Commissioning bodies – summary
5 ways a script can go into production –
Corporations
Independent production companies
Independent directors or producers
Organisations
Competitions
When it comes to creating a successful film, the
collaboration between the director, writer, and producer is crucial. Each of
these roles brings unique skills and perspectives to the table, and when they
work together effectively, they can create a cohesive vision that resonates
with audiences.
The director is responsible for bringing the script to life
on screen. They work closely with the writer to understand their intentions for
each scene and character, and then use their own creative vision to translate
those ideas into visual storytelling. The director also works closely with
actors to get the best performances out of them, making sure that they are in
line with the overall tone of the film.
The writer is responsible for crafting a compelling story
that will engage audiences. They work closely with both the director and
producer to ensure that their vision aligns with what can be realistically
achieved within budget constraints. The writer may also be involved in
revisions throughout filming as changes are made based on feedback from other members
of the team.
The producer is responsible for overseeing all aspects of
production, from securing financing to managing budgets and schedules. They
work closely with both the director and writer to ensure that everything runs
smoothly on set. The producer also has final say over major decisions such as
casting choices or location scouting.
While each member of this team has their own specific role,
effective collaboration requires open communication and a willingness to
compromise when necessary. For example, if a scene isn't working on set, all
three parties may need to come together to brainstorm solutions that will still
achieve their shared vision while staying within budget constraints.
Reference:
APA Style
Bordwell D., & Thompson K., (2013). Film Art: An
Introduction (10th ed.). McGraw-Hill Education.
A corporation like the BBC commissions content by operating a genre based, rolling commissioning process. Suppliers, producers and writers can supply them with ideas at any time. If it matches with their plans, agenda or criteria, they may ask for further development. Because they receive huge volumes of ideas, time with commissioners is primarily based on the strength of the idea. If a weaker idea is presented to them, they’re less likely to continue with it.
An independent production company like Harts wood commission content themselves. Harts wood films create landmark drama and comedy for leading broadcasters around the world. They also work with writers and turn their visions into shows that engage and enrapture international audiences. They worked with directors Steven Moffatt and Mark Gatiss conceived the new ‘Sherlock’ they visited the BBC to acquire funding.
An independent director such as Quentin Tarantino write and direct their own screenplays and also have involvement with other directors. However, as well as directing and writing his own screenplays, Tarantino also writes other films such as ‘True Romance’ and ‘From dusk till Dawn’.
Organisations such as ‘The Script Factory’ and ‘Screen skills’ help to aid and nurture screenwriters as well as people associated with them. Although they don’t finance screenplay development, they do offer help developing scripts and giving advice in improving them. The BBC writer’s room is another example of an organisation that offer help in screenwriting.
Competitions often run-in western countries such as America and the UK. This is put in place to find new talent. Competitions often run all the time and are a great way for writers to gain some recognition. A fairly well-known competition is ‘The Blue Cat’ screenplay competition.
The likely process for getting commissioned: The idea is presented to a production company such as the Film4. An agent will first need to submit the idea to Film 4, then a proposal will need to be submitted through a registered production company. An email asking for more information is then sent to the company, who will then request to see part of your script. The company will then reply letting you know if you are successful, they will then call you in for a meeting to discuss the idea further {This is where you will attempt to persuade the business to pursue the idea}.
https://www.slideshare.net/rebeccaosborne1/the-commissioning-process-53456051
Summary of optioning:
Screenplay options are contracted permissions that gives interested parties shopping rights and development to your screenplay. This process happens before the actual acquisition of the script. Development executives and producers utilize option agreements attaining the sole rights to represent the screenplay, package it and attempt to secure distribution sales and acquire the necessary budget to produce the screenplay. These rights are attained by the screenwriters signing a contract that stipulates that the screenplay won’t be packaged or shopped outside of the signatory party or independently. Upon signing a screenplay options agreement, you are not giving up the rights to your screenplay indefinitely. Upon every agreement there is always a time contracted for industry insiders to maintain exclusive rights to the screenplay. This can usually range anywhere from around six to eighteen months, however normally twelve months is the industry average for most screenplay options. However, signatory companies or the individual is allowed the first option to renew the contract for an additional period, usually again around six to eighteen months.
Miyamoto, K. (2019). The Screenwriter’s Simple Guide to Screenplay Options. [online] ScreenCraft. Available at: https://screencraft.org/2019/11/21/the-screenwriters-simple-guide-to-screenplay-options/ [Accessed 11 May 2023].
