For every hour you spend writing a screenplay, you spend 10 hours defending it.
~David Hare
If like me, you’ve been fortunate enough to have your work optioned, you’ve no doubt had to deal with people such as producers, directors, managers and literary agents that want to put a stamp on your work to incorporate their ideas and suggestions. About two years ago, I began a project with an American producer and New Zealand horror director that wanted me to write a low budget script. This project went through four rewrites, with the last iteration being heavily rewritten by the director. This was ironic because the director started off by saying he doesn’t get involved in the writing. This guy really fucked up the script and knew very little about the writing process. Though I chalked this off as a learning experience, it’s the kind of mistake I don’t intend to make again.
In September, I signed another option agreement with a director who has been very clear about what he wanted, very specific about his suggestions and changes, as well as an excellent collaborator. And though I haven’t agreed with him on everything, his input has been invaluable in helping me to write a much grittier screenplay. The director is heavily invested in this project and was at AFM last week working on financing and distribution for it.
However, the challenge in getting your material optioned and then to the screen is where to pick your spots to defend your work against people that wish to change it. I think UK Screenwriter and playwright Mister Hare The Hours and The Reader offers some terrific counsel on this subject and I’m attaching the link to his article in the Guardian. Here is his advice:
The hardest thing in film is distinguishing between good and bad input. The whole point of writing screenplays is to provide a platform from which a director, actors and cinematographer will be able to leap to create something infinitely richer and more suggestive.
Conversely, Mister Hare advises:
Producers fall into two categories. The great ones make suggestions to help you realise your work more fully. The annoying ones tell you at length how they themselves might have written the story, if only they could write. I have one simple rule. Only those who are invested in the outcome are allowed to give advice.
I think that’s some of the best advice I’ve ever read regarding this subject. What say you?
https://www.theguardian.com/books/2017/nov/04/david-hare-for-every-hour-...
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I call it the fire hydrant principal - once you have a worthy script, every dog on the block pees on it to mark it as theirs.
Uncle Phil. If it takes me 90 days to write a screenplay and I had to spend ten times that dealing with a producer that would be 900 days or ruffly 2 1/2 years. I would tell the producer to go screw himself long before that. I am not sure why any screenwriter would have to deal with managers and literacy agents because how would they put their stamp on it.
Dan: I'm speaking from my experience. And, I've had a literary agent ask me for changes. It doesn't mean you do it. But obviously we've had different experiences. Fortunately, I've never worked with a literacy agent.
Janet: You''ll have to find that out for yourself. Write a successful film and the respect level will increase.
Uncle Phil. Whose literary agent would ask you for changes?
I speak from my experience as well. I do have an agent and feel fortunate to have one that represents me during negotiations. If some other agent asked me to make changes to a script I would tell them to go talk to the producer.
Dan:
I'm not sure why changing some material for a literary agent is such an issue for you. In my case, this was a one time situation where I worked with a Los Angeles literary agent who contacted me about my screenplay "Once Upon A Time in LA", which was written as a feature. This agent respectfully asked me to remove the profanity and a bondage scene that he believed were too racy for television, which was the target market he was aiming for. As a result of what I believed was an acceptable compromise of my artistic integrity, this agent got the script into the hands of several television producers, including a one who produced Passenger 57 and Comes a Horseman with Jane Fonda, James Caan and Jason Robards*. This producer also has an extensive television track record. Since there wasn't a producer attached to the project and, the goal was to find one, your strategy would not have worked. And anytime I can get work in front of working industry people, which I've done many times, I consider that a success. I typically don't work with literary agents. So I continue to carry on in my own humble way. Just as you may continue to do business the way you choose.
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when I was trying to make my 2nd movie, an Agent wanted me to change my main character from a black guy to a white guy. Agent said she couldn't sell black character movies.
Then another Agent wanted to bump the budget from $500K to $2mil+, his advice was there wasn't enough "meat on the bone" to attract Talent on his roster. Then he advised us to use our $250K to invest in real estate during "development". Flip houses. Then a NBA basketball player got involved, wanted a role for his girlfriend and minor characters roles for his friends.
Wasted 2 years on this idea. But it was a great experience playing the game. I did get my free bottled water at the old CAA building.
