Screenwriter's Role

[Romano]

Hey all! I've got a few questions about a screenwriter's role in the business that have been bugging me and I can't seem to find straight answers anywhere, or any answers at all... on here and through multiple google searches. So I decided to take a new route and find a decent forum about the craft and here I am, glad I could make a new home here, this place looks solid.

Anyway, I would really appreciate any insight at all on the following questions. These are mainly written with a major motion picture or large studio in mind. Just looking for some information in general.

1. Do screenwriters make residuals following the movie (ex. ticket sales, DVD sales)?

2. Do screenwriter's play any role at all in movie production post selling the script?

3. Can the screenwriter be on the set?

4. Do the screenwriters themselves always do the pitching?

5. Can a screenwriter get extremely specific with a script and ensure it makes it into the movie? For example, let's say a scene was written that involves some college students and the screenwriter wants to incorporate his fraternity into the film by just having some students walking around with the appropriate Greek letters. Can this specifically be written in the script somewhere? And how may it actually look once written?

Another example would be displaying posters in the movie from the writer's favorite musician in one of the character's rooms. Can a writer write that in or is that mainly up to the director?

6. Can a screenwriter choose a song for a certain scene they'd like to see in the film?

7. Can a screenwriter have any input on the cast?

Don't have to attempt to answer all, if you can answer even one of the questions you may know, I can't express enough gratitude. Thanks.

 

[2001 Productions]

1. Not typically. Though some of the A-list screenwriters are also producers.

2. Not typically. Though occasionally a director will have a relationship with a particular writer and work with him/her on revisions.

3. Not typically. Though see #1.

4. Depends. I personally have a manager/agent who pitches my stuff to development execs, though I have to pitch the idea to my manager/agent. If the writer is also a producer, he or she will probably pitch the concept to the studio him/herself.

5. Put anything you want in the script. No, there is no guarantee anything at all will actually be implemented. Just cash the check and start on the next one. Writers, especially unknowns, are not exactly first-class citizens in Hollywood. Want respect as a writer? Write a stage play -- playwrights are lauded. Just don't expect to make any money at it.

6. See #5.

7. See #1-3.

 

[Romano]

Thank you very much for the info. if anyone else has any insight on my questions or specific experiences, post them up, this thread is open!

 

[directorik]

Welcome to indietalk!

1. Do screenwriters make residuals following the movie (ex. ticket sales, DVD sales)?

This is the primary reason the writers went on strike in 2007. We
wanted better residual participation. Yes, writers do get residuals.
We often think it's not enough, but we get them. On a non-union
job this will need to be negotiated.

2. Do screenwriter's play any role at all in movie production post selling the script?

Very rarely. It's not an absolute with no exceptions but writers are
paid and then leave the show. When rewrites are needed another
writer is hired. When even more are needed yet another writer is
hired.

3. Can the screenwriter be on the set?

Writers are almost never invited to be on set.

4. Do the screenwriters themselves always do the pitching?

Yes. Who knows the pitch better than the writer?

5. Can a screenwriter get extremely specific with a script and ensure it makes it into the movie? For example, let's say a scene was written that involves some college students and the screenwriter wants to incorporate his fraternity into the film by just having some students walking around with the appropriate Greek letters. Can this specifically be written in the script somewhere? And how may it actually look once written?

Of course. the writer can put anything in the script they want. There
is no way, other than a contract negotiation, to ensure what they
write ends up in the movie. Of course, the writer could refuse to
sell the script if the specific Greek letters aren't used.

How to write it depends on what you want seen. If the story takes
place in the Kappa Alpha Theta house, the costume designer will
research and place the Greek letters on some of the costumes. No
need to write much else.

If the main character is walking across campus you could write:

Romano passes a group of men all sporting their Sigma Alpha Iota letters.

Another example would be displaying posters in the movie from the writer's favorite musician in one of the character's rooms. Can a writer write that in or is that mainly up to the director?

If the poster is the writers favorite musician why is it in the script at
all? Does the character living in that room know the writer? How does
she know the writer? Is that part of the story? Of course the writer
can write that into their script. But unless it has something to do with
the story it is advisable to leave out the writers personal preference to
musicians.

6. Can a screenwriter choose a song for a certain scene they'd like to see in the film?

Again, the writer can choose songs. But this isn't the job of the writer.
Of course we all know how important songs are to the feel of the movie.
But if a scene hinges on a specific song and that song is not available
then the entire scene is cut. Once again, unless it's essential to the story,
this isn't what the writer does.

