Working With Writers
Directing - Spring 2006
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The Writer/Director
Collaboration
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To guide the writer (and the script) through the
rest of the process to the completion of the film.
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To maintain a writer’s POV on the script and the
story.
Director’s Job
Writer’s Function
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Writer’s Vision
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Story
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Structure
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Conflict
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Characters
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Dialogue
The writer’s tools are:
...all expressed through language
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Director’s Vision
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Production and wardrobe design
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Shot and lens selection
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Staging and actor direction
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Music scoring and sound design
The director’s tools are:
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The Director’s Job
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Translate the writer’s work from the
language of words to the language of design.
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Take what is implied or suggested by the
script and create living, breathing, three-
dimensional characters.
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Establishing Genesis of Story
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Ask where the writer originally got the idea for
the story.
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Move forward through his process and discuss
various stages of the writer’s work.
Behind each and every script is a very personal objective
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Explore Key Relationships
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Dr. Kimble and his wife
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Dr. Kimble and his profession
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Dr. Kimble and his peers
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Lt. Gerard and his career
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Lt. Gerard and his surrogate family
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Lt. Gerard and Dr. Kimble
In every script there are key relationships
that are the foundation of the story
In The Fugitive we have:
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From the General
to the Specific
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Discuss the overall theme and premise of the screenplay
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Define the first, second and third acts together
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Discuss the characters, starting with the main characters
and how their arcs reflect the theme or premise
When discussing the script or main characters, start
with the overall story or the overall arc of the main
characters and work your way down to specifics
Steps involved in going from the general to the specific
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From the General
to the Specific
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Discuss the sequencing of the major events of the
screenplay.
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Discuss how the major events tie into the theme or
premise.
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Move on to discussing sequences, scenes, and specific
moments.
Steps involved in going from the general to the specific
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Point of Agreement
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Writer sees character as a deceptive, lying cheat who cannot be
trusted.
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Director sees person as an unfortunate pathological liar who should
have our sympathy and empathy.
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Go back to the genesis of the character and ask how the writer
determined the role and function of this character.
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Find a place in the development of this character where you and the
writer can agree.
When you hit a point of disagreement, back up until
you find yourselves a point of agreement.
Example: a certain key character
Solution:
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Collaboration
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One of you may come around to the other’s point of
view.
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You may disagree on the nature of the character but
agree that the function will remain intact.
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You may experiment with the character in casting or
rehearsal, testing both of your visions.
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The writer may agree to consider some rewrites to
bring the character closer to his or your vision.
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Black Holes
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Adjustments in the characters that seem unmotivated
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Arrivals and departures of characters that seem forced or contrived
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Characters that lose their drive at a key point
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Characters that suddenly spew a piece of crucial information and we
wonder where or how they obtained that information.
Black holes are moments that seem so out of line with
the rest of the story that we get stuck and are unable
to continue with the story.
Examples
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Black Holes
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A character of great honesty suddenly lies.
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A gravely ill character is conveniently strong when needed.
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A dominant character suddenly becomes submissive.
There are black holes that go against
the nature of a character
Examples
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Dealing with Black Holes
1. Ignore them
2. Cover them up
3. Point a finger at them
Three ways to deal with black holes:
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Ignoring Them
You can hope the audience will never notice,
but if you noticed...
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Covering Them Up
Create a smoke screen
Look and notice how music, editing, special effects or the high
energy of drama will cover up some of the biggest black holes in
cinematic literature.
Danger - audience may see through this and pull away from the
story
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Pointing a Finger at the Hole
Simply acknowledge that there is a black hole.
Let one of the characters bring it up.
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If it is a sudden change in behavior on the part of one of the characters,
let another character mention it as being uncharacteristic.
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If it is a piece of information that is conveniently coming out that
creates the black hole, let that be acknowledged.
Examples
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What Ifs
If you feel that objectives, obstacles, means, or
actions haven’t been fully explored within a
scene, you go into a “what if” mode.
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Determining Writer’s Ability
to Rewrite
1. Agree as to the purpose of the scene in the overall
structure of the film.
2. Discuss at what point the scene fails that purpose.
3. Discuss possible adjustments that can be made in the
scene.
4. Let the writer rewrite.
Pick a scene which is not reaching its potential and
where you feel you can clearly articulate your vision
The small rewrite
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Results of Rewrites
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Excessive rewriting
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Defensive position
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Insufficient rewriting
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Ripple effect
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What if the Writer
Can’t Deliver the Rewrites?
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Many directors and producers will dismiss the writer from
the process, barring them from the set, from dailies and
post production.
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Others are more protective of the writer and their role in
the filmmaking process.
Differing Opinions
If the writer was capable of bringing the script to its current level, enough to
arouse your interest, then the writer is most likely capable of bringing it to
the higher level you envision.
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Theater vs. Film
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The playwright is the sole owner of the work, forever.
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A playwright never gets replaced.
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A playwright gets director approval.
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Prevalent attitude - the writer is expendable,
replaceable
Theater
Film
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Replacing a Writer
1. Tell the writer that you are considering whether he will be
able to complete the writing process alone.
2. Be very clear and specific about:
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What your (and the script’s) needs are.
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Where the writer is falling short.
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Why you think the writer won’t be able to fulfill those needs.
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Inclusion vs. Exclusion
Exclusion - Control by fear (Fire someone the first week or
two in order to establish your position on the picture).
Inclusion - Include them in the process, making them aware
of the problem, to come to one of two possible solutions:
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The artist will adapt or adjust and by the very nature of being
included in the process will be able to fulfill his function to your
satisfaction.
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The artist in question will come to a clearer understanding of why
he is not able to fulfill your needs and will understand the need to
be replaced.
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The Perfect Script?
Your job is to take the script to its final expression
It is not the job of the script to be the final expression
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Steps to Bringing On
a New Writer
1. Practice Inclusion vs. Exclusion.
2. Identify the problems.
3. Attempt to resolve the problems.
4. If you both feel they can’t be resolved, agree that you are at an impasse.
5. Agree to bring on another writer to collaborate with both of you
(unless the writer elects to be replaced or steps aside).
6. Continue the collaboration; the writer is still extremely valuable to you
7. If you have to part ways, come to that mutual agreement and find
closure on your process.
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Three Types of Readings
1. Cold
2. Rehearsed
3. Staged
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The Writer as a Third Eye
in Rehearsal
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Director - objective
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Writer - more subjective
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Director - subjective
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Writer - should be more objective
During writing and rewriting
During rehearsal - roles reverse
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The Writer/Director
It’s definitely an eye opening experience when you, as a
director, sit down with your own script and treat it as if
someone else wrote it.
You have to assume both roles independent of each
other.
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Summary
Three Stages of Collaboration with Writer
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Establish the genesis of the story
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Identify the key relationships
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Begin to blend your vision with that of the writer
1. Script Discussions
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Summary
Three Stages of Collaboration with Writer
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Go from the general to the specific
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Go back to a point of agreement
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Look out for black holes
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Remember to ask, “What if?”
2. The Rewrite Process
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Summary
Three Stages of Collaboration with Writer
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Be aware of the ripple effect
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Remember, inclusion rather than exclusion
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Use readings - cold, rehearsed and staged
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Stay objective while the writer stays subjective
2. The Rewrite Process
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Summary
Three Stages of Collaboration with Writer
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Establish writer as “third eye” for rehearsal
process
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Let the writer be objective while you are
subjective
3. Production and Post
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