Case Study: Lee Hall
British writer Lee Hall is famed for his radio, tv and film writing. Born in 1966 Newcastle, Hall believed he would study a career in science having studied that field, however upon realising this wasn’t the path for him, he set his sights on screenwriting. He studied English at Cambridge due to the ‘more money’ the university puts into its plays.
Out of his 40 screenplays written by 2011, only around 3 were made into feature length films, which is considered a good hit rate in the industry. ‘Billy Elliot’ (2000) was Hall’s first major break, he stated that the script only took ‘Two weeks’ to write but four years to make.
Because of disagreements with producers and directors, Hall’s name has been taken off many projects, he exclaims that the hardest part of being a writer is getting people ‘to see the final product’. Jimmy Spud was commissioned after Hall had won several awards for his radio play of the same name. The script he wrote passed through the hands of many directors before being accepted by a director who then secured funding for the film.
Hall has claimed that theatre and play writing is vastly different to screen writing as play scripts are written ‘differently’, however theatre writers are more respected and any changes made cannot happen without their consent. He goes on to say that for him financially, writing for theatre is much more beneficial than film writing.
Most tv shows are pre-commissioned nowadays and Hall goes on to say that until your first script gets ‘optioned’ you may initially struggle to get your name out there. Hall believes a good pitch is important and crucial to your chances of success
Hall, L. (2015). Lee Hall - Literature. [online] Britishcouncil.org. Available at: https://literature.britishcouncil.org/writer/lee-hall.
Changes to the script
Script coverage is the term used to describe the analysis of a screenplay during script development. In the current climate, you can very easily submit screenplays to independent script readers. For a very small fee, your script will be read by one of these professional script readers, which will then be marked and graded.
Ego sometimes may have to be set aside when contemplating changes to a screenplay. You may have to bite the bullet sometimes and accept criticism, putting artist integrity aside.
Changes to a script may include: The narrative being too like another text, the narrative being full of plot holes or unworkable or simply budgetary constraints. Changes to a script could happen in pre-production, In an attempt to make the script more viable. Factors such as location issues may affect the script in production as well. Changes to the script may occur during pre-production. the script readers and editors, director or producer may suggest changes to make the script more viable. Changes can also occur during production, such as location changes. Factors such as this may complicate the script writing process as changes may be needed to be made on the spot.
www.theatrefolk.com. (n.d.). How to request a cut or change to a script. [online] Available at: https://www.theatrefolk.com/blog/request-cut-change-script/ [Accessed 11 May 2023].
Page Lockdown
It is of a high probability that changes to a script may be made during either pre-production or production. Upon a script entering production, it will have been assigned page and scene numbers, this is due to ease of shooting, and preventing confusion and ultimately saving time.
So, when a change to the script is made, there is a strict set of guidelines that need to be followed for how those pages get logged and distributed. This is known as page lockdown, and it is vital in ensuring that a screenplay is produced effectively. The process of page lockdown is where any changes to the script are coded specifically, they are then sent out as induvial pages. This is done to avoid any manual changes to numbers on subsequent pages or forcing cast members to transfer large and drawn-out sections of handwritten notes over.
support.studiobinder.com. (n.d.). The difference between locked and unlocked scripts | StudioBinder Support Center. [online] Available at: http://support.studiobinder.com/en/articles/2935089-the-difference-between-locked-and-unlocked-scripts [Accessed 11 May 2023].
Blocking a scene: This is the process of working out and planning actor’s moves and body language in relation to the camera
Working as a writer:
Agents
Getting a screenwriting agent is a very personal decision, and ultimately is all up to personal preference, as this is a personal, human relationship between two individuals. The majority of writers prefer to be repped by a large business who hire agents working across talent and media. However, others may prefer a humbler, boutique service from a much smaller company who may not be as well-known but will deliver a more specialised service to their clients. A much more targeted, individual service where the agents are frequently available for chats and updates, perhaps even edits of work.
Chemistry is very subjective, you will only find out upon the first meeting with select agent whether the two of you get along or not, therefore the selection process of choosing an agent is crucial.
