Wednesday, October 12, 2016

The Man In The Mirror

From 2011...

A few years back I had a producer *very* interested in an action script of mine, so he wanted to meet with me at his offices on Wilshire. Now, these first meetings are similar to first dates – they like your work and want to enter into a business relationship with you, but want to make sure you're compatible. You're going to be spending time doing rewrites through pre-production and then production and maybe even post production – and if you may end up locked in a room together (with a bunch of assistants and other execs) arguing about the story, they want to make sure they can work with you and you don't smell bad. I think I mentioned in a Script Tip about the time I was up for an assignment – and they liked my work and another writer's work and met with both of us... and the other writer showed up sweaty and smelly and generally unkempt. My guess is that he'd done a hard night of partying the night before and not at his best... and I got the job. That was another project that never got made – an invisible credit. (I've also been the “smelly one” - I once had a meeting with a producer in Ah-nuld's building in Venice and got a flat tire on the way there, so I ended up late and greasy and dirty. Gas station bathrooms aren't the best place to clean up really greasy hands and sponge off your clothes. Even though I explained the situation, my fingers were crusty looking. I did not get that job).

So these first meetings are usually to size you up and generally discuss the script and the situation and see if you bring anything else to the table in addition to the script... or if there's some “leach” attached to the damned script that will cause them problems in the future. Sometimes they don't want to buy your script at all, but they have another project that needs a writer. And sometimes it's one of those first dates where you really hit it off... and then he just never calls you again – there was something going on behind the scenes and they may have *wanted* to buy your script or hire you for a project, but there was some political reason they couldn't do it. I've had situations where the company had two partners who were secretly fighting and because one really loved your script, the other had to hate it (even if they also loved it) just to screw with their partner. Been there a couple of times. Also *many times* been in the situation where the development executive loves your work but producer doesn't seem interested at all... or the other way around. You're there to “sell” the other half of the equation, and the fact is – that is sometimes impossible.

But the other thing that often happens at these meetings is that they ask you to do a free rewrite. Usually they say they are going to take the script to the studio or the cable network or whatever for funding and think the script could use another pass. Now I'm supposed to Just Say No to that, but if they have great notes that will actually improve the script, I'm probably going to do it. Everything depends on the notes. If the notes really do improve the quality of the script, I'd be a fool to say no. A better screenplay has a better chance of being made (or, at least, getting me paid). But if the notes will screw up the script or if they are trying to anticipate the studio of cablenet's notes, the answer is usually no. Not for free. If Ashok had asked me to put a sex scene in CRASH DIVE because HBO will want one, I'd have said no – that would ruin the script and since none of us are mind readers, we don't really know what HBO will want changed. Once the money is there – I'm an employee and I might have to add that sex scene (well, I did – after a great deal of debate), but I'm being *paid* to make that change. I wouldn't make it for free. And, just to show you how pointless it is to try to anticipate notes – though HBO *insisted* on the sex scene in CRASH DIVE, it never came up in STEEL SHARKS. That film has no sex scene at all – and it was all the same people involved! So unless the note is making an *artistic* improvement in the screenplay, you have to pay me first. And until I've been paid... it's *my* screenplay.

So, back to this producer and my action screenplay – he had some notes and was wondering if I might do a free rewrite to improve the chances of the studio giving him the money to buy my script. “What kind of changes did you have in mind?” “Well, I just don't believe this villain.” “Why not?” (others had really liked the villain – but maybe this guy had some notes to improve the character). “He's kind of a cliché, don't you think?” The villain in this script was a businessman who was egotistical and verbally abusive to his employees... and he'd screwed up a major business deal and turned to a criminal activity temporarily in order to make up for his financial loss... but he found himself *liking* the illegal work because it allowed him to screw the rules and do his own thing. He was kind of modeled after DeLorean... but as a bad guy who would rather kill than be caught. The producer continued, “Why couldn't he be something like a Middle Eastern terrorist or something?”

Hmm, the fallen businessman is cliché, but Middle Eastern terrorists are not? Was I missing something?

I explained that I wanted to get away from the Middle Eastern terrorist because they had become cliché, and asked him for the titles of some films with legit businessmen who had done something criminal... and found themselves liking it. (Okay, Craig T. Nelson in ACTION JACKSON.) But he didn't come up with that film or any other, it just “felt cliche” (but Middle Eastern terrorists didn't?).

Right about then, the producer's assistant came in with a message, and the producer *yelled* at him for interrupting our meeting, then proceeded to do many of the things the egotistical businessman had done in my screenplay... basically treating this guy like crap.

And it suddenly all made sense to me.

The reason why the producer didn't like the villain was because *he was just like him*!

And as he screamed at (and maybe threw things at) his assistant, I decided I would not make this change because it would not improve the script if the bad guys were a bunch of Middle Eastern terrorists... and they did not buy the screenplay (and I still own that sucker!).

But I realized one of the issues with screenplays not selling (or whatever) is that the characters or story make the producer uncomfortable... because he “resembles that remark”. There are characters and subjects and scenes that are difficult to get to the screen, not because they are taboo or non-commercial or some other reason... but just because someone on the food chain from script to screen sees their own flaws and wants that part removed.

A cousin to this are those things that *work too well*, and make the reader or producer or studio executive feel things they would rather not feel – so they want them out. Can you imagine the rape scene from DELIVERANCE making it all the way to the screen today? I don't think it would be cut because the audience might not like it, but because the executive would be really horrified by it – which is the intent of the scene.

And this made me wonder how many subjects and scenes and characters *I* avoid because they make me feel uncomfortable? How many *good things* do I leave out because they frighten me or expose me or make me feel things I would rather not feel? Would my scripts be better if I included those things? I have said before that a script should scare you – that it should be personal enough and real enough and deal with things that cut right into you. Emotional things, rather than bland things. But the first step to writing those things is to realize that you may be avoiding some subjects *because* they are painful or too personal or make you look bad. Instead – be brave and dive into those things. Here's the thing – we can't really control our subconscious, so those things are going to come out anyway. That producer had no idea what a freakin' dead giveaway it was when he wanted to change the egotistical businessman into a bunch of Middle Eastern terrorists.

I refused to do the free rewrite and did not sell that script or work with producer on any future projects... but I did learn something.

- Bill


Leif Smart said...

Clearly you need to change the bad guy from a businessman to a hollywood executive!

olafolaf said...

Didn't know were to post else but wanted to tell you that todays script secret on typecasting and branding is of great help stopping to think of ones speciality as a liability. It might not be box office material but ones you're one of the guys called upon for that speciality, you are as close as it gets to surviving as a writer who writes what he likes (read: has specialized in). That's not to mean one should remain narrow and never broaden ones interest, but it is a hell of advice for starting a career (over a few years) - by sticking to what you are interested in and therefore most probably good at. Get known for that speciality, get to become one of those who they call for it. No matter how narrow that speciality. It's an advantage.

Now, if i had two instead of only one life i would make the experiment and give it a try getting to be know for being the expert of writing stuff only about penguins. I might have to go international and learn a lot of languages to write in, but i believe i would actually make it :)

eXTReMe Tracker