Reading Screenplays

by Lucy Scher

  Always outline possibilities in a value–free way but don’t expect immediate responses. It takes time to absorb and process change but a good writer will do so. Asking the writer what, precisely, they want the audience to feel at certain points is a good way to begin the discussion. You will be in a good position to describe the way your feelings were engaged by the script and your response should be valued by the writer. Finally, it is important to remember when writing meeting notes that they are a plan for the meeting only; you can’t plan for the development of the project – the object of the meeting is to assist the writer to do this.

  Genre

  Using genre as a framework for your discussion is one of the best ways to help the writer see why certain elements in the script are unsatisfactory. Referring to films that you and/or the writer see as belonging to the same genre as the script is an invaluable aid to establishing areas of agreement. This can produce an agreed way of discussing why elements of the script do and don’t work within the generic conventions. It is, of course, important not to be prescriptive. The developer’s job is to confirm the genre the writer is following and, where two or more genres may be cited, to discuss the story in the light of the conventions of both genres.

  Origin of the story

  Finding out from the writer of the script where the original idea came from may be useful but not of primary importance. Often the origin of the story and the story in the script may differ. A long account of the inspiration for the idea may have very little to do with your assessment of the problems that need to be discussed. But, if you are trying to establish what matters most to the writer, enquiring about the original idea may be revealing, not just for what is important to the writer but, equally, for what is not.

  THE DEVELOPER’S APPROACH

  Negative reactions

  Negative reactions to a script are more common than we may care to admit. It is absolutely essential that a developer does not arrive at a meeting feeling angry about the way the writer has represented some character or some topic (homeless people, or the middle classes, or dolphin–watching voyages). In particular, do not indicate how tedious and boring you found reading the script.

  The fact that someone has worked to complete a draft script is assurance that it has importance and matters to them. Your job is to discover this key to the script and, as far as possible, to nurture it. All the other decisions about the events and the structure of the story, which characters are needed, who they are and how they are characterised, and where and when the story is set, should be open to question. Your job is to make sure the best choices have been made to serve that original and essential inspiration.

  Developer’s experiences

  One approach that works well in the developer’s relationship with the writer is for the developer to relate a personal experience that chimes well with the events or the themes in the script. This can strengthen the enthusiasm and trust between developer and writer.

  This happens at moments that begin with, ‘You know what? Something like that happened to me. I walked in on a conversation that I wasn’t meant to hear…’ Or, ‘I missed a ferry on a Greek island and had to find someone to take me in… ’

  Basically, this involves giving something of yourself that is personal and human. You can’t plan this, and it can’t be forced, but don’t be fearful if it just happens. It is a good thing.

  Flexibility

  The main purpose of the meeting is to agree the priorities for the next stage. Although you go to the meeting being clear about what you consider needs attention first, it is important to keep your mind open to what comes up in the meeting – it may just be that something the writer says unlocks a big problem and becomes clearly the best thing to do next.

  If you have been given formal requirements for the development process, these must, of course, be observed; but, if you have the freedom, it may be more useful to go on to produce an outline or a treatment rather than a full redraft as the next stage.

  There are many different ways of communicating. If you are meeting with someone who doesn’t say much don’t panic about filling the silence. Similarly, if the writer doesn’t pause for breath, lob in questions that will slow them down so you can maintain your place in the process. Don’t allow the conversation to get sidetracked into discussion about particular scenes; if this is happening, steer the conversation to much more general things as it will be more productive in the end.

  WRITERS

  Writer–directors

  There are lots of apparent problems in a script that can be resolved with a camera and an edit suite but it is hard to disguise a lack of truthfulness in the premise, or a main character whose actions are implausible.At the beginning of a meeting with a writer–director make it clear that the job of development is to get the story right. The director and producer will make the latter–stage changes to the script to get it ready to be filmed and this will be made far easier if the development has been carried out really well.

  Co–writers

  It is important with co–writers to spend a bit of time finding out how they work together – literally who does the typing, how often they can get together, when did they meet, have they done other projects together. If both are equally inspired and committed it shouldn’t make any difference if you have one or two writers in the meeting.

  THE NEXT STAGE

  The meeting ends with a reiteration of the agreed priorities for the next stage of the development process. If the priorities are as you anticipated in your preparation, all well and good, but if some other issue arose at the meeting (or even subsequently), make sure you note it for when you meet again, which may be some time later. Deadlines must be precise and jointly agreed and you should confirm whether or not your brief allows you to be available to the writer for further discussion. From the developer’s point of view, it would be unfriendly to say, ‘Don’t speak to me until we next meet in January.’ The developer should be in a position to offer to clarify points or discuss possibilities that occur to the writer. The situation to avoid is having the writer use you as a ‘permission person’ or as a distraction from progressing the development. The writer should leave the meeting absolutely clear about what to do next.

