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Directed by an overpaid tool
Opening credits to Deadpool
Sometimes I am quite concerned for the wellbeing and psychological equilibrium of my fