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Scriptnotes, Ep 55: Producers and pitching — Transcript

September 20, 2012 Scriptnotes Transcript

The original post for this episode can be found [here](http://johnaugust.com/2012/producers-and-pitching).

**John August:** Hello and welcome. My name is John August.

**Craig Mazin:** My name is Craig Mazin.

**John:** And this is Scriptnotes, a podcast about screenwriting and things that are interesting to screenwriters.

Craig, how are you? How was your first week of production?

**Craig:** It was good. Everything’s humming along. And that’s all I can say. [laughs]

**John:** This is your day off though, right?

**Craig:** Yeah. A little bit of a day off today.

**John:** So, what people may not understand is that when you’re in production you’re usually shooting either 5-day weeks or 6-day weeks. You’re in town, so it’s a 5-day week?

**Craig:** Yeah, well, sort of. I mean, for a lot of the schedules that I get involved in sometimes you have — I mean, I haven’t done a 6-day week in a long, long time. That’s really a low budget kind of thing to do. But some weeks you do do six days, and then other weeks you’ll do four days, because when you’re dealing with actors, particularly in comedies, almost every — no, half, let’s say, of comic actors are also on TV shows. And you can’t always shoot inside of everyone’s hiatus.

So, sometimes you have to adjust your schedule to work with their TV schedule. So you end up with odd weeks. I mean, our weeks are mostly 5-day weeks, but they’re offset in strange ways. So I have weird weekends that aren’t actually the weekend.

**John:** Yeah. If you talk to people who work on movies or on TV shows, you often find that their weekend is like a Sunday and a Monday, or a Monday and a Tuesday. And some of that reason may be because they need to shoot locations that would be occupied during weekdays. And so they need to shoot those locations during weekends, Saturdays and Sundays. And so their schedule might be Tuesday through Saturday or Wednesday through Sunday. And it’s a busy, complicated life.

The other thing to understand is that typically over the course of a week’s production you might start like at 6am on the first day and you’re shooting 12 hours or however many hours you’re shooting. But your schedule sort of drifts over the course of that week. And so by the time you’re into your Friday or your Saturday you may be starting at like three in the afternoon and going to like three in the morning. And your turnaround, which is the time between when you wrap it up and where you start the next day’s production, or your weekend in that case, you may have really eaten half of that day because you shot so late into the next day.

**Craig:** Yeah. Production isn’t exactly the healthiest thing for your body. I mean, we have rhythms and we like to sort of wake up around the same time and we like to go to bed around the same time. And you simply can’t do that with production. Two reasons: One, as you mentioned, there are locations that sometimes don’t allow you to be in certain places. The other issue is that when we shoot at night you have to suddenly be nocturnal. And then there are splits where you shoot half of day, half of night.

And then the phenomenon you’re describing, the kind of call time creep occurs because there are rules governing how much time off, crew, everybody gets between when you finish a day’s work and when you start the next day’s work. And I think it’s 12 hours. So, if you go over your normal 12-hour day, and that often happens, the next day you just start that much later in the morning, and so, you know, when you have movies that are constantly going over, by the time you roll around to Friday you might be starting at three in the afternoon because you finished at 3am the night before.

**John:** Yeah. So it becomes complicated based on your locations, based on your actors, based on everything else. And as you get more experience with this as a screenwriter you may find yourself not writing so many night exteriors that sort of demand to be shot out at night.

My first movie that was in production, of course, was Go. And Go takes place entirely at night really. And that meant we were outside at night, all night, for 30 days of production. And that got to be a real drag.

So, I wouldn’t do anything different about Go, but other movies I’ve written in the future I’ve been very mindful of “Is this a movie I would want to direct,” for example, “that takes place so much at night, so much in exteriors?”

**Craig:** You know, it’s one of those things when you’re in the middle of it you think, frankly everything about movie production I’m constantly thinking, “I can’t believe this is the best way of doing this.”

And I start to understand why guys who have been around for a long, long time start to drift towards mo-cap, because for somebody like Zemeckis or Spielberg, and they’ve done all these movies, they’ve gone through this harrowing physical trial so many times. The thought of being able to just shoot a movie in an air-conditioned room without running around and standing in the heat, it’s very seductive.

But, the truth is I love writing stuff that happens at night because I find night to be just more cinematic. You know? I’m always writing stuff — I love it.

**John:** The best part of shooting at night is also sometimes things just are quiet, and there’s not a lot of hubbub, and you can sort of create your world yourself, and there’s not just distractions. You just do your thing. It can be a nice thing, too.

**Craig:** Yeah. And I don’t know, there’s a weird, there’s just a cool vibe at night. I don’t know for whatever reason. And the weirdest thing, you know, when you make movies you hear about this in pop culture, people know about this phrase, “We’re losing the light.” You know, you’re always racing daylight if you’re doing a day shoot and trying to get that last shot in before the DP says, “No, we officially have crossed into evening.”

But the weirdest thing is when you’re chasing dark.

**John:** Yeah.

**Craig:** You know?

**John:** That was Go.

**Craig:** It’s just wild, yeah.

**John:** Because we were shooting these last little… I was directing second unit on Go, and we’d be shooting these insert shots like in an alley. And the sun would be coming up and you’re like, “No, no, no, hurry, hurry!” And just trying to block off the light. You’re trying to pick up flags just to make it a little bit darker here so you get his one last shot.

And you’re so exhausted. I remember thinking, like, “We should just build some sort of rocket that we could shoot at the sun to a make it dark.” And you can’t. That would not be a good — probably — thing for the world.

**Craig:** [laughs] I just like the idea that people would look up and riots would begin as everybody understood that the world was ending, the sun was not coming up, and then finally somebody would announce, “No, no, no, it’s okay; it’s just for the next 20 minutes because a guy somewhere needs a shot for second unit.”

**John:** Totally. It’s completely worth it.

Today, Craig, I thought we would talk about two main topics. The first is what producers do, and specifically what they kind of don’t do. And I also thought we’d talk about pitching and sort of how pitches work, because I’m busy with a pitch right now and I think I have some things to say about it. But we also have some follow up, so let’s start with some follow up.

**Craig:** Okay.

**John:** First up, a couple weeks ago on the podcast I was sort of venting about how, or at least my perception is that if you look through negative reviews of a movie, they’re much more likely to mention the screenwriter than they are in a positive review of the movie. And I didn’t have any scientific facts to back this up. There is just my perception.

And so I asked if there’s anybody out there who wants to do a study where they’re looking through all the reviews in Rotten Tomatoes for a subset of movies and figure out if that’s true or not, and I would really value that data. So, someone stepped up and did it. So this guy named Tim in Hollywood did it.

**Craig:** Awesome.

**John:** And so he just sent the report, which I haven’t looked through, so I’m only going to read you a little bit from his email. He says, “The report is enclosed, but the short version is: you’re wrong. The opposite is true. Critics are much more likely to mention the writer in a positive review, at least based on this data.”

**Craig:** Wow. Well that’s really encouraging. I mean, I’m glad we’re wrong. We’re wrong, because I agreed with you. That’s great to hear.

**John:** Yeah. So I will look through it and I will post it if it’s something that we can discuss and share with everybody else. But I just thought that preliminary finding was interesting. And I’m happy to be wrong. I think people who always want the facts to back them up, they don’t really want the facts, they just want validation.

**Craig:** Listen, you and I…very early on I understood shared one thing strongly in common, and that was our love for human fallibility, and fallacies, and broken thinking. I’ve always been fascinated with that. And obviously this is a great example of kind of the fallacy of the observer. You know, we see the things that are connected to us emotionally or meaningful and we skip over the things that aren’t. And so I love that. Good.

**John:** Good.

Second piece of follow up. Dave writes in: “In episode 33 someone asked about an immigration issue. I am still at the point of my career where I have a day job, and that day job is at an immigration law firm doing what is called 01 visas. 01 visas are for ‘aliens of extraordinary ability,’ basically successful individuals in the entertainment industries. In theory this is for Academy Award winners and movie stars, but I get in many people with as little experience as one or two credits for independent films.

“I know what a pain it is to get legal working status and how difficult it must be for that reader dealing with doubly uncertain futures, both as a screenwriter and a non-citizen, so I just wanted to reach out in case there’s a question you find yourself addressing again.”

So, thank you, Dave, for writing in. So what Dave is doing is he works at an immigration law firm, and the kinds of people who want to come to America to work in film or television, he’s the kind of guy who processes that stuff. And so if you find yourself having made a movie oversea and wanting to come to the US, that’s good news.

**Craig:** I get it. So if you’re Daniel Day-Lewis, and I presume he’s a citizen of the UK, and you need to come here to do a movie, you actually do have to get a work visa, and somebody has to actually tick off which box you are. And it turns out that somebody like Daniel Day-Lewis is an alien of extraordinary ability.

**John:** Yeah.

**Craig:** That’s great.

**John:** I like that term.

**Craig:** Yes.

**John:** Another piece of follow up on HSX, which I think we talked about in the last podcast.

**Craig:** Yeah.

**John:** So Hunter Daniels, he writes in: “Cantor Fitzgerald did try to make a real-life HSX a few years ago and it fail for a plethora of obvious reasons, but you left out one important fact. Cantor Fitzgerald actually owns and operates HSX. They’ve been using the game to develop the real world version for a number of years. I know because I was part of the beta testing when they got close to asking for regulatory approval.

“Also in regards to your contention that nobody looks at HSX and that it’s an inaccurate tool for box office prognostication: I would have to agree. See, Cantor Fitzgerald runs HSX at a profit because they do mine data from stock movements on the site and sell them to someone for market research purposes. A few weeks out from release, HSX is a very good tool for those who track US grosses.

“For example, the current HSX for Frankenweenie is $46.33, which works out to an expected opening weekend of $17.1 million. It’s not always accurate. For example, fan-boy movies like Prometheus and Scott Pilgrim will always be overpriced while African-American themed movies are almost always underpriced, but again, this actually mimics real world tracking data which is almost always wrong about black-centric breakouts and fan-boy bombs.”

**Craig:** Ah, okay. I mean, well that’s interesting to know that they own it. The fact that they sell that data doesn’t necessarily mean that the data is valuable. It just means that somebody is agreeing to buy it.

**John:** True.

**Craig:** I mean, I’m still skeptical about the relative value of it. I mean, for instance, NRG, which is the largest box office prognosticator and tracker in our business may very well purchase information from HSX to help them perform their analysis. But, I’m not sure it’s reasonable to say that simply because someone’s buying it it means it’s worth something.

**John:** Yeah. Again, this does feel like a thing that someone could study and really figure out: how close were they to predicting box office? And I’m sure somebody has studied that. So if you have a great link that shows how accurate the prognostication is from HSX, that would help back up this assertion.

**Craig:** Yeah.

**John:** Yeah.

So, a question, not a follow up here. Micah from LA asks, “What are the rules pertaining to naming screenplays the same as previously published films? Or, to take it a step further, what if you have dreams of adapting your screenplay into a different medium like a graphic novel, but there’s already a graphic novel with the same name? Are there any copyright rules for doing this? One search for IMDb for a film called Heat and you see a bunch of different films, so I imagine it’s doable. I don’t want to bring litigation monsters to my doorstep. What do I do?”

So it’s really a couple different questions tangled together, first about how you name movies, and then about how you name other properties, and what’s protectable and what is not protectable. So, should we start about how movies get named?

**Craig:** Well, yeah, movie titles are actually governed by the MPAA, the same organization that handles the ratings for movies. It’s a trade organization. And so all the members of the MPAA, and you would want to be writing — I mean, I’m assuming you’re writing this for a studio and not for a little independent thing. But, all the members of the MPAA, the big studios, they just agree that this central governing body is going to kind of serve as a clearinghouse for titles.

And the rules about what title you can and can’t use are rather arcane, as you might imagine, because it essentially is kind of a Star Chamber thing. For instance, the very first movie that I ever wrote, I wrote with my then partner Greg, and we titled it Space Cadet. And Disney bought Space Cadet and they made Space Cadet, but as they were going to production as a matter of course they registered the title with the MPAA.

And the MPAA came back and said, “Oh you can’t. George Lucas actually has already registered Space Cadet. He’s going to make a movie called Space Cadet.” And I think Disney said, “Prove it.” Like you can’t just register a title and have nothing. I mean, but you know, if you can show some documentation that you’re working on, sometimes you can buy the title from people. But George Lucas said, “No, no, no. I’m definitely making a movie called Space Cadet,” which as far as I know he has never done.

So we had to change the name of the movie. But that’s really an internal battle between the studios. It doesn’t impact us as screenwriters. The only real rule of titling for me is don’t title it something that’s overtly misleading. Don’t title your screenplay Raiders of the Lost Ark 5, because that’s ridiculous.

But, it’s not our problem. It ultimately is the studio’s problem. Now, this other issue — what was the other issue exactly?

**John:** The other issue is if he wanted to do a graphic novel or something that wasn’t a movie, and he was concerned about a conflicting title. And so this really gets into understanding that copyright does not protect title. And some titles can be protected by trademark, but trademark is a whole other separate crazy barrel of fish.

**Craig:** Yeah.

**John:** And trademark is something that can protect a brand when it’s more than just a title for a graphic novel or for something else. It can protect like a toy line, or a line of licensed merchandise. And I just don’t know enough about it to speak.

**Craig:** Well the basic rule of thumb with trade… — See, copyright is something that’s hard. Either you have authored this unique expression in fixed form, or you haven’t. And then there’s proof in the documentation and the documents are compared. Trademark ultimately turns on a question of interpretation. And the interpretation boils down roughly to: Are you capitalizing on marketplace confusion? That’s basically the deal.

So, I trademark something, you can’t come along and use my trademark in a way that confuses the market into thinking that I’m doing it or you’re a part of me. This is why, for instance, when Apple was sued by the Beatles Apple, part of the deal, part of the settlement, was Apple Computer will stay out of the music business, because that’s what the Apple Publishing was in the UK. And they’re basically saying, “You’re confusing the marketplace. Apple here means music, so stay out of music.”

