a major problem with working with some ego driven writers is some times they can be inflexible about changing anything in there story because they think there stuff don't stink. Those are the writers that you just have to move away from no matter how much you like there script. there are many writers that just get abused so often from people controlling them in a negative way that they have there defenses up and that will make changing there script harder in the long run. I have worked with both types of writers and I have to say that abused writers are not that bad once they are able to let there guard down. The important factor is building a relationship with that writer. Not the fake kind like wham bam thank you mam but a long lasting one that just makes life more full. Life is too short to claw over people for personal gain. why do it there is no good that comes from it and it only makes you look bad in the long run.
The fact is, very few writers are so good that the first draft or the draf acquired needs no work what so ever. when I say few writers I mean less then 1% of all working writers out there. If you find an non working writer with content like that you basically hit the jack pot. So what ever you do make sure you make there script or I will. :P
Writers who lack story structure, but are good with ideas are great to have, but tag team writing is a must for writers who lack that ability.
A cradle to grave producer is the first person to actually analise and structure a script with the writer. Writers must realize that a smart successful producer knows story that sell. If a writer can not respect his producers ideas then the two must split. If both people cannot respect one another then the script will go no where and will just be an unfinished product.
Knowing thyself and knowing what content both writer and producer to gravitate too sets the tone on how the script will be developed. Having a comedy writer and a horror producer can really mess up the original tone of the script. If this is the case then the director depending on if he is willing can come on board with the writer at an early stage to mold the script. The director is ultimately in controle of the vision, but the producer should guide the story as a whole from birth, to execution to delivery.
The producers role is to pick a project that he or she can be passionate about and make it work so it sells. Producers deal with the overall vision, but the director is controle of the details of that vision. Many a time directors have to be producers so the role can be interchangeable.
There is a reason why successful producers are successful because they know what sells and to what audience. Good producers also know structure or story spine. A script must have a beginning middle and end with a killer hook within the first 15 pages of the script and a killer payoff. The middle of the script is just as important because it maintains the storys rhythm and pacing. So no one part of the story can be over looked.
A good producer should know instinctively know how to dissect a script and break it down in to manageable pieces without messing up the selling points. The idea is to be a script Dr. of a sort. If a you are a producer and just don't like the story or feel the story has some potential, but has a lot of work then my advice is to not work on it. Yes its nice to have a writer who is ready and willing and has a script, but no writer is worth the headache of rewriting a whole story. Its just not worth it.
My experience has taught me that I need to find writers that are already good at there craft and understand how to execute story ideas with direction from the producer. Much like an actor with a director. A good actor knows how to take direction, interprets it and executes it.
Remember writers have minds too. So listen to them and take every thing they have to say to heart. You will be surprised at what you might get out of them. The producer writer relationship has to be a collaborative effort. Both have to feed off of one another.
writing for budgit
One thing about reading scripts is you have to be able to read the first 15 pages of a script. If you can't get past that then don't finish the script. To some writers this may seem like an offense, but the reality is a good producer is probably very busy. As someone who loves to produce and make films, I hate wasting my time with scripts where the writer clearly does not know his craft. Its more of an insult to me if I where handed such a script and someone says "here make me money with my story. let me know when your done with the film."
Personally, I dislike the writers that seem to not have time to make there story better or expect money for making it better. I understand there are writers guild rules but the fact remains if you have a script and its clearly not ready for making it into a film then why bother.
The thing I find about my self as a producer is I am always thinking about big concepts, but the fact is I hate writing. As I said before a good producer knows what sells. A producer should collaborate with a writer so that they don't have to make any changes to begin with. If both the writer and the producer are happy, then every one wins. The key is making sure both parties are happy with the content to begin with.
As a filmmaker I have a theory that you have to stay true to the story. Even if that story requires t rex to travel in to a neighborhood then do it. It is better to have a script stay true to its essence then it is to cut something because the producer or director can't figure a way to make it happen with in a budget. Scripts can alway be adapted for the budget later, But writing a good polished script with no intended limitations just makes the story better.
Don't get me wrong If you have only so much of a budget then why bother attempting to producing "I, Robot (2004)." As a producer picking a script its not worth picking a great script that you just know is not going to be made because of limitations in resources or budget. Trying to produce a mammoth film and kidding your self thinking I will fix it later is just silly. However, if you feel it will work and or you can see different options as to how it can be produced and financed then make it happen. We live in a time where movies can be done entirely on the laptop and with a digital camera.
a good example of this is the a fake zelda trailer. It was using the Panasonic p2 camera. There some back yard production going on. Its all really cool. :)
The whole idea here is to make the script work for the masses so it can sell. Thats it. Producers don't have to be brain surgens and you don't have to reinvent the wheel every time you get a new script.
Think of it this way, there are a lot of cars out in the world just as there are allot of scripts in the world. Lets take a classic ford model T for example. Every once and awhile there will be a junker model T in the junk yard and if a profesional car restoration person comes by to pick it up to fix it up he is not going to make that car into a Hummer. For 3 reasons. One the amount of time money and resources it would take to make that model T into a hummer would be outrageous. Two, no sane person is going to collect a car with that level of modifications. Three, the car is more collectible if it was just restored. Some times cars are collectible if they are just left in there original condition. Same for scripts some script are just better if they are just fixed up and scripts can be shot as is and still the story can be just as good because of its flaws.