7. Can a screenwriter have any input on the cast?

No. Unless the screenwriter is also the producer.

Now, of course there are exceptions. I've posted here long enough to know
there well be a few people who will point out these exceptions. Have at it.
I know them, you know them and I suspect Romano knows there are
exceptions to everything in this business.

 

[2001 Productions]

Yes, writers do get residuals.

I stand corrected. I was speaking from a non-WGA perspective, assuming Romano is not yet a member.

 

[Romano]

Very rarely. It's not an absolute with no exceptions but writers are
paid and then leave the show. When rewrites are needed another
writer is hired. When even more are needed yet another writer is
hired.

It can be negotiated, however during the original selling of the script, that no matter how many rewrites the original writer's name will appear on the big screen? I'm sure it happens, but that would be disgraceful to sell a wonderful script just to have another writer's name on it...

If the poster is the writers favorite musician why is it in the script at
all? Does the character living in that room know the writer? How does
she know the writer? Is that part of the story? Of course the writer
can write that into their script. But unless it has something to do with
the story it is advisable to leave out the writers personal preference to
musicians.

I'm sorry I think I wasn't too clear about what I meant. What I was trying to say is, a few bands that I personally listen to are big influences in my life, would it be possible to write in the script (say the main character's room) that there are posters of 'Band X' hanging up on the wall? I know you can write whatever you want, but since that's not an integral part of the story, are things like that frowned upon when producers or agents read the script?

Again, the writer can choose songs. But this isn't the job of the writer.
Of course we all know how important songs are to the feel of the movie.
But if a scene hinges on a specific song and that song is not available
then the entire scene is cut. Once again, unless it's essential to the story,
this isn't what the writer does.

Where or how in the script would you suggest a song for a scene. Or moreso even suggest using a band's song (any song) somewhere in the movie?

Thank you very much, you've been a HUGE help!

 

[directorik]

It can be negotiated, however during the original selling of the script, that no matter how many rewrites the original writer's name will appear on the big screen? I'm sure it happens, but that would be disgraceful to sell a wonderful script just to have another writer's name on it...

It's a business. The writer of that wonderful script that needed
four or five rewrites sometimes gets a credit ( "story by") and
often gets nothing but the paycheck. It's not disgraceful at all.
I sure understand how it seems that way from the outside and
that's why so few novelists and playwrights stay in the screenplay
business very long. Novelists and playwrights are the king in their
medium - the director and the actors are the kings in movies. A
writer who wants total control (or close to it) needs to be a show
runner on TV.

I'm sorry I think I wasn't too clear about what I meant. What I was trying to say is, a few bands that I personally listen to are big influences in my life, would it be possible to write in the script (say the main character's room) that there are posters of 'Band X' hanging up on the wall? I know you can write whatever you want, but since that's not an integral part of the story, are things like that frowned upon when producers or agents read the script?

Yes. Just because you (the writer) like a band or is greatly influenced
by them doesn't mean you (the writer) gets to dress the set. That's
not your job. The writers job is to tell the story. I was a reader for
many years. when I read something in a script, I assume it has
something to do with the story. As a reader I take in, and take very
seriously, what the writer writes. If the writer tell me that there are
posters of "Big Bad Voodo Daddy" on the wall, I expect that to have
some significance to the story - not simply the personal taste or
influence of the writer. And if a piece of set dressing is mentioned
and has no significance to the story it red flags the script for me.

BTW, I understood what you meant. My response was what a reader
of the script is going wonder.

Where or how in the script would you suggest a song for a scene. Or moreso even suggest using a band's song (any song) somewhere in the movie?

You don't. I understand that hearing a song has an emotional impact.
Reading the title of a song does not - clearly reading the title of a song
you don't know has no emotional impact, but even reading the title of
a song you love isn't the same as hearing it. So the written title of a
song adds nothing to the screenplay.

So if mentioning the song or the band is simply a personal thing - you
picture yourself sitting in the theater at the premiere and your favorite
song from your favorite band comes on and your friends say, "Dude!
It's Band X!" and you say, "That was MY idea!" - don't do it. And as I
said, if you make a song or a band essential to the story and the band
isn't willing to sell the rights to their name and/or songs, then your
entire script is thrown out.

