The Death of Story

[alexwhitmer]

I am in re-write depression. Sold a script that the producer seemed damn excited about as written. We agreed, did the nuptials, and then all went to hell.

What was once a simple, cohesive story is now an f'd up bag of pet scenes, twists (gotta have twists, right?), and what will be, if filmed right, some striking cinematic moments that have nothing to do with each other.

No motivation, no end game, no clarity of characters - nothing of the original story or intent. Gone. Underlying story and double-intedre? Gone. Replaces with flat, OTN dialogue. Red herrings? Meh. The director calmed my frustration with 'hey it is common for creative disagreements between the director and writer, and therefore why 10 or more writers are needed to make it right.' 10?? Oh F me.

This is not an isolated disaster. It seems technical flash and pet rocks rule over substance. With the easy availability of film 'stuff' now, everyone and anyone can be a filmmaker. What's missing is a grasp of story, and sadly, there doesn't seem to be any great amount of sweat lost over worring about it - or worse, believing with all your heart you understand story.

Maybe I'm just whining because a near-and-dear script went to hell. Who knows, I could be wrong and in the end it will be a splendid film, but at this point I have very little faith.

Am I alone?

 

[Michael Olsen]

I don't really know a lot, here...but this sounds like what a lot of creative or artistic endeavors turn into when decision by committee becomes the mode of operation.

I think all sorts of writers, visual artists, musicians, designers, etc. have similar problems as soon as other people gain some degree of control in the final product.

I also think this explains why we see certain teams of individuals working together so frequently in this industry - they really understand each other and strive to achieve the same goal, so it works out. And even then, I'm sure that disagreements can be dividing.

 

[Julio Quintana]

Hey Alex. I always enjoy your posts. They provide a much needed respite from all of the technical obsessions that most of us on this site foster. That being said, in light of your frustrations, have you ever considered learning how to use a camera and just producing your own material? This isn't the first time I've heard you vent over people not appreciating good writing, and, as you yourself admit, the technology is now readily available to anyone who wants to make a movie themselves. Why do you continue to turn your precious work over to people who may not care about your intent?

 

[alexwhitmer]

I also think this explains why we see certain teams of individuals working together so frequently in this industry - they really understand each other and strive to achieve the same goal, so it works out. And even then, I'm sure that disagreements can be dividing.

This is so key. Been there, too, and it is sweet!

 

[alexwhitmer]

have you ever considered learning how to use a camera and just producing your own material

Yes, I would like to someday. I'd be happy doing 5 min shorts.

I guess I do vent. Irritating, I know.

 

[Julio Quintana]

I guess I do vent. Irritating, I know.

Not irritating. Just wondering if there is a solution to your problem. Even your profile location description ("Wherever I hang my head in despair") seems to reinforce your general dissatisfaction with the state of things. Maybe doing it yourself would be beneficial.

 

[Jeremy Torrie]

Such is the life of writers.

I faced a massive dilemma a few months ago about whether to try and kill myself (and probably be unsuccessful) by making the film I wanted, or work within "the system" to actually get the script produced with real talent, a real budget, and real theatrical distribution on three continents.

The sacrifice was a rewrite that is not ideal but maintains the essence of the story. I've had to also give up the reigns to another director...but felt this was the best way for my career to advance to "the next level".

Alex you can always choose NOT to sell the script, or alternatively take your name off the project...I almost did that with a feature I made 3 years ago, but I was talked into leaving it on by industry folks who suggested there must be some redeeming values somehow, somewhere within the film...which was partially true.

 

[C.H.Haskell]

I agree there has been a decline of Story throughout the ages, and certainly in recent years. I feel your pain. I agree with you Julio its refreshing to step away from all the technical overload but I believe there is still hope...some times its just finding the right people to collaborate with. What kind of social networks are available for writers to reach out to directors and vice versa? I am always looking for scripts. Best of luck.

 

[Shane Betts]

Alex I so feel your pain.

I'm in a similar situation where the producer, who told me mine was "the best thing he'd read in 15 years", not only has managed to fuck up every opportunity presented him in the last seven (including Hollywood A-listers whose phone calls were never returned), has now taken it upon himself (along with an EP who was supposed to be my partner) to hire a TV hack to rewrite the whole thing. Word from the EP is that "they've managed to take all the funny and interesting stuff out of it". Oh, great. So my "partner's" solution? He says he's going to "cut and paste all your good stuff back in again". Sounds like the way to a cohesive piece of storytelling! It's reached the point where I'm now hoping they never get it off the ground and eventually grow bored and give it back to me for the paltry sum I was originally paid and let me make it myself.

The fact that you're posting on here indicates you intend to write and direct your own stuff. Way. To. Go. Me too.

 

[Steve Das]

Pixar is the only studio that really focuses on and has a grasp of
story. And they really spend alot of time on their scripts.

 

[Richard Foster]

Story is key. The most important key. But good direction, cinematography and acting are also extremely important. But if you're not ready to take on the full load of directing and cinematography I'm sure there are sensitive and talented people here on this thread who would love to help you and would respect your writing.

 

[Michael Dearworth]

Pixar is the only studio that really focuses on and has a grasp of
story. And they really spend alot of time on their scripts.

I wouldn't say they're the only studio, but they are definitely the best. They obviously have an extremely strong track record of producing a stellar story time and time again. It's always a nice breath of fresh air to see a Pixar movie.

