Hi all,
Fledgling filmmaker here. I am in the beginning stages of pre-production for a (very) low-budget short film I want to produce and direct in the spring. I put the word out that I was looking for a screenplay and got several submissions. Writers are aware that this will be a vehicle for exposure, and I'm not paying them. One submission, in particular, stands out as the best and the writer seems like someone I want to work with. I do, however, want to make some changes to the script.

I haven't responded to the writer yet because I feel like I can't ask for changes until after we have an agreement. Initially, I was hoping to find something I could just use as is, but now I see I will need to develop the screenplay a little with this person. What do I do first and how do I approach this? I downloaded blank copies of deal memos, but am not sure what I should ask for (i.e., a specific number of rewrites or just an agreement to co-write?). Have any of you gone through this kind of thing for a short? Although it will likely be a ten-minute film (or less), I want to approach it as professionally as possible. This will really be my first independent short, outside of school projects. The only agreements I really have any experience with are actor and location releases.

Your advice is appreciated!

Open and honest dialogue is the key to successful collaboration. Your best bet is to be upfront, and tell the writer you like his/her script, but would they be open to making changes?

Depending on where the writer is in THEIR career, they may or may not be open to making changes. Frankly, as someone who has optioned screenplays before, I assume there are going to be changes going in. But when there's money involved, its a much more structured deal.

So my advice is to be upfront, and ask them if they are open to suggested changes. If not, then you know whether or not you want to move forward. The idea of 'getting something signed' and THEN springing a change on them, is a bad one.

Richard, thank you. I believe screenplays are new to the writer in question -- he has worked previously in prose and been published in anthologies. I haven't seen any reference to other screenplays when googling him. In his note to me, he said that he tweaked the screenplay before sending it, thinking the tweak would make it better for filming -- but it is different from the treatment he sent and I'm more interested in reading the "pre-tweak" version. The treatment had certain imagery that I could not stop thinking about after I received it. Plus there are some suggestions I have for another part of it. My overall sense is that this writer would be amenable to suggestions for rewrites. He said he would be honored if I chose his screenplay.

I also wondered if I could just contract for the rights to the material, and tweak it myself. I guess that's one option. But, although I am a pretty good writer, I'm new at screenplays too, and should probably defer to an experienced writer's sensibilities. I'd rather focus on directing and producing it, and tell the writer what I think the script should achieve visually while letting him write it.

But I love your advice -- why hadn't I thought of that? Just saying, "I like it but are you open to rewrites?", and proceeding from there to create a deal memo. Then again, that's why I asked... thanks!

Any suggestions, tips, advice, &/or war stories from anyone else?

WHen a script is optioned, the steps are usually spelled out. Of course, if you're asking for the rights for free - you haven't got as much leverage as if you are paying for it.

Typically, when a screenplay is SOLD, then the buyer owns the rights, and can do whatever they want with the script. That's why screenplays sell for so much. Its an outright sale in 99% of the cases. Rewrites are either written in to the deal, or they are not - and the buyer hires someone else to do it.

If you're not paying for the script, than you are asking the writer to put 'sweat equity' into your production. He is - in effect - becoming a partner. What's in it for him, besides credit and a copy?

I work with a couple of writers and don't really have a problem. We're all in the same boat - trying to get some product out there.

Any script I get, I comment on what changes I'd like and let the writer do it, that way it's still their work. I've even work shopped a script with the director & DOP and writer and then it's left to the writer to make those changes.

There are people who are precious about their work but most are happy to at least discuss changes - after all we both want the same thing - a good film.

Since there's no money involved, I only have a verbal agreement as an option.

What's in it for him, besides credit and a copy?Exposure... and the chance to work with moi again in the future!

(my goal is to build a network of collaborators who "click" well together, starting out with low/no budget projects and work our way up!)

Exposure is a roll of the dice. It's never a given or a guarantee. Once the work is completed, who controlls where it goes? Who gets to enter it into which festivals? Who pays for the entry fee?

