Amptp to give up what theyve already gotten, especially when its a huge profit center like tree dvds or cable pay and residuals. It sounds like (at least from what ive read. Deadline ) this was a sticking point for the. Wga during this negotiation but its been resolved. I hope its more fair than in the past. I havent personally experienced problems with exclusivity, but I think thats the fastest-growing problem among tv writers right now. A couple years ago Id never heard about it, last year it was a rarity, and in the last couple months ive heard of three shows where the writers are all facing this problem. Writer #5: I work mostly in features, so Im not hampered by exclusivityalthough I think its very unfair and hear many of my tv colleagues complaining loudly — and justly. As stated above, i think one-step deals are awful for many reasons.
Their argument seems to essay be the same argument they used to sell the guilds on the horrible dvd rate that stood for decades: look at our poor, little, fragile medium. It cant survive without your help. So, we agreed to take lower pay and residuals because it meant some more jobs for us and some more opportunities. Everybody took a risk and everybody won. But then when that little fragile medium grew up to be stronger and more popular than anything else out there (hi, walking dead! the, amptp has refused to share the wealth. It seems like its hard to get the.
It can be one big expensive shot in the dark. Writer #3: Definitely free pre-writing work to get assignments or just to get selected by a producer to pitch for an assignment or to set up an assignment is the worst thing for me these days. One-step deals and free rewrites suck, but at least youre getting paid for those. Writer #4: From what I hear, feature writers are facing hardships. As are a lot of great, la-based crew members who are facing tough choices because of runaway production. As a working tv writer, Id feel like an a*hole claiming Im facing hardships. Im really lucky to be paid well to do what I love (most of the time). Having said that, the biggest overall imbalance i see is when it comes to cable residuals. The studios and networks profits have skyrocketed over the last decade in part because they can run their shows constantly and not have to worry about paying real residuals.
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I wont. You teach people how to treat you in life and particularly in the film business and when you roll back your"s or steps those slimy, filthy scumbags that work in studio business affairs make a essay little note of your compromise in their screwing talent ledger. . That note is there when they go to make the next deal with you and they share it with their fellow slimy, filthy, scumbag colleagues at other studios. I simply dont do it and my representatives say right up front, we will not accept a one-step deal. Writer #2 : The one-step feature deal, something I hadnt run into prior to the strike, can become a short-sighted self-fullling prophecy of failure. From the studios point of view, they want to cut their losses if a script is heading in the wrong direction. But what the one-step deal does is increase the odds of creative failure.
Rare if the screenplay that is nailed in one draft. A great, layered screenplay can take a year and multiple drafts to craft. Its one thing for a writer to drag and deliver late and weak. But the bulk of the eort — cracking the story, doing the research — is front-loaded. He will also deliver without the benet of studio notes.
The evil secret of one-step deals is that you sell your idea to a studio, you write it, and if a competing project at another studio comes along or a director or star falls out, the studios have a free out. As a result, good movies are dying before they are even really born. The other problem is now studios hire inexpensive writers, get a first draft, confirm that there is a movie there and then pay seven figures to someone like me to come in and actually write it and then often someone else during production. The result is that the voice of the original writer — the creator — is severely diluted. The vast majority of studio screenplay contracts set strict delivery at 90 days. It doesnt take a nasa scientist to realize that you cant have that kind of deadline for every script — world creations like.
Star Wars takes longer than a 90-day romantic comedy? A complex piece like. Inception cannot be done in 90 days — no matter who you are — thats why in the published version. Inception, Chris Nolan talks about the 10 years he spent writing. The writing process is a complete mystery to studios and executives — they all think they can do it but none of them ever. This lack of understanding has haunted the film business and the writer-executive relationship since the first days of the film business. I read an interview with a very old screenwriter and he was talking about how things were in the 1940s and what he was saying then is exactly what writers are saying today. Nothing has really changed. Personally, i simply refuse to make one-step deals.
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Gravity or, inception or, chinatown or, butch Cassidy And The sundance kid all took essay years paper and many revisions to become the classic films they are today. Some of the biggest blockbusters of all time including. Star Wars and, avatar (to name just two) had five- and even 10-year writing periods. The process allowed those films to go through a critical process of treatments and rough drafts to evolve to the great films they are today. The heavy lifting work was done at the writing stage. Related: deadline Writers Survey question #1, deadline Writers Survey question #3. Deadline Writers Survey question #4, deadline Writers Survey question #5, but studios think bottom line numbers — they see one-step deals as providing them with the ability to cut bait when first-draft scripts dont come in as home runs — but first drafts arent going to come in great except. The scripts that become great films come in good or maybe even very good but not great. Almost all scripts need several drafts to reach the level where they become actually ready to film.
guild Of America, we wanted to lend some perspective and give voice to the tv and feature writers whose fortunes will. This is the second in a quick succession of five questions we asked a panel of 10 writers. Here are their responses, and hopefully other writers will be moved to comment about the issues that worry them most as their work is monetized in this fast-changing digital age. Related: wga: Why gains, lessons From 2008s Strike will keep Hollywood From Another War. Deadline: As a working writer, what is the biggest hardship right now facing you (i.e., one-step deals for feature writers, exclusivity clauses for tv writers the one that gives you the greatest amount of worry for you and your. Writer #1: I think the biggest setback from the strike was one-step deals. One-step deals were a direct result of the strike — a punishment that said you think youre in control, well show you how control works. Its also a real mistake for studios that has resulted in crash rewrites deep in production and some god-awful movies. The great irony is that the scripts studios routinely praise like.
What has happened in very short order is that these young writers have developed their own safe, respectful community. The energy is amazing. Theyve organized their own Winter Writing Conference, staged user presidential primaries and debates and, of course, established an energy and tone in which hundreds of kids comment on each others work each day. We have about 2,100 registered student users (we screen users to ensure safety) who have, since september 2007 submitted 2,500 pieces to our Newspaper Series (five daily newspaper partners publish best work each week an additional 4,000 blog posts — poetry mostly; 17,000 comments. Other features: Other partners — radio stations, tv station, performing arts groups — also present student work; trained top college students serve as mentors and have provided feedback to about 1,100 young writers; students are reading and then reacting to rss news feeds to the. Keep in mind we only serve vermont and part of New Hampshire, which is a tiny area — a pool of about 60,000 students, but we are getting about 15,000 add student visits a month. We have participation from about 225 schools. Our basic design is simple — and does need work; it is a modification of a roople Theme. Student users have provided and continue to provide us considerable feedback through several online surveys and the forums; they are particularly expressive in terms of functionality and features.
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