Where can I find good scripts?

[Ryan Elder]

I was talking to a filmmaker I worked with before and he says I would do much better at filmmaking if I found a really good script, really good as in everyone, all the most talented people in my surrounding area, will one to be a part of it, and producers and funders will want to fund it, once they see a trailer made from all the talent and me that want to be involved.

But where does an aspiring filmmaker find these really good scripts though?

[Paul R Johnson]

He is talking out of his rear end Ryan. Pie in the sky. If you sunk all your savings into a script from an Oscar winning writer, your friends would still screw it up the way they work, and the standard they are.

I'm so confused why professionals would keep wanting to work with these crazy projects, and who would be daft enough to invest in them with no chance of returns. Just dreamers - all of them from what you tell us.

[Brian Drysdale]

There are web sites for want to be/ starting out script writers, but you need to dig through them to find suitable scripts. This is why studios and production companies have script readers and whole development departments (although they deal with experienced writers who have agents).

This will involve a lot of work, checking hundreds of scripts to find something suitable.

From what you've shown to date, you'll have to move up a few gears in all of the departments for producers to want to look for funders (they won't put in their own money to shoot a film). They know the amount of work and time involved in putting these things together.

[Ryan Elder]

Oh okay thanks. One filmmaker I worked for, so far has gotten funding for two feature films so far. However, she has to make them the way the funders want them made, and maybe this is a good thing to get the money, but maybe it's bad too, if the funders have a lot of control I thought.

[Brian Drysdale]

You have to get real, funders will always get the final cut. It's called show business for a reason and the second word has greater weight than the first.

[Ryan Elder]

Oh okay. She told me if I can raise the money another way to do it, cause she found that working with funders was way too restricting and it caused production problems for her, if that's true.

[Brian Drysdale]

It will depend on who the funders are, but they will always be across the production and what she may regard as "production problems" may be what is required when working on a production that has to meet certain legal requirements.

It's part of a directors job to work the politics and fight for what they want, very few directors have total control, even big name ones and it takes years to get that. Shorts are probably the only films where you will get total creative control unless you're Stanley Kubrick.

[Ryan Elder]

Yeah for sure, it's normal not to have the final cut or final say. However, if the funders want parts of the script to be changed, and the actors are asking the director way the characters and plot have changed, and why their characters are now doing this, instead of that, etc... and the director's answer is because that's the what the funders want it, does it look as director, if that's the reason?

[Brian Drysdale]

You don't tell actors stuff like that, you're the director if you're not happy with the script or the changes you can walk away from the film. You argue to case with the funders/producer, it's nothing to do with the actors.

If you work on TV dramas you have to deal with the executive producers etc, it's part of the job, playing the politics.If you can't do this, don't bother with directing.

[John Nantz]

A while back I read a book “Tales from the Script: 50 Hollywood screenwriters share their stories” that had a lot of viewpoints from various scriptwriters. The book itself has really mixed reviews but as a non-scriptwriter I found it interesting. [Our library has very limited books for video]. As an aside, as teen I had a neighbor who was a best seller author of novels and she wrote a script for a musical that got partially produced but never made.

Originally Posted by Ryan Elder

One filmmaker I worked for, so far has gotten funding for two feature films so far. However, she has to make them the way the funders want them made, and maybe this is a good thing to get the money, but maybe it's bad too, if the funders have a lot of control I thought.

Much of life is a balancing act. As Kenny Rogers says in The Gambler: “You got to know when to hold ‘em, know when to fold ‘em.” And money talks.

I keep coming back to “Dirty Dancing”, a film made in 1987, turned down by it seems every studio, bad (initial) ratings by the “trade experts”, filmed in 43 days (!), low budget, eventually made millions and after over 30 years still making money. Proved all the experts wrong. The producer, Aaron Ruse, after seeing it was quoted as “Burn the negatives and collect the insurance.” There was a big, na … huge, gap between how the trade people viewed it vs how the public wound up thinking about it. (Wikipedia)Heck, when Elvis Presley started out none of the big TV Chanels wanted to air him then Ed Sullivan did but only from the waste up (I understand). And he is still making money! Watch “Blue Christmas” duet with Elvis and Martina Mcbride (who was not even 2 years old when he first sang the song. Yes, it is a duet, 40 years later, but with green screen. Haunting.)

It seems that knowing “what to run with” is a bit of an art in itself. It takes conviction, “the ability to roll with the punches” from the nay sayers, and the ability to put something good together, timely, and on a budget. In the trade, as in basically any trade, it’s a lot about what you know and who you know, both for input and for support.

As a professional development approach one path to consider is while chasing the dream (and one needs a dream), start making movies (or films, whatever) and cranking them out. Develop relationships (also known as resources) in the trade. Connections. Work the way up the ladder, build a repertoire and a resume. It might mean doing videos for commercials, relators, companies, local TV docs, sport events, dance schools, etc. Whatever it takes. This will help bring in money, build kit, get to using more of the tools of the trade and build confidence.

To become the Captain of a cruise ship it may mean starting out doing boat deliveries, doing boat maintenance for others, then with ones own boat, doing gigs like boating lessons, tours, taking out sport fishermen, and working the way up. Nobody is going to be given a cruise ship Captain job, it has to be earned. Life is short, time to get crackin’.

[Allan Black]

Ryan - good info and ideas here ...

Screenplay/Writing

Cheers.

[John Nantz]

Allan - that's a nice link.

Then there is the book (Kindle Edition) "Tales From Development Hell", The Greatest Movies Never Made.
Featuring a lot of big names.

That's enough to discourage anybody.

After reading the overview, if one had any loose cash it might be better to toss it into the stock market instead.

[Ryan Elder]

Oh okay thanks, I was already on the DVX user sight before. I can check it out again.

As for playing the politics of what the producers want, isn't telling the actors that's what the producers want, part of the game though, or what do you tell the actors as a result? I didn't think that arguing with the producers or funders was a good idea, cause what if they pull out?

[Allan Black]

Ryan, on that forum the stickies will be helpful and click back aways, there’s good stuff back there that’s relevant today.

John thanks for that good tip, I’m a Kindle fanboy and I looked it up but no go. Assuming the title’s correct, can you post the authors name. Thanks.

Cheers.

[Paul R Johnson]

If your boss tells you to make something happen, and then you tell your staff that your boss wants this to happen - then two things rise up.

One - your people treat you as an intermediary. None of your 'decisions' are really yours, but you are just a postman - respect for these decisions dies.
Two - the more outspoken ones will bypass you and go to the real boss. Cut the Director out and take their good idea to the Producer. Worse - if that person likes the idea, they tell the actor it's a good idea and force you to do it, which puts you below the actor's status and level on the hierarchical pyramid.

If you want something done - take ownership of the idea, good or bad and make it happen.

Of course the producers are the real peak of the pyramid, but the people below you do not need to know this. If there are tough decisions to be made - then the Director is the person their pleasure or wrath is pointed at - NOT - the producer.