Then, of course, Apple went into music in a huge way and so on and so forth. But, that’s why for instance companies that have these — brand names that have become generically used like Kleenex…

**John:** Linoleum.

**Craig:** Vaseline. If they don’t aggressively protect and defend their trademarks they lose them, because basically the courts say, “You haven’t really been trying to stop marketplace confusion; in fact, you’re kind of capitalizing on marketplace confusion. You like that everybody calls petroleum jelly Vaseline. So, no, now everybody can.”

And so this is why as of late companies get super duper uptight about — like Pampers, I remember when I was a kid. Pampers, I think, at some point had to really struggle to not have all diapers called Pampers.

**John:** Yeah.

**Craig:** But, again, not a writers problem. We don’t have to worry about this so much. As long as you’re not being intentionally misleading, you are fine.

**John:** Yeah. You should be focusing on, like, what is the best title that feels right for your movie, and don’t worry that back in 1947 there was something else called that.

**Craig:** Yeah. Because when you sell it, or when somebody publishes it, their legal department will step in and lay it out for you. And then you’ll make a decision.

**John:** A couple helpful suggestions. So, a project I setup fairly recently we haven’t announced yet, but when I turned it in they were like, “Okay, and now we’re going to make sure we can clear that title.” So what they’re really trying to do is they’re going to register that title with the MPAA and make sure that there’s nothing else that’s going to fight it, because they really do believe they’re going to be able to make a movie out of it pretty soon.

When I had the idea for the title, one of the things I could do was register the domain name for it. That doesn’t help me protect anything about trademark, or title, or the movie version of it, but it just means that I can have the URL for the movie, which is helpful down the road, just for promotional purposes.

For a TV project, you will hear the same kind of thing, where if you have a title they really like they will try to clear it. And by “clear it” they mean making sure that there’s no other competing TV projects this season or any nearby season that’s going to confuse people.

**Craig:** Exactly. I mean, you can’t, and even though Cheers has been off the air for decades, you can’t call your new show Cheers.

**John:** Yeah. Cool.

So, let’s get into some of our bigger topics here. And this is actually — a couple different listeners sent this in saying like, “Hey, what do you think about this?” And I’m like, oh, I didn’t even want to open the URL when I recognized what it was from, but it’s probably worth talking about.

So, there’s a blog called Scriptshadow, and my first interaction with Scriptshadow was when the man who runs the blog, Carson Reeves, had reviewed a project that I was currently rewriting. So he had read the script and written a detailed blog review of this script, this early draft by another writer, and I was the currently employed writer on it. It was, like, a pretty high profile project at that point. And so the studio I was working for went ballistic and got him to pull the review.

And that was the end of it, I think, from his perspective. From my perspective, his publishing this review of this other writer’s draft made my life horribly worse, because suddenly I was having to sign all these things about, like, I couldn’t send this script to anybody. I couldn’t show it to my agent. I couldn’t show it to my sort of trusted friends. I could only send it to this one executive. Everything had to be watermarked, and they got super paranoid about this.

And in a blog post I wrote up sort of my frustration, and so the blog post was called “Why Scriptshadow hurts screenwriters.” I explained that reviewing a script of a movie that hasn’t shot yet, hasn’t come out yet, is really damaging for both the movie and for screenwriters. It’s damaging for the movie because you’re trying to review something that’s still its fetal form. So you’re pretending that this movie is the way it’s going to finally be. But it’s not. This is just a plan for, “At this moment this is what we kind of think the movie is going to be.”

For screenwriters overall, it’s incredibly damaging, because I suddenly couldn’t go to the trusted people who I want to have read my script. What’s worse is that sort of forcing us to lock down the script, I can’t let anyone else read that script if it’s sort of stuck in development for awhile.

You have to understand that when you’re hiring screenwriters you are going to read scripts, their spec scripts. You’re going to read stuff that’s of movies that have been made, but you’re also going to read the stuff that’s in development, and that stuff does get handed around. And the rule is, like, just everybody be cool about it. Like you can pass the stuff around, just don’t talk about it that much.

This script I wrote for them I can’t show anybody now because they sort of had it on this crazy lockdown. So those were my frustrations with Carson Reeves’s Scriptshadow that is the back story that I needed to sort of setup for this newest blog post.

**Craig:** And just to echo your thoughts here: Reviewing screenplays that are in development is a stupid, counterproductive thing to do. It is anti-writer. And it will make movies worse. Please don’t do it.

You don’t review food as the chef is cooking it. We have drafts for a reason. You cannot write a final draft first. Anyone who actually writes for a living, who understands what writing, or painting, or writing a song, or sculpting something knows what I mean when I say it’s not done. We’re working — ING — on it. So if you put it on the internet like it’s done and review it like it’s done, you are hurting something that was not meant to be read or seen.

Please be respectful enough to just wait until it’s done. How hard is that? How hard is that? And I just find it so frustrating that people in their desperate need to be involved somehow, or to release a secret for whatever small burst of adrenaline that gives you, ruin something that somebody is working on. And they don’t all turn out great.

But, you know, the example I always give is The Sixth Sense, which is one of my favorite screenplays. He wasn’t dead the whole time until like the sixth draft. You know what I mean? You have to wait. Just wait.

**John:** Yup. It’s that need to be first, and that thrill at being first is why you — is that instinct to talk about it before it’s ready to be talked about. But I think your cooking analogy is exactly right. It’s not done. It’s still in the oven. Stop. And that’s maddening.

**Craig:** Yeah. Stop.

**John:** So, anyway, that was my earlier rant, so recycling a rant from two or three years ago. So, the thing that people sent in this last week was about this guy Carson Reeves who has continued to read a lot of screenplays, and I guess to his credit I will say he’s moved his focus from reviewing in-development drafts at major studios to things that people send in, like aspiring screenwriters’ stuff. Things that would kind of show up on the Black List, that kind of stuff.

And I still don’t think that’s right. I think reviewing something that a writer has written without sort of their blessing to review it is a concern, but it’s not — this isn’t in the development chain. So, I’ll at least acknowledge that.

Now his new thing, so I’ll quote little parts of the blog. “My readers are asking me, ‘Why aren’t you producing. You’re finding material. You’re bringing it to the rest of the town. That’s one of the hardest and most important things a producer does — find material.’ Hmm, I thought, I guess they were right. I was finding material. I could do that.

“All of a sudden I looked at producing a whole new way. Therefore, what I’d like to do instead is find material through Scriptshadow, partner up with a much more established producer — say Scott Rudin — sell the script to one the studios with both of us attached, and then let him use his muscle and expertise to get it through the system. In essence, I would be more of a silent producer. I’m in it to learn because, let’s face it, I don’t know what I’m doing yet. I mean, I can help a writer whip the script into shape, but I can’t call Tom Hardy and ask him if he’s free in three months to shoot a desert zombie film.”

So that’s an excerpt from a much longer blog post which I’ll link to in the show notes. But I thought it was worth discussing because it raises some misconceptions about what producers are, what producing is.

**Craig:** Yeah. I mean, first of all, John, you know, a lot of people say to me, “You have all these really cool thoughts about movies. You should write some movies.” And I thought, yeah, that’s right. I do have really cool thoughts about movies. I should write some movies. But, I don’t know how to write a movie. So what I should do is partner up with somebody that does know how to write a movie like, say, John August. And then he’ll write the movie and I’ll just be sort of be like a silent writer.

And then we’ll sell that screenplay to the studios with both of us on the title page, but I’ll let him use his talent and expertise to kind of get it there, and on the way I’ll learn.

**John:** And I know that’s meant in a mocking way, but I think he actually does think that way — I think a lot of people do think that way, too. It’s like, I get emails and the person is like, “Hey, I have a really good idea. Would you want to partner up on a script with me?” And I’m like, “…But! …But! …No.

**Craig:** No. Why? I don’t need to partner on a script with you. You know who I need to partner up on a script with? A writer who’s writing pages. And my point is here — ugh — okay.

**John:** This is really, just, so much umbrage, yeah.

**Craig:** So I don’t want to go crazy too early. I don’t want to peak here at minute 20, or wherever we are.

Look, yes, people are sending screenplays to this guy because they don’t have anywhere else to send screenplays to. Or, I should take that back: They have lots of places to send screenplays. Those places aren’t reading their screenplays, or they’re rejecting their screenplays. So they send it to this guy.

And I do think anybody that finds unfound screenplays and loves those screenplays and reviews them positively and promotes them is doing god’s work. For the life of me, I don’t understand what the value is in finding somebody’s screenplay that is unfound, not liking it, and trashing it, because I don’t really think you’re changing the universe at all there, you’re just complaining. But promoting, I get it.

Like the Black List is a really, really cool thing. And if Scriptshadow promotes, finds a great script and promotes it, and somebody picks it up and buys it, fantastic. But, sir, that’s where your value is and that’s where it ends. Producing has nothing to do with that, at all. There’s no finder’s fee here. Wouldn’t it be great if that’s the way the world worked? But, in fact, you haven’t done the work beyond just simply reading it.

There are people who kind of have offices in Hollywood and sort of do that kind of thing. They end up very tangential to the process anyway. And ultimately the people that do the real work of producing, which we’ll discuss in a second, just employ a lot of kids out of college to do what you’re doing, which is just to read stuff.

**John:** That’s exactly what I did as my first job. I got paid $65 a script to read and write up the report.

**Craig:** That’s what it’s worth.

**John:** He’s just writing coverage.

**Craig:** Right! That’s what that’s worth. That does not make you a producer. That just makes you one of a thousand people who read scripts and go, “Ah, this is pretty good. Let me now give it to somebody that does the work of producing,” which is not the same thing as just reading through lots and lots of scripts and going, “Well this one’s pretty good.”

**John:** So let’s talk about the work of producing. And, I think the way to think about a producer is it’s the CEO of a corporation. And that corporation is the final movie. And so it’s the person who says, “I see what this idea is. I can build this idea. Bring in all the necessary talent to make this into a great movie. And put it out in the world that everyone will enjoy it and it will continue to have a life 20 years from now.”

It’s the cradle to the grave, but not even really a grave because you’re going to keep it going, vision behind the movie. And he wants to do this tiny, tiny little sliver which is, “There already was something, I thought it was pretty good, and I handed it to somebody” — that’s what he wants to do and call himself a producer.

**Craig:** Everybody wants that. Everybody. I mean, like you, I can’t tell you how many times people have said to me, “I have a great idea for a movie. You could just write it up. I just need somebody to write it, but I have a great idea.”

Well, the “I just need” part is actually 99.99999% of the job, just so you know.

**John:** So let’s talk about some of the more specifics in terms of what this — Scott Rudin — let’s just say Scott Rudin would be doing here. So, Scott Rudin was the person who was like, “Okay, this script came into my hands.” And so maybe Carson Reeves handed him that script. Okay, that’s great. You are a reader, but this reader handed him a script.

**Craig:** Right. Now what?

**John:** Scott Rudin has to say like, “Okay, reading this script I know that these are the ten different ways I can get this movie made. And I have to make decisions about who, like first off, what needs to change in the script. Is the script as good as it can be? Is it the script that it should be to make the movie we want to make?

“Next, who do I want to get involved? What studios make sense for this? What actors make sense for this? What directors make sense for this? In what order should I try and go after those writers and actors and directors and studios so that we can get to the next stage? How much should this movie cost? Where should we shoot this movie? Who should we get in all the different department heads to make the best version of this movie?

“Once we found who the director is, how can I protect this woman from all the vagaries that are going to come at her and sort of let her make her vision for what this movie is going to be? How do I step in when her vision for what this movie should be is not really the right vision for what I know this movie needs to be? And how do I serve that function?

“How do I deal with the marketing of this movie? How do I yell at the marketing chief when I don’t like any of the one sheets that they’ve presented me?”

**Craig:** “When is the movie going to be released?”

**John:** Exactly. “And is this the right data based on all the competing movies that might be coming out on that date?”

**Craig:** Exactly. “Is the final cut too long? Is the final cut too short? What scenes should we keep? What scenes should we lose?” It’s a never ending job.

It’s sort of like if you combine matchmaker and wedding planner into one gig, you know. The producer isn’t the person that provides the love. I always think of the writer and director and cast as providing what is the love of the marriage, but the matchmaker puts them together. The wedding planner makes sure that the caterer is there on time, does all the stuff you don’t see. Makes sure that everybody’s in place and the video is there, and the DJ doesn’t play the wrong song. All that stuff.

Movies are a massive undertaking. You’re turning this huge ship all the time. And at every stage there is something different you have to deal with. And at every stage there are different powerful people you have to deal with. And doing all of that — I mean, I wish there were more people that were good at it. There are a bunch of people out there that are good at it, probably fewer now than ever, before because studios I think very intentionally have limited the power of the producer to reserve more of it for themselves.

But, the least of it, I mean the least of it, is doing what the average $20-an-hour coverage person does.

**John:** Yes. So, here’s what I would say: If Carson Reeves were serious about taking that next step and becoming a producer, some of his instincts are almost kind of right, is that he does need to learn — he understands what he doesn’t understand, which is good. He’s like, “I don’t know what I’m doing.”

He would need to find somebody who actually does know what they’re doing, but he would also need just to learn the job. And he would need to learn the job making a tiny movie and doing all of the stuff that he has to do. That sense of like, “I’m going to go from 0 to 60” is crazy. And that anybody would want to help in and involve him at this stage is nuts.

**Craig:** It’s naïve. And I think that, you’re right, there is something refreshing about his honesty here, but I want to point out this — there is something that comes out of the internet that I find fascinating, and revealing.

A lot of people who address what I’ll call Inside Baseball Hollywood Topics, like producing for instance, from the vantage point of the internet, come at it from a “we’re the cool new guys and they’re the old school guys, and we get it; we have this really cool perspective on it. We are the next generation.” The closer they get, suddenly the more they are interested in getting the hell away from the internet and getting over to that apparently old stale institution called Hollywood, because the truth is everybody that gets close understands pretty quickly in fact that’s where the real deal is.