I don't mean to slam the effort, I'm just saying when you collaborate on the work as partners, everyone has a right to 'expose' it.

Copyright can ONLY be transfered by written agreement. Verbal agreement is not a transfer, and the author retains all copyright to the work.

If there is a 'falling out' at some point, the work cannot be exploited.

Exposure is a roll of the dice. It's never a given or a guarantee. Once the work is completed, who controlls where it goes? Who gets to enter it into which festivals? Who pays for the entry fee?

I don't mean to slam the effort, I'm just saying when you collaborate on the work as partners, everyone has a right to 'expose' it.

Copyright can ONLY be transfered by written agreement. Verbal agreement is not a transfer, and the author retains all copyright to the work.

If there is a 'falling out' at some point, the work cannot be exploited.
I didn't say I wanted a partner, though I do want at least one rewrite. And when I say I want to build a network of collaborators, I don't mean partners or investors - just people with whom I'd like to work again in future if the experience is positive.

I made it plain there would be no pay -- and the writer of the script I want to use still said he'd be thrilled if I produced it. I think he just wants to see it made. It's only going to be about 8 or 9 minutes long. I'm sure he wrote lots of essays for little or no pay before he started getting published.

I just want some changes, and came here to ask advice for the best way to go about getting the story with the changes I'd like -- without stealing it and rewriting it myself. I'm being upfront and this person is still willing to be a part of a small film that might not even be a blip on the radar screen.

Anyway, if I'm the producer and the only one who's putting actual cash into this, and I contract with a writer to give me the rights to his short screenplay, including rewrites, and they agree (in writing, of course) because they just wanna see their script made, even if they are unpaid or only paid a small token amount by me, why would they think they own the movie?

If anyone else has had a similar situation on a low budget short, how did you handle getting the use of someone else's screenplay?

Diane, you are slowly filling in information you left out in your first post.

You say you don't want a partner, but the writer retains rights unless transferered in writing. In order to transfer rights, there must be a value exchange and the rights MUST be deliniated. It is possible to license limited rights, that should be in the contract. Then the writer would retain copyright for further use.

Making short films is great fun, and can be a terrific calling card for building community and credibility. IF a film is truly successful, then the rights must be cleared before it can be exploited. I've seen good stories die because the 'producer/director' didn't make it clear that the DP didn't own the rights to the footage shot (Work for hire) - didn't understand that the writer retained rights to the story since the rights weren't transfered in writing, thought the music was okay to use, since it was a 'local band' who gave them permission, but it wasn't their song.

So, going back to the first post on how to approach a writer. Ask them if they are open to changes, ask them what rights they are willing to give up/license - or tell them what rights you are seeking.

All of this up front so there's no misunderstanding later on. You don't want to find out after the film is in the can, that you are 'partners' with someone because you didn't secure licensing and they own a stake in your film.

Too many aspiring filmmakers go by 'verbal agreements' that seem to change with memories over time... and success.

Success has a thousand fathers, failure is an orphan

I didn't deliberately leave out info. I thought I asked my questions in a way that made it clear I don't know what to do - all I know is I like a script and want to use it. It would be my first indie narrative that I didn't write or produce as part of a school project. I said all that - sorry I didn't phrase my questions properly. I'm a newbie, so I asked whatever questions I knew to ask. And I never said I only intended to get verbal agreements -- what made you think I only wanted verbal agreements? Remember, I was asking about deal memos.

So, what is the protocol and types of rights I can ask for to use someone else's screenplay and get rewrites for a short film?

I would love to hear from other folks who have made a short film with someone else's script -- how did ya do it?

Well, I did something like this recently.

It was a little different, because I wrote a treatment, and asked a friend (who is a better writer than me) to write it. I found a sample contract on the net, and adapted it, so we had a written agreement. The contract has language to the effect that the script may be altered by the director, producers, etc.

Like everyone else, I say the key is to mention up front that when you actually have actors on set saying lines, well the lines sometimes come off differently than they read on the page.

My friend had a never had a script made into a movie, but wants to do more in that venue. So letting the the director (me) adapt the script will in the end be a great learning experience for the writer as well.

Hope that helps!

One day I started writing for fun. After a while, people started paying me - little by little. Then I got a modest offer from a magazine to first submit, then contribute, then join the masthead and become a Contributing Editor.

One of the most valuable lessons I learned was early in the process when one of my first editors said to me: "Bill, we're not paying you for spelling or grammar or even your sentence structure. We're paying you to generate and express IDEAS." And then he educated me on the process where the magazines editors would vet my copy - and sure enough, each month I'd check out what I'd submitted three months earlier and look at and learn from what the copy editors and others had improved. But the ideas were still all mine.

Diane, I'm interested in the how and why of what you're going to be "re-writing" for your collaborator. If, by re-writing, you intend take his/her ideas and simply make them clearer or simpler for the audience to understand - then I think you're just fine with your concept of providing "re-write" service. But the moment your re-writing changes anything fundamental about the ideas and concepts of the original author, you're suddenly not re-writing, you're "co-authoring" and that's a whole different kettle of fish.

You really do need to sit down with and talk to the original author so see where his or her head is at regarding you taking their original work and altering it.

It's precisely what you'd expect if you were the original author and honestly valued the time and effort required to produce work of quality.

I put the word out that I was looking for a screenplay and got several submissions. Writers are aware that this will be a vehicle for exposure, and I'm not paying them.
Draw up the contract so it reads like this. You give me script, I give you nothing but screen credit.

I haven't responded to the writer yet because I feel like I can't ask for changes until after we have an agreement.
You don't have anything but a lawsuit until you have an agreement.

I was hoping to find something I could just use as is...
Let me put everyone's hopes/fears to rest - this script does not exist nor will it ever.

Here's what you do: Sit down with the writer and be honest. As a director, you need to be artistically true to yourself and you can't do that when you can't make changes.

Ask the writer to be honest. How much time can he/she give to rewrites? Get an honest answer but get it in writing. It may be none. Re-write it yourself. He/she may pull the script and you can't use it. So you go back and do it from the start.

Writer's contracts start with a figure then they negotiate from there. That number is usually 3% of the total budget. A short film can cost a little or a lot but a nice round figure I've heard is $50,000. On a 50K short project you'd pay a writer $1500. This gets you total rights to the script and usually three to five re-writes. You're a new filmmaker so back end MIMs mean nothing at this point. All the money should be up front.

The first script I sold went for $5000. Down from the 3% rule by $1800. But I was new and really wanted to see something on the screen with my name on it so I took it. He called me twice for re-writes (contracted for five or five months which ever came first). After that he e-mailed me to tell me his funders dropped out and wondered if he could get his money back. We agreed on $3000 back since I had two rewrites in (which I promptly changed back) and I was free to sell my script to somebody else.

Good luck and I hope this helps.

There's a special place in hell for producers who cheat writers. At least I hope there is. ;)

Shame on that writer for taking no pay. It drags the rest of us down but that's just my personal opinion. If you get this person to give a script and time for rewrites then consider yourself VERY lucky. Even when I was in college I can't imagine myself not being able to get my hands on $1500 bucks.

In my experience there is no easy way to get something for nothing other than just coming right out and asking. Just make sure you get it writing.

And to answer your last question: It never occurred to me to make a film a I didn't write. But the other way around is a different story, money talks. ;)

More math: Most short films are 30 minutes or less. Round figure budget for one of these is $50K. That's roughly $1667 a minute. Your little eight minute flick could/should cost up to $13,336. 3% of that is $400.08.

Surely you can spend $400 bucks on a good script.

Shame on that writer for taking no pay.People do it all the time when they're starting out.
Most short films are 30 minutes or less. Round figure budget for one of these is $50K. That's roughly $1667 a minute. Your little eight minute flick could/should cost up to $13,336.Umm, no, not even half that. This will be a bare-bones budget production with lots of friends and fellow students helping out wherever possible.Surely you can spend $400 bucks on a good script.Nope, not really. I figured if there weren't any writers who would do it for free, I'd just write it myself. But I did find someone.

