Charles Jurries has one about having to throw out your whole script and begin again.
With time and practice, does it get easier to do a Page 1 rewrite, or does it hurt the same every time?
Well, it never gets easier. It always hurts.
But…
If I throw out a script because I know what’s wrong and now have the fix, it can also be energizing. And in those cases, the writing goes way smoother than the original draft.
Chances are if you have to throw out a whole script you were struggling with it from the get-go. Something wasn’t right. You were always fighting the story. There was always some virus in there you couldn’t eradicate. Rarely are you surprised when ultimately you have to start again.
But if I might make a suggestion – before you dive back in, step away from the project for awhile. You’re probably too close to it. Put it in a drawer (if you have that luxury) and let it breathe for awhile. You’ll get a new perspective when you tackle it later on.
Mike Doran wonders:
I've read that members of the Writers Guild can register a pseudonym, which they can place on a screenplay in lieu of their own names, when they wish to decline credit for a bomb, but still keep any payments (past or future) due them for the project.
When Mannequin II was made, were either you or Mr. Isaacs made aware of this option (if applicable); and if so, would you have taken that route?
No, we never considered it. Honestly, we thought that no one would see it anyway and to take pseudonyms is a real slap in the face to the creative team. Most of them were lovely people and they did pay us well. We saw no reason to insult them.
We’ve never used pseudonyms.
Larry Gelbart did once. For the movie ROUGH CUT, the writer is listed as “Francis Burns.” (That’s Frank Burns for you MASH fans.)
From CD:
Do you think the presence of cell phones today makes it harder for writers to come up with weird scenarios for their characters to be confused in?
Do you wish you had cell phones around when you were writing Cheers, MASH and other shows like it?
Here’s the downside. No longer can you get plots from characters unable to reach other characters or call for help. How many misunderstanding movie and sitcom plots have their been when one character gets hung up and doesn’t show up for something and the person he’s supposed to meet mistakes that for a snub and is pissed and thus goes off and does something he otherwise wouldn’t do, which leads to complications?
Another oft employed plot point. Someone calls for somebody who isn’t there. The person taking the call takes the message. Then he either doesn’t give it to the intended person or gives it wrong, thus leading to complications.
You look at the movie 1917 where someone has to get a message to the front lines or the whole troop will be wiped out. So he goes through a harrowing journey to complete his mission. Today you call and leave a text. So in 2020 that movie would be over in 1917 seconds.
On the other hand, cellphones solve the common problem of “How does this character learn this information we need him to learn?” Now, wherever he is, he can be briefed. So unless that kills a whole movie, it eliminates a lot of hoops.
MASH and CHEERS were of a time and place. I wouldn't want to go back and rework stories to accommodate modern technology.
And finally, from YEKIMI:
Has your daughter/son-in-law come to you yet with a script that she wants your opinion/help on? Or do you tell her/him/them to work it out between them? And if you do help them out, do you charge them a "consulting fee" or would she cut you off from the grandkids?
When Annie & Jon were writing spec scripts trying to break in I would give them notes the same way I gave my students notes when I was teaching at UCLA and USC. Mostly they were story notes. I never pitched a joke. Everything in the script had to be theirs because if someone hired them they would expect the same level of work.
Once they broke in and started working on shows (which I believe is eight years now), I never read their scripts. They deal with their showrunners and the demands of whatever show they’re on, and I stay as far away as possible.
And no, I never charged them. If I did I was afraid they’d find someone who offered a better price.
What’s your Friday Question?
from By Ken Levine
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