 

[Beeblebrox]

I'm sure it happens, but that would be disgraceful to sell a wonderful script just to have another writer's name on it...

It would be equally disgraceful, would it not, if another writer was hired to fix the script, contributed a huge chunk of material that made the script better and that writer was NOT credited.

Directorik could probably get more specific, but there are rules for how much a writer contributes in order to get credited. No one is just sticking their names on scripts just because.

What I was trying to say is, a few bands that I personally listen to are big influences in my life, would it be possible to write in the script (say the main character's room) that there are posters of 'Band X' hanging up on the wall? I know you can write whatever you want, but since that's not an integral part of the story, are things like that frowned upon when producers or agents read the script?

If it's not an integral part of the story, then why is it in the script? Not to be blunt, but no one cares what you are personally influenced by. We want to see that kind of stuff about the characters, not you the writer.

 

[2001 Productions]

And if a piece of set dressing is mentioned
and has no significance to the story it red flags the script for me.

That's a valuable insight; script readers are the first line of defense a screenwriter must overcome.

I read a script once in which the main character was described as bouncing a blue ball. Now, there didn't seem to be any particular reason for the character to be bouncing a ball in the scene, let alone a blue ball. Since there weren't many other such specific descriptive elements in the script, I became intrigued as to the significance of the blue ball. I read through the rest of the piece, waiting for the blue ball foreshadowing to pay off. Of course, it never did. Evidently the scene was based on a true incident from the writer's past in which he was bouncing a blue ball, so he included that detail in the script. Unfortunately, I, the reader, became distracted by its perceived relevance. I don't remember a single other thing about the script - not even the title - but I remember the cursed blue ball.

 

[Romano]

It's a business. The writer of that wonderful script that needed
four or five rewrites sometimes gets a credit ( "story by") and
often gets nothing but the paycheck. It's not disgraceful at all.
I sure understand how it seems that way from the outside and
that's why so few novelists and playwrights stay in the screenplay
business very long. Novelists and playwrights are the king in their
medium - the director and the actors are the kings in movies. A
writer who wants total control (or close to it) needs to be a show
runner on TV.

Makes me a little uneasy, in the sense that if a director does bring in writers, they will try to do as much changing as they can to knock my name off and get their names on it instead... like they're out for your head. How often does something like that happen?

Yes. Just because you (the writer) like a band or is greatly influenced
by them doesn't mean you (the writer) gets to dress the set. That's
not your job. The writers job is to tell the story. I was a reader for
many years. when I read something in a script, I assume it has
something to do with the story. As a reader I take in, and take very
seriously, what the writer writes. If the writer tell me that there are
posters of "Big Bad Voodo Daddy" on the wall, I expect that to have
some significance to the story - not simply the personal taste or
influence of the writer. And if a piece of set dressing is mentioned
and has no significance to the story it red flags the script for me.

But it is fine to mention something subtle in the script like... the room was painted lively with posters of various rock musicians.. blah blah? Just no specifics unless it's important to the story.

You don't. I understand that hearing a song has an emotional impact.
Reading the title of a song does not - clearly reading the title of a song
you don't know has no emotional impact, but even reading the title of
a song you love isn't the same as hearing it. So the written title of a
song adds nothing to the screenplay.

So if mentioning the song or the band is simply a personal thing - you
picture yourself sitting in the theater at the premiere and your favorite
song from your favorite band comes on and your friends say, "Dude!
It's Band X!" and you say, "That was MY idea!" - don't do it. And as I
said, if you make a song or a band essential to the story and the band
isn't willing to sell the rights to their name and/or songs, then your
entire script is thrown out.

Understood. However during final negotiations, is it possible to bring up that you would like to employ some musical influence from 'Band X' into the movie if it would be possible? It wouldn't be a necessary part of the movie, but is it worth mentioning if it means a lot to the writer? I know when Diablo wrote Jennifer's Body, she had music in mind as a major influence in the entire movie.

 

[Romano]

I read a script once in which the main character was described as bouncing a blue ball. Now, there didn't seem to be any particular reason for the character to be bouncing a ball in the scene, let alone a blue ball. Since there weren't many other such specific descriptive elements in the script, I became intrigued as to the significance of the blue ball. I read through the rest of the piece, waiting for the blue ball foreshadowing to pay off. Of course, it never did. Evidently the scene was based on a true incident from the writer's past in which he was bouncing a blue ball, so he included that detail in the script. Unfortunately, I, the reader, became distracted by its perceived relevance. I don't remember a single other thing about the script - not even the title - but I remember the cursed blue ball.