If you are a confident, outgoing and forward individual, an agent who complements you will most certainly be able to get you meetings and leave you to it. However, if you are a less confident person, and are more comfortable behind a keyboard, then an agent who is less so may overwhelm you. Ultimately, this is a very important decision. If one screenwriter is interested in your work, then others will be. Be calm, reflective, and take time to think it over and talk your decision over with your screenwriting coach or writer friends. Although it may seem obvious, avoid agents who simply don’t represent what you’re selling. If you want to work in TV, you should contact TV agents, not film agents. Think seriously about who you really want to work with and aim high. Do your exhaustive research on which agents represent the writers you absolutely love. Networking is very important in the industry, contact and mingle with other writers, find out who their agent is, do not be shy as networking is an essential part of growing in this industry. If you've ever done a couple of short films and they show your work in a good light, then think about how much more likely a scripting agent is to watch them compared to a feature film, make sure you prioritise getting your work seen.
Awards are like diamonds in the industry, depending on the status of the award, however. If your award is considered valuable and important, our chances of getting a solid agent will dramatically increase. In terms of approaching the agent, keep your letter short and sweet, remember agents are flooded with letters all hours of the day, mention anything in common with them including mutual contacts or friends. Things that mention your timekeeping or team-working skills are unfortunately irrelevant here, however if you are intending on writing about it, keep it brief.
Stamm, A. (2023). How to Get a Screenwriting Agent (The Right Way). [online] Celtx Blog. Available at: https://blog.celtx.com/screenwriting-agents/ [Accessed 11 May 2023].
What can screenwriters earn, and how?
Screenwriters’ salary is somewhat of a grey area, according to the bureau labour of statistics, American screenwriters earn around $77,000 annually. This may seem somewhat high, however Bill Marsilii and Terry Rossio earned $5m for their spec of DEJA VU, while M. The big guns are always going to bring home some serious bacon, however lets examine what the average UK screenwriter can earn, realistically.
Upon negotiating a deal, there are 6 main components to consider:
Against – This is essentially the value of an unproduced script compared to a green lit, produced script.
Option – Option prices are around 10% of a script’s total value. Option is a contractual agreement made between the producer/director and the screenwriter. It is the agreement that the third party holds ownership over the screenplay, akin to renting it.
Guarantee/front end - money guaranteed to writer and paid upfront by producers, regardless of whether the film is made.
Step deal - The upfront cost is typically divided into instalments based on the goals set forth while developing the final document. (A "three-step agreement," for instance, may charge for the first draught, the rewrite, and the polish. Producers are free to bargain for or take additional optional actions related to rewrites and second draughts. For every step, the writer is typically paid in the following proportion: 50% at the start of the phase and 50% at its conclusion.)
BACK-END – money contingent on production and release, such as a payment triggered by the first day of shooting.
Bonuses – Production bonuses ensure you’re paid additional compensation upon your screenplay being produced. These bonuses, typically paid out upon commencement of photography, are usually a percentage of a film’s budget. These can range anywhere from the £125,000 to £1,250,000 range.
In terms of feature films, these are normally where the higher amounts of money lie. A general rule of thumb is that a screenplay can usually account for around 1% - 2% of a production’s budget. As a screenwriter however, you are perfectly entitled to ask for around 5%. Budgets of more than £2 million can expect a screenwriter fee of around £40,000.
The BBC rewards screenwriters for just getting out of bed. Once under contract with the BBC, physical attendances can earn writers around £102 a time. November 2015 saw a 2% increase in the minimum fees of writers commissioned under the Television Writers and Sketch Agreements act.
For example, a dramatization can net screenwriters a cool £7,260 an hour.
ITV is very much the same, they commended their minimum script commissioning fees in May 2015. An hour of an original teleplay on ITV can net the writer £13,000.
the BBC pays TV drama screenwriters an additional 15% of the minimum fee for rights to use the programme on other services, including: catch-up, iPlayer, and repeats on sister channels, BBC3 and BBC4. This is in response to new media. Downloads can net BBC screenwriters around 5.6%. However, given all of this, screenwriter pay is still very subjective.
StudioBinder. (2020). How Much Do Screenwriters Really Make in 2020? [online] Available at: https://www.studiobinder.com/blog/screenwriter-salary-how-much-do-screenwriters-make/.
Professional Presentation
A pitch is a means of verbally selling a script to someone in the industry who may take an interest in it. The most common type of pitch when it comes to scripts is 60 seconds long “elevator” pitch.
To contrast the 60 second pitch is the 20-minute pitch. This one requires you to go into detail about themes, characters, acts and plot.