  Once a script is in development it is possible to enter a situation where the developer has to steer the project between the various, and often competing, demands of the team involved in it.

  To do this the developer needs to know what the competing demands are. Typically, an actor has a fixed and limited window in which he or she can read the script, but the writer or director is still not happy with the draft; or the producer wants to bring in a new or additional writer; or the director has quite a different approach to the story–world from the writer. There is no easy way to calm such troubled waters but the developer is well placed in these situations to negotiate and offer solutions, effectively working for everyone, the developer’s only priority being the script.

  Another important role of the developer is to champion the project and the writer to the people and organisations who may enable the film to be produced. The developer needs to be able to talk skilfully about both the writer and the project in a way that excites interest. Many writers may find it hard to speak (as opposed to write) about themselves or their project in an interesting way. One reason for this is that the writer has been working on the idea, if not the script, for years, and the original simplicity of its meaning has been lost. Writers will commonly enthuse over their latest addition to the script, which, out of the context of the last draft, appears nonsensical.

  Another reason to do this, though, is to gain the respect of the industry so that your opinions are trusted. Good developers are hard to find, and building a little reputation, just one good producer who really values what you think, will raise your own standing and that of development in general. This also holds true when you are talking about films. It is really important not to express negativity or hate them. If they didn’t work for
you, use your skills to figure out what was missing, or why it was boring, and talk analytically rather than critically.

  It is common to hear new writers talk about development hell. In fact, this term refers to the point when a script is put into ‘turnaround’, i.e.the script is available, but encumbered by the prior development costs. However, the term is used by writers to mean that they are struggling!

  It is a very valuable experience for a writer to have a script in development, and, however difficult it seems, to describe the process as hell is wrong. Of course, if it wasn’t so difficult, everyone would write film scripts. The writer’s responsibility in the development process is to consider all suggestions with an open mind; to respect the experience that is being offered and not to be negative.

  Developers should never overinvest in a project; it’s not your job to lie awake worrying about a script problem, or to email every thought you have about it, or to research everything there is to know on kidnapping in Russia, or cotton–picking in the deep South. And you certainly don’t have to mourn the end of a project if it doesn’t go into production. Most projects don’t! It is still a really fun, creative, demanding and rewarding job if you can balance your levels of involvement well.

  Finally…

  A couple of years ago I was running a workshop with the Israel Film Fund and one evening our group went to a Bedouin settlement in the heart of the West Bank to a makeshift cinema for a screening of a film called The Lemon Tree. This tells a simple story about a Palestinian widow, Salma, whose lemon orchard has become a sniper security risk to the new Israeli Defence Minister, who has moved into a new home behind it, and the order is given to cut the orchard down. Salma takes on the might of the Israeli government to challenge the decision and, in the process, has an affair with her young, handsome lawyer. At the screening there were five young Palestinian village girls, maybe 14 or 15 years old who, I was told, had never seen a film before. As it began they went quiet, and didn’t move a muscle as they watched the character assert her human and moral rights, and express her sexuality with passion. I don’t know what the girls were thinking and feeling but they were completely engaged and I am certain they will never forget that experience and how something significant changed for them that day.

  Film is such a powerful storytelling medium. Our privileged access in the West means we may catch a nap or check our emails during a screening, and it is really shocking and humbling to be reminded that it matters.

  The aim of this book is to help improve the quality of screenplays available internationally, quite simply because all our stories matter.

  SELECTED ONLINE RESOURCES

  SCRIPTS ONLINE

  www.simplyscripts.com — Extensive database of scripts and transcripts of feature films, both produced and un–produced, available to view and print. Collates its library from a number of online databases so covers scripts from classics like Chinatown to the latest releases such as Minority Report. Clearly states if it is a shooting script or transcript and occasionally holds early drafts of new classics such as Three Kings and American Beauty. There are sections specifically for TV and radio scripts and a good links section.

  www.script–o–rama.com — If you want to know more about writing screenplays you can download your favourites here. This is a real film fan site and does much of the trawling for you for the latest and most authentic scripts for films from Hollywood to cult classics.

  www.iscriptdb.com — Large movie script database. The site also contains a database of screenwriters and interviews with screenwriters. Prides itself on being the first to have many scripts online and has a section dedicated to screenwriters reviewing the latest scripts doing the rounds of Hollywood.

  www.zoetrope.com — The Virtual Studio section of this website is a submission destination and collaboration tool for filmmakers – a community where artists can submit and workshop original work and where producers can make movies using built–in production tools. Membership is free but you have to sign up before gaining access to the virtual development section and area dedicated to new screenwriters.

  www.triggerstreet.com — New site and offshoot of Kevin Spacey and Dana Brunetti’s Triggerstreet production company. If scripts get into the site’s top 10 they automatically enter into a 90–day first–look agreement with Triggerstreet. Good source of reviewing unproduced scripts

  TREATMENTS

  www.writingtreatments.com — Articles, samples, advice on writing treatments.