That's something good to bring up, that's a mistake I'd probably make myself. Gotta realize you're writing a story skeleton, just the story and not a novel. Don't get crazy with the details and little things unless they are of significance.

However when describing a scene such as a character is passing time in his room, could you make mention of something so simple... like bouncing a ball?

 

[directorik]

Makes me a little uneasy, in the sense that if a director does bring in writers, they will try to do as much changing as they can to knock my name off and get their names on it instead... like they're out for your head. How often does something like that happen?

That’s paranoia talking. No director is trying to knock the
writers name off. Well, at least not since Spielberg paid (and
bullied) to have his sole credit as writer of “Close Encounters”.
It happens so rarely it’s not really something to worry about.

If it’s a union project, the Guild has processes to ensure a
writer is properly credited. On a non union project, it might
happen, so be very careful about who you do business with and
contract wording.

But it is fine to mention something subtle in the script like... the room was painted lively with posters of various rock musicians.. blah blah? Just no specifics unless it's important to the story.

There is always the danger both “2001” and I have mentioned. If
you put it in your script there needs to be a reason for it. And
when the reason is the writer likes something, that isn’t good
enough. As the reader of the script, I’m carefully reading
everything the writer puts in, and if it’s just “filler” then too
often I get bogged down in the miasma and miss the story.

So before you mention set dressing in your script you should ask
yourself: if the set decorator decided to put up posters of Nascar
cars and drivers would that change your story? Not, is that your
personal like or dislike, but if the director and set decorator decided
to go in a different directing than you originally planned would the
story suffer. That's really difficult for most writers to grasp. But
very important, too.

And:

Is your character developed well enough so the set decorator,
after reading the script, could ONLY put up posters of rock bands
and musicians in order to stay true to the character and story?

For example: An art director, reading the script for “Ladies and
Gentlemen, the Fabulous Stains” is going to know immediately that
the walls of Corinne’s room would be covered, obsessively, with
indie, punk bands. There is no need to mention that at all in the
script because the story, character and actions of the character
are all very clear.

However during final negotiations, is it possible to bring up that you would like to employ some musical influence from 'Band X' into the movie if it would be possible? It wouldn't be a necessary part of the movie, but is it worth mentioning if it means a lot to the writer? I know when Diablo wrote Jennifer's Body, she had music in mind as a major influence in the entire movie.

Writers always have music (and many other things including
casting, set decorations, props, camera angles) in mind when they
write a script. The more successful the writer, the more the
writer will be listened to. In the case of “Jennifer’s Body” Cody
was also the executive producer. That insures a lot of control
over the script. She couldn’t get that until she was quite
successful.

But you know my answer to your question: You can ask for anything
you want. If you want to be on the set, if you want a say in
casting, if you want to decide how sets are decorated, if you want
the producer to use the music you like, you can ask for all these
things. And you can, while negotiating the deal, bring up other
writers and the deal they have gotten.

 

[Romano]

Yes. Who knows the pitch better than the writer?

Great writers don't always mean great speakers, what if the writer sucks at pitching?

 

[Unknown Screenwriter]

Uh...

Great writers don't always mean great speakers, what if the writer sucks at pitching?

Nothing. No sale. No read. Nothing.

filmy

 

[2001 Productions]

Practice. Pitch to your family/friends. All a pitch is is a succinct encapsulation of your idea. You don't necessarily have to tell the whole story. My pitches are usually just 3 to 5 sentences. You just want to whet the listener's appetite and make them want to read it/hear more. Write a log line (you know what that is, right?) and expand on it a little bit. Listen to voice-overs on trailers; might give you some ideas.

 

[Graeme]

Wow that is a good list of questions,

Now I don't know any of the answers as I'm just starting in indie-films myself but I'm looking at writing my own screenplay then directing it, I would be doing everything you just asked into the screen play.

That said if I purchased a screenplay off someone else I would expect that I may keep them on as a creative consultant but as director I would "play by ear" as to details in the movie.

Now that said, I think there are writer guild rules for those who write for major labels etc. which would require me to have the screenwriter make any changes to the script I as a director wanted. But I just heard that on TV, so I don't know if its true or not. Worry about that hurdle if I ever get there.