A little confirmation is always nice
I guess I have to be careful seeing as this blog is linked to my Facebook page via RSS. When it was just a private blog (so to speak) tucked away in a corner of Cyberspace, it wasn’t such a big deal. It was like a book you wrote but kept in a library. Sure it could be checked out but there are so many other books worth reading before this one.
Which leads me to the crux of today’s blog. As a writer, when you send your work out into the world, you hope for the best but expect the worst. Even if you sell your screenplay, even if it gets made, you should keep this view firmly in mind. Getting something done, isn’t always the best thing for your career.
A career is a finicky thing in this film industry. Your status can change in a heartbeat from up and comer to all washed up in the space of a few phone calls and you’d never ever be able to piece together what went wrong. Many times writers get labeled as being difficult. Sometimes it’s a true observation but more often than not, it’s the culmination of lack of communication between the producer, director, the actors and the writer. A writer will always fight for the story. If he’s fighting to the point of being obstinate. Maybe the better course of action is to listen to him rather than the knee jerk of firing him.
There’s a real problem these days of having multiple writers come in on a script. Some credited, some not. They twist and they turn, they burn the midnight oil and agonize over the characters and plot. In the end, the submitted script isn’t quite there. And the audience knows it. And look out if your name is still on the thing… you might never work again.
I thinnk a big part of the problem is the way we write movies these days. We all go off by ourselves and tap away on the computer in solitude. Back in the old studio days, there were, “Writer’s floors.” Buildings full of writers. If you got stuck you went down the hall and had a chat with some of your buddies and spitballed until you got a fix worked out for that tricky scene. Hey, we’re all hell on wheels in the scene but sometimes it’s a bit rough getting in or getting out. It’d be nice not to write so much in a vacuum all of the time.
The other problem is we’re seldom given enough time to get to heart of what we write. If the director isn’t getting the right vibe off the page, we need to be able to talk and work through it. Either we rewrite the scene to the Director’s satisfaction (within limits) or the problem lies with the director and the producer needs to know (quietly so you can disavow any knowledge). More often than not, the director is your best ally, the producer is the problem. Scratch most producers and underneath you’ll discover a failed writer or film maker. So, automatically they don’t really like you. Sure they make way more money than you but deep down they resent your ability to succeed where they themselves have failed. The only person you’ll find is more bitter and soul twisted is in a critic because they don’t even have the talent to produce. I of course exclude Roger Ebert from this as he wrote a successful cult film and has a general love for film which comes through in his writings.
Anyway, I’m begining to meander, so I’ll sign off.