That the internet is no more than really just a very good megaphone for individuals writing flyers, and actually making movies is still where it’s at. So, what I would say to anybody who’s on the internet who is kind of tangential in this way and wants to get involved in the real deal: Do what people who want to get involved in the real deal do, and don’t overestimate the value of your blog experience, which is essentially zero.

I mean, you are now definitely, I would say, anybody that does what he does is certainly qualified to be a reader at a studio, but again, that’s a galaxy away from being a producer. So, start by becoming a PA. Start by working for a production coordinator. However you want to get there, do it the old fashioned way, because that’s pretty much the only way that it works, as far as I can tell. You actually have to learn the gig.

**John:** This reminds me of an article I real this last week about Pauline Kael, who was a tremendously gifted and influential film critic. And what I hadn’t realized is that at one point in her career, like after she was a successful critic, she was brought in to, like, “Well, help us out on movies. Help us out — produce some movies for us.”

**Craig:** Yeah, I read that.

**John:** And it didn’t work out well.

**Craig:** No.

**John:** Because it’s a very different skill. And the skills that made her good at analyzing movies, the finished product of movies, and made reading her writing about those movies so rewarding, did not translate to the actual making of the movies.

**Craig:** No.

**John:** And that’s because it’s a very different thing.

**Craig:** Yeah. Analysis and creation are so dramatically different. And I guess the way I would put it is people who analyze know how to analyze; people who create know how to create and analyze.

**John:** Mm-hmm. And god bless analysts. God bless people who can figure out stuff. God bless Tim in Hollywood who went through all that data on movie reviews for me so he could prove me wrong. That’s great. But analysis isn’t creation.

**Craig:** Correct. Correct. But those who create must also know how to analyze, at least in Hollywood. And so I just feel like, I love the guy for sort of saying, “I don’t understand what producing really is, and I wonder what it is,” but this is a very naïve approach.

**John:** I would agree.

**Craig:** The internet is really good at confusing people into overvaluing. I mean, look: If we’re to take these podcast numbers seriously, you know, eventually we’ll get to a million people listening to this. But, you know, it’s a podcast. [laughs] You know what I mean? We’re not on Sirius XM. We’re not Howard Stern.

**John:** We’re not.

**Craig:** No.

**John:** That’s okay. I don’t need to be Howard Stern.

**Craig:** Yeah, you know, I think it would be cool. [laughs] Just a little bit.

**John:** So, switching topics. Next I really want to talk about pitching, because I have a new project that I’m taking out and pitching this week, and it’s actually been really kind of fun. And when I first started out doing this crazy thing of screenwriting, pitching was by far my least favorite part. I would get completely nervous. I’d freak out the night before and I was like sort of rewriting it and trying to figure out how much I wrote down beforehand and how much I was sort of delivering a canned performance versus sort of making it feel extemporaneous and free.

And it’s gotten much, much easier. So, I wanted to share a few things I’ve learned along the way and hopefully you can chip in with some good suggestions.

**Craig:** Great.

**John:** I always describe a pitch as imagining you just saw a great movie and you wanted to tell your best friend they had to see the movie. You had to convince them. A pitch isn’t going to lay out every beat that happens, exactly how it happens. You’re sort of going to give them the highlight reel. It’s sort of almost like a trailer for what your project is.

You’re going to start with, “This is the world, these are the characters; these are the big things that happen along the way.” It doesn’t have to be exactly in sequence. The logic doesn’t even necessarily need to be the same logic that you will use in your final screenplay. It’s just giving them the sense of, like, “This is what the movie feels like.” If they were sitting there watching the trailer, this is the experience they’d get.

A crucial thing I learned early on is that you will go in with a plan for, “If I need to pitch the whole movie and people start to ask for real details, I know it all. But I can also give them like the two-minute version, the five-minute version, the 10-minute version.” You have to be able to sort of telescope in and out a little bit, because you’re reading the room and hopefully they’re going to love everything you’re saying, but you look for that moment where like their eyes start to close a little bit and their attention is starting to fall off. You have to be ready to jump to the next thing and sort of get through it more quickly.

Craig, when you’re going into pitch a comedy how much detail do you know about the whole world? How much are you trying to create a performance for just that room versus sell the whole movie?

**Craig:** Well, I approach it pretty much the way you approach the job. I mean, to me pitching is really about saying, “I just saw this awesome movie; let me tell you what I saw,” and pitching it the way we used to — remember when we were kids and we came back from Empire and we were like, “Oh my god, you’re not going to believe it…” Because we didn’t respect spoilers back then. We were 9 and it was just so exciting.

“And then, and then, and then,” but that was all very plot-oriented, and I think now as I go into these things I try and tell the story as if I just saw the movie, but I also try and ground as much as possible inside of the character, and what the character is thinking, and what the theme is, and why it matters.

And I liked what you said about prefacing everything with a little bit of an introduction. And I like to introduce things by saying, “This is why I’ve always wanted to write a movie like this.” Or, “This is what I’m interested in.” I want to put the story I’m telling in the context of a personal passion, because I just think that immediately, that immediately dispels what — there’s a stink in the room. And the stink is cynicism, because when somebody’s coming into pitch, they’re there to sell you something. They’re knocking on your door with a vacuum cleaner set and they want to sell you something. And everybody knows it and it’s a little bit cynical.

And I like to kind of broom that stink out by saying, “Yes, sure, I’m here to sell you vacuum, but actually this is emotional for me, and here’s why.” Even for a comedy. There’s something at the core of it that matters to me.

**John:** You need to sell them on, “This is the movie I want to make.” “This is the TV show I want to create.” “This is the vision I have for it.” So, it’s not about, “This is the show I want you to pay me money for,” it’s like, “This is the movie or the TV show I want to see on screen in a year.”

**Craig:** Exactly. And that’s for everything. Even if the movie itself is a genre piece that most people would consider to be crassly commercial, you have to love it somehow, or else everybody is like, “Okay, well I get it. You’re selling widgets. And you’re calling it widget. And we’re widget buyers. Ah, I don’t know. I could I guess.”

**John:** I would also stress you have to really look at it from their perspective and try to make sure that you’re tracking the logic from their perspective. Like, what is the next question they’re going to ask. And sometimes you have to just let them ask the question. You have to sort of anticipate, “Well, they’re going to ask me a question about this now,” and so you need to be able to answer that question. Lay it out from the perspective of the characters. And so talk to them at the start — “these are the four characters we really need to pay attention to” — so they can listen for those and they can actually track what’s going on in your story through those characters.

And they can see like, “Okay, we’re here, and now we’re here, and we’re here.” And if you end up with one on of those stories that is complicated, where there are like these subplots and stuff, sort of bundle them together. And you can say, “Okay, let’s stick a pin in that for a second because I need to tell you about this.” Or, like, “Meanwhile back at the ranch,” so they can understand sort of where your story is flowing.

**Craig:** Yeah. And this requires some practice. It’s a good thing to pitch to somebody and just have them stop you every time they get confused, lost, or bored.

I also say, if I’m pitching something to somebody I’ll say, “By the way, at any point if you have any questions stop me. I’m not here doing a monologue. This isn’t Hal Holbrook as Mark Twain.” Because I find questions to be a sign of interest.

If you think about when you get bored during things it’s when you start having questions about them but you don’t have any opportunity to answer those questions, so suddenly you’re drifting, and the questions start to pile up. And once you have two or three questions that have piled up in your head while you’re patiently waiting to figure out what the hell is going on, you immediately start concluding that this just isn’t very good. It might be very good.

**John:** You lost faith.

**Craig:** There might be great answers. But give people an opportunity to stop you and ask.

**John:** Yeah. So, the last thing I’ll say about pitching today is what’s been weird about this week is I’ve had to pitch the same project to multiple places, back to back to back. And you can sort of get, I mean, you get a little bit frozen. This is sort of the performance you give each time. So, I pitched it three times in a row, and then I had like a week off and had to pitch it again. And I was nervous, like, “Am I going to be able to do the same thing again? How am I going to be able to recapture all of the same sort of enthusiasm?”

What I found most helpful is I have my little pitch document, which is like a two-page thing that sort of outlines what’s in there. And I went back through and I rewrote that, because I found that the process of rewriting it sort of got it reenergized in my brain in a way that I could sort of give the pitch again and it has new life and it has new details. And so it is interesting for me.

Because if you’re not interested in the pitch, they’re not going to be interested in the pitch. So, you have to sort of be able to kind of surprise yourself with the new stuff that you’re adding.

**Craig:** Yeah. You know, there is for me every pitch, even if the content doesn’t change, every room is different. And if you watch actors working together — and I always say if you want to be a screenwriter take an acting class. There’s a class that’s actually worth something. Because you learn skills in acting class that not only help you write for actors, but it helps you just talk to people.

And the secret to talking to people, and that’s what pitching is, is listening. And the first thing I do, just automatically when I go in to pitch something is I just listen for a moment to what the room sounds like. Is it a quiet room? Is it an amped up room? Is it a feminine room, a masculine room? Is it bored? Is it ready? Is it receptive? Is it scared? Just read the room.

And just adjust. Every pitch is different.

**John:** That’s why those first three or four minutes of just nonsense chit chat are actually really important for just establishing a baseline for what the room feel like. If you have to come in and like, “Okay, go. Start pitching,” you’re not going to likely have a good outcome. But if you have those little like, you know, “So what did you see?” “What are you working on?” “Oh, where did you get this trinket on your coffee table?” Those kind of things can be a huge help in getting you set or going.

Or, just honestly the conversation about, like, “This is why I’m in the room today,” can be just a good way to get started. I do often tend to rehearse that first minute of conversation just so I can have it, it can be a little bit packaged so I can start speaking and get the flow going.

**Craig:** And above all make sure when you leave, whether they buy it or not, make sure that they know your answer to this question: Why should this movie exist? Why should this show exist? It’s not enough to pitch something competently and have it be interesting in a way. It needs to want to be. So, figure out how to get that across.

**John:** Exactly. The classic test I give people is: Would you pay $15 to see this? And if you as the writer can’t answer that question affirmatively, there is no way they’re going to.

**Craig:** Right. Right.

**John:** So, Craig, I have a One Cool Thing this week. Do you have a One Cool Thing?

**Craig:** Well, you know that the answer to that question is no.

**John:** No. My One Cool Thing is actually a very simple good one. Before we started this podcast you cracked open a Diet Dr. Pepper?

**Craig:** I did. It was delicious.

**John:** Yeah. Dr. Pepper is a really good beverage. But I gave up drinking sodas all together. I gave up drinking — Diet Coke was sort of my big one. Diet Coke, or actually Coke Zero, was my sort of go-to thing. And I was like two of those a day.

And then at a friend’s recommendation he was like, “You know, you should really stop that.” And I was like, “Oh, okay, I guess it’s possible to stop that.” So I did. I stopped it all together. But I still need like a little small caffeine fix, and so I was going for iced tea.

The weird thing about iced tea is it doesn’t can or bottle well. There’s something about it that, I don’t know if it’s the essential oils in it or whatever, but like I’ve never had a good plain iced tea. Because I want the plain iced tea; I don’t want the sugar/sweetened kind of stuff, the Snapple stuff, until I found one that is actually really good. So, it’s Tejava. Have you ever had it?

**Craig:** Yeah. That’s good stuff.

**John:** Yeah. It’s good stuff. And it’s not like the best iced tea you will ever have in your world, but it’s actually really good for being in a bottle, and it works out as a really good sort of pennies per ounce kind of equation. So, I’m just recommending Tejava, which is available anywhere. And if you are a person who likes iced tea but sort of has never tried bottle iced tea because bottle iced tea is generally terrible, you should give this one a shot.

And it’s all a credit to Stuart, who is just like, “I can get you this.” I’m like, “All right, let’s try it.”

**Craig:** You guys should start making your own sun tea, and then at last you will be an old lady.

**John:** I’d be such an old lady. The thing is I’m such the kind of guy who would make sun tea, who would have a little pitcher and every morning I would sit it out there on the thing and by the afternoon it would be there. But I don’t do that.

**Craig:** No. I mean, I’ve had sun tea. It’s actually pretty good. I’m not a huge iced tea drinker. I do not for the life of me understand this phenomenon of the sweet tea thing in the south. It’s just ruinous — it is both ruinous to your body and also frankly it just tastes awful.

**John:** It does taste — it’s like thin honey. It’s just not a good thing.

**Craig:** It’s gross. I don’t know what is going on.

**John:** I was in South Carolina this last weekend and it was that phenomenon. And so you had to distinguish between iced tea and sweet tea. It was just odd.

**Craig:** Yeah. I mean, you really get the stink eye down there when you’re like, “Can I just get it unsweetened?” And they’re like, “Ugh, yeah, whatever, outsider.”

**John:** Yankee.

**Craig:** Yeah. But I’m like, “Okay, I’m not going to lose a foot in three years.”

**John:** [laughs] Oh.

**Craig:** You know, this is just tragic. It’s tragic.

**John:** Yeah. So, Craig, I’m going to offer you a One Cool Thing, which is that I think we should open up again the Three Page Challenge, because we haven’t officially been taking in new entries, but some of them have still been coming in. And so we didn’t really close it down, so I think we should officially reopen it. So, if you follow the links on this podcast with the show notes you can always find at johnaugust.com/podcast, if you follow the links there there will be a page to go to that will explain how you can submit your entry to the Three Page Challenge.

And next week we should do another batch of Three Page Challenges and help out some writers there.

**Craig:** Open the flood gates!

**John:** The flood gates are now reopened, so poor Stuart will have to read a bunch of Three Page Challenges.

**Craig:** Can I just make my One Cool Thing Stuart?

**John:** Stuart. I love Stuart.

**Craig:** He really — you know, people just don’t know that he really does everything.

**John:** Yeah. Well, he does all the editing. He makes the sound coherent. In this podcast he just had a Yeoman’s task because I did not, this was not one of my better podcasts, and so by the time it’s edited hopefully I’ll sound coherent.

**Craig:** Yeah. Those of you, you’ll only hear the edited version. In the unedited version, John spoke in tongues for ten minutes. And then just cried. He cried for 20 minutes. I sat and listened to him cry for 20 minutes.

