John August

QandA

Robert Mckee

QandA, So-Called Experts

Have you taken Robert McKee’s screenwriting class? And if
so, what did you learn from it?
–Bill

To read his brochure, you’d think that everyone in Hollywood has taken McKee’s
course, but the truth is, I don’t know anyone who has.

Whenever I hear his
name brought up, it makes these tiny hairs rise on the back of my neck, because
it usually means the speaker is going to cite some piece of screenwriting gospel,
or use a clever word like "counter-theme."

I’ve never met McKee and have nothing against him, but to read his bio
it’s clear that he’s not a very successful screenwriter and never really was.
That’s not to say he can’t be a great teacher, just as many great film critics
are not filmmakers, nor do I think that there’s anything wrong with a screenwriting
class per se, especially if it helps you get off your ass and write. But I
would rather have dental surgery than go through a structural analysis of CHINATOWN.

The downfall of these classes and books (Syd Field’s is the best known), is
that the guru comes up with a theory about why scripts are good or bad, then
manipulates the examples to prove his or her point. I remember one professor
in graduate school who when confronted with counter-examples, would label some
of the greatest movies ever made "failed films," simply because they
didn’t fit her framework.

Overall, it’s worth reading a few books and taking a few classes to get a
handle on how Hollywood talks about scripts and movies. Internalize what makes
sense to you and chuck the rest. Kevin’s question goes right to the point:
You’ll learn the most by reading a lot of screenplays, good and bad, and learning
how they work.

The truth is, there’s no magic formula for writing a great script. (Or for
that matter, a commercial one.) Anyone who tries to convince you that theirs
is the One True Way is deluding themselves and you.

Scripts sold

Film Industry, QandA

Is there a site where I can
find out what some movie scripts sold for?

–Rick Weeks

Doesn’t anyone Google anymore? I just tried "script sales," and
found a dozen decent sites, including the cleverly named scriptsales.com.

Some sites require registration, and others are pay sites. (Such as hollywoodreporter.com,
one of the most trustworthy in my humble opinion.)

If you’re looking to find out how much a specific script sold for, try Googling
the writer’s name or the project’s title, or search inside Variety.com. But
be aware that the sales price is often not reported, or when it is, is often
wildly inflated.

Getting rights to a concept album

QandA, Rights and Copyright

I’ve
been writing a screenplay that is based on a certain concept album. I
was wondering where, how, and any other information that I would need
to obtain permission to adapt the work.

–Aaron

Standard
advice applies here: If you’re basing your work on someone else’s
work, then copyright probably applies, and you’ll need to get their permission
in writing at some point.

(I say copyright “probably” applies. If what you’re writing
is clearly a parody, you may be able to slip through. For example, if your
movie pokes fun at “We Are the World” celebrity sing-alongs,
you would likely be safely in parody territory. You’d also be a decade
or two too late, but so be it.)

The question of when you need to get permission is more difficult to
answer. If you’re just writing this for the hell of it, keep typing. Don’t
worry about getting anyone’s permission. But if you’re convinced
this will be your magnum opus, then it’s a good idea to start the
process of tracking down the copyright-holders. You’ll want to see if they’re
at all interested in working with you.

In the case of a concept album, copyright almost certainly rests with
the songwriters, so start there. Figure out who they are, then try to
find
contact information. Start with Google (since you’re already on-line),
searching for both the songwriter and the record label. If you don’t
have any luck, my next stop would be to call ASCAP and BMI in Los Angeles
(or Nashville, if it’s a country/western album), and try to find
agency or other contact information.

If you strike out here, your next best bet is the record label that released
the album. Ask for the legal department, and be as nice as humanly possible
while they try to direct you to the proper people. Your final option would
be to enlist the help of an experienced entertainment attorney, both to
track down the copyright holders and to help you draft any agreements you
need.

Being rewritten

Film Industry, QandA

I have written a script for a producer who says he will produce the film this
year. How exciting for me until I found out he has brought on another writer,
whose re-write is terrible. This would be my first credit, and wondered if
my chances at having a career are better with a produced script I don’t like,
or should I change my name for this one?

–B.U.

What a horrible situation. I’m sorry to hear you’re going through this. If
it’s any consolation, even more experienced writers with multiple credits find
themselves rewritten badly at times.

[Ahem.]

First and foremost, I don’t think you should take your name off the movie
until you see how it turns out. I speak from experience when I say that many
movies which seem doomed to suckdom somehow turn out better than expected.
A writing credit on a decent movie is better than no credit at all.

Also, a quick search through IMDb will reveal that many of today’s most respected
filmmakers have less-than-respectable credits. Ron Howard directed GRAND THEFT
AUTO. James Cameron directed PIRANHA II. They won Oscars,
eventually.

Since I don’t know all the details, I’m going to make some assumptions about
your situation. I’m guessing you’re not a member of the Writers Guild, and
that the producer is not a WGA signatory. (A signatory means that the producer
has signed an agreement with the WGA promising to abide by certain rules of
conduct.)

There are two reasons the WGA could be important here. First, the WGA guarantees
its members the right to use a pseudonym. Theoretically, this producer could
decide to use your name even if you didn’t want him to. Second, the WGA determines
final writing credits for movies under its jurisdiction. Since you were rewritten,
the issue of who deserves credit could come up. If the WGA is not involved
in the movie, the producer often determines credit by himself.

For now, assuming your relationship with the producer is decent, I’d hold
tight and see how the movie turns out.