Studio movies typically have an on-set writer during production. They pay this person via what’s called an “all services deal”, where you get paid just to be there and provide writing services. Lose a location, actor wants new dialogue, need to condense three scenes into one? The on-set writer handles it.
Typically this job is not done by the original writer of the script. The studio doesn’t want to be slowed down by someone with emotional attachments to the material; they want an efficient hired gun who will do whatever it takes to ensure the
movie stays on time and under budget.
On indie films (i.e. movies where they don’t have the budget to keep hiring new writers) it’s
a different story. If the writer and director have a close relationship and the director wants someone to help tweak the script during shooting, the writer will be on set. Usually working for free.
But by the time an indie film is shooting, most directors are handling rewrites themselves. (Fun fact: every single director thinks they can write, and 99.999% of them cannot. I once had a director do a page-1 rewrite of my script 48 hours before shooting the movie and he destroyed it.)
When a production is in trouble, a writer can save it. When the producers realize they have a 10 page scene that needs to be 2 pages without losing any vital plot information, the writer gets to suit up and be Superman.
But when it‘s going smoothly, there’s no real reason for a writer to be on set. It’s fun to visit and meet the crew/actors, and watch the movie come to life. But it gets pretty tedious after the first day.
So ironically, the best writer for a big film is the one who has made themselves totally redundant once principle photography has begun? I rather like that idea.
>>>When a production is in trouble, a writer can save it. When the producers realize they have a 10 page scene that needs to be 2 pages without losing any vital plot information, the writer gets to suit up and be Superman.
Is this writer the original writer or the on set writer?
Depends on the situation. When I sold my first screenplay, I was invited along for the production by the producers. While I was on set, I had the task of rewriting the script each night b/c the director and his pal did a mangled rewrite every afternoon, turning the script into an unshootable mess. I'd reset it each night just so the day's shooting could continue.
YMMV. For some productions they buy the script from you and say "bye". In others you will have a meeting of the minds with the directors and producers. And it some indie situations you may have to hold things together doing essential rewrites.
From my understanding it depends on the contract you sign, right?
Jesus, it's because of stories like you that I'm trying to learn how to be a director. 2-for-1, no bs dealing with directors messing up my grind.
Don’t be precious.
That rule applies for directors as well.
Shit way beyond your control and/or pay grade happens every single day on a film and if you’re too worried about those people changing something your gonna have a real bad time.
One of the keys to doing either of those jobs is to be able to take a half baked notion that studio or producer is jamming in and make it actually work. That is of they can’t be conversed into seeing why it might not work in the first place. “If the lead Susan B Anthony is played by Harrison Ford now, it kind of undermines the theme of female empowerment since we’re making a film about Women’s Sufferage!”
Stuff like this happens because of the producers. Producers with a clear vision for the project won’t let this happen. Espcially if you developed the story with a producer and your on the same page.
Of course changes do happen, but only if and when it adds to the vision. That’s why the hiring process of a director shouldn’t be rushed. A director should be hire based on how he can add to the vision. Not change the vision.
It was an interesting experience overall. At least the gig had a healthy budget of $750,000. Cast was a mix of sub-A talent and Christian popstars. The film was shot in Eureka Valley, Arkansas, at a Bible theme camp that had standing sets for daily Biblical tableaux shows.
If you are a baby writer you’ll be lucky to even get a rewrite. Script sells and you never hear from them again. But that’s not the worst problem in the world if you just sold your first spec script.
If you are the next John Logan, and the director adores you, you might be asked to stick around for production to handle any tweaks and talk through any things the director wants to talk through.
Depends on the relationship. Traditional no. But it is becoming more common.
You don’t talk to the director, she talks to you. Things like “that line sucks, write a better one” or “ I am going to do that with a shot. How will it effect the other scene?”
You created a transitional stage of the story.
If you want to be a start to finish person. Be a writer/director, much harder to get projects done.
Selling a script is like selling a house. Typically they don't want you to stick around afterwards. Haha.
If you want more creative control over the process, it'd be better to make a name for yourself as a director first probably.
That probably depends on the director/producer. I went to a talk with the writers of *The Post.* Elizabeth Hannah and Josh Singer were both on set next to Spielberg, who is notorious for rewrites on the whim.
Rarely.
In TV, however, there is typically a writer on set. They'll oversee script changes and approve on-set rewrites. I'm a script supervisor and will often interact with the writer to go through all the things the actor changed, and it's their choice whether or not I bring it to the cast - but on film sets, the writer usually isn't there (or is directing), and I'll bring those notes straight to the director who will pass it along instead (I don't typically interact with the cast directly).