**John:** It was one of our rougher podcasts I’ll have to say.

**Craig:** He was sobbing. [laughs] Still don’t know why. Look, John is touchy. I’ve got to tell you guys out there. I’m just telling you this is between you and me.

**John:** I have some trigger words.

**Craig:** He’s unstable.

**John:** But, if you want to see this in real live action where we can’t edit out all the mistakes, you can join us in the Austin Film Festival for our first ever live Scriptnotes.

**Craig:** It’s going to be awesome.

**John:** Yeah. So, almost for sure it’s going to be October 20, which is a Saturday at Austin in a big room. We think we have a special guest who’s going to be joining us. It’s going to be great.

**Craig:** It’s going to be spectacular. And if you haven’t already purchased your passes to the Austin Film Festival and Screenwriting Conference it is one of the very few of these things that I heartily endorse, because you’re actually hearing from real screenwriters who do the actual job. How about that? I think you get more out of it then you would a year of film school in, I don’t know, Kentucky.

**John:** Yeah. Craig, thank you again for another fun podcast.

**Craig:** Thank you, John. I’ll see you next time.

Scriptnotes, Ep. 28, How to cut pages — Transcript

March 16, 2012 Scriptnotes Transcript

The original post for this episode can be found [here](http://johnaugust.com/2012/how-to-cut-pages-2).

**John August:** Hello and welcome. My name is John August.

**Craig Mazin:** My name is Craig Mazin.

**John:** And you are listening to Scriptnotes, a podcast about screenwriting and things that are interesting to screenwriters. Things that are interesting to people who are interested in what screenwriters are talking about, I guess.

**Craig:** Things that are interesting to people who are interested in the things that interest screenwriters.

**John:** Yeah. It’s one of those nesting things; it can keep going on and on and on…

**Craig:** Right. My name is Craig Mazin.

**John:** Hello, Craig Mazin.

Craig Mazin, I heard your name mentioned this week because you gave a presentation at the WGA for members that was very well received. What was that about?

**Craig:** That’s great to hear. I did. It is the second time I have done it now. It is basically a seminar on how to survive and thrive during development, and to a lesser extent, during production. And this is something that you simply will not find anywhere. There is no book that can tell you how to do this because all of the people who write books are writing them for people who aren’t in development.

But people who want to be in development, and also, of course, as I have pointed out many, many times, most people writing books have never been in development because they are not really screenwriters. So this was a very focused sort of seminar for people who have to deal with the misery of writing a script, getting notes from multiple sources, navigating those notes, and somehow surviving the process. And doing well during it.

And so it is a little bit of therapy. It is a little bit of psychology. It is a little bit of strategy. And, yeah, it is the second time I have done it and people seem to dig it.

**John:** What is challenging about development is that there are things that are actually part of your contract. You have a writing period. You should be able to turn things in at the end of your writing period. They need to pay you. You have your order to commence. There are some technical things that should be there.

But there are also standard business practices, and there is all the psychology of how to really figure out when to get them to pay you for another step. So I assume you got into that kind of stuff?

**Craig:** Not really. Actually, no.

**John:** Oh.

**Craig:** I sort of stayed away from the business arrangements. I mean, there was a little bit of a sidebar on how to handle the producer draft or the so-called “free rewrite.” Most of what I talked about really was how to behave. How to behave in such a way and how to manage your own behavior in such a way as to maximize your chance of protecting your intention from the beginning, the first day you are hired, to the premiere.

How can you survive this, not lose your mind, not get fired, and protect what matters to you in the movie. So, it was really all about that, and not so much about the gears.

Although, you know, what we are talking about is the Writers Guild does something called the Television Showrunners Training Program, which was actually a get that we received in negotiations from the companies where they basically pay for it. It is not much to them, but it was kind of a smart thing for them to do because basically writers end up running shows, and the better they know how to run a show, theoretically, the better it will be for the companies.

And it is such a specific skill set. It goes far beyond writing, of course. You become, really, management — writer management, I guess. And that has been a very successful program. And since 2004, when I was first on the board, I have been kind of clamoring for an equal thing for screenwriters, not because we would ever become management — we rarely do — but just because I feel like there is a lot that most screenwriters simply don’t know.

And those of us who have been doing this for 15 to 20 years have picked up quite a bit. So, finally, they are talking about it now. And this would be part of it. And then certainly there would be other topics, like if I could design a screenwriters training program today it would be first how to survive and thrive during development.

I guess actually even before that: pitching. How to pitch. Then how to survive and thrive during development. How to work with a director. How to behave, and survive, and thrive during production. And the fifth topic probably would be how to best manage your relationship with your representation.

But I am also open to ideas. If you think there are other big topics that would make sense in a training program, tell me.

**John:** Definitely. I was just meeting with my new WGA mentees. I got assigned a group of four new members who I am going to be meeting with regularly to help them get started in their careers. And they are all tremendously gifted writers, so they don’t need any help on that front.

But, they are asking questions that are really kind of fundamental to that first part of your career which is, “I am being sent out on a thousand meetings. I don’t know which ones to sort of take seriously. I don’t know how seriously to approach that idea that the producer sort of brings up in the room that I am kind of interested in, but I don’t know if it is a real project or not a real project. How do I apportion my time between writing the stuff that I want to write for myself and pursuing these projects that may never become a real project, for which there may be six other writers also pursuing this topic? How do you figure all of that out?”

And that is the kind of stuff I hope the screenwriting training program would cover.

**Craig:** Yeah. I mean, the trick with some of those topics is that they are so circumstance-dependent that it is hard to kind of codify a best practice, because it really depends. It depends on the kind of work you do. It depends on, frankly, how much money you require. Are you somebody that can kind of go for a year or two before selling something? Or do you have a family and a mortgage?

So there are a lot of different circumstances, but sometimes the best way to sort of codify that is to just give people the instruction set for how to even discuss that with their representation.

**John:** Absolutely. You are not going to provide them the answer, but you are going to give them the smart questions to be asking, so they can ask themselves the question about what is important to them. At what point are they going to be willing to jump out of competition for something that may or may not become real?

**Craig:** You know, John, I think you just might be instructing that segment of the screenwriting training program.

**John:** Perhaps I will.

**Craig:** Yes. Perhaps you will. And by perhaps we mean “you will.”

**John:** I will definitely be instructing.

**Craig:** Yes.

**John:** It’s tough. So today I wanted to talk some more crafty kind of things if we could?

**Craig:** Yeah.

**John:** Last week, you and I both got offers to run major studios, which was really flattering, but I really want to go back to our screenwriting roots and talk about the words on the page and those drafts that you have to turn in that become part of development.

And today I want to talk about cutting pages, which so much of your work as a screenwriter is to try to generate pages — to write those three, or five, or seven, or ten pages in that day, and build up to a whole script. And then, eventually, you have to start cutting it down because your script is too long. And I guess we should talk about what is too long. What is a good benchmark?

**Craig:** Right.

**John:** For feature screenwriters, 120 pages is often thrown about as like the upper limit to how long a screenplay should be. That is an invented figure. That figure basically probably came from most movies are about two hours long. Most scripts kind of average out to about a minute of paper to a minute of screen time, so the script should be about 120 pages.

It is really arbitrary, and yet it has become kind of codified as that is the upper limit. To the point where if you turn in a script that was 122 pages, your first note will always be, “You need to cut a little bit here.”

**Craig:** Well, it goes even further than that. I know that Warner Brothers, and possibly Universal, puts that in your contract. They have the right to refuse delivery of a script that is over 120 pages. And I think part of it is that even though… — It’s a funny thing; this is how you can tell a writer from a non-writer: non-writers tend to under-deliver on pages.

Those were the kids in class who turned in book reports and the teacher said, “You need three more paragraphs.” Writers are the ones who write way too much. There’s never enough pages for them. And every screenwriter I know is constantly in a panic that they are on page 50 and they have 200 more pages to go. Because they have so much they want to say, and so much they want to do in the story, and studios have been burned before by these really long drafts that ultimately are unwieldy and unproduceable, and unbudgetable.

And you would think that they could just simply go, “Well, look, obviously these 40 pages need to go.” But, they don’t know how to do that. And frankly, if the writer did, they wouldn’t have turned in that draft.

So, 120 pages is pretty hard and fast. If you are doing an epic, a historical epic, or something like Lord of the Rings, where you know that the movie is really ambitious, you just have to all agree beforehand that the draft will be longer than the average draft.

**John:** Yeah. We should state the obvious that it is not a hard and fast rule that 120 pages equals a 2 hour movie. Go was 126 pages and it is well under 2 hours.

**Craig:** Right.

**John:** Big Fish was the same situation. So, it is a mistaken assumption. It is a bad benchmark, but it is still what people expect. And if a producer has two scripts to read, and they were printed out, back in the days when everything was printed out, if there are two scripts to read they will flip through the end. They will read the 111-page script before they read the 120-page script every time.

**Craig:** Yeah. That’s right. And your point is well taken. Go is a perfect example because there is a certain caffeination, or it is speedified, you know, the movie is on speed. And, similarly, with kind of rat-a-tat comedies — spoofs are sort of notorious. I mean, I would get into these wars with Bob Weinstein where he would insist that the script had to be 105 pages.

And I would say, “Just so you know, our script is timed at nearly 30 seconds a page. You are just simply not going to have enough movie.” And we never did. [laughs]

**John:** Yeah.

**Craig:** We were also like pad… — Because it is so fast. And there is a great story recently from The Social Network, because Sorkin writes very — the dialogue is designed to be delivered at an insane pace. And he turned the script in and everybody was kind of freaking out. And he recorded that great opening sequence with Mark Zuckerberg being dumped by his girlfriend.

He recorded it the way, at the pace he thought it should be, and supposedly — this sounds true to me — Fincher basically timed everything per Sorkin. And on the day, he would sit there and his script supervisor had a stopwatch, and if they didn’t hit it, they did it again. [laughs] It had to be at that pace.

So, the one minute per page rule is something that, some standard needs to be there, but… — Like I said, if you know that it is supposed to go faster, just make sure everybody knows beforehand.

**John:** Yeah. The same also applies for TV. We should say that TV actually has much more stringent guidelines because shows are a half hour, or they are an hour long. And you can’t be long. You can’t run long. There is no arbitrariness there.

**Craig:** Right.

**John:** So you are going to have to hit your act breaks. You are going to have to hit your end times on those things. So, a lot of times you really do need to cut to match your amount of time that you have. When Melissa was working on Gilmore Girls, she said their scripts were hugely long. That is because, again, it is that rat-a-tat tempo, blasting through stuff.

**Craig:** Right. I would imagine 30 Rock scripts are probably quite long.

**John:** Absolutely.

**Craig:** I mean, they are going at this nuts-o pace. But I could also see like CSI scripts not being able to go long because there is a lot of silence, and looking around, and studying for clues.

**John:** Yeah. And then there is Family Guy, which often will have Peter staring at the camera for about 30 seconds.

**Craig:** Right. [laughs] Exactly.

**John:** So regardless, at some point you are going to be in situations where you are going to have to cut pages. So let’s talk about the situations that you might want to have to cut pages. And sometimes it is really simple. Sometimes you want to just cut a page or two.

Let’s just talk cosmetic cutting, where you aren’t really trying to change the story, you aren’t trying to change what is really happening, you are just trying to make your script look shorter.

**Craig:** Okay. So we are not talking about nibbling at content really?

**John:** Yeah.

**Craig:** All right. Well, some simple things that I always do is I look for those gerunds that don’t need to be there. So, “He is looking through the file,” should be, “he looks through the file.” You are looking for those action descriptions that have one little word sticking off to save a line.

Sometimes you have action broken up and you think, “Yeah, I could probably pull it up and make that a paragraph.” I don’t like going more than three lines really, or four max, for an action paragraph. But if I have, like, three in a row that are just single lines, and they are not super important that they be like that, I pull them up.

Actually, I have to say: Movie Magic has a fantastic little add-on thing that scans your script and basically says, “If you could shorten this word by five letters, then your script would be pulled up by one-eighth of a page.” It is very cool. And so you can kind of go through and look for those targeted ones that actually start saving you page length.

**John:** Yeah. What you start to recognize is, because feature scripts are 120 pages, very small changes will ripple through and create huge differences because of how paragraphs are breaking up, because of dialogue that is breaking across pages. So, literally changing… — cutting one paragraph on page 20 might make your whole script a page shorter.

**Craig:** That’s right.

**John:** And so looking for those is good. I would caution against some of the really obvious things that people attempt to do, like these screenwriters attempt to do. Don’t try to change the margins because they will know if you tried to change the margins.

**Craig:** Yeah.

**John:** Don’t try to change the font size. Don’t try to change the line spacing.

**Craig:** Right.

**John:** Final Draft will let you do the tight spacing…

**Craig:** Uh, don’t do it.

**John:** Don’t do it.

**Craig:** Look, the first thing I do when I get a script to rewrite is I put it through my format which is a very standard AD-approved format. And so I get a 119-page script, I put it through my format. I immediately call everybody and say, “Just so you know, this is 138 pages. So there is more going on here than we realize. Don’t be surprised when things start disappearing.”

Because, you know, they — “they” meaning producers and studio executives — are just as childish as we are when it comes to page count. Prior to the green light coming on, everybody is shoving as much in as possible, and page count is sort of a fantasy. The second the green light goes on, it is a panic. And pages become absolutely critical. Because the way…

For screenwriters that haven’t been through production, they have to understand. The way the schedule is laid out, it is in eighths of pages. And every day is two and three-eighths of a page, something like that. And every eighth of a page matters. And every additional day of shooting is six figures.

So, it really becomes very… — It is just an academic grind to start removing stuff and winnowing away to what is absolutely necessary to put on screen. And what is tough is, of course, once it goes into editorial even more of that will be cut. The director that knows exactly what is going to be on screen before he shoots it is the greatest director in the world. And he doesn’t exist. [laughs]

**John:** Yeah, that’s a good point you are making there. You could be cutting this at a script stage and actually do it gracefully, or you have to cut it in the editing room and it be probably much less graceful. So for the logic and sake of your story, if there are changes you can make on the script to make it more like what you think the final movie is going to be, it is worth it to try to do that.

