All screenplays on the simplyscripts.com and simplyscripts.net domain are copyrighted to their respective authors. All rights reserved. This screenplaymay not be used or reproduced for any purpose including educational purposes without the expressed written permission of the author.
That's too bad, I hear of that happening sometimes. When I do collaboration, I only do with another writer, no more,so exactly that doesn't happen.
I don't think the 3 dozen on the Flintstones movies were necessarily collaborating on purpose. That would be a corporate built movie for cash, not one crafted with love. The fact that it had so many writers just showed how little devotion there was to the project or how dead set the producer(s) was on a specific story that a writer couldn't or wouldn't deliver.
That's hardly a model for how to collaborate.
Then again, unrequested rewrites happen in the industry all the time. The original writer of Halloween 3 had his name removed from the credits because he never wrote a horror sci-fi story and despised what they did with his script.
I don't think the 3 dozen on the Flintstones movies were necessarily collaborating on purpose. That would be a corporate built movie for cash, not one crafted with love. The fact that it had so many writers just showed how little devotion there was to the project or how dead set the producer(s) was on a specific story that a writer couldn't or wouldn't deliver.
That's hardly a model for how to collaborate.
Then again, unrequested rewrites happen in the industry all the time. The original writer of Halloween 3 had his name removed from the credits because he never wrote a horror sci-fi story and despised what they did with his script.
Maybe so, that it wasn't crafted with love, but the fact that the original script came from Steven De Souza?
That just seems like an odd pairing. No wonder they went through so many writers when it originally comes from an '80s action writer.
The original writer of Halloween 3 had his name removed from the credits because he never wrote a horror sci-fi story and despised what they did with his script.
The original writer was the late, great, Nigel Kneale - possibly the greatest British TV scriptwriter of all time, and certainly the man who laid the foundation for much that was to come.
Including me. When I was 14 they republished the scripts to his fantastic 1950s sf stories featuring Professor Quatermass. It was reading these that made me want to be a screenwriter.
When John Carpenter made "Prince of Darkness" he wrote it under as "Martin Quatermass" as a homage to Kneale's famous creation (both this film and his "Ghosts of Mars" draw on Kneale's stories for inspiration). Kneale's comment was - "With fans like him, I don't need enemies" - he never forgave him for rewriting his script for H3 into what he saw as a very standard horror story. I have always wondererd what the original must have been like. That's one script I'd like to see.
FYI, I mentioned earlier that I emailed the original author of the script I razed and revived, and he had forgotten it was even out there, and was basically touched that I drew any inspiration from a script that he felt wasn't very good to begin with. It was a nice email.
if I wrote something and someone took my script and wrote something else out of it, I would be flattered. If that new script would get sold and made a ton of money. I think I'd want a taste of that pie...
if I wrote something and someone took my script and wrote something else out of it, I would be flattered. If that new script would get sold and made a ton of money. I think I'd want a taste of that pie...
It wasn't Carpenter that was responsible for the crap that was H3. That would be Mustapha Akkad. Carpenter didn't even want an H2.
Halloween 3 was, in theory, the best of the entire series if you look at originality and expansion. Halloween 3 was my personal favorite after part 2 to be honest.
& John Carpenter stole the concept for Halloween from Bob Clark... Carpenter asked Clark if he'd ever consider doing a follow up to Black Christmas and he said no. Carpenter prodded him a bit and asked what if you did, tho... Clark responded with "I would have Billy escape from an institution of some sorts and have him return to the sorority on Halloween night to terrorize the girls"
Years later, some nearly 5 ... Halloween comes out with John Carpenters goofy ass behind the helm.
Carpenter was producer on H3 and it was apparently his desire to work with Kneale - who had not done much film work (his biggest credit is the film version of "Look Back in Anger"), because of his admiration of his Quatermass scripts, that lead to an offer being made to Kneale to write a screenplay.
I said that because I know from experience, when money gets involved, people tend to change their tune...
That's a little problem I have involving a character and his name.
The other end of the spectrum is that they could be offended because you did it not because you liked what they had done but because you didn't like it and thought you could do better.
I remember reading in another thread about how George Clooney had rewritten a script (I can't remember the name) and even though he apparently had rewritten it completely, the Writers Guild still refused to give him a "written by" credit - he had to settle with "story by", if that at all - see I can't even remember that, maybe the original poster can remember.
So be careful, George.
That was Leatherheads.
Quoted Text
Clooney went financial core last fall, after the WGA decided 2-1 in a credit arbitration vote that only Duncan Brantley and Rick Reilly deserved screen credit on the picture that Universal opens today.
Going fi-core means a member is still technically a member of the WGA, but has limited rights within the guild. Fi-core members have to pay dues and are covered by the health and pension plans. Once you elect to go fi-core, the decision is irreversible.
"When your own union doesn't back what you've done, the only honorable thing to do is not participate," said Clooney, who stressed he made no attempt to exclude Brantley and Reilly.
Clooney says he would have quit the WGA altogether if he could, but that would have prevented him from working on all WGA-covered productions. He says he wanted nothing more to do with the WGA but didn't want to be hampered in his ability in writing scripts.
As for "Leatherheads," Clooney took a languishing 17-year old project and got a greenlight after personally giving the script a major overhaul that transformed it into a screwball comedy. He says he felt he'd written all but two of the film's scenes.
While he agreed that Brantley and Reilly deserved first position credit for hatching the idea and characters, he was incensed enough by the WGA arbitration process to go financial core, which rendered him a dues-paying non-voting member.
I'd echo those that say anything that fires the imagination and sets a writer off has to be a good thing. As long as it's not blatant lifting then all's good in my book. No copying!
Of course, you would need to realise that the script was based on yours in the first place to demand recompense - and if the new writer didn't tell you, and it was significantly different (which is what we are talking about here), you might just think - oh, that's a bit like my old idea!
How many times have you seen a film or TV prog and said to yourself - that's just like so and so. I once wrote a script with a scene in it that I really liked. A few years later, watching Die Hard With a Vengeance, what do I see - almost exactly the same scene!
So unless you reveal your sources, then the originator would be none the wiser - and assuming you don't just steal the original script blind, I see no problem with it at all. You can find inspiration in anything - and what's the difference if it is a newspaper article, something someone says to you in the pub, or a script you read?
Pages: 
Author
So I based my script on yours...do you care?
Logged
Locked Board