I'm interested in the how and why of what you're going to be "re-writing" for your collaborator. If, by re-writing, you intend take his/her ideas and simply make them clearer or simpler for the audience to understand - then I think you're just fine with your concept of providing "re-write" service. That's really what I want to do, just fine-tune some points that I think would make the story more cinematic. Just as an example, things like having a character read a letter instead of getting a phone call, or changing a location to make it more suitable for where I'd be shooting it, or getting rid of an inconsequential character. Those kinds of things -- nothing to change the basic concept or protagonist.You really do need to sit down with and talk to the original author so see where his or her head is at regarding you taking their original work and altering it.

It's precisely what you'd expect if you were the original author and honestly valued the time and effort required to produce work of quality.Yeah, I just didn't want to have a conversation not knowing the right way to do it, or what I could expect, and so on. So I came here to ask about it from experienced folks. I really appreciate all the various viewpoints. I would also love to hear from fledgling producers like me who may have had to deal with something similar, trying to make it happen with a miniscule budget and finding their way.

I figured if there weren't any writers who would do it for free, I'd just write it myself. Hey look at that, problem solved. Nice thread though, thanks for thanking people for their effort too, shows class and style. ;)

This is a process I know a good deal about from the producer's point of view, the writer's point of view and even the director's point of view. If the changes are really tiny, and mostly visual in nature, that's a conversation over coffee. If you're eliminating characters, that's something else entirely and should be approached as such. If you aren't going to pay the writer, you need to offer him partial ownership of the film, give him a producer credit and define what that means.

And by no means, should you rewrite anything that someone allows you to use without charge. He would be letting you use his script to get a sample of his writing produced. if you're turned it into your writing, then he has no reason to do that. If you can't afford to pay someone, then I would encourage you to keep reading scripts and find something you can happily produce without changing. Why open yourself up to this grief over your first project?

The worst thing film schools do is focus on this idea of development. Having been married to a professional writer for many years who has 12 for-hire scripts to his name, who has sold several spec scripts and worked with some A-list producers, I can tell you that most scripts are systematically diminished by development even with experienced producers. If you're working with an experienced writer, you should assume that he knows one heckuva lot more about storytelling than you do. Give him your thoughts and if he agrees, okay. If he doesn't, you're probably on the wrong path and should move on. Any time you can produce a project as written, you're almost certainly in better shape than when you pick up a script that needs changes. Also, lots of producers compulsively want to make changes in scripts just to put their creative stamp on something - it's a foolish way to go.

I have to say that your discomfort with what you're talking about is really jumping out in this thread. I don't think this is the script or the project for you. Seriously. I have no dog in this fight, and you sound totally conflicted and anxious - that''s no way to start a project even if you love the script. Take the writer out to coffee, tell him you're feeling conflicted, tell him what you have on your mind, and then bow to his superior storytelling capability and professional judgment. Just be sure to put it all on the table - no more proposals at a later date (which is where I think this is going whether you know it or not).

Good luck. I'll be interested in hearing where this winds up.

I had one other thing I wanted to say about this. Years ago, a friend of mine was hired to write a science fiction script. The story was very similar to one that PD James would eventually publish that was recently turned into a very successful film - so the basic idea was strong. My friend's execution was reasonably good as well. But when the producers got overseas, they decided they need a major rewrite and hired a local writer to redo the entire script. It was terrible. Terrible. Did I say it was terrible? The film was released on January 9th, and the LA Times was so confident in it's badness, that they pronounced it the worst film of the year. And by the end of the year, they were, indeed, vindicated on that assessment.

The point being that my friend was still listed as the senior writer and the non-credited rewrite destroyed his career, utterly. He lost his agent and no one in town would talk to him. The point being that in this day and age, what with the internet, you cannot know where a short film will go. Even if the film turns out well, if you don't write as well as he does, it's something that's out there with his name on your writing, and that will impact him, not you.