**Craig:** Yeah.

**John:** So I have two cosmetic things before we get into the actual cutting the meat issues. The first is CUT TO’s, TRANSITIONS TO. At the end of every scene, some writers use those, like every scene ends with a CUT TO.

**Craig:** Really? Wow.

**John:** Yeah. And some writers still use those. And, you don’t have to.

**Craig:** That’s crazy. No. I mean, use them for impact.

**John:** But don’t use them every time.

**Craig:** Right.

**John:** So there you have saved a tremendous amount of money.

**Craig:** That’s huge.

**John:** I would also say look for orphans. And orphans are those little bits and fragments of lines that are taking up a whole line of your page but actually aren’t doing anything meaningful.

So, sometimes you can rewrite a sentence to get rid of that orphan and bump everything up a line.

**Craig:** Right.

**John:** Other times, the only time I will occasionally cheat a margin is in a dialogue block.

**Craig:** Totally.

**John:** And I will bump the right edge of a dialogue block just a few characters over to pull an orphan up.

**Craig:** Absolutely.

**John:** And no one will ever see that.

**Craig:** And, by the way, it is legal, and here’s why: That word doesn’t add time to the day. You see savvy, and this where… — You know, it’s funny, I’m going through it now on this script that is shooting at Universal. Sometimes people who aren’t savvy about what takes time on a given day will obsess over page length. ADs know. Directors know. But, others may not. And they may say, “Look, is there a way for you…we can cut the scene down if you got rid of this line of dialogue.”

That will not cut the day down at all. What takes time is setups. How many angles there are. If I am shooting two people talking in a restaurant at a table, frankly, I could double the page count and it really won’t add that much to the day.

**John:** Exactly. But if you were to add, the scene would be the same number of pages, but you added another person to that table, you have doubled the amount of shooting you have to do.

**Craig:** Exactly.

**John:** You have to shoot all the angles to cover that.

**Craig:** And sometimes you will get suggestions where, and this is where production experience is so important, and why I urge screenwriters to go to sets and sit there and watch how they do it, as boring as it may be, because you are able to see, say, “Listen, your suggestion is to take these five lines of dialogue that are an exchange between these two people at the table and just cut them and replace them with just one waiter walking over and saying, ‘Are you guys okay?'”

That literally makes it longer. And sometimes they just don’t get it.

**John:** They don’t. Because they are not going through that and they don’t see what that is. But you are right, the AD will always see what that is.

**Craig:** Totally.

**John:** The other thing which is frustrating is when they are trying to cut stuff that is important. Like, it is kind of reader setup. As you are first introducing a character, you are first introducing one of your major heroes or one of your major villains, you may throw two or three lines at that character’s scene description lines to really setup who that person is.

That is not screen time. That is just to help the reader who is trapped with only seeing stuff on the page to understand what that person is going to be like in the movie. That is not shooting time. So…

**Craig:** Don’t obsess over that, right?

**John:** Yeah, don’t obsess over that. And if you have to cut something just for cosmetics…but that is the reason why you have it.

**Craig:** It’s free. It’s free page. And a nice rebuttal to that is to sort of say, “Not only does it not cost us time on the day. Not only do those three lines budget out to zero dollars, but in casting it is going to be enormously important.”

**John:** Absolutely.

**Craig:** So, as long as you have some sort of practical reason for them other than, “Because my words are so precious,” then they will be cool. You can’t just say, “Well, because it is just cool. I really liked the way the words lined up there.” “Well, great. You are not writing a novel, buddy. We have to cut pages.”

**John:** So let’s say we actually have to cut some meat. You have that script that is 138 pages. You are going to have to cut some serious things. What are easy targets for cuts?

**Craig:** Well, I don’t know if there is any category that is specifically easy. I think that you have to look for… — First of all, if you really want to cut a script, you have got to ask yourself if there are any sequences that can come out. Start big, frankly.

It is a rare script that can meet a schedule when it is currently budgeted at over schedule or over dollars that can comply and conform to what they have through little tiny cuts across the whole thing. So, big question first: Is there a sequence we can just do without?

**John:** Yeah.

**Craig:** And sometimes a fresh pair of eyes is helpful with that. Because, remember, while you are a good writer, and you have written everything with intention and purpose, many of those scenes were written before the whole script was written. In fact, all of them except the last one. So, you should be able to recontextualize some things, too.

Now you have the whole thing in front of you. Maybe one of those sequences can go.

**John:** The smaller things I sometimes try to take a look at, especially if I am being sent something for a rewrite. I will always target any scene in which a character recaps something that the audience has seen.

**Craig:** Right.

**John:** That’s wasted time. There is no reason for that to happen. And surprisingly it still happens a lot in TV, and I don’t know why. I guess, you are coming back from an act breaking, you need to sort of remind people what happened. But, yikes, it always feels very frustrating.

**Craig:** I agree.

**John:** If that conversation has to happen, come to the very end of that conversation and just let the audience know that that character now is up to speed.

**Craig:** Exactly. Exactly. There is a logic thing.

**John:** Yeah. But take out the dialogue that actually does it.

**Craig:** Correct. You could just open up with one character just staring at the person who has told them this story off-screen, and that character just goes, “Wow, really? Yup. Okay.” [laughs]

**John:** Or a meaningful follow-up question that actually pushes the scene forward.

**Craig:** Yeah. I mean, but a recap is dreadful. Yeah.

**John:** Try to get out of scenes… — Classic advice for screenwriting in general, but try to come into scenes later, try to get out of scenes earlier. And so don’t let characters walk through doors, either to enter a scene or to exit a scene. And sometimes just trimming those will create some space, but will also speed up the pace of things and not make things feel so long.

**Craig:** Right.

**John:** And I would also say to look at your setups. And this is a place where you and I may disagree a little bit, but you have said that you tend to write long first acts, and really have a lot of setup of character. I tend to have less of that. And just because in my experience a lot of times you will shoot that meaningful thing that sort of introduces the character, and then when you actually put the thing together, you go like, “I didn’t need to catch that last moment. I could catch them at this moment and follow along.”

**Craig:** You know, I think it is a little genre dependent. I tend to like shorter first acts in action movies, thrillers, even in dramas, I think. Comedies, I like a longer first act because I feel like that is the broccoli that you have to eat to enjoy all of the comedy of the second and third act.

And, I will also say that you will eventually, once you get into the editing room, decide where and how you need to kind of compress it down a little bit. And there is a magic that occurs in production where things jump out. And you realize the actor has packed an enormous amount of information in simply a look. And so things can start coming out that way.

But you don’t know that until you see the performance. So, frankly, where I like to compress things is the third act. I feel like every movie I have ever been to, with rare exception, by the time I get to an hour and 30 in my seat I’m kind of like, “Let’s finish this. Let’s wrap it up.”

So, long, drawn out climaxes are not a bad place to take a look.

**John:** I think the third act problem also comes because of the way that we write screenplays in general. We have all of this energy and drive as we are writing through the first act. And the second act we are dealing with all of the complications we have created. And by the third act we are just exhausted and we are sort of slogging through it.

So that is the process of writing the script the first time. And some of that lethargy, and some of that exhaustion sort of creeps in, just sort of stays with the script I should say, throughout its process. So, you are really tight when you are writing your first act, because you went through it a lot of times, and you have really figured out the best way to do it.

And that third act, you are like, “Well, all of this stuff has to happen. We will make it all happen.” And, writing your third act with the same vigor as the first act will often shorten it down a lot.

**Craig:** That is a great point. And there is a point under that point which again goes to — it sort of identifies who writers are. Non-writers when they get tired write less, and writers when they get tired write more. They just get long and they lose that kind of parallel construction and concision. And if you feel it happening, just take the day off. Take the day off and come back to it.

**John:** Yeah. It is also worth asking the question: Which threads do I really need to wrap up, and which threads are important? And are there ways I can wrap up multiple threads in one moment together? So rather than having to cut between all of the different characters and subplots I have set up, is there a way to bring those together in a way that is going to feel more rewarding?

Sometimes it is helpful to think about, if I had to watch this sequence with the sound turned off would I be able to understand kind of where everybody ends up at the end? And if it relies on a lot of dialogue to wrap things up, that is not probably your ideal situation.

**Craig:** That’s right. As much as I loved all of the Harry Potter books, the one criticism I have of J.K. Rowling is that she tended to talk her way through every climax.

**John:** Yeah.

**Craig:** And I understood to a point, because they were all mysteries. They were all basically elaborate Scooby Doo episodes, so the whodunit and why needed long talks. But you could see how great of a job Kloves did to not do that in the movies. He deserves a huge tip of the hat for visualizing those climaxes and letting the performances…

And frankly, we also forget when we are writing that there is this other voice. We know that we have what we have written. And we know that there are camera angles. And we know that there are actors for sure. But don’t forget score. Score sometimes is the best way to think about how to save pages. Because great score against an actor’s face is writing.

**John:** Mm-hmm.

**Craig:** And if you know what your intention is for that moment, it is amazing what you can get away with.

**John:** Yeah. It’s hard to reference the score in screenplays. I will do it sometimes. I have done things like, “As music swells we descend upon…” giving that sense of an operatic moment, or some sort of big transition. Getting a sense that this is a Lawrence of Arabia moment here can buy you that.

But the challenge is that readers, and producers, and everyone who is going to be taking a look at your script are used to going through it so fast that you have to really signal to them that, “Really we are doing this in a shot. So don’t skim it.”

**Craig:** I don’t think I have ever once referred to score on the page itself. But in my mind, if I know that that is what is going on, sometimes I will take a little bit of extra space for the action lines, break them up a little bit more, nice short sentences, and maybe underline the one that matters.

And then that sort of implies that this is one of those moments. It is just one of those ways of thinking intentionally as opposed to spelling it all out. But I honestly feel that nine times out of ten, when your script is really long it is because there is some sequence in there that just doesn’t need to be there, or could be combined with something else in a fun way.

**John:** Yeah. The other good test, which I talked about at lunch with my mentees yesterday, was you sort of take each little piece of your script out, and you hold it up to the light and say, “Is this my movie? Does this feel like my movie? Does this have to be in my movie?” And if there is a sequence that doesn’t sort of meet that criteria you have to really look at whether it belongs back in your movie, or whether something else is going to be better in its place.

**Craig:** Right.

**John:** And sometimes the best way to cut pages is to cut a lot of pages and write a better, shorter thing that can take its place.

**Craig:** Yeah. Every writer is familiar with the concept of killing your babies. So, we are sort of taught very early on, “Don’t get precious about those things that you love. You have to cut them.” But I actually found… Dennis Palumbo, who is a screenwriter-turned-therapist, had a more elegant explanation of why it was hard. And his explanation also allowed me to understand why — or rather made it easier for me to cut those things.

His point was it is not like… — Killing your baby sort of implies that you have written something beautiful and wonderful, but it just has to go because of some sort of circumstance. His point was: actually let’s think about why we call them our babies. Because the truth is a lot of times the things that we write that we don’t think of as our babies are fantastic.

And then there are these things that we do think of as our babies, and people are like, “I just don’t get it.” And his point was: it is your baby because the writing of that line was significant to you. That was a kind of a line that you admire, and you did it. Or, that was a kind of a thing that you have struggled with a lot and you feel like you finally grew as a writer by writing that line.

None of that is relevant to the audience’s experience.

**John:** I agree.

**Craig:** So, give yourself a huge pat on the back for whatever you accomplished with that line, but if it needs to be cut, cut it.

**John:** Yeah. You are talking about sort of sunk costs. So, either you want to hold onto it because it was so hard to write, or you want to hold onto it because you felt so great about having written it. And those are completely valid for why you feel that way, and no one else can know that, until they see the director’s commentary, or the writer’s commentary…

**Craig:** That’s right.

**John:** …and you can say, “That’s the best line in the whole thing.” And then you sound incredibly conceited.

**Craig:** And what’s more, once you realize that that is why you care so much about that line, cutting it doesn’t take away the victory. You still have the victory. You just realized that was important for me. So I will put that on an index card and paste it to the wall, and I feel really good about that. But nobody else is going to… — It is not a gift for anyone else, so let’s not impose it upon them.

**John:** Yeah. It does become easier to cut things once you have written a lot more. So in those early scripts it was just torture to cut like three lines because, “Oh, but I love these three lines.” But then you have written 20,000 lines and you are like, “Oh, fine.”

**Craig:** It’s the “There’s more where that comes from syndrome.” I mean, you and I in a distant podcast talked about how many individual drafts we produced. I assume at this point we will eventually hit 100 at least. And at that point you become a little less concerned.

It’s the difference between hitting your first home run and hitting your 530th. It is just not that big of a deal.

**John:** So, one last piece of advice I would offer is that as you approach as section with your script where you are going to be cutting a lot of things, go into it with a plan. Know what you are going to cut. Cut on paper first if that makes sense to you, if it is helpful for you. But definitely go in with a plan because otherwise you are going to go through your script and just start moving commas.

**Craig:** Right.

**John:** You have to really go in with, like, “This is the focus of what I am trying to do here.” So, if it is to write new sequences, delete the sequences that are going out and write the new things. If you are doing a major overhaul and a lot of stuff is moving around, open up a new file and just copy and paste in the stuff that stays. But don’t try to work in that original file.

And that can be freeing, too, because you are not surrounded by all of the stuff that was there.

**Craig:** Absolutely. You and I obviously approach very differently at the start. You write longhand initially. I compose on the computer. But we both finish the same way. Print it out. Do not make that first pass on your computer because there is something about physically looking at the page that makes it so much easier to cut.

And I also find it very helpful to just read it. Out loud. Read the script out loud. You will suddenly realize in the middle of a particular line that you are bored.

