Screenwriting
Screenwriting is the process of creating scripts for media products such as feature films, video games or TV programmes. Screenwriters are not committed to any long-term employment (freelance) and are usually represented by ‘agents’ who discover potential opportunities for screenwriters to put forward their work. The screenwriter must undergo research for their narrative idea, writing the screenplay in the required format and delivering it to the development executives. Screenwriters must have knowledge in visual storytelling and how it can affect different audiences. Imagination and creativity is pivotal in creating individual characters within a script and brining them to life and making the audience feel they can relate to these characters. The screenwriting business is extremely competitive and only the top screenwriters are able to live sufficiently from the revenue it generates. Screenwriting operates in teams and one other screenwriter may be chosen to improve on the narrative.Screenwriters must be creative, dedicated, well organized, work efficiently in a team and have a high level of persistence and patience as many scripts are rejected before being accepted to go into production.
There are many roles involved in the screenwriting process and they all play a part in creating a script.
Commissioning editors:
Commissioning editors identify media products to put forward to professional companies to try and achieve potential production. They commission works by finding scripts from screenwriters. Their role is rather like that of a buyer. They also ensure the screenwriters script is delivered to specification and on time.
Commissioning editors are involved with a project at every stage. They are the key link between the initial proposal for a feature film or product and the final production.
Commissioning editors research their field in order to learn about trends and gaps in the market. For this purpose, they:
. Conduct internet research
. Research the market on both national and international level
. Negotiate contracts with the screenwriter and their agent.
. Meeting with other commissioning editors and senior editors to discuss new proposals
. Attending local film projects to discover potential scipts/ talented screenwriters
. Working with administration, finance, budgets and strategy;
. Providing data and contributing to marketing and sales activities;
Producers:
The producer has the final responsibility for all elements of the entire film production. They bring together the Screenwriters, Director, cast, finances and production team. They are responsible for creating an environment where the cast and crew can flourish- they are hugely responsible for the finished product. They have responsibilities throughout all four phases of production.
· Development – Producers are usually responsible for creating the underlying premise of a production or for having the job of selecting the actual screenplay. Producers have the necessary rights to select the screenwriter and the story editing team, raise the necessary funds for development and also they supervise the entire development process.
. Pre-production- Producers often bring together the key members of the creative team, including the Director, cast and Cinematographer. They work with the Executive Producers to raise the necessary funds for the production. Once this is secure, they have the responsibility of selecting other key personnel, such as Line Producer, Associate Producer and Production Manager, but also remaining as the Heads of Departments, for example ; Production Designer. Other responsibilities in Pre-production include location scouting, approval of the final shooting script, production schedule and finance.
· Production – The Producers have the responsibility of managing the day-to-day operations of the producing team, however many practical functions are delegated to the Line Producer and various Associate Producers. Producers are in constant communication with the Director, and with other various key members of the creative team, on and off set .Script changes and cost reports all must have the approval of the Producers and remain the as the primary point of contact for production partners, investors and Distributors.
· Post-production and marketing – Producers are expected to create a working relationship (liaise) with post production personnel, including the Editor, Composer, and Visual Effects staff. The Producers must then consult with all financial and creative personnel on the production of the final print, and are usually involved with the financial and distribution aspects in planning the marketing and distribution of the finished film.
<!--[if !supportLineBreakNewLine]-->
<!--[endif]-->
<!--[if !supportLineBreakNewLine]-->
<!--[endif]-->
Directors:
The director is the driving force behind the whole film production, and acts as the pivotal link between the production, technical and creative terms. The director may write the entire script for the production or can commission it to be written; or can be taken on if an early draft of the script has been submitted. The director is responsible for translating the productions written script into actual visual images and sounds to be put on the big screen- they must define the style and structure of the film and must act a the productions storyteller and team leader to make the crew works efficiently together to make the script a reality. The director’s duties include casting (during pre-production), script editing, shot composition, shot selection and editing. During post production, the director works closely with the Editor with the technical aspects of the film, making sure the final cut of the film fits the directors approval. The practical elements of the film making process such as marketing and finance are left to the producer. The director must be constantly aware of the films budget as it will effect how the production is made. In some film productions, the director can take up multiple roles such as Director/Producer or Director/Writer.
