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The writer has all the power until the script is sold.
... and then the movie starts to be made -- and that's one of the problems. Your job's then finished while the 'real fun' goes on - people who make movies want to be filming, acting, lighting etc. As the writer, you're long forgotten at this stage, and people see the production of the film as the 'meat' of the process.
Sure, writers deserve more, but writers have been around since the beginning of film, and if they were going to get a good deal, it would have happened by now.
There is only one way to write yourself to success - and by 'success' I mean multi-million (billion) pound success - and that is to diverge into either producing or directing. Spielberg, Lucas, and Cameron all diverged into directing - (they must have diverged as they wrote scripts first, then directed them, so are therefore primarily writers who undertook the easier task of directing).
So a successful screenwriter in order to become a household name (if that's want you want) has to use his/her success (in screenwriting) as leverage into other areas.
Or else you can just sink into poverty as the unrecognized genius that you are.
Although I agree with most of you, my point was that not even the actors could name the writer. I wasn't thinking a writer necessarily had to be famous, just recognized. At least by the people who are involved with the film.
I'm planning to rent the Hippodrome theater for a mini showing of TTD at some point. Hopefully in October and I bet you all people involved will know Bert's name by then!!
You can watch a movie and say whatever you like about the 'writing", but let's understand that what we're actually seeing on film has nothing to do with exactly what was written on paper. Hopefully, the final product does the script justice, in terms of plot, story, characters, dialogue, and maybe most importantly, tone. But the actual writing...formatting, grammar, punctuation, structure...definitely long removed and unimportant in the actual filming, obviously.
Alrrrrright....where's the real Jeff, what have you done with him
Quoted from Dreamscale
My latest biggest hated writer is some punk named Eric Heisserer. Who is he and where did he come from? I don't know, but I do know that he';s written 3 of the worst scripts to 3 movies that should have all been awesome - A Nightmare on Elm Street (2010 remake), Final Destination 5 (2011), and The Thing (2011 remake/prequel/trash).
How did he get any of these gigs? He sure didn't submit Specs on them.
Well...that's more like it. Anyway, I don't really know, but I'll take a stab in the dark. Perhaps at one point in time Heisserer had a horror/suspense spec. A spec which made rounds, got optioned/bought but never made. On the strength of that work, he then at some point became punked out ...I mean... a writer for hire. He got assignments, and was PAID to write whatever bright producers/studio executives/direcor told him to. He did his job. And he gets the blame for those....whatever they were. But he did his job, and now moving on to more better things.
However, for all I know his draft of Elm Street was well written. The execution of it may be another matter. There were other writers involved, as previously mentioned (and Wesley Strick among them) and y'know what? I thought for the most part FD5 was clever and one scene was brilliant (the friend turns into a foe, decides to kill the others so he might escape death) but the bad acting couldn't save it. I also think the FD films have run thier course. Unless they pay someone to be the bitc... I mean the the new writer that gets paid.
The Thing prequel wasn't badly written at all. (It wasn't great either - and can't hold a candle to the 82 film)
You'll be welcome too, Dena! Even if it's just 10 minutes...we'll have an open bar! Bert might come too!
I very much doubt I'd be able to come, but I'll be sure to plaster myself all over every scene so you'll be sure to think of me. I'll be there in spirit and sound.
You'll be welcome too, Dena! Even if it's just 10 minutes...we'll have an open bar! Bert might come too!
With the right alcohol choices... ten minutes is all you need at an open bar. Sounds like a hoot... and right around my dad's birthday. He's down in FTL. So that could be a double dip threat.
Regards, E.D.
LATEST NEWS CineVita Films is producing a short based on my new feature!
What a charming thread I nearly missed during my somewhat-hiatus from the boards.
Part of my recent absence is related to a relocation back to my beloved south, and I would certainly do everything humanly possible to catch a big-screen premiere -- particularly given the possibilities of such a star-studded cast in attendance -- and an open bar.
I remember catching a performance of "Hair" at the Hippodrome back in the day. A very nice venue as I recall. Hopefully people will keep their clothes on this time around.
I have been peeking at your work elsewhere, Pia, and rest assured it looks even better than I had envisioned. You are amazing.
And George, is there any chance that you count accordion-player among your many talents? I have been thinking some accordion might serve the soundtrack well. Maybe that is just me, though
As for the topic at hand, I am not the least bit surprised or upset. Actors as a breed must be focused primarily on themselves and their own lines to do what they do. No harm, no foul in my book. But I do look forward to meeting them should the opportunity arise -- and anybody else who climbs out from under their rock to slurp down the abundant free Stella we are sure to find on-hand!
And when it's over, first round for the after-party is on me.