Anyway, good luck.

I have to say that your discomfort with what you're talking about is really jumping out in this thread. I don't think this is the script or the project for you. Seriously. I have no dog in this fight, and you sound totally conflicted and anxious - that''s no way to start a project even if you love the script. Take the writer out to coffee, tell him you're feeling conflicted, tell him what you have on your mind, and then bow to his superior storytelling capability and professional judgment. Just be sure to put it all on the table - no more proposals at a later date (which is where I think this is going whether you know it or not).

Good luck. I'll be interested in hearing where this winds up.Wow, it's so interesting that you interpreted my inexperience as discomfort. I'm not uncomfortable at all with having a discussion with the writer, nor drawing up contracts, nor asking for changes. I just felt I needed to ask people for the protocol on these kinds of things, and what others have done in similar situations. Nor am I conflicted and anxious. I know what I want and will discuss it with the writer -- who is, btw, experienced in prose writing but not screenplays -- but, believe me, I'm not breaking into a sweat over this. If it doesn't work out, it doesn't work out. Some in this thread have worded their responses as if I have a problem -- I don't feel I have a problem. I'm just looking for information because I've never used someone else's script before. All I wanted to know was what kind of agreement to present to the writer and how to go about doing it.

I thought I mentioned this earlier but, the writer gave me a treatment first. I loved it. I asked for the screenplay, and he said, "Okay, after I make some tweaks." The tweaked version has changed certain elements of the treatment that I thought were very powerful. I want to ask for those elements back, or get the pre-tweak version, and make a few additional suggestions. I will also have to adjust some elements to work with the budget.

BTW, I don't think any of my classes emphasized development at all! LOL. My school is more about "get the camera in your hands and start shooting." Writing is one of the things I do well. I was often the only person in my class who wrote a script for my projects, which won at our student festivals. I just didn't want to write about a particular topic for this project because I'm not familiar with it and I found someone who is, but they need to trim some stuff. I think the changes I would like are very minor. The examples I listed in a previous post were just examples to give an idea of what I'm after -- not changing the basic premise but just trimming the fat. But everything you've said is food for thought and I appreciate that -- I certainly don't want to mangle the story.

Hey, I'm producer who has gotten several feature length films made. I'm sympathetic. But you're coming across, whether you know it or not, as very anxious about this. From the very first post before anyone responded to you, you come across as anxious. I'm simply suggesting that this may be more problematic for you than you realize.

The protocol is very simple. Its okay to ask about visual changes. That's fine. Any more serious changes require that the writer feel good about it because you aren't paying him. It's okay to not pay someone if you aren't paying yourself, if you give them a slice of ownership and if you respect their work. Its not okay to take someone else's work, not pay them, and then substitute your ideas or words for theirs.

I'd still encourage you to read more scripts and find one you can shoot as it is.

I sincerely wish the best of luck.

...you're coming across, whether you know it or not, as very anxious about this. From the very first post before anyone responded to you, you come across as anxious. I'm simply suggesting that this may be more problematic for you than you realize.It must be due to the challenge of interpreting something written rather than having a conversation in person. You're reading something into my post that simply isn't there. I'm far from being "full of mental distress or uneasiness because of fear of danger or misfortune" nor even just "greatly worried." Seriously, if this doesn't pan out, I don't really care. I'd like to do it, and I hope I can make it happen, but I've got other projects I'm working on. Doing this project is kind of an exercise I'm making for myself to learn. Well, anyway...
The protocol is very simple. Its okay to ask about visual changes. That's fine. Any more serious changes require that the writer feel good about it because you aren't paying him. It's okay to not pay someone if you aren't paying yourself, if you give them a slice of ownership and if you respect their work.No, I'm not paying myself, but I just don't get this ownership thing. It will be an extremely low budget short. Why would I give the writer part ownership of MY little dinky movie if he doesn't care whether or not I'm paying him?
Its not okay to take someone else's work, not pay them, and then substitute your ideas or words for theirs.Well, of course I wouldn't change their words and say I wrote it. But don't directors change writers' scripts all the time? I didn't want to do that. I want to just make a few suggestions to the writer and have him do it.I'd still encourage you to read more scripts and find one you can shoot as it is.Not many good ones on the subject I need. And I need to decide soon, but maybe I'll come across another. However, I don't see why I should only look for scripts I can't make changes to. Do you think that way just because I'm not paying the writer?I sincerely wish the best of luck.Thank you. I do appreciate your feedback, too!!