**John:** Yeah.

**Craig:** And that the scene is long and boring. And that there is a shorter way to get to this. Perform it for yourself. You can record it and play it back if you want. But reading it out loud, reading it with a friend — you don’t need a whole megillah of actors showing up at your house, or friends sitting around in chairs reading all the parts. Just read it with two of you. Just go through each scene. A huge help.

**John:** Well, Craig, this was a good conversation.

**Craig:** It was fantastic. I mean, you know what we should have done: we should have recorded this and then put it on the internet because it was such a useful —

**John:** Oh my god, that is so great. Because others could benefit from our conversation about our working practices.

**Craig:** Right. I don’t know why we don’t do that?

**John:** I don’t know why everyone doesn’t do that.

**Craig:** No. I know why everybody doesn’t do that. [laughs]

**John:** [laughs]

**Craig:** There are a lot of people that should not do that.

**John:** Craig, I meant to ask you. Are you listening to any other podcasts?

**Craig:** No.

**John:** No. You don’t watch any TV.

**Craig:** Right.

**John:** You don’t listen to podcasts.

**Craig:** No, but I’m a…

**John:** Basically, you do some writing. You kind of father your children. And you play Skyrim.

**Craig:** I totally father my children. And a lot of baseball practices and games.

**John:** Oh yeah, yeah.

**Craig:** And I am waiting for Skyrim DLC. So while I am waiting for Skyrim DLC, I am now 58% of the way through Arkham City — which is spectacular, by the way.

**John:** I heard that is great, too.

**Craig:** Oh my god, it’s so good. It’s so good.

**John:** So the DLC for Skyrim is like new missions? Or are they new things, new monsters? New what?

**Craig:** No. Bethesda has a pretty longstanding tradition with all of their titles to do quest line DLCs. Some of them are very short. But most of them are rather long. Their idea is, like, you buy it for — I don’t know — maybe ten bucks or something, or $15, and we will give you another 20 hours of game play.

**John:** Wow.

**Craig:** So, with Skyrim, I don’t think they are anywhere near there yet, but all of the initial press seems to indicate that they are going bigger. That they kind of want…

And they did that for Fallout, too. I mean, almost like getting new games.

**John:** Yeah. I had to stop. So, I was playing Skyrim, and then eventually I had a hard time with like the marriage quest. It was like, “Oh, I’m going to get married.” And so I went through all of that, and I sort of got through all the steps, and I had a hard time finding the guy in the city who I needed to get the amulet from.

And so I finally got… — It just ended up being a lot of hassle and a lot of work. And so then I finally got married and it was like, “Yeah, now I’m bored.”

**Craig:** Oh, I killed my wife.

**John:** [laughs]

**Craig:** Yeah. You know what, here’s the thing.

**John:** That sounds better.

**Craig:** [laughs] In Skyrim you can get married. And the way you get married is you put on this particular amulet and you walk around. And if you have done nice things for people, and you have achieved enough, they will say, “Hey, I see you are wearing the amulet. Are you interested in hooking up?”

**John:** The Amulet of Mara.

**Craig:** Correct. The Amulet of Mara. And then you say, “Yeah, let’s get married,” which seems like an atrocious way to actually approach marriage in Skyrim, although they are very progressive — men can marry men, women can marry women. I don’t think you can marry animals. Regardless, my wife who is super hot, she was this warrior, and she was really badass. That’s why I married her, you know? She was really tough.

And then the second I married her she just went into my house, stayed there, and made food. And she just kept saying, “Hi, oh hello, love.” And I’m like, “Eh, you are not…” — Bait and switch, you know?

And so I chopped her head off.

**John:** Yeah, that’s not good. Can you marry again after you have committed wife-icide?

**Craig:** I just don’t want to now. Once I see…I think it is uxoricide. Is it uxoricide? I believe U-X-O-R-icide.

**John:** Well, I have Google up, so I am going to type it in right now.

**Craig:** Yeah. Let’s see if I got that one right.

**John:** Latin, murder of one’s wife.

**Craig:** Beautiful. No reason for my wife to be concerned whatsoever that I know that word.

**John:** [laughs]

**Craig:** But uxoricide, no. Once you commit uxoricide you really shouldn’t marry again. You have a problem.

**John:** Yeah, that’s true.

**Craig:** Your problem is that you solve your marital issues with beheadings. So…

**John:** [laughs] With violence, yeah.

**Craig:** I mean, also I just feel like the domestication… — I mean, did that happen with the guy you married? Did he just become, like, a weenie?

**John:** Yeah. He became kind of a weenie. And he was sort of a pity marriage anyway. It was the guy…

**Craig:** [laughs] Which one?

**John:** Angrenor Once-Honored.

**Craig:** Oh, that guy? Really? Alright. I mean, I know something about you, John.

**John:** He had sort of a wounded Daniel Craig quality that I found sort of endearing, but then he became kind of a sop. But I married him, and then like five minutes later I stopped playing the game completely.

**Craig:** Yeah. Well marriage just killed it for you. I married Aela the Huntress. I mean, she was so cool. And then she just stopped being a huntress. She became Aela the Boring.

**John:** So she wouldn’t go out on a quest with you?

**Craig:** Well, she would, but the point is I can get anybody to go on a quest with me. I wanted her to be cool. And I wanted it to be exciting. And I didn’t want her to lose her personality just because I married her, but she just sat there and she would say, “Oh, honey, I made you a home-cooked meal.” “What?! Your head is coming off!”

**John:** Now, could she carry more as a wife? Or does she still have the same sort of burden requirements?

**Craig:** No. Same crap. And then they open a store and they give you money. But if you have played the game long enough, you don’t need that $100. It is like, “Get out of here with this. I’m rich! Look at my house. What’s wrong with you?! Why did I marry you? I hate you!” [laughs]

**John:** You should be able to marry a dragon.

**Craig:** Well, I mean, that’s kind of cool. At least then, you know, the sex would be interesting. Eh, Angrenor, really? That guy?

**John:** Yeah. I’m not saying it was the best choice. But I just sort of made the decision, and I felt bad for him. And apparently, because I was looking up sort of who was marriageable, and apparently at a certain point in the game he dies. Like if you don’t marry him, he will just die.

**Craig:** Oh, well that’s a great reason to not marry him. You shouldn’t have married him then and just let him die. I don’t remember that guy specifically.

**John:** He is the guy who didn’t just take an arrow to the knee like all the other guards. He was actually deeply wounded in some battle.

**Craig:** Oh, I remember that guy. Yeah, enough with him. I can’t believe you married that guy. By the way, it’s interesting that you and I both portray a certain amount of racism because neither one of us married like a lizard person.

**John:** Or the cat people.

**Craig:** Or the cat people. Well the cat people basically are thieves. I don’t trust them. I don’t trust them. I’m racist against cat people. [laughs]

**John:** [laughs]

**Craig:** Yeah, totally racist against cat people. Lizard people I am okay with.

**John:** Yeah.

**Craig:** They are just basically drug addicts. [laughs]

**John:** So at this point we are falling into the “and things that screenwriters might be interested in.” But it’s good. And so you are not going to marry anyone in Arkham Asylum or Arkham City or whatever that is called.

**Craig:** You can’t. Batman doesn’t marry people. Batman is a tragic figure. Frankly, I don’t even know if Batman has a penis. I mean, Batman is so…

There is a little bit of a romance, like a hint of a romance between Batman and the daughter of Ra’s al Ghul. Which by the way, in the movie, it was Ra’s al Ghul. And apparently, I always feel like the videogame people are that many more clicks to the right on the nerdometer, so I think the right — they say it’s Ray-shal-ghoul.

**John:** Ra’s al Ghul.

**Craig:** Whatevs. Anyway, it is a great game. It is really cool. You should play it. Just do it.

**John:** I will never play it.

**Craig:** Oh, because you have to watch another episode of Glee?

**John:** [laughs] Exactly. But Glee is actually a thing I can watch with my family, for example.

**Craig:** Right.

**John:** You used to watch American Idol, though. Are you watching American Idol?

**Craig:** No. I finally… — Well, you know what? After Simon left, I gave it a shot. I just couldn’t get into what had happened to it. I mean, Randy was always the worst judge anyway.

**John:** Yeah.

**Craig:** The worst. Jennifer Lopez is fine. Steven Tyler is bizarre. But really what I couldn’t get into was the fact that what had been so awesome about that show — that it was the first show to tell the truth ever in the history of television. That was gone. It was back to being fake praise and nonsense.

**John:** Yeah.

**Craig:** And that was a bummer.

**John:** But now that I am watching it with a six-year-old daughter I am happy to have no Simon on the screen. We don’t really even watch the judges part of it, but we do see the girls sing. And so you see like, “Oh my god, she really likes the Justin Bieber-looking guy.” Yeah. That happens early. It is hard-coded in the brain. It’s like the same way that you like puppies. A little kid with blond hair that looks like Justin Bieber. Just like him.

**Craig:** Justin Bieber really is the perfect… — I guess the idea is that girls at that age, anywhere from 6 to 12, what they are attracted to is boys that are girls.

**John:** Yeah.

**Craig:** And boys, I guess, aren’t really attracted to girls, or boys. They just want to shoot stuff. [laughs] That’s the way it goes in my family.

**John:** Yeah. But then once they start getting attracted to girls, they sort of leap up towards women. And not girls their own age.

**Craig:** Well, I don’t know, because my son I have to say, he is in fifth grade. And every night we have the same discussion about this girl he likes. Every. Single. Night. And she is in his grade. And it’s adorable. It is just every night he says, “I just don’t know if she even knows I exist.” [laughs] Every night. And I just comfort him every night.

**John:** Aw.

**Craig:** Yeah, it’s cute.

**John:** Parenting advice from Craig Mazin and John August.

**Craig:** That’s right.

**John:** Craig, thank you very much for another great podcast.

**Craig:** Thank you, John.

**John:** Talk to you soon.

**Craig:** You got it. Bye.

Scriptnotes Ep. 1: Pitching a take, and the WGA elections — Transcript

September 4, 2011 Scriptnotes Transcript

The original post for this episode can be found [here](http://johnaugust.com/2011/pitching-a-take-and-the-wga-elections).

**JOHN AUGUST:** Hello, welcome. My name is John August.

**CRAIG MAZIN:** And I’m Craig Mazin.

**JOHN:** And this is the inaugural edition of something we’re calling Scriptnotes, which is meant to be a podcast talking about things that screenwriters might be interested in.

**CRAIG:** Yeah.

**JOHN:** What would those be?

**CRAIG:** You know, we can cover craft, the business, the union, psychology.

**JOHN:** Like, work habits, too. Sort of like, how you’d actually get stuff written.

**CRAIG:** Yeah, yeah. And topics for people who are working steadily, people who aren’t working steadily, people who want to work steadily.

**JOHN:** Dig deeping.

**CRAIG:** Dig deeping things? You said “dig deeping.”

**JOHN:** “Dig deeping.”

**CRAIG:** Please don’t edit that out.

**JOHN:** I will leave that, I will leave my misspoken terms right in there, unedited.

But I wanted to start with a question, because I figure, you know, answer some questions would be a good thing. And I answer questions on my site, you’ve answered questions on your site in the past, and when we answer questions on our blog, we’re just giving one opinion, and often, there’s more than one opinion.

So, here’s a question we got from a guy named Andrew. “What are execs looking for from working writers who come in and pitch takes on assignments? I’d love to hear more about this and what strategies are important. Do you pitch problems with the script and then solutions? Do you pitch your own version? And how you’d do it from the beginning as though you’re pitching a new movie? Is it a conversation? What are they looking for?”

**CRAIG:** That is a big question with multiple answers, depending on what the project is and who you’re meeting with, but we can certainly give a general sense of how it goes, I guess.

**JOHN:** Great. So, let’s talk about the kind of meeting and sort of, who sets up this meeting and what conversations you’ve had before you even go into those meetings.

So, usually, if you’re coming in to pitch on assignment, there’s some piece of property that the studio already owns. So, they’ve bought a book, they’ve bought another movie that they want to remake. They’ve bought a script, or someone’s been working on a script and they need, they want someone else to come in and rewrite the script. There’s something to look at.

So, before you even start having a conversation with them, they’ve generally sent over some material, you’ve had a chance to look at it, or at least think about it, if it’s something that’s so abstract, like a board game or remaking, like, a classic movie.

So, there’s some sort of basic conversation, or at least, material that you can, like, push off of.

**CRAIG:** That’s right. And your job, essentially, is to help them improve it. I mean, the only reason that these things exist is because, for one reason or another, and often times, the reason has nothing to do with the merit of the script that has been written.

They’re not happy enough. They aren’t at a place where they look at the screenplay that they have and say, yes, we want to commit however many millions of dollars to actually go into production and make this. So, your job, your primary job, first of all, is to figure out how you would do it in such a way that they might want to make it.

**JOHN:** To me, the crucial first step is envisioning what is the ultimate movie that you would make out of this project? And figuring out, like, what movie would you as a screenwriter want to make? What movie would the studio want to make? Or the other film makers involved? What are they looking to make? And if there’s common ground to be found there, that’s great.

A lot of times, those first meetings are not even, sort of, pitching your take on a story, it’s just trying to come to terms with, like, what is it that we’re trying to make here? For the first Charlie’s Angels, there was a pre-existing script that Ed Sullivan and Ryan Row had written. They had a great opening set piece, and everyone loved that set piece, and then the movie went in a very, very different direction.

So, my first meetings with Drew Barrymore and with the studio really weren’t about the story, it was about the tone. It was about, like, what does this movie feel like? And what I got from Drew, I think our point of overlap was that, it was a comedy where the Angels were very good when they were on the job, and they were total dorks when they were off the job. Because comedy is never about cool people, comedy is about dorks.

And that the ultimate tone I was going for was something weird for an action movie, which was, that you want to me kind of weirdly proud of the girls. And so, you know, it was probably three meetings into the project before we actually started talking about the plot, and, sort of, the kinds of things that would happen in the movie. It was more what it would feel like.

**CRAIG:** Well, that’s exactly, that’s what it sort of comes down to, no matter what the project is. I actually never really approach it and think to myself, I always ask the question, of course, is there any input that you have on the studio side for me as I read this material? And I just sort of want to know that, a priori, OK, we want to make this funnier. We don’t think that this works with, we didn’t think that that works.