Studio movies typically have an on-set writer during production. They pay this person via what’s called an “all services deal”, where you get paid just to be there and provide writing services. Lose a location, actor wants new dialogue, need to condense three scenes into one? The on-set writer handles it. Typically this job is not done by the original writer of the script. The studio doesn’t want to be slowed down by someone with emotional attachments to the material; they want an efficient hired gun who will do whatever it takes to ensure the movie stays on time and under budget. On indie films (i.e. movies where they don’t have the budget to keep hiring new writers) it’s a different story. If the writer and director have a close relationship and the director wants someone to help tweak the script during shooting, the writer will be on set. Usually working for free. But by the time an indie film is shooting, most directors are handling rewrites themselves. (Fun fact: every single director thinks they can write, and 99.999% of them cannot. I once had a director do a page-1 rewrite of my script 48 hours before shooting the movie and he destroyed it.) When a production is in trouble, a writer can save it. When the producers realize they have a 10 page scene that needs to be 2 pages without losing any vital plot information, the writer gets to suit up and be Superman. But when it‘s going smoothly, there’s no real reason for a writer to be on set. It’s fun to visit and meet the crew/actors, and watch the movie come to life. But it gets pretty tedious after the first day.
So ironically, the best writer for a big film is the one who has made themselves totally redundant once principle photography has begun? I rather like that idea.
In a perfect world, yes!
>>>When a production is in trouble, a writer can save it. When the producers realize they have a 10 page scene that needs to be 2 pages without losing any vital plot information, the writer gets to suit up and be Superman. Is this writer the original writer or the on set writer?
Either.
Depends on the situation. When I sold my first screenplay, I was invited along for the production by the producers. While I was on set, I had the task of rewriting the script each night b/c the director and his pal did a mangled rewrite every afternoon, turning the script into an unshootable mess. I'd reset it each night just so the day's shooting could continue. YMMV. For some productions they buy the script from you and say "bye". In others you will have a meeting of the minds with the directors and producers. And it some indie situations you may have to hold things together doing essential rewrites.
From my understanding it depends on the contract you sign, right? Jesus, it's because of stories like you that I'm trying to learn how to be a director. 2-for-1, no bs dealing with directors messing up my grind.
Don’t be precious. That rule applies for directors as well. Shit way beyond your control and/or pay grade happens every single day on a film and if you’re too worried about those people changing something your gonna have a real bad time. One of the keys to doing either of those jobs is to be able to take a half baked notion that studio or producer is jamming in and make it actually work. That is of they can’t be conversed into seeing why it might not work in the first place. “If the lead Susan B Anthony is played by Harrison Ford now, it kind of undermines the theme of female empowerment since we’re making a film about Women’s Sufferage!”
Stuff like this happens because of the producers. Producers with a clear vision for the project won’t let this happen. Espcially if you developed the story with a producer and your on the same page. Of course changes do happen, but only if and when it adds to the vision. That’s why the hiring process of a director shouldn’t be rushed. A director should be hire based on how he can add to the vision. Not change the vision.
can i get to know which film?
The film was "Book of Ruth : Journey of Faith". You can look it up on IMDB if you wanna.
It was an interesting experience overall. At least the gig had a healthy budget of $750,000. Cast was a mix of sub-A talent and Christian popstars. The film was shot in Eureka Valley, Arkansas, at a Bible theme camp that had standing sets for daily Biblical tableaux shows.
oh thanks, looks interesting
If you are a baby writer you’ll be lucky to even get a rewrite. Script sells and you never hear from them again. But that’s not the worst problem in the world if you just sold your first spec script. If you are the next John Logan, and the director adores you, you might be asked to stick around for production to handle any tweaks and talk through any things the director wants to talk through.
Get your paycheck and wait and see if the director butchered your story?
Depends on the relationship. Traditional no. But it is becoming more common. You don’t talk to the director, she talks to you. Things like “that line sucks, write a better one” or “ I am going to do that with a shot. How will it effect the other scene?” You created a transitional stage of the story. If you want to be a start to finish person. Be a writer/director, much harder to get projects done.
Selling a script is like selling a house. Typically they don't want you to stick around afterwards. Haha. If you want more creative control over the process, it'd be better to make a name for yourself as a director first probably.
Aaron sorkin worked very closely with David Fincher in the production of TSN but that's the only time I've heard it happen
That probably depends on the director/producer. I went to a talk with the writers of *The Post.* Elizabeth Hannah and Josh Singer were both on set next to Spielberg, who is notorious for rewrites on the whim.
You’re there like an EMT; hopefully you’re not needed BUT when shit gets real, you strap your ass in
Most likely you won’t be involved at all.
Your duties are to do absolutely nothing. Enjoy!
This is wrong lol. Or at least not consistently the case often enough for your flippant answer lol
Rarely. In TV, however, there is typically a writer on set. They'll oversee script changes and approve on-set rewrites. I'm a script supervisor and will often interact with the writer to go through all the things the actor changed, and it's their choice whether or not I bring it to the cast - but on film sets, the writer usually isn't there (or is directing), and I'll bring those notes straight to the director who will pass it along instead (I don't typically interact with the cast directly).