I think that way because the majority of scripts by skilled writers - whether they are new to the format or not - are ultimately diminished by changes made by others. Even when the "others" are very skilled producers who have a thorough understanding of the the form. I say that as someone who has lived in Hollywood for 25 years and who has watched the process unfold dozens and dozens of times over. My husband wrote professionally for ten years, and has over a dozen for-hire projects to his name, a handful of spec scripts sold and innumerable polishes and doctorings. The only polishes that wind up really working are dialogue polishes when the writer is a brilliant story teller and simply has no gift for dialogue. Sometimes when there is a small structural change it can work well. The first script my husband ever wrote has been optioned repeatedly and he has been paid to rewrite it a whopping 16 times. I finally dug up the original drafts and discovered that he had left a structural element out of the third act. It''s a very elegant vampire tale (not campy) and the third act is this metaphysical conflagration that everyone loved but felt was problematic. when I read it, the problem was that the conflagration grew out of a home environment that was settled and cozy but which we never saw. We needed to see it. I dropped a few dinner scenes in and a trip to the local beach, and the third act fell into place. But that's pretty unusual. Close to 100% of the time, when producers start asking for changes, the script gets worse. And I have watched Academy winning writers go through this process and watched Academy winning producers ruin projects.

I think is the one of the reasons that theatre is an important journey for anyone who wants to direct film. In theatre, you must do what''s on the page, or lose the rights to the material. It means the director has to make the journey to understand the writer's intent - and sometimes, it really is a journey. I think you should be working with the best writer you can find, and you should assume that the writer knows more about how to tell the story well than you. It''s a very humble approach to filmmaking, and would probably have prevented quite a few directorial careers from burning out, if used thoughtfully.

As for ownership, it's just a matter of respect. Should you do a brilliant job and actually make some money on it, it would do well by him. Changes he likes are fine. But once you get into big changes, he may still go along with them because he is eager to have something produced. But if you're wrong about how well it works, then you have tampered with his ability to use your efforts on his behalf - and that's the only reason to let you use the script without charge.

Humility - it serves a director well. :)

I think is the one of the reasons that theatre is an important journey for anyone who wants to direct film. In theatre, you must do what''s on the page, or lose the rights to the material. It means the director has to make the journey to understand the writer's intent - and sometimes, it really is a journey. I think you should be working with the best writer you can find, and you should assume that the writer knows more about how to tell the story well than you. It's a very humble approach to filmmaking, and would probably have prevented quite a few directorial careers from burning out, if used thoughtfully.Yes, when I worked as an actor I was always a stickler about remaining true to the script, and felt my duty was to honor the playwright's words. I always appreciated directors who felt the same about their directing. Even when the writing sucked. However, in this case, the writer has a great story idea that needs some fine-tuning to make it more cinematic. Just because he is a skilled essayist doesn't mean he is also highly skilled in writing scripts. I say writers need humility as well. Sometimes their great ideas get tangled in a maze of what they think are clever devices, especially if they've immersed themselves so deeply in the process of writing that the only way to extricate that brilliant nugget of the story is to listen to someone more objective and who has a little distance. If I present what I think the script should accomplish without dictating how to write it, I would hope that this writer would be open to suggestions. You make it seem like it's such a bad thing to ask a writer to make changes.

Just because everyone seems to feel that "writing" is something that everyone has the ability not just to do, but to critique, I thought it would be an interesting idiomatic exercise to re-write your above argument, simply changing the basic artistic effort.