Movies with high concepts are allot easier to pitch then films with low concepts. A great logline should allow the reader to confidently visualise the poster of the film, as well as the trailer and indeed the movie itself. A common misconception is that you can sell a movie idea. This is unfortunately incorrect as there isn’t a market for stand-alone movie ideas. Executives are ideally looking for the whole package: An idea, a screenplay and a writer to work with.
A great movie pitch is presented by someone who is well-spoken. Speak clearly and with intent. Commence your pitch by establishing the genre of the movie and a brief history on the conception of the idea. Make eye contact with the people around the room and remain open. Have open body language and appear friendly, this helps execs feel more comfortable asking you questions. Always stick to what is important and stay on track.
Make sure you don’t go over your anticipated run time as this can cause boredom to your audience. As well as this avoid comparing your screenplay to existing movies as this makes your project seem derivative and less original.
It’s mightily important to establish rapport with the execs you’re pitching to. Ask how their weekend and get to know them a little better before you start your pitch. Try to be interesting and a little bit quirky, this will result in you sticking in their mind and mean you are more likely to be taken on. Try to convey passion and panache in your pitch as this will rub off into your audience. The more passionate you are, the more subconsciously that passion will be transported to your audience.
Make sure to be open to changes, avoid being defensive.
Monster Career Advice. (2011). 10 PowerPoint hacks to make your presentations look more professional. [online] Available at: https://www.monster.com/career-advice/article/powerpoint-hacks-1116.
Legal and Ethical considerations
Plagiarism is the practice of taking someone else’s work or ideas and passing it off as your own.
Copyright is a type of intellectual property. Copyright gives its owner exclusive rights to copy, distribute and do almost anything with their property. Copyright is subjective to limitations such as the fair use doctrine in the US. Copyright law is important for screenwriters because it protects their creative works from being used or copied without their permission. Screenwriters own the copyright to their screenplays as soon as they write them, but registering the copyright with the U.S. Copyright Office provides additional legal protection and can help in cases of infringement.
Copyright protection gives screenwriters the exclusive right to make copies of their work, distribute their work, perform their work publicly, and create adaptations or derivative works based on their original work. This means that if someone wants to use a screenwriter's work, they must obtain the writer's permission and, if necessary, compensate them for the use of their intellectual property.
In the entertainment industry, copyright is especially important because screenplays are often adapted into films, TV shows, and other forms of media. Copyright protection ensures that screenwriters receive fair compensation for the use of their work and retain some control over how it is used and presented to the public.
Carmil (n.d.). Plagiarism in Movies: A Behind-the-Camera Story. [online] Copyleaks. Available at: https://copyleaks.com/blog/plagiarism-in-movies-a-behind-the-camera-story#:~:text=Many%20filmmakers%20plagiarize%20content%20from [Accessed 11 May 2023].
Screenwriters, like all individuals, may have personal biases and perspectives that influence their writing. However, it is important for screenwriters to be aware of their biases and strive to avoid perpetuating harmful stereotypes or perpetuating discrimination in their work.
When creating characters, storylines, and dialogue, screenwriters should be mindful of the representation of different genders, races, cultures, and other marginalized groups. They should avoid stereotypes and work to create fully realized characters with depth and complexity.
It is also important for screenwriters to be conscious of the social and cultural context in which their work will be received. They should consider how their work might be interpreted by different audiences and avoid perpetuating harmful messages or promoting discriminatory beliefs.
In short, while personal biases are a natural part of human experience, it is important for screenwriters to strive to create works that are respectful, inclusive, and promote positive social values.
Defamation is the act of making a false statement that harms the reputation of another person or entity. It can take the form of libel (written defamation) or slander (spoken defamation). For screenwriters, it is important to be aware of defamation because they can potentially be held legally responsible for any defamatory statements made in their work.
If a screenplay contains defamatory statements about a real person or entity, the person or entity in question may have grounds for a lawsuit. This can lead to legal fees, damages, and reputational harm. Even if the screenplay is fictional, if it contains statements that could reasonably be interpreted as referring to real people or entities, the writer could still face legal action.
To avoid potential legal issues, screenwriters should be careful to avoid making false statements that could harm someone's reputation. They should also be mindful of using disclaimers or fictionalizing their work in a way that makes it clear that any similarities to real people or events are coincidental.
