Taking Charge – anonymously:
(a) “…screenwriting is kind of invisible. If screenwriting is done really well, it seems like the actors made up their lines, and that the director knew to put the camera there, and that the movie sort of came together all by itself. So a lot of times it feels like the screenwriter is anonymous.
It’s tough to be known for anything as a writer if there’s not a consistent body of work that people can associate you with. The writers you tend to hear of are writer-directors. They’re consistent, and they have a brand identity… It’s an opportunity for certain kinds of writers to be consistent in the kind of work they’re gonna do and the presentation of who they are.”
(b) “I put in my contract that I must be either producer or executive producer, and I must be on the set. It’s not in my contract that I can overrule most people, but I have the power of persuasion because I’m in a position of a functional producer – not just a name-only producer. I’m there helping make the movie… I would never sell any script, no matter how much they offered me, with being either producer or executive producer.”
(c) “I was a screenwriter for maybe two years, and I realized that I wasn’t a writer – I was a screenwriter. I had to decide. If I wanted to be a writer, I should write things that people actually read. It could be articles, it could be nonfiction, it could be fiction. But people don’t actually read your screenwriting – they watch a film adaptation of your screenwriting. So I said, ‘I’m really not comfortable being half a creator. I think I want to be a whole creator. I want to be a filmmaker.”
Excerpted quotes: (a) John August & (b) Ronald Shusett & (c) Paul Schrader
Tales from the Script (2010)
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Memorable Quotes: Tales of Screenwriters – Part Twenty-Nine
Taking Charge – anonymously:
(a) “…screenwriting is kind of invisible. If screenwriting is done really well, it seems like the actors made up their lines, and that the director knew to put the camera there, and that the movie sort of came together all by itself. So a lot of times it feels like the screenwriter is anonymous.
It’s tough to be known for anything as a writer if there’s not a consistent body of work that people can associate you with. The writers you tend to hear of are writer-directors. They’re consistent, and they have a brand identity… It’s an opportunity for certain kinds of writers to be consistent in the kind of work they’re gonna do and the presentation of who they are.”
(b) “I put in my contract that I must be either producer or executive producer, and I must be on the set. It’s not in my contract that I can overrule most people, but I have the power of persuasion because I’m in a position of a functional producer – not just a name-only producer. I’m there helping make the movie… I would never sell any script, no matter how much they offered me, with being either producer or executive producer.”
(c) “I was a screenwriter for maybe two years, and I realized that I wasn’t a writer – I was a screenwriter. I had to decide. If I wanted to be a writer, I should write things that people actually read. It could be articles, it could be nonfiction, it could be fiction. But people don’t actually read your screenwriting – they watch a film adaptation of your screenwriting. So I said, ‘I’m really not comfortable being half a creator. I think I want to be a whole creator. I want to be a filmmaker.”
Excerpted quotes: (a) John August & (b) Ronald Shusett & (c) Paul Schrader
Tales from the Script (2010)
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