Let's see if the argument holds up.

"Yes, when I worked fine art store I was always a stickler about remaining true to the original art I was copying and "improving", and felt my duty was to honor the original painters works. I always appreciated artists agents who felt the same about their clients work. Even when the painting sucked. However, in this case, the painter has a great artistic idea that I felt needed some fine-tuning to make it more commercial. Just because he is a skilled fine artist doesn't mean he is also highly skilled in creating commercial paintings. I say painters need humility as well. Sometimes their great ideas get tangled in a maze of what they think are clever colors or designs, especially if they've immersed themselves so deeply in the process of painting that the only way to extricate that brilliant nugget of the painting's design is to listen to someone more objective and who has a little distance. If I present what I think the painting should accomplish without dictating how to paint it, I would hope that this painter would be open to suggestions. You make it seem like it's such a bad thing to ask a painter to make changes."


My gentle contention is that while you don't understand it yet, you're approach has been to devalue the very act of "writing" into something akin to mere craft — in precisely the way your words as re-quoted above would almost necessarily devalue the work of any fine artist, if they were applied to that idiom.

Hardly anyone would presume to say "Hey, if I don't like your painting, I'll just paint a better one myself. Because we intuitively understand that it takes not ONLY talent, but years of study and experience to turn a person into a qualified fine artist.

But carefully composed words? - heck, we ALL use words. So we're all not just eminently qualified to "improve" the work of others - but most of us feel nearly entitled to do so.

My advice? Fight the feeling.

It may seem eminently reasonable at your current level where you're working largely with novice writers. But someday, if you progress in this business, you'll be working with talented writers. When that happens, you'll need a history of respect for a lot of talented people in areas where you may have opinions and perhaps even authority - but not the actual level of talent and professional experience that they bring to the table.

So start practicing now.

For what it's worth.

To reiterate:

This thread was meant to find out what steps I need to establish an an agreement with a writer to use a screenplay and ask for a few minor changes. It really is a "technical" question. However, certain among you feel it is necessary to lecture me about ethics or what you feel would be professionalism. I was hoping for some links, perhaps, to the kinds of forms used for this, a description of what kinds of agreements there could be, or even a story from someone on how they did the same thing. I really don't need to be lectured on whether to pay or not, nor whether to change a script or not, nor how to be humble. Sheesh.

Thankfully, posters at another message board I frequent simply answered my questions. But, hey, gee thanks.

I thought I mentioned this earlier but, the writer gave me a treatment first. I loved it. I asked for the screenplay, and he said, "Okay, after I make some tweaks." The tweaked version has changed certain elements of the treatment that I thought were very powerful. I want to ask for those elements back, or get the pre-tweak version, and make a few additional suggestions. I will also have to adjust some elements to work with the budget.

I guess everyone's gone, but I believe the first thing to tell the writer is above. "I loved your treatment, but I don't like the way you developed it in the script. I think you lost some of the most powerful elements. Can we work on this so it's something we are both passionate about? I also would like to take some of the things that sound good in prose and make them more cinematic. Will that work for you? Finally, some production limitations make it necessary to make some practical changes. Can we talk about those?"

The writer's reaction to this will determine everything else.

From a realistic stand point, there are very few people who can work together.

I have never met a film writer who was happy with the final film. (Or heard about one either).

Every agreement has to be in writing, especially if it involves a friend, and really especially if involves a spouse or lifemate.

No agreement is valid unless it involves consideration, even if only a dollar.

Prose writers can't write scripts. (And most script writers can't write scripts.) One practical way to politely point this out to a writer is to storyboard the script. If all the frames look the same you don't have a film.

Rule Number One in script re-writing: take out all the dialogue. (And take out all the description that tells what a character is thinking or feeling.)


Bottom line, begin the conversation by being polite, but honest. Even on a very low budget project, time is money, and you half to cut out the garbage. If you can't work with someone, find it out in the first 5 minutes.