The Note BEHIND the Note
June 3, 2008
“Note behind the note.” This is the most dreaded phrase in Hollywood for a writer. It means you’ve just received a really crazy note from someone in power that you are being forced to implement.
So what do you do? Me — I run to my manager and bitch. But, after and hour or two — it ultimately comes down to him saying, “Yes, that’s a bad note, but don’t take it so literally. “What is the note behind the note?”
What he means is — the chances are that most execs and producers have never written a script before. Nor even taken a screenwriting class. So they don’t always know how to articulate what they are trying to say.
This goes for the best execs and producers. The smartest ones too. So it’s your job as the writer to interpret what they really mean.
But it’s hard. Because as soon as you hear the note, your emotions get a hold of you and you’re feel like, “That’s the worst #$%#$ note I’ve ever heard!” And you shut down for a moment. You get indignant and petulant. And every thing inside of your DOESN’T want to do that note.
But part of being a professional writer is addressing problems in a way that pleases you as the writer AND also makes the exec/producer feel like they’ve been heard. Because, as they say, this is a collaborative medium. If you don’t want someone else’s input — go write a novel.
Till next time…
** Again, just wanna throw this out there – if anyone has any questions, I’d be glad to answer any and all. **
Hey Joe,
Typically, how much of the original script (plot, characters, etc) remains in tack from the initial OK for the project to the final cut? And, how many re-writes normally happen during that time?
Go Gators!
JB
Hey JB,
Good question. I would say from the sale to final product….sometimes not a lot. The problem is three fold:
1) A big part of a studio execs job is developing the material they buy. So even if the script came in perfect, they’d feel like they had to develop it in some way to sort of justify their jobs. An exec would have to be really confident in themselves and their job to have the guts to say, “I like it the way it is.”
2) They serial problem of revolving door screenwriters. Execs hire and fire the writers at will. It’s largely unheard of for one screenwriter to stay on the project the entire time. And unfortunately, for most writers, it’s all about getting credit if the film gets shot. So they will change as much as humanly possible to secure some sort of credit at the end of the day.
3) Execs and higher-ups will change their minds about the direction of the script. Often, for no apparent reason. I had one script that was an action/thriller get sold in the middle of the torture porn craze. So I was kicked off so they could bring on another writer to torture-porn it up. The craze ended and the script died at that studio. I had another that I developed with the exec and a director for months, then when we turned it in to be greenlit, the head of production decided he wanted to change it from a romantic comedy action flick — to a hard, gritty, training day flick. No one could tell me why. It’s all very willy-nilly.
So, to answer your question — there’s not often a ton left of the original script that the studio bought and originally loved so much.
Would be great if you could a blog item on how you sold your pilot … What changes were … Assume they’re bringing on someone else as showrunner… ? Details, details … my writing partners and I are about embark on same process, and would sure appreciate knowing what you experienced. Thanks.
No problem. I just put an extra blog up.