 

[Trevor Emmerson]

Melville Shavelson: I am a writer by choice, a producer through necessity, and a director in self-defense.

This is why i find myself on Reduser every day, learning what i need to do to be more than a writer. Because these type of story's horrify me

 

[alexwhitmer]

All great comments.

I should have known. I have worked with this particular film dude before, and we have always been on different planets when it comes to story, but I was under the impression this original project was being purchased as written, and there would be some tweaks and modi¡fications, as there always are. I understand perfectly that a script is a guide for numerous other creative persons to add their expertise, and move the story from page to film.

But, this has been heartbreaking to say the least. By contract, they own it an can do as they please with it. I was involved in the rewrites, but the changes just kept coming, and numerous ones I protested. Thye would do a rewrite, send it to me to polish, I would bitch and moan, and take out things (and put back things) and send it back, only to have it start agains and again and again to the point it was so pulled apart and wirh so many changes I absolutely could not see the story anymore.

All I saw was one person's interpretation of a few key concepts, in other words the script was 'mined' for some of the ideas and the rest discarded. This is not an uncommon problem s well - mining scripts for ideas or the essence and pulling it out. This of course leaves the original story dead for all time, and then the rebuilding of a whole new story begin around the few salvaged parts - which sometimes works. Not in this case. It's a scrambled mess, but this person is so certain it's bitchin' stuff.

Should I mention we have been down this road, and a script I sent was changed without my knowledge, handed to a solid B-lister who tossed it back saying this isn't ready. When I saw the copy she was gien - well I would have tossed it back as well. Shit story with no cohesive direction at all.

What pisses me off is that this is the very first feature script I had written (some years ago) and there were numerous scenes taken form personal events in my life, or the lives of folks I knew. It's a very personal story, and now it is so hacked to shit. About all I can hope for now is to take the story and turn it into a novel someday. Yes, I expressed these feelings, but all for naught. It was all 'no man, you'll lose the audience. We need action, action, action.

Fuck me.

Oh well, we move on, right? When it works, it's so fantastic, and I do work with a few folks wher we have the same visions of story and how it looks on screen - the emotional and visual experience.

Yeah, I suppose one day I would like to take a shot at filming my own writing, but there are those whom I trust emphatically with it as well. I just need to vent when it goes so horribly wrong.

 

[Christopher Barrett]

Oh, man. That sucks. I feel your pain. I'm working with a friend in a few months on a short film that she wrote and will direct. I'll DP. I'm so looking forward to the collaboration and what can come from a crew with a common vision/desire. Fortunately my commercial photography career pays for my filmmaking obsession so I can provide the camera, lenses and lighting and we won't have to worry much about budget for this small production. I hope to always work this way, being able to just avoid the pitfalls that come with production committees who's agenda has nothing to do with storytelling. Being new to the community, I'm looking forward to meeting others with a passion for storytelling and scripts that my vision can enrich... it's the beginning of something, something I think I've always needed to do. The path is vague and amorphous but my footing feels solid enough.

I have to be up in four hours to get on a plane and the Scotch is almost gone... yeah.

CB

 

[hans de vries]

There must be hundreds if not thousands of people who are frustrated about the power of people with the money, right? There must be stories of young writers, cameramen, directors, actors, who got to know each other and started working together just because they wanted to. Is this naive? I guess partly so, and yet, if there's will enough to do it for more than only an income.... My best friend from art school has become "professional" to the point where he almost let 80 hours of documentary footage rot away on the shelves, because it was not up to him to start editing. Me being an artist and educated to do everything myself, that was unimaginable, I was at the point of telling him I would give it a try (with digital backup, what can go wrong?). Fortunately they found a famous pensioner who was willing to do it for not too much. But there seems to be so little room for some adventurous behaviour. Or maybe there's room enough but the good people get sucked into the system very quickly, and within the system there is little room for going your own way. If I'm naive, please tell me so.

edit: sorry christopher, I saw your post too late; I guess what you do is what I mean. I pay for my things with subsidies from art funds, which do require quality but never mess with your work, unlike film funds

 

[C.H.Haskell]

...Or try theatre, you will be treated like a god and hold as much if not more power and say over the director.

 

[Joe D'Arcy]

...Or try theatre, you will be treated like a god and hold as much if not more power and say over the director.

Thats true. Except the fee for a stageplay is pittance.

 

[Craig W. Bickerstaff]

Thats true. Except the fee for a stageplay is pittance.

Then you do both, save your great writing for the glory of the stage and the crap for those hollywood re write jobs on movies which will probably never be made so you can pay those ridiculous new york city rental prices.

 

[Tim Hole]

This has happened to me on three occasions, all of which started with a strong story, one won a scriptwriting competition. All three had outstanding feedback from multiple script advisors and doctors. All three were destroyed through forced butchering by another writer and have never managed to climb out of development hell. I bowed out of all three when it just got too frustrating. I get the rights back to one of them soon as it was only optioned. I will probably do nothing with it just because I can't stand the sight of them anymore. Bad-blood. Move on...(I tell myself)

I feel your pain Alex, writers should be open to developing an idea as a script/story can (to a certain point) be a continually evolving process throughout production into post production. There has to be a line. Too many producers and so called directors have no real sense of tone, pace, story, complexity...or integrity to the story. Far too much of a business on anything over ultra-low budgets.

Now I only write and direct. Unless someone is asking me to direct someone elses dramatic script. Which I have not done yet.