John August

QandA

Songs and production companies

QandA

questionmarkI’m pretty sure I saw you at The Groundlings on Saturday night. My girlfriend’s on a new TV show, Fox’s “The War At Home” and I attended the event with some of her costars.

I wanted to introduce myself and ask you a quick question, but then realized that a) I didn’t want to be annoying and b) you’ve set up a wonderful format for questions and answers.

Basically, is it stupid to include music cues in spec scripts? I realize the legality of it, and you don’t have full license for the song or any permission for that matter, but sometimes I feel like it really helps paint what you’re trying to convey.

Also, do you have a production company? I don’t think you do. Just curious.

— Chris
Los Angeles

You should have introduced yourself — because that wasn’t me, and it would have been awkward. Awkward stories are terrific fodder for the screenwriter.

For those who don’t know, [The Groundlings](http://www.groundlings.com/start.htm) is a comedy cult institution that for years has been a stepping stone for the performers you see on [Saturday Night Live](http://www.nbc.com/Saturday_Night_Live/) and [Mad TV](http://www.madtv.com/). My good pal [Melissa McCarthy](http://imdb.com/name/nm0565250/) is a member of Groundlings; I try to catch shows whenever I can.

But Saturday night was not one of them.

On Saturday night I was buying vodka at the Mayfair Market on Franklin, just behind [Kiefer Sutherland](http://imdb.com/name/nm0000662/), who was buying cigarettes. The vodka was for a birthday party at [Joey Lauren Adam’s](http://imdb.com/name/nm0000725/) house.

See, I can name-drop! I don’t even disguise them, unlike certain other people. Ahem.

Now, to your question. In my opinion, it’s okay to include a specific song if it’s really crucial to understanding the tone-slash-intent of the scene. But you can only do it once per script. More than that, and you’re writing liner notes.

Question #2: I don’t have a production company per se.

Like most screenwriters of a certain level, I have a [loan-out company](http://johnaugust.com/archives/2005/when-should-a-writer-become-a-corporation). I am an employee of that company, as is my assistant, Chad. But it’s not a true production company with financing and a slate of pictures in development. I probably could pull a production company deal at a specific studio, but to me, it’s not really worth it. I’d rather work with all the studios.

Is the Screenwriting Expo any good?

Education, Los Angeles, QandA

[Expo Logo](http://screenwritingexpo.com)My question is about the [Screenwriting Expo](http://screenwritingexpo.com) and other industry seminars. I realize that you are speaking this year, but is it really a worthwhile event? It seems like just another one of the money-sucks preying on desperate fledgling writers. Thanks!

— Corey
Los Angeles, CA

To be honest, I don’t know if the Screenwriting Expo is any good or not. I’ve never been, so I can’t vouch for it. I suspect some of you readers out there have been to it, and can give Corey the thumbs-up or thumbs-down.

I’m one of the “Guests of Honor” at this year’s Expo, along with a bunch of other really good screenwriters. I’m not on a panel per se, nor am I teaching a workshop. Rather, I guess I’m just a featured speaker, or doing a Q & A.

I guess I should ask. I really have no idea.

Public speaking used to terrify me, but I’ve gotten a lot better at it over the past few years. Some of that’s just from success; it’s a lot easier to speak to an audience that’s actually interested in what you’re saying. But a fair amount of it is just practice. I’ve survived enough panels, roundtables and TV interviews that the experience isn’t as intimidating as it used to be.

Whatever it is I’m doing at the Expo, it happens at 2 p.m. on Friday, November 11th, at the Los Angeles Convention Center. The event is listed as being free, so I assume you don’t have to register for the whole thing if you just want to come see me talk.

In general, I don’t speak at anything that charges a fee, unless it’s part of a larger film festival. I recognize that’s a fairly arbitrary rule, since I do speak to university classes, and college tuition can run $30,000 per year. But, like you Corey, I’m troubled and annoyed by the commercialization of screenwriter education. USC or UCLA might be expensive, but I don’t believe they’re profiting on false hopes and unrealistic expectations.

If any readers do come to my thing at the Expo, don’t be shy. Introduce yourself. The few minutes after a talk are always chaotic, with a bunch of awkward hand-shaking, but I’m happy to do it.

Avoiding AD mistakes

Film Industry, QandA

questionmarkHow do you avoid the possibility of a line producer or AD misinterpreting what you wrote?

Do you get to meet with them and say, “These two characters are the same guy, I just wanted to make him a mystery in the beginning. So don’t schedule two actors for this.” Or, “This location is just a different name for INT. JIMMY’S HOUSE on page 10.”

Josh
Philadelphia, PA

Since many readers may not be familiar with the process, one of the first steps in pre-production is to break down the script scene-by-scene, making a list of characters, locations, vehicles and other production concerns. Usually, this task falls on the assistant director (AD), with a lot of input from the director and line producer, along with other department heads. The goal with a good breakdown is to have all the information nicely structured, so the AD can build a good shooting schedule.

The first rule of breaking down a script is to read through the whole thing first, so you really understand what’s going on. And most AD’s are pretty sharp, so they’ll catch these simple mistakes themselves.

But yeah, it happens.

I can’t think of a good example from features I’ve written, but on my first television show (D.C.), we ran into a couple of situations where the breakdown didn’t reflect reality.

A common mistake is not including a character who should be in a scene. It’s easy to overlook a character who doesn’t have any dialogue, and therefore has no words on the page to acknowledge his presence. (Note: If you have a character who doesn’t do or say anything in a scene, your first question should be, why is he here at all?)

From the screenwriter’s perspective, the best advice is pretty simple: introduce yourself to the AD.

This is unfortunately rare.

Since the AD spends most of her time on the set, and the writer spends almost none of his time on the set, their paths don’t otherwise cross that often. The AD’s primary relationship is with the director. She won’t think to pick up the phone and call you with a question, unless you already have some kind of rapport. So introduce yourself, and make it clear you’re on call to answer any questions, 24/7.

Once you have a relationship with the AD, she’ll ask, “Could this scene be day rather than night?” And if it doesn’t really matter, say you’ll be happy to change it. Consult with the AD about how she likes her scene numbers; there are several philosophies about how you add a scene between 94 and 95, and it’s important to be consistent.

And as soon as the first one-line schedule is published, read it. Go through the script page-by-page and make sure nothing’s been left behind.

Which side of the pond should I choose?

Education, Film Industry, QandA

questionmarkAs a long time reader of your blog, I have finally decided to pose a question to you which for myself irritates and intrigues me. I am currently 18 years old and in the midst of a gap year before taking cinema studies and scriptwriting next September.

However the thing is, as I live in the United Kingdom, more accurately England, I often wonder what is the potential in the future in script negotiations, optioning etc overseas? Is this possible, and if not would it be required to move to the wannabe writer over-saturated Los Angeles or attempt to firmly establish myself within my own countries Film and television network?

— Paul
Birmingham, England

Stay in England, study film, then decide whether it’s British or American movies you want to make. I won’t even try to describe the differences between the British and American film industries, but you’ll have a gut feeling about where your instincts lie. (Hint: If you find yourself saying, “This would be perfect for Jessica Alba!” then you belong in America.)

You’ll be at no disadvantage coming to Hollywood at 23 or 24, though you may find the visa situation a little trickier if you’re not enrolled in some sort of university program.


[Does a Brit have a chance?](http://johnaugust.com/archives/2003/does-a-brit-have-a-chance)
[Is film school necessary?](http://johnaugust.com/archives/2003/is-film-school-necessary)