Film Industry

Will the digital mediums replace emulsion photography, even if only partially?

–N

If you’re going to allow me the “if only partially” escape clause, then certainly. Well-regarded films such as TADPOLE and PIECES OF APRIL are already being shot on digital video, as are the SPY KIDS movies and the STAR WARS prequels. On the distribution side, most new theaters are being built to allow for digital projectors (which will be installed whenever someone figures out who should pay for them).

Speaking in vast generalizations, digital is usually cheaper and faster than film. Videotape costs less than film stock, particularly when factoring in development and printing costs. Editing is already an almost-entirely digital process, so shooting digitally saves you a step. And studios dream of being able to digitally transmit their movies directly to the multiplex, saving the cost of striking and shipping 2,500+ film prints.

What’s more, the recent generations of digital projectors are quite good. You could switch over every movie theater in America and most people wouldn’t notice any change.

For all the progress that’s been made in digital cinematography — and it’s considerable — film still has some significant advantages that will keep it viable for decades to come. First, there’s a lot of entrenched experience. Cinematographers know film and love it. Second, film technology itself has improved dramatically. Today’s film stocks allow you to shoot in lighting conditions that would have been impossible a decade ago, and techniques like silver retention and skip-bleach processing allow for a lot of creative freedom. Third, the resolution of digital cameras still can’t match film — and when they do, there will be other creative reasons (such as film grain, focus and contrast) why you might still not be satisfied. Finally, on an $80 million movie, the film costs aren’t prohibitive, so there’s no reason for many movies to switch to digital video. (There is, however, a lot of pressure for one-hour TV shows to switch to digital cameras. Many are making the change.)

On the other end of the spectrum, digital video is a godsend for the $80,000 movie, where film and processing could eat the entire budget. Since it is these smaller movies where tomorrow’s filmmakers get their start, I can envision this new wave rising up through ranks with digital cameras in hand, and never trading them in for the “old” film cameras.

If you sell a script to a studio, what are your rights regarding the first re-write? Do you have to be a member of the WGA to demand this?

–Anonymous

Simply on the basis of morality, ethics and artistic vision, the original writer should always have the first crack at rewriting his script. Unfortunately, morality, ethics and artistic vision are sometimes in short supply when it comes to making movies. That’s why it’s good the Writers Guild of America (WGA) has its “creative rights” provisions, which cover situations like this. You can find a full list of them here.

If you’re not a WGA member and you sell a script to a studio, are you still covered? Almost certainly yes. The major studios have agreements with the WGA which basically state that any writer they employ has to be a WGA member — so if you’re not a member when you sell the script, you have to join right away. And it’s certainly worth it. Not only does the WGA offer screenwriters these up-front protections, but it also offers health insurance and collects residuals for writers’ work.

So are you, Paul, absolutely guaranteed the first rewrite on your spec script? No. There are at least two scenarios where this wouldn’t happen. First, you might sell your script to a company that is not a WGA-signatory. Even relatively big studios (like Miramax/Dimension) have divisions that aren’t WGA. In that case, you wouldn’t be guaranteed the WGA creative rights. A second scenario might have you waiving your right to the first rewrite as a condition of the script sale. I’ve never heard of this happening — it feels morally, ethically and artistically wrong — but it’s conceivable, so I’m sure it has happened to some writer at some point.

Finally, I like that you use the word “demand” in your question. No studio will be inclined to give you anything just because you ask politely. If having the opportunity to rewrite your script is a priority for you — and it should be — don’t accept a deal that would shut you out.

(While you’re at the WGA site, you should also check out the “Independent Film Program,” which can offer some helpful protection even for non-WGA members.)

I have just finished my first feature APPLESEED LAKE which
I wrote/directed/produced on a very low budget. I am now at the stage where
I am preparing
to show it to people whilst at the same time writing my follow up script. Would
it help me get (writing) representation by showing agents the finished film?
Or should I just stick to showing prospective agents scripts that I have written?

–Peter

If you’re interested in both writing and directing, you’ll obviously want
to find an agent who handles both fields. Both your screenplay and your feature
will be important at some stage.

Because of the time commitment involved, not many agents are apt to pop in
a videotape to check out a low-budget movie from someone they’ve never heard
of. The odds of suckage are just too high. They are, however, more likely to
crack open a script. Your instincts are right.

If your film gets into some festivals, however, that can be a great way to
get the process started. Say an agent sees your film and introduces herself.
That’s a tremendous opportunity to talk about the scripts you’ve written and
offer one to read. Most writer/directors at a film festival don’t have representation
going in, and smart agents will always be looking for new talent.