I listen to that and I take it to heart, but ultimately, I always feel like, the only way to be successful at this is to hear that, acknowledge it, put it aside, read the material, and then have a reaction. What is the movie that I think, if I were running this studio, what would I want, and how, what would I do?

And in the case you just described, a lot of people will ask, well, what is this, people say the word “take” all the time. What’s your take? What the hell does that mean? It means exactly what you just articulated. A gut feeling about what the movie ought to be and some kernel of thematic value or character value or plot value that you can say, this is the direction you should go.

This is a positive place that we can all move toward. And then, if they say, “no, no, no, it’s not very good,” probably the job’s not for you. But if they like it, now you get to go to the next level.

**JOHN:** And there’s some projects here that come in, you’re going to be the very first person they’ve heard from on the project. So, maybe it was a brand new book they bought and they’re listening to see, like, what people would want to do with the material. A lot of cases, you’re coming in, there’s already some scripts available. They’ve already been through this process for a while. And it’s important to remember that you are fresh eyes on things.

So, one of the very first things I tend to say as I talk to people about a rewrite is to point out all the things that are really, really good. Because they’ve forgotten. I mean, all the things that are new and great to you are old to them. And they only sort of see the problems; they don’t recognize what’s working.

I got to work on Hancock, which was a really good script when it was sent my way. And there were problems, there was stuff that wasn’t working in the third act. But, like, it was really good, so I felt like my first phone calls with them was telling them, “By the way, don’t forget you have a really, really good movie. And I know we need to work on this section, but don’t forget all the stuff that’s working really well.”

**CRAIG:** That’s a good point, because as people go through any working relationship with a writer, there’s this strange invisible commodity that’s entirely separate from the quality of the writing. And that is comfort. And when they lose a sense of comfort with the writer, almost like an insecurity that they’re not sure that the writer is taking them to the promised land, they will start to doubt everything, including choices that the writer has made that are good choices.

And when you’re hired to rewrite a project, I think it’s important to always think that there’s this invisible commodity of comfort that you can offer. Almost a sense of, “Look, I’m here now, and it’s going to be OK, because I’m going to be really honest and really specific about what will work and what won’t work.” And if they have that comfort in you, it’s incumbent upon you to both, as you said, defend the stuff that actually is worth defending, and then be really specific about what should change and how.

**JOHN:** What you’re really describing is trust. And trust is a commodity that sort of builds up over time and it’s one of the reasons why the people who are brought in to rewrite scripts at the last minute tend to be the expensive older writers who’ve been doing this for a while. It’s because they have a track record they can point to, like, “Trust me, I know what needs to get fixed here, and I’m not going to go in a crazy, crazy direction. I’m going to take you to this next step you need to do.”

**CRAIG:** Yes, that’s a great point. And that your focus is on the movie, you are going to be less insistent on defending specific things you’ve written. You’re really writing more towards a movie. So, you’re absolutely right.

The trust factor is huge, but even with that trust factor, even if you have that trust factor, more and more, I think, it used to be, I think, that studios were far more willing to have a simple conversation, have a sense in the room that your impulses and instincts were good for this project. And then hire you to deliver on those.

I think those days have given way, to some extent, to a little bit more of, “Look, we do trust you, but in the end, I have to make a much more rigorous case to the people who control the purse strings that we ought to spend all this money on you. So we need more than just that conversation. We need more than just the instinct. We need to, a little more specific about what is it that you’re going to write.”

**JOHN:** Well, let’s talk about the specifics. Let’s talk about that meeting where you first go in and you sort of lay out your take. To me, those cases are always, it’s a process of reminding and helping people forget. You have to remind them of, sort of, the basic ideas of the project.

So, let’s say it’s a book adaptation. Let’s say it’s not a rewrite, but it’s a book adaptation. You’ll go in, you’ll start talking about the world of the book. You’ll talk about, sort of, what kind of movie it is that you’re trying to make, what things are important about this world that they have to keep in mind.

You’ll talk about the characters, and you’ll talk about the characters in terms of how they function in the movie. And you can’t assume that people are going to remember very specifically what they read in the book. You have to be able to just talk about them as movie characters. So, you’ll set up who your hero is, who the important secondary characters are, no more than two or three or four people, even author mentioning in that. Pitch, just sort of, before you get started.

And then, you’re going to get into the story. And you’re going to tell the story the way the movie wants to tell the story, not the way the book wants to tell the story. And so, once you really start pitching what the movie story is, don’t refer back to the book. Be very straightforward about, “This is what we’re seeing on screen; this is how the movie is moving.”

Along the way, people may interrupt you with questions or want to bring in things from the book and it’s, you should be really happy if people are stopping you during your pitch, because it means they’re listening.

**CRAIG:** Right, and that they’re engaged in what you’re saying. I mean, if you are speaking in a way that engenders zero questions, you’re probably just being boring or wrong. So, that part of the conversation’s essential. And that sounds like a really good approach to how to pitch adapting a book.

When you have a script that’s been written, and maybe it’s the sixth in a line of scripts, the way I like to approach that is to sort of say, look, this idea, we love. We all love. If you didn’t love it, you wouldn’t be looking to spend more money on another writer. Here’s, to me, the sort of, the way I like to approach pitching a rewrite is: hero, what is his problem? I like to cut right, what is the theme of this movie? Why does this movie deserve to exist? What’s the philosophical payload of this thing? And express that clearly.

And then say, that is going to, now I’m going to tell you, that will inform how I approach the rest of this material. The story should, essentially, deliver the goods on behalf of the character in his journey toward understanding this theme in the end.

And then, I kind of try and lay out what I think the beginning is. The first 10 pages are the most important. I like to, I can be really specific about those. I always feel like, if I can’t see the first 10 pages of this movie almost instantly, it’s not for me. And then I try and talk about how this thing should resolve in a way that makes thematic sense and would be satisfying.

In terms of what the journey is, I like to at least give three or four tent poles along the way, not tent pole movies, but tent poles that are holding up the second act. That’s sort of our thematic storytelling sign posts that this character’s going to go through, and why those are important for character and plot.

And if I can get those ideas across, what I’ve offered them, essentially, is a shape of a movie to come. And I think that that, frankly, is more valuable, I think, at least, more valuable than sort of, and then, and then, and then, and then.

**JOHN:** One of the challenging things to learn about pitching an original, or a rewrite, or an adaptation, is figuring out how you talk about your hero’s main storyline and how you fold in all the other important details. How do you deal with all the subplots that are actually going to be important to your movie, but don’t feel like the main story? What I was going to say is, at a certain point, let’s just put a pin in that and let me tell you what was happening with those other characters.

You gather up the subplots into a nice little package that you can cut to and show what happened over there, and then you continue on with your main storyline. Where pitches tend to get really frustrating is when you’re constantly ping-ponging it back and forth between multiple storylines. Even if that’s the way it would really work in the movie, that’s not the way that you can really process it as a pitch.

**CRAIG:** That’s absolutely right. That’s absolutely true.

**JOHN:** One of the things about a pitch for an original, or for a remake, or for some sort of adaptation, think about a movie that you just saw that you loved, and you’re trying to convince your very best friend to go see that movie. What would you say to him? You would talk about the characters, the world, the story, but it wouldn’t be exactly the story as it’s presented in the movie.

It would be an optimized version of it that would be very front-loaded with the cool stuff that happens, and then sort of cuts to the very awesome beats along the way. It’s like a teaser for it. It’s not the whole movie itself.

**CRAIG:** Yeah. And then what you start to run into, look, there’s a practical choice that every professional writer has to make when they’re involved in this process of pitching on a rewrite, or just having to pitch their take, so to speak. And that is how to gauge how much pre-work you’re willing to do before you say “Look, you guys have had enough samples of what it is I would deliver. Buy it, or not.”

And meaning “hire me or not.” That is a very difficult thing to adjust, because frankly, the newer you are in the business, the less trust there is in you, and the more they’re going to want to practically see everything. You might have that first great meeting, and their response is “Terrific. You’re our front-runner, we love your ideas, now you do need to come in and pitch us the ‘and then, and then, and then’ version.”

And it’s hard to avoid that. If you are a little further along, you’re in more demand, you may be able to say “Guys, I’ve done this before. I’ve done it a number of times, so you know I know how to do it. If you like what I have to say here, and you’ve read my other work and you like it, we have enough information for you to make a decision about whether you want to proceed with me or not.”

**JOHN:** That’s absolutely true, and the very first projects I was pitching to try to land the assignment, it was the countless meetings and countless… There was pre-writing, which you’re really not supposed to turn in, but you end up sharing so people can have notes to pitch off of. That’s a whole other complicated conversation, but originally there was a lot of that.

And as I had a bigger track record, I could land assignments without going through all those steps and hoops. In a lot of cases there was already a giant director attached who wanted to hire me, so it became more like “Well, that’s what Tim wants”, and that would answer a lot of their questions. The pendulum swings back and forth, and recently I’ve been up for projects and I really had to, I felt like, exhaustively document what I was going to do in a way that’s frustrating.

You’re not going to ask the top level of director, “Show us your storyboards.”

**CRAIG:** Right.

**JOHN:** So, that can get maddening.

**CRAIG:** It can, and this is an area where they can exert far more control than when it comes to hiring a director, because that is always a prospective thing. You just can’t get the film until you hire the guy. When it comes to pitching out the story, ultimately, again, what it really comes down to is that comfort level. And you have to ask yourself “How much work am I willing to do to engender this comfort?” Knowing that you are essentially betting on yourself, because you may not get that job.

You may sweat a lot and have nothing to show for it, and that, frankly, is the standard operating procedure now, more and more than it used to be. And that can be tough, and I should say also, what’s interesting is, we know inherently as writers that the process of coming up with an outline — a full, scene-by-scene step treatment, whatever you call it — is one creative process. Then there’s this other creative process called writing a screenplay, and I don’t know a single writer who doesn’t veer away from that initial plan when they’re actually writing.

It’s inevitable, so from the studio side, I always feel like saying “You know guys, this is a theory”, but in the end, just like a surgeon who takes a look at a patient and says “I’m pretty sure it’s the following things,” once you cut the guy open, who knows? So, it’s always going to involve them having to make a leap of faith, and I think that they try to mitigate that a little bit by demanding more and more work ahead of time.

I’m not sure that there’s anything of greater value than hiring somebody who has a track record, knows what they’re doing, has achieved in the past, and gives you a presentation that you think would make a great movie. At its heart, not necessarily scene by scene, but at its heart. So we don’t always have the choice to just do that short little bullet point presentation, but every now and then somebody goes with their gut and hires you just on that conversation.

**JOHN:** I’ll also say that early on in my writing career, I was pitching on a lot of projects that I didn’t get, and that’s par for the course. My friends Chad and Dara, the Creaseys, they’re pitching on things probably every week. I was like “Oh, that must be so exhausting,” but that’s also incredibly good practice.

**CRAIG:** Huge.

**JOHN:** I have these folders and folders of pitches that I’ve written for myself on projects that I didn’t get. I was going to write the Highlander sequel, and this is my take on the Highlander sequel, and this is really good practice because maybe I spent three days figuring out what this was going to be. It’s a movie I’m never going to write, but I did my Highlander, and I got that out of my system to a degree, and I figured out what kind of sword action movie I would want to do.

It’s not the same as writing, it’s not the same as actually sitting down and writing 120 pages of script. It’s very much a part of the career process of a screenwriter, so it’s not just good practice, but it’s actually part of the craft.

**CRAIG:** Without a doubt.

Well, I hope that answered his question.

**JOHN:** Yeah, I think that was a good start there.

Now, we’re not going to be a generally very news-following kind of podcast, I wouldn’t guess. There’s not going to be a lot of timely news that happens in the world of screenwriting, but we do have something timely happening now, which is that we have the WGA elections coming up.

**CRAIG:** Yeah, there’s an election every year, but every other year there’s an election for officers. So every two years, the Writers Guild elects a President, Vice President, Secretary-Treasurer, and then also eight directors. There are sixteen directors on the board, eight of them are up for election each year. But every two years, there is what we think of as the “big election,” where we’re voting for the leader and we’re saying, “For the next two years, this is who we’re following, and this is who is going to set the agenda for the guild.”

**JOHN:** Now, Craig, were you on the board of directors at some point?

**CRAIG:** Yeah, I ran and was elected in 2004, so I served from 2004 to 2006. I opted to not run again [laughs], in large part because it was very frustrating exercise for me. Although I did get quite a bit done while I was there, and I was very proud of that, but I do have experience as a director on the board of directors and I still chair a committee, so I’m still involved.

**JOHN:** So, talk to us about the board of directors and how when they’re meeting, what their focus is during a non, leading up to a contract.

**CRAIG:** Sure. Almost everything is leading up to a contract in a weird way. Our contracts run three years, so you spend most of those three years getting ready for the next one. It’s an endless, exhausting Sisyphean thing. The board of directors of a union is essentially the governing body of this organization. Unions are Federally chartered organizations; they are created, authorized and have to be responsible to Federal law.

And the board of directors are elected by the membership at large. If you are eligible to vote, and there are certain…you have to occasionally work. You can’t just sell one thing or work once, then expect to vote for the rest of your life. SAG you can, actually, but not in the Writers Guild. And the sixteen members of the board along with the three officers meet once a month, and there’s usually this eight hour marathon awful meeting where you go through all of the issues that the union requires the board to decide.

I mean, the board sets policy for the union. The rest of the month, the staff, led by the executive director, essentially runs the day to day affairs of the union. But the big decisions, what do we want out of negotiations, what should our negotiating stance be, how should we handle the budget, these sort of big questions, that’s the board. Once a month.

**JOHN:** And now, in your experience, is the board leading those discussions, or is it really the President steering those discussions, or does it change based on the personalities involved?

**CRAIG:** Excellent question. The President, the officers set the agenda for each board meeting. So halfway through the month, the officers get on the phone, and they set an agenda. And the board follows that agenda with the proviso that any board member, given enough time, can either introduce an agenda item that can be approved by the officers, or raise new business. New business gets shunted to the end of the meeting, it almost never happens.

