One thing I've seen many times that leads me to believe that it's a somewhat common occurrence, is how drastically a screenplay evolves once it's sold or optioned.
The most recent example of this that I encountered was surrounding the film "Nerve".
For those who have the time and haven't seen the movie, it might be a good exercise to undertake what I did below. It definitely caught me by surprise.
"Nerve" was directed by Henry Joost and Ariel Schulman from a screenplay by Jessica Sharzer which in turn was an adaptation of the book of the same name by Jeanne Ryan.
I never read the book. However I did read the screenplay first. It was interesting and well written. It was clear in the way it explained lots of the tech visuals, etc.
Then I watched the movie.
It is not a complete departure from the screenplay but it is very, very different. Entire plots and characters are missing from the film. Scenes and dialogue are completely different and the order of the scenes changed.
I would recommend anyone wanting to see how a single person enterprise (the writing of the screenplay) gets changed/affected once it becomes a collaborative process (production) after a sale or option to do what I did.
Does this mean every screenplay is going to be drastically altered or changed once it leaves the screenwriter's hands? No. But it is certainly a possibility and reality that one should be aware of and decide how they are going to deal with it.
As an interesting side note, the screenplay available is labelled a "Studio Polish" draft but differs drastically from the film that was actually shot even after that draft.
Extra side note: If preliminary casting was made using that "Studio Polish" draft, whoever was cast as "Detective Krier" or "Sasha Straus" got the shaft when it went to shoot.
I'd be interested in anyone else's thoughts that does read the screenplay and then watches the final film.
so why do they put so much emphasis on having a perfect script, when they order rewrites. Like Hancock, the movie was totally different from the script.
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The simple fact is that when you sell your script - it's not yours any more. It's not uncommon for a script to be sent down into development hell and when/IF it emerges again, it will not likely resemble itself. Sell the script, take the money and never look back.
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I attended London Screenwriters Festival last weekend and had it drilled into me, if I'm precious about my script then find a way to produce and direct it myself. Otherwise, if I sell my script, expect it to change.
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I apologize for answering, I don't know many things, but it seems to me the concept, the ideas within the screenplay are what matter, not other issues like length, following the rules 100%(X event must happen no sooner, nor later than page 31, action lines 4 to 6, etc.).
Formatting is important, all others, but the concept is what makes you want to see a movie..
What if it works the same with people who want to make a movie from a script?:)
All these changes are made, but the story idea remains.. That's why there is so much emphasis on loglines and query letters. I'm sorry if I am wrong with what I wrote.. :(
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Yes, Chad, that is called “movie making.” Not sure what “studio polish” means. Is that notes from Exec in charge?
Making a movie is really making 3 movies. The script from Writer(s), the production dailies with cast & crew, and the final edit with all the bells and whistles (efxs, sound, titles). It’s hard to have 3 phrases aligned.
Many do not know the original Star Wars script/movie edit had Luke Skywalker introduced 5mins in. Lucas was going to intercut the space battle with Luke on the farm. It was Marcia Lucas who reedit the final version.
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The script is the first step of a very, very, very long journey. It's obviously a very important first step, but it's still a first step. Maybe I just think like this because I want to be a filmmaker who writes, not a screenwriter.
I never get attached to anything I write, because I know that change is inevitable. Once other people get involved with it, it would be unrealistic for me to assume that they will just leave their own creativity and vision out of it. And I wouldn't want them to. A producer, or a cinematographer, or a production designer, or an editor knows their business, and knows how to tell a story through their craft, better than I do. And an actor has to bring a character to life from within themself, not mimic the character I saw in my imagination when I was writing it...
I haven't done it nearly enough, but even the few shorts that I've written and directed have changed on their way from script to screen. Sometimes for better; sometimes for worse. So, even if you're writing, producing, and directing it, things are still gonna change. .
BTW, one of my favorite films ever is A Nightmare On Elm Street (1984). The script is absolutely atrocious! (I feel like an ass for criticizing one of my heroes. Forgive me, Mr. Craven.) It's terribly overwritten, there's no subtext whatsoever, and the parentheticals in nearly every line of dialogue bring the read to a screeching halt... But the movie effin' rocks!!! I know that much wiser and much more experienced people have said that a great movie can never come from a bad script, but I'm not entirely sure that I believe that. My point is that a film evolves many, many, many times from script to screen, and you probably won't really know if it's good, or if it's bad, of if it works, until it's done.
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Wow Eric. Thanks so much for sharing this! I assume since Jessica's name is still 'Screenplay By' single credit, that she cut the initial deal so that she would be the one making changes to the script. Smart woman. Even if 'writer's room' employees made the changes, she gets the credit. I've heard that many directors want that cred, and sort of 'steal it'. There's strong WGA rules around who gets the Screenplay By credit. In any case, you have to admit this movie ROCKED so if it all came down to post-production editors cutting and slashing and rehashing how the scenes progressed, then they did an amazing job. I wonder if RB et.al could get a little interview with Jessica Sharzer? I'd love to know about her experience! I honestly think this is perhaps the best movie of the decade. It was sexy, fast, and very very good to watch with my teenage daughters.
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I read the first 5 pages, nothing matches the theatrical movie.
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CJ Walley Wholeheartedly agree with you and Dan MaxXx Although screenwriting (especially spec screenwriting) is a solitary enterprise (at least with the vomit draft), unless you are directing, producing and acting in it as well, it's a highly collaborative process. Writing assignments are at one end of the spectrum where one is hired to realize the vision of someone else or put a fresh set of eyes, thinking and interpretation on someone else's thoughts or even writing.
We screenwriters can be an overprotective bunch at times of our craft. But I believe the saying is true that "you have to be willing to kill your darlings" especially if you are looking for someone to give you $$$ in exchange for your work. They are buying the right to access your material and develop your material.
Going back to my original post above, I hope it's a good exercise for all of us to realize that even screenwriters with produced credits (as is the case here) write screenplays that are good enough to sell, get talent attached, directors, etc. but still get COMPLETELY changed from the original sold screenplay when they get translated to the screen. That doesn't mean one has to "sell out" but it's pretty important that we realize and prepare for the person or company who is willing to buy our work, pulling out a pair of scissors and a red pen from their pockets (figuratively speaking) and reshaping and revising and maybe even re-envisioning.
Some screenplays (take Unforgiven for instance) are extremely faithful to the original words on the page. Others, like Nerve, are almost wholesale departures.