Uncle Phil. Earlier you said you never worked with a literary agent so, I automatically assumed this was someone else’s agent who asked you to make changes. I would have responded differently if I knew this agent was trying to help you market your screenplay. I have an agent and I would listen to her and make changes if I thought they would help my screenplay but I sure wouldn’t listen to someone else’s agent.
Dan:
Okay. Nope I wouldn't listen to anyone who isn't going to shop my material and without a damn good reason for why they want the change.
We agree. I don't accept unsolicited suggestions. lol! Just joking but I did tell a manager that once and years later we became friends and can laugh about it today.
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Totally agree. I heard a successful screenwriter say once, "If you hand someone your script and they find everything wrong with it, walk away. If you hand someone your script and they share the experience they had, sit and listen."
Joleene: That's a very lofty quote you posted. But chances are, if your script makes it to the big screen, at some point, your work may be rewritten. When I was up for a Network TV movie gig, the first thing the producer said was since I was not produced, that I would no doubt be supervised for a rewrite of my script by a "more experienced" writer. You may also want to read this article too.
http://www.vulture.com/2012/02/polone-screenwriters-rewrites-hollywood.html
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If someone is paying me they can suggest anything their little heart's desire and I will try and make it work. If they aren't paying me then I don['t give a rat's rectum what they think or say.
Totally agree w/Dan Guardino. If someone is willing to spend their money & time on me as a screenwriter who's never had anything produced, hello? I'm all ears, then I just pray that I can deliver. Its what one does when getting your script back with notes from a consultant or even a fellow screenwriter, as long as these notes and changes make sense and I don't have to write the whole story from scratch, but a scene here and there or cutting a scene all together, I have no problem. Does anyone agree/disagree?? Uncle Phil??
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Jorge: I normally don't give a fuck about content suggestions from other writers. Unless there's something that's really great. I do agree with Dan. If you ain't going to option my work for money or at very least getting my script into a big player like Paramount or William Morris, I won't change a word.
Francisco:
If someone wants to pay a writer for their script and god forbid, use it as a blueprint to make a movie, they may be unrealistic to think their work will make it to the screen without editorial input from the producer/director, studio or people funding the project.
Uncle Phil, for what reason do I have to "defend" my screenwriting work - to who & why?
Doug: My post was relating my own experience to Mister David Hare's Guardian article. I have defended my work in several situations involving producers and directors who have optioned my work. Most recently, when my director questioned why I added a fictional scene to a screenplay based on a true story. When I cited that Dog Day Afternoon was also based on a true story and added a lot of fictional embellishment, I was able to better support my own work with an example he understood. Obviously, you speak from your own experiences. However, screenwriters who want to work in Hollywood should be prepared to make changes at the behest of their employers, or otherwise offer good reasons for not agreeing with editorial suggestions.
Boomer: Agreed.
Uncle Phil, i didn't have to defend one of my sold original specs because the Buyer never asked for a 2nd draft. The lawyer sent me a check, I told them to give me a call if they need help. They never called, Rewrote it themselves.
Uncle Phil - the last time I ever had to 'defend' my work was my master thesis in 1969. I certainly don't 'defend' my screenwriting but I'm always open to criticism and critique and I'm certainly willing to make valid changes during rewrites to better the product. But 'defend' it; no. It stands/falls on its own merits.
Doug: You are a man of principle. I'm just finishing a third draft for Director Sean Hoessli. We'll see if this project gets made into a film. I've changed about 40 percent of the original draft.
Agreed. Good advice!
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I don't know why so many aspiring screenwriters think if people with years or even decades of experience making movies are going to wreck their precious screenplays. Normally when they make changes it improves the screenplay.
Janet - making a movie id a complicated process requiring the talent and skills of many - each one being 'the most important' one on the set. It's crowed on set with no room for egos - that apples to everyone. Check your ego at the door. You do not need to be defensive about anything and I strongly advise you to refrain from being offensive either.
Dan G:
Relationships are better when you trust who you're working with on a creative level. I've had a couple of good ones where suggestions have definitely made the work better. And, a few bad ones. If someone thinks their collaborator will wreck their work, it's time to think about what they want. Either keeping their work unchanged or making a film. Most experienced directors will want to change certain things. For example, Stanley Kubrick made changes to Dalton Trumbo's Spartacus that definitely benefited the film. So I think your last post is right on the money.