If you want to do something as an individual board member, you need to talk to the officers way ahead of time and make sure it gets on the agenda. In practice, the way the union actually runs is this. The Executive Director and the President talk about what they want and what they need to decide at each board meeting, and that’s the agenda.

**JOHN:** OK. So, in looking at the candidates for board of directors, for example, some of these people have very lengthy things like “These are the priorities we need to focus on,” some of them basically have their name and a headshot. How much of an agenda can a candidate list in their goals for the board of directors? How much of that, in your opinion, is really achievable as a director spot?

**CRAIG:** I would love to give you the idealistic answer and say all sorts of achievement is possible, but here’s the truth: you are there as part of a general move towards a general goal, and the general goal for the union is really set by the President. The President and the Executive working together — hopefully working together, it doesn’t always work that way — is going to set a series of priorities for the union. You can, on your own, try and push something through.

If the President isn’t really interested, typically the political realities are that a lot of people on the board have run alongside that President, were supported by that President, were brought into guild politics by that President. They’re simply not going to be interested unless the President is. The President is an extraordinarily powerful position in our union.

They set the tone, and it would behoove you to be on the board with either a President that you support fully, or a President that you don’t support but then there are other allies you have on the board and so you can articulate the loyal opposition. I somehow managed to do both, two years. 2004 I was backing the President, 2005 I was loyal opposition.

**JOHN:** So, some of what the WGA board is focusing on are the external issues of the contract negotiations, how we deal with the studios, things like late payments, the things that effect all writers and are an external focus. Other stuff is the more internal things, like I know you’re on the Credits Committee right now?

**CRAIG:** Right, yeah, I co-chair the Credits Review Committee, which is the committee that tries to improve the rules of the credits process.

**JOHN:** OK. So, looking at the board of directors and at the candidate statements, who are the people who stood out to you, and who are you most excited about being on the board this next year, if you want to name names?

**CRAIG:** Sure. If we have two parties in the union, and these things are very fuzzy, it’s not like Democrat and Republican, I tend towards the pragmatic. I’m less interested in ideology and philosophy and far more interested in money; in the union getting as much money for its members as possible through compensation, residuals, pension and health. So, I always look for the most pragmatic candidates.

In particular, if I had one issue that I like to zero in on, it’s enforcement. Our union tends to get very big and flowery about what we ought to have in our contract. We don’t do a particularly good job of actually getting the things that are in the contract. So we will occasionally strike and bang a loud drum to get a better residuals formula, while we’re doing that, the actual residuals formula that we have, sometimes people just don’t pay.

And the Kafkaesque nightmare that ensues in trying to enforce those terms is incredibly frustrating and alienating for any writer that has the misfortune to go through it. So, I like to concentrate on pragmatic, practical candidates who have an eye on enforcement above all. At the present level, that’s Chris Keyser, who I think is a terrific candidate. He created Party of Five, I believe, so he’s been around for quite some time, worked in screen and television, which is important because we’re kind of weird.

Our union, screenwriters and television writers are rather different kinds of careers, but we’re in it together. So he’s done both, he’s a Harvard Lawyer, as is Patric Verone. So we have two Harvard lawyers running against each other, so they both have the business and real world background, and also Chris, who’s on the board of directors, has been sitting on the board of trustees in the pension health fund for many years, which to me is a big, big deal. That, to me, is sort of the most protectable and important thing that we have as a union. So I’m a big fan of Chris Keyser for President.

Vice President is Howard Rodman against John Aboud. I love John and I love Howard, they’re both great guys. I think that Howard is certainly far more militant and ideological than I am, but he’s a good man and a mensch and he listens, so I think we’d be fine with either one of those guys.

Secretary Treasurer’s a great one, it’s David Weiss, who’s way off in firebrand territory. David loves a good strike. And on the other side we have Carl Gotlieb, the legend.

**JOHN:** Carl Gotlieb, who wrote Jaws?

**CRAIG:** And The Jerk.

**JOHN:** And The Jerk. He was President at some point, wasn’t he?

**CRAIG:** No, he’s never been President. Carl’s never been President, but he’s been on the board, and he’s served as an officer many, many times. He has a tremendous amount of institutional knowledge, which I think is invaluable. There’s no doubt that you need fresh blood and new ideas. The union is particularly susceptible to crusting over and just maintaining status quo, and so you need new people coming in all the time.

The danger, sometimes, as we wipe out so many of the old guard, is that nobody seems to remember. Nobody can say “Oh you know what? We tried. We went down that path twelve years ago, it was a disaster. Don’t try that again.” So, it’s great to have guys like Carl around. Carl has fought many, many times. He spent more time on a picket line than you and I and ten of our friends put together. So I’m a big fan of Carl’s.

On the board end of things, Jeff Lowell is a very strong voice for enforcement. Ian Deitchman, who’s an incumbent, also a very strong voice for enforcement, and Ian was sort of a hero of the strike. He helped run the United Hollywood site along with John Aboud.

**JOHN:** I turn to Ian a lot for insight to things happening inside the guild, because I’ve always found him to be very knowledgeable about why people were saying what they were saying, and what the reality was on the ground. So, that’s one of the reasons why I singled him out in my endorsements.

**CRAIG:** Yeah, Ian, he serves a role that I tried to serve when I was on the board, and that is the member of the board that actually talks to writers. Because most of them don’t, they only talk to each other. A lot of times, I would find myself in this discussion with sixteen people, none of whom had actually spoken to anybody. They just talked to each other and convinced each other what’s best.

Ian actually talks to writers a lot, and so he’s always been open to listening, which is a nice thing. David Goyer is a very accomplished screenwriter, who I think has a terrific attitude. I’m a big believer that it’s best to get people on the board who are feet on the ground right now, who still have a lot of skin in the game and who aren’t afraid to fight for what they have now.

There’s a little bit of a fear that sometimes you have guys who cashed out, they’re done. It’s a lot easier to send other people into battle if there’s no chance you’re going to get hit with a bullet. I like Goyer a lot.

**JOHN:** Yeah, Goyer strikes me as, when I first saw his name there, it’s the kind of name you would expect to see on the negotiating committee, because they tend to bring in the brand names for the negotiating committee so they can sit opposite the studio heads when they do negotiations. But the fact that he was eager to participate in the very, I don’t want to say boring, but the much more day-to-day stuff of the board was interesting to me.

**CRAIG:** Yeah, same with Billy Ray. Billy Ray and David Goyer both have something that I love, which is a… First of all, like so many of us, they are dual members. They’re members of the DGA and the Writer’s Guild, so they’re able to keep their ear to the ground with the directors. You have to remember, the Directors Guild has always negotiated very, very early, but one of the downside results of our previous strike was that we lost our position, our negotiating position.

We used to go first, now we go last. The Directors Guild would try and sneak in ahead of us by negotiating super-duper early. Now, they are actually; I mean technically, I think they may still be after us; but they negotiate so early that they effectively will be the union of first negotiation for the companies. Because of that, we have to talk to them. We don’t have to like the way they go about their business, but we have to talk to them.

One of the issues with Patrick Varrone is that he is loathed by the DGA. I think it’s common knowledge, really. He’s had just a bad time dealing with them. It would be great to get a President who they were a little less antipathetic toward, and guys like Billy and Goyer, I think, will help. I can’t promise that anybody is gonna completely thaw the ice between these two unions, but maybe bring the temperature down a little bit would be nice.

**JOHN:** Yeah, there’s certainly a track record of shared membership between our two guilds, and the degree to which you can leverage that shared membership is only a good thing.

**CRAIG:** Yeah, and it’s a big number too. I can’t remember what the specific stat was, but it was kind of eye opening. Like thirty percent of our members have overlapping affiliations with the guild. It was a lot of writers. A lot.

**JOHN:** I think my endorsements were very much in line with some of the things that people like you singled out as well. For the board of directors, I only mentioned people that I knew personally, who I thought would be fantastic resources on the board, but Howard Rodman I also singled out. Howard, who in addition to being very involved with the guild in every level, is really focusing on bringing guild contract to indies, to independent films, which I think is crucial.

I get frustrated when I see the WGA spending a lot of time and energy trying to organize reality TV production as a sort of strategic goal. It’s not really what the WGA is about. The WGA is about writing film and television, and the film and television that we’re really known for is dramatic dramas and comedies, and that’s indie film. Our next generation of Hollywood writers comes from indie films.

So we’re trying to get them involved as early as possible, and trying to get them protect as early as possible, it feels like a crucial goal.

**CRAIG:** Yeah. I mean, let’s be honest about this reality organizing thing. The impetus to organize reality was always artificial. The intent was to organize reality television to improve our ability to strike. That was entirely what that was about, to the point where I think actually the Barone administration failed to organize reality where they might have been able to, in an incremental basis, because they didn’t care about increments.

What they wanted to say was “When it comes time to strike, all TV goes away. Not just scripted programming, but reality programming.” The problem with that is the companies aren’t dumb. [laughs] They certainly saw the intent there, and they are also hamstrung by certain realities that we can’t avoid. Like, for instance, the fact that a lot of people who work in reality are already represented by IATSE, the stagecraft union which represent all the editors, for instance.

And we tried to organize the editors in a way that, frankly, the companies didn’t even have to bother rebutting that one because there was another union saying that it would be a violation of Federal Labor Law. And it would, it would be as if the Screen Actors Guild suddenly decided to try to represent writers. You can’t do it. The great news is that Howard is exactly, his focus on independent film is exactly the right goal.

Similarly, I think trying to organize scripted cable television. That was the thing where I would sit there and go “What are we doing?” We’re trying to organize the writers on America’s Next Top Model, and maybe even trying to organize the editors, possibly. We have people writing scripted television for cable channels that are owned by the same companies that make the movies you and I write, and we are literally just ignoring them because somehow we don’t think they’re going to bolster our strike threat.

It was just a dumb, dumb time in our union, and counterproductive and bizarre, but Howard’s always been a great beacon of hope for independent film writers and a great guy.

**JOHN:** OK. That’s a half hour. That’s I feel like a good start for our inaugural broadcast. I think I’ve learned a fair amount here.

**CRAIG:** I think I have as well. I didn’t know how Charlie’s Angels came to be, so I feel educated as well.

**JOHN:** Absolutely. So, let’s try this again.

**CRAIG:** Yeah, we’re going to do this fairly regularly, I think.

**JOHN:** That is the hope.

**CRAIG:** That is the hope. And this way I don’t have to blog anymore.

**JOHN:** I know. This is all to save Craig from typing.

**CRAIG:** Really. Thank you. That’s all I can say, is thank you.

**JOHN:** And thank you Craig, and we’ll get this up and see how it goes.

**CRAIG:** See you guys on the podcast.

**JOHN:** Great. Thanks Craig. Bye.

Making unnecessary and possibly horrible changes

July 15, 2008 Film Industry, Producers, Psych 101, QandA, Writing Process

questionmarkI’m a struggling screenwriter in Brazil. About one and a half years ago, I had my first screenplay produced, a drama/thriller that had mixed reviews. The large part of the negative reviews pointed to aspects of the screenplay that I was forced to modify in the course of the production. In all, I like the result, but I think it would be better if my fourth draft (not my fifth) would had been the basis for the movie.

Now, I am having similar problems with my new screenplay in pre-production. This time, it is a child adventure that is very close to my heart, a story about ghosts and divided families. I have a very tight screenplay that is focused in the protagonists. It’s a story about a family of ghosts that is trapped in a house, each member enclosed in a separate room. Three young heroes tries to broke the curse that binds them there. Because of this, the plot is mainly focused inside the house, with a little touch of claustrophobia. Now I have the studio which is banking the project demanding the adding of new subplots. But I fear that the added subplots will loosen the narrative.

My question is: What you do when you truly think that your story don’t need to have new plots, but you have to add them anyway? How can I cut to external situations without weakening my main story?

— Sylvio Gonçalves
Brazil

You’re facing exactly the situation Hollywood writers find themselves in on almost every job. You have the draft you think is ready to shoot, but other powerful forces are pushing for more changes. Sometimes the changes come out of necessity — they simply can’t afford to shoot that sequence. But more often, the changes feel arbitrary. “We need more monkey jokes. Everyone loves monkeys.” ((This is true, up to a certain threshold. More than three monkeys, and I start to get nervous. You’re getting into monkey gang territory, and working together, they could probably take down a grown man.))

So what should you do?

Lick you finger and see which way the wind is blowing. If there seems to be a consensus that more monkey jokes are needed, then add them. And don’t add half-assed monkey jokes in the hopes that they’ll fail and get cut later, because screenwriter karma dictates that the worst things you write will always get prominently featured in the trailer. So make them good monkey jokes.

Am I seriously advocating selling out?

Yes, for you Sylvio, because with one produced credit you don’t have a lot of hand to be saying, “Absolutamente não.” If making the changes will completely undermine the movie, your job is to get the other decision-makers (director, producers) to realize this. The best way to do it is to write the changes as well as you can, and present them with your reservations, explaining in advance how hard you tried, what works and what doesn’t.

There is a small but real danger that they will disagree and shoot your revisions. But your version is no doubt better than what the director or another writer would have come up with.

Coincidentally, I’m going through the same thing right now on a project I’m writing. I’ll be spending three days doing revisions I’m pretty sure won’t work, but that’s the best way to demonstrate to everyone why they won’t work. The silver lining is that the process of doing these failed revisions may inadvertently create some good material that will be helpful in other parts of the script.

In your specific case, I’d make sure that whenever you’re cutting to external situations, you’re using the cuts to increase the overall energy. Make sure you’re leaving the house with a question unanswered, and returning to the house with something changed. ((Consider how Lost uses its flashbacks/flashforwards. They’re interrupting the flow, but they’re goosing the overall energy.)) You’re probably using claustrophobia to create tension, but there are many other tools in a writer’s arsenal. (Also, we’ll notice the enclosed spaces more if we’ve had some contrast.)

Good luck.

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