John August

QandA

How do I find out who represents a given actor?

Film Industry, QandA

I was wondering if it’s possible for you to tell me what agency Freddie Highmore is represented by.

–Jessi

No. And not only because your question was posted in the comments section of a random, unrelated topic.

However, I can tell you how to find out Freddie Highmore’s agent — or any actor’s agent. All film actors belong to some film acting union or guild — that’s how they get paid residuals when movies come out on video and television. In the U.S., that means SAG (Screen Actors Guild); the closest U.K. equivalent is probably Equity, but I trust an experienced U.K. reader will correct me if I’m wrong. For whichever guild, look up the phone number, call them, and ask for agent contact information. Voila.

The same basic process can be applied to directors or screenwriters.

Now for the more difficult question: why would you need to know who represents Freddie Highmore? Unless you’re calling to offer him gainful employment, an agent is not the one to help you. If you simply admire Highmore’s work — and why not, he’s a remarkable young actor — you’re much better off visiting a fan site where you can bond with others who feel likewise.

Can you be just a screenwriter anymore?

Film Industry, QandA

Recently, I struck up a correspondence with a successful screenwriter and asked him for advice on how to move my career forward. He told me that I should focus on making films instead of writing them, because that now was the best if not only way to break in.

Do you think that is true? I was inspired to take up screenwriting by people like William Goldman and Richard Price, who worked in the business solely as screenwriters. That’s what you’ve been able to do thus far in your career. Is it still a possibility?

— Vince
Seattle, WA

While films, short and otherwise, are increasingly being used as the foot-in-the-door for young writer-directors, if your goal is to become strictly a screenwriter, I’m not sure it’s the best use of your time and money. Yes, it’s still viable to be “just” a screenwriter. Not only will Richard Price and WIlliam Goldman continue to work, but new screenwriters emerge every year, propelled by nothing more than the quality of their writing.

What may have changed over the last decade is the degree to which a screenwriter is required to have social interaction. The classic nebbishy writer who gets spooked by his own shadow would have a hard time in modern Hollywood.

Take me. I’ve produced and directed, but 90% of my work consists of pushing words around on the page. The other 10% is crucial, however. It consists of making phone calls, taking meetings, discussing notes, and feigning interest in terrible projects just to be polite. My writing is what makes me hirable, but it’s sociableness that gets me hired.

One reason this sucessful screenwriter may have given you this advice is because you’re in Seattle, and while it’s easy to shoot a film there, it’s harder to come in contact with the people (agents, managers, producers) who can help you get your career going as a screenwriter. Since you can’t do the social part of a screenwriter’s job in Seattle, making a film isn’t a terrible idea. But neither is moving to Los Angeles, which might be the better use of your money.

Very useful “Dead Zone” writer’s guides

Television

Last week, a reader asked if I could put up an example of a [show bible](http://johnaugust.com/archives/2004/more-dc-stuff-available-in-the-downloads-section). I didn’t have one to give. Fortunately, ‘DC’ wrote in with a [link to the writer’s guides](http://www.zen134237.zen.co.uk/Dead_Zone/) for USA Network’s series [The Dead Zone](http://www.usanetwork.com/series/thedeadzone/).

The guide for Season 3 weighs in as 108 pages of .pdf goodness, and includes summaries of all previous episodes plus guidelines for aspiring writers. Executive Producer [Michael Piller](http://imdb.com/name/nm0683522/) comes from the Star Trek camp, which has long allowed ardent fans to pitch potential episodes — very much the exception to the rule. Kudos to the producers for being so generous.

I’ve never watched The Dead Zone, but if I ever decide to catch up on previous seasons, I now know where to look.

Rewriting based on other people’s notes

QandA, Writing Process

questionmark I am about to begin work on a new draft of a script of mine that is currently under option with an Irish Film Production Company. I have been seriously writing for two years (since finishing up my Film & TV studies at college) and haven’t to this day had to rewrite one of my scripts based on outside suggestions.

I was just wondering, what tips you would have on re-writing? Are there any tips? Is there even a standard way of re-writing at all? How should I attack this new challenge?

— Kevin Lehane
Cork City, Ireland

The bulk of screenwriting is really screenrewriting. Whether it’s your second draft, or your seventeeth, you’re constantly trying to make the script better/faster/cheaper/funnier while not forgetting what made you write it in the first place. Here are some things to keep in mind:

1. Be bold. You always have the old version saved on the hard drive, so why not try that radical idea? The worst that can happen is that it doesn’t work. Even if it’s a disaster, you may discover some great things you can use in the less-radical version.

2. Have a plan. If you know what you’re trying to accomplish, you’re less likely to hit dead ends.

3. Don’t confuse rewriting with polishing. Rewriting means ripping apart scenes and sequences and rebuilding them piece-by-piece. Polishing is finding ways to make the writing subtly better: changing words, moving commas, and breaking up sentences. Both jobs are crucial, but don’t polish until the scene accomplishes its function.

4. When considering other people’s notes, focus on why they had an issue, not how they proposed solving it. If it’s not clear why a beat didn’t work for them, keep asking questions.

5. Always be willing to kill your favorite moments. To paraphrase Spock: The needs of the movie outweigh the needs of the scene.