I think the best movie to ever be made on the first draft is million doller baby.
My point being is some times a script just does not need to be messed with. and if tampered with then It could loose its value. But the truth is Clint Eastwood has a lot of stuff crossing his desk and hollywood has a stream of scripts floating around and only do the best flot to the top. This is where script coverage comes in. Every time a script comes in to an agency or studio coverage is done on that script and what ever that coverage says about that script goes and any new revisions will not be looked at by the studios or agency once it has been turned down. some times the names and places are changed to get the script re reviewed. Script coverage is highly coveted in hollywood and no studio or agency will let that coverage out of there sight. at least not intentionally anyways.
I have learned a thing or too about directing actors and some times the delivery of a line or move of a camera can make all the diference in the world. Hence why A list actors are paid so much because they can deliver. Same for A list directors. In Clint Eastwoods case he is the exception to the rule because he has the guts to go against the system and still dilevers every time on every level of filmmaking.
I know writers need there space to write, but usually when fixing a spec script its not ideal because they tend to go off track, which inturn messes up the spine of the script. Once the spine has been change mid way in the script it is hard to fix the script as a whole and could end up causing a need to rewrite the whole story.
Writers have a tendency to write in blocks. Most of the time when I work with writers I encourage them to send me the drafts as they finish each day or when they finish a portion or a scene. That way I can give them my notes on a day by day bases. The best way to do this is via email. Never do it over the phone unless you just want to talk about something that was already written or just brain storm. Some times talking over the phone can be little more personal, but ideas should be written out in email. keeping whose idea whose in email written format protects both you and the writer. In the event of a dispute or separation all ideas are property of who ever came up with the version. That means that the writer has to go back to the original script before he conversed with you about the story.
The other part to this is no more he said she said and you in essence attached your self to the script. This practice may seem shady, but if you think about it producers put there heart and sole into these projects and its only fair that they are not robed of there energy and time. If a separation where to occur then both sides must start where they left off and any ideas created threw those emails are property of whoever sent the ideas.
The big reason why producers have to work on the script in the first place is not only to get the script polished so it can get made, but because the shear cost it would take to have a profesional director baby the script from such a rough state to a polished state could take months. Its not unusual for writers to punch out a script in a matter of weeks, but to really sit down and analyze the script could take months.
Personally, I think its easer to have an already polished idea for a treatment and give it to a writer to write a script based on that idea and treatment. This works for two main reasons. One the producer already likes the idea because it is his and two because you don't have to spend eternity fixing a script because you weren't there to over see it. Its already hard enough trying to find that diamond in the rough, so unless you have magic elm workers working hard to get you that great script I segest working with a good writer whom you think could write stories that fit your production budget and style.
If your a producer like me then you already have the gift to see the idea before it is written from beginning to end. I am not sure why, but most writers that I have met usually have a hard time keeping the spine of the script straight and the hook and the payoff tend to be weak too. A good producer is a visionary and knows what he wants. Personally I wish all writers would trust there producer to deliver and just write how the producer asks, pay or not because in the end its the producers fult if the film does not make its money. Yes there can be bad writers, directors, and actors but that does not excuse the producer from owning up to his position. He must filter out these people and ideas. Movie making is very much a science as it is an art and the business of movie making is also an art as well as a science. The two go hand and hand and the producer at the end of the day must keep the two worlds together and happy.
If a writer where to say "That is not how I wrote the story. Your making the script in to something its not." But, you know deep down that this is what needs to be done, then so be it because how will your investors think and act if they found out that you did not have the script changed because you did not want to hurt the writers feelings. How will you the producer justify that you lost all there money as a result. Producers are responsible for the lively hood of not only the writer and them selves, but the crew, investors and every one else making the film happen. Its a tremendous weight. Sacrifices need to be made for the benefit of the film as a whole and every one involved in it.
As a producer you have to be strong with your criticism. Not abusive just be blunt and to the point. Your writer just needs to learn how to take a lot of criticism if he is going to make any kind of a living at his art, let alone see his work produced. Just let them know that you need to be to the point because it takes too long to beat around the bush and that he has to trust you to make the film a success.
As a producer it is ok for you to do rewrites or revisions. Just make sure you use a program like Final Draft and make sure the writer has the same program. No sense being lost in translation because of technical difficulties. There is a cool revision tool that makes marking changes easy. You can even make it so you know who made what changes where. Nice software. I know I have it and its really easy to use.
Remember a good writer is not a robot, he is not a laborer he is a creative mind and studies his craft. So respect him as a profesional and learn to serve him and his creative needs. A good producer is also a creative entity and business savy. Making films is a team effort not some god like dictatorship where everyone nods there head and says "Yes sir, how high."
leader ship starts with the leader. A leader must surve his crew and gain there respect by giving respect. Its leader ship by example. If your writer sees how hard you are working to make his script and knows you are not out to get him, he will follow you to the ends of the earth. At least that is the kind of leader I would follow.
By
Robert Sawin
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