Overall, it is important for screenwriters to be aware of the legal risks associated with defamation and take steps to ensure that their work is respectful, accurate, and not defamatory.
Identifying and understanding the target audience is a critical part of screenwriting, but it isn't always the most important thing. In fact, it's almost always best to focus on creating a well-crafted and compelling story with interesting characters, a clear plot, and engaging dialogue. However, regardless of the target audience, if the story isn't good, it's unlikely to be successful. That being said, paying attention to the target audience can help screenwriters make important creative decisions, like tone, genre, and style. For example if the target audience is young adults, the story might incorporate themes and characters that resonate with them. However, the focus should still be on crafting an entertaining story. Successful screenplays appeal to a wide audience no matter who their initial target demographic may be.
Target audience omissions can have a number of negative consequences, the most notable of which is a lack of originality. Focusing too narrowly on who your story is meant for can often result in stories that feel yawn-worthy and predictable. Secondly, catering to one set of demographics can mean limiting potential reach and audience interest. And finally, not including anyone who's not squarely within your target audience can be very unwise- placing undue restrictions on what a film may be able to achieve. In fact, neglecting even half the population can lead to disaster! All told, making sure your screenplay encompasses as many people as possible will ultimately lead to success.
Focusing on the target audience can have several benefits for screenwriters, including bettered understanding of followership prospects By relating and understanding the target followership, screenwriters can gain perceptivity into the interests, preferences, and prospects of their implicit observers. This can help them produce a story that will reverberate with the intended followership and increase the liability of success. Greater marketability When a script is acclimatized to a specific target followership, it can be easier to vend and promote to that followership. This can increase the chances of the script being picked up by a plant or product company, as well as its success at the box office. Stronger emotional connection When a script speaks directly to a specific followership, it can produce a stronger emotional connection between the bystander and the story. This can affect in a more important and memorable cinematic experience. further focused creative opinions by fastening on the target followership, screenwriters can make further focused creative opinions, similar as choosing the right kidney, tone, and style for the story. This can affect in a further cohesive and well- drafted script. Overall, while it's important for screenwriters to balance their focus on the target followership with creating a strong and original story, relating and understanding the intended observers can be a precious tool in creating a successful script.
Writers Store. (2021). How to Write a Screenplay: Script Writing Example & Screenwriting Tips. [online] Available at: https://writersstore.com/blogs/news/how-to-write-a-screenplay-a-guide-to-scriptwriting.
deadlines are an important part of being a professional screenwriter. They allow for a clear timeline and make sure that the script is completed in a timely manner. This can cause disruptions to the production schedule and result in increased costs. Meeting deadlines also demonstrates reliability and a good work ethic, both of which can lead to future opportunities. When screenwriters fail to meet their deadlines, there are a range of negative consequences. These can include losing the project, missing out on future opportunities, and damaging their reputation.
Managing time effectively is essential for any screenwriter, as it allows them to balance the demands of writing with other responsibilities and deadlines. Here are some strategies that can help screenwriters manage their time more effectively:
Set specific goals: Establishing clear goals for each writing session can help focus the writer's efforts and increase productivity. By breaking down the writing process into smaller, more manageable tasks, writers can stay motivated and on track.
Create a schedule: Establishing a schedule can help screenwriters manage their time effectively by providing structure to their day. This can include specific times for writing, research, and other tasks. Scheduling time for breaks and relaxation is also important to avoid burnout.
Minimize distractions: To maximize productivity, screenwriters should minimize distractions as much as possible. This can include turning off their phone, closing email and social media accounts, and finding a quiet workspace to write.
Prioritize tasks: It's important for screenwriters to prioritize their tasks and focus on the most important projects and deadlines first. This can help ensure that they are meeting their obligations and not getting overwhelmed.
Take care of yourself: It's easy to neglect self-care when deadlines loom, but taking care of one's physical and emotional health is essential for maintaining productivity and avoiding burnout. This includes getting enough sleep, exercising regularly, and making time for relaxation and leisure activities.
By adopting these strategies, screenwriters can manage their time more effectively and increase their productivity, leading to better writing and more successful projects.
www.arcstudiopro.com. (n.d.). Managing Time as a Screenwriter - Arc Studio Blog. [online] Available at: https://www.arcstudiopro.com/blog/managing-time-as-a-screenwriter#:~:text=Keep%20things%20manageable%20so%20you [Accessed 11 May 2023].
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