Script Editors:
Script editors provide a critical overview of the screenwriting process, and liaise (create a working relationship) between the Producer or Development Executive and the Screenwriter. The Script Editor does not provide solutions a such but make the screenwriter aware of areas which can be improved and explain the potential consequences of specific choices the screen writer may make. The script editor must be able to make detailed explanations of their analysis. Their opinions must be valid within the context of the entire filmmaking process, and they should be able to assist Screenwriters and Producers to realize the potential of their screenplays. They must be able to mediate the screenwriter’s ideas and desires whilst realizing the commercial imperatives of the specific market. This schedule typically comprises a number of development meetings, one-to-one editorial meetings, and regular email feedback .Script Editors are also responsible for helping Screenwriters to develop a route map for their story, and for reminding them of this map when they write scenes which do not embed well with the narrative. Script editors must devise a development schedule with the producers and screenwriters in order to work efficiently. Script editors must assess the relationship between screenwriter and producer in order to make sure the production meets everyone’s vision and informs all parties if any changes are made. Script Editors should negotiate their contracts before they start work, setting out fees and delivery deadlines for each stage of the process. Script editors are sometimes full time employees of a production company but the majority work on a freelance basis and are hired when needed.
References:
http://www.skillset.org/
http://www.prospects.ac.uk/commissioning_editor_job_description.htm
Agents:
An agent represents performers or members of a creative team who work through all areas of the media industry ( Film, Television (including Commercials), Radio, and Theatre). An agent is also involved in supplying artists for corporate events, these can include singers, dancers, stand-up comedians, choreographers etc. An agent's main responsibility is to discover work for their artist (they will co-ordinate contract details and appropriate deals for them). Agents represents a variety of performers and will gain rapport with industry decision-makers to persuade them to hire/use theit client. When necessary, an agent will guide and support their artists career.
Agents must be aware and up to date with what is happeneing in the entertainment industry, know of what upcoming productions may be available and if these have been given the 'green light'. Agents must also create healthy relationships with venues, hirers, producers and other employment creaters within the media industry. The majority of an agents time consists of establishing and maintaining working relationships, and using their list of contacts to find potential work for their artists.
References:
http://www.skillset.org/
http://www.prospects.ac.uk/commissioning_editor_job_description.htm
Agents:
An agent represents performers or members of a creative team who work through all areas of the media industry ( Film, Television (including Commercials), Radio, and Theatre). An agent is also involved in supplying artists for corporate events, these can include singers, dancers, stand-up comedians, choreographers etc. An agent's main responsibility is to discover work for their artist (they will co-ordinate contract details and appropriate deals for them). Agents represents a variety of performers and will gain rapport with industry decision-makers to persuade them to hire/use theit client. When necessary, an agent will guide and support their artists career.
Agents must be aware and up to date with what is happeneing in the entertainment industry, know of what upcoming productions may be available and if these have been given the 'green light'. Agents must also create healthy relationships with venues, hirers, producers and other employment creaters within the media industry. The majority of an agents time consists of establishing and maintaining working relationships, and using their list of contacts to find potential work for their artists.
As well as supervising contacts, negotiating fees for all types of work and staying up to date with fees within the industry rates and industrial agreements, the agent will seek new potential artists to add to their current roster, which helps the agent to develop their career.
Readers:
The script reader will analyse and evaluate the screenwriter's work and will make suggestions of how it can be improved for the next stage of the screenwriting process. Some script readers may also work in other roles in the film industries, script reading to make some extra money, and to improve they're analytical skills. The script reading role is usually a low paid role, however it can be quite satisfying, and lead onto bigger roles such as script editing or script development. Script readers usually will work for public well funded bodies such as the UK Film Council. Script readers used by UK film companies are well trusted readers or script editors and whoms opinions are well respected by the Producers and Development Executives. Readers may also be employed by the Screenwriter to add opinions for improvement before being submitted to Producers or Funding Bodies. A Script Reader will assess the script and decide if it has been 'professionally crafted'. This is all produced in a 'readers report'.
The script reader will analyse and evaluate the screenwriter's work and will make suggestions of how it can be improved for the next stage of the screenwriting process. Some script readers may also work in other roles in the film industries, script reading to make some extra money, and to improve they're analytical skills. The script reading role is usually a low paid role, however it can be quite satisfying, and lead onto bigger roles such as script editing or script development. Script readers usually will work for public well funded bodies such as the UK Film Council. Script readers used by UK film companies are well trusted readers or script editors and whoms opinions are well respected by the Producers and Development Executives. Readers may also be employed by the Screenwriter to add opinions for improvement before being submitted to Producers or Funding Bodies. A Script Reader will assess the script and decide if it has been 'professionally crafted'. This is all produced in a 'readers report'.
Studio Executives: http://www.skillset.org/film/jobs/production/article_3875_1.asp
Censorship refers to the type of content which can be shown to the public e.g. language, nudity/sex, violence , religious content, drug use and themes represented. Censorship is dependant on the target audience and specifically for T.V, whether it is shown after the watershed or not. For example if the target audience for a film was young children, strong language and drug use would not be acceptable. The watershed ( known as the safe harbor in the US) , is the time period during media schedules where programmes with potential censorship issues can air adult material. The watershed in the UK (watershed decided by OFCOM in the UK) starts around 9.00pm and finishes around 5:30am. The watershed (safe harbor) in the United States begins around 10.00pm and finishes around 6.00am. The watershed does not apply to radio.
Censor ship also applies to authors as the content of a book will need to match societies standards of what type of content the target audience can be exposed to. The classic book used globally in classrooms ,‘Of Mice and Men, by John Steinbeck’ has been largely controversial and was even banned in 1997 in an eighth –grade classroom in Peru, Illinois. The book was also asked to be removed from a classroom in Kansas by one of the student’s mothers. The book is considered highly controversial due to some of its dark, deep themes which include- racism, , sexism, false hopes, and the harshness of poverty. Even though the book is valued as a useful educational resource in schools, it is still highly debated and the book is being banned in schools throughout the globe. The themes brought up in the book ask many valid issues to society such as;
deep themes which include- racism, , sexism, false hopes, and the harshness of poverty. Even though the book is valued as a useful educational resource in schools, it is still highly debated and the book is being banned in schools throughout the globe. The themes brought up in the book ask many valid issues to society such as; Should young people be exposed to issues such as racism and violence?.
This example of censorship illustrates why all media types need to be aware of any censorship issues which may effect the potential of a media product.
Libel (also known as slander) refers to how a character is portrayed in a media product. A character may be portrayed in a negative image which can result in the actual person who the character is based on, taking legal action against the production company. Slander and Libel are however slightly different as libel refers to permanent forms of ‘deformation ‘ , and the spoken and gestured forms are usually known as slander. Deformation is classed as ‘exposure to hatred, contempt, ridicule, or pecuniary loss-must directly affect the reputation of a living person’ *. In (1964), the U.S Supreme Court launched an expansion of the protection of the press from libel actions. This was the result of a court case in which an elected official (Montgomery, Ala) in which he claimed of defamation by civil rights activists, it was decided by court to protect freedom of speech, public officials could only collect money for libel of if ‘falsehoods’ were stated with “reckless regard of the truth”.
A case of libel occurred in an episode of the highly controversial show ‘South Park’ in which Mohammed was shown in a negative image , which is deemed highly disrespectful within the Muslim faith as Mohammed cannot not be shown in an image. This caused alot of controversy and threats were made towards the production