  SALES SITES

  Below are the addresses for a selection of script sale sites. Essentially these are platforms for new writers to present their scripts to industry executives.

  www.praxisfilm.com

  www.thesource.com.au

  www.screenscripts.com

  www.scriptsales.com

  REFERENCE SITES

  www.bfi.org.uk — An enormous site that contains information about British Film Institute services and through its Film Links Gateway provides useful lists of organisations, libraries, script sites and competitions.

  www.writersguild.org.uk — The Writers Guild of Great Britain – the main guild for established writers whose website includes interviews and advice.

  www.scriptfactory.co.uk — The Script Factory’s own site includes information about what we do, with details of training, events and development services, plus event transcripts, FAQs and other useful resources.

  www.industrialscripts.co.uk — Courses, resources and networking site of this London based company.

  www.ukfilmcouncil.org.uk — The UK Film Council was the Government–backed strategic agency for film in the UK. It was closed in April 2011 but still retains a useful website with links to other UK organisations.

  www.launchingfilms.com — The web site for the FDA, and the Guide Book to download includes an essential monthly guide to theatrical releases as well as Home Entertainment.

  www.screendaily.com — Online version of the trade magazine.

  www.imdb.com — Essential search engine for credit info.

  www.boxofficemojo.com — Stats heaven giving: opening weekends, number of screens, production budget, marketing budget, distributor, domestic (US), international and worldwide totals… all this AND an overseas breakdown. Could it get any better? Great tool for getting the populist view on what people are watching and where.

  www.bbc.co.uk/writersroom — Mini–site from the BBC focusing on writing for the screen. Useful for tracking what competitions and funding are available to new writers as well as words of wisdom and encouragement from writers working for the screen today.

  ONLINE NETWORKING

  www.shootingpeople.org — Shooting People’s daily Filmmakers and Screenwriters Network and weekly Script Pitch list. You can join these email networks to get news, views and information about screenwriting and filmmaking, and have the opportunity to ask questions and pitch projects.

  www.bbc.co.uk/filmnetwork — An off–shoot from the BBC main site focusing on new filmmaking. Focus is on shorts but gives a good overview of schemes, screenings and events happening in the UK.

  UK FILM MARKET OVERVIEW AND TRENDS

  There is a series of handbooks published annually that provides a year–on–year analysis of the film industry in the UK exposing broad trends in the growth and make–up of the market.

  British Video Association Yearbook — obviously now including BluRay. The handbook itself is extraordinarily expensive, though invaluable, giving the year–on–year performance of each of the entertainment windows (theatrical, ppv, video buy, video rental, BluRay and satellite broadcast) as well as a breakdown of trends in terms of audience make–up, genre, age, etc. The BVA website at www.bva.org.uk also contains some really useful material (stats, opinion, etc) to help towards understating this market.

  The Film Distributors’ Association — The trade body for distributors has an excellent website at www.launchingfilms.com which is an essential resource from the perspective of exhibitors and distributors alik
e. Available on request is an annual report, plus yearbook and various essays/statistical analysis. Excellent!

  Screen Digest — www.screendigest.com — an international website that collates media reports. Used mainly by the media industry, most of the reports are for sale. However, it does have a database of free articles and research from different territories. Useful in terms of giving insight into what the hot topics of the day are and also for looking at future threats and opportunities facing the film industry.

  CAVIAR Report (Cinema and Video Audience Research) — This annual report is funded by exhibitors to provide a comprehensive demographic breakdown of the cinema–going audience and trends in cinema viewing to potential advertisers. In terms of giving audience analysis it is the bible but it is very much a service which the industry pays for and access comes at a premium. That said, sample PDFs giving recent top–line information on audience trends is available on the business site connected to Pearl & Dean: http://business.pearlanddean.com

  UK Film Council — UKFC has until this coming year produced an annual statistical yearbook — in 2010 this was published as a fully digital and searchable website for the first time. It offers the most comprehensive and accessible picture of film anywhere in the UK, and it can be found at http://tinyurl.com/www-Stat-Yearbook-2010. Obviously, with the demise of the UKFC, this may not be replaced in future years — but we presume that some sort of stats will be available from the new–look BFI.