Writing for the Screen by Anna Weinstein
Author:Anna Weinstein
Language: eng
Format: epub
Publisher: Taylor and Francis
Could you explain how that works? A screenwriter is working with a producer who is working with an executive producer who is giving notes �
Well, that may or may not happen. Iâve had projects like The Hawk is Dying where Ted Hope was an executive producer, but he would definitely also give script notes. So it depends. It just happened to be that my path into Pariah was with its producer, so I was there to help the project. My primary relationship was with Nekisa, not with Dee. But as an executive producer, when I take on that role, I think my job is really to support the producer and the directorâs effort more than try to bend it or change it. I have my notes and my creative opinion and I give them, but itâs different than if Iâm producing.
As a producer, what are you looking for in a project? What are you impressed by in a script?
Iâm looking to have a real gut reaction to something. It has to really strike me in a way. In a sense, itâs a little bit like falling in love. I can read something and really enjoy it, but it doesnât mean that I want to produce it. Itâs something Iâm going to be involved with for two to three years, so I need to have that connection. It has to be something that I feel like I am bringing something to creatively, otherwise Iâm just sort of facilitating. And thatâs okay, but itâs not so interesting. If Iâm going to put together the financing and bring the cast on board, I have to feel that thereâs something I can bring to it that betters it.
And I have to be able to see its path to production. Thatâs key. I have to see how it starts with me and ends with the movie in front of an audience. Otherwise, Iâm not the person to do it either. If I have no idea of how I would do it, then I shouldnât do it. I canât just be like, âI love it. I have no idea how Iâll get it done, but Iâm going to do it and Iâll figure it out later.â No, I have to have some idea of how to get it done.
Does it help if the writer comes to you with her own ideas about that? Or would that be annoying because itâs overstepping?
It does help to have that conversation, because if our expectations are different, then weâre going to be fundamentally making a different movie. So if I read something and think itâs beautiful and think its budget should be $500,000, but the writer thinks this is a movie that Fox Searchlight will do, then thatâs good to know. I would love for that to happen, but if I donât believe it, then Iâm not the person to pitch it to them, because the writer is going to be disappointed. We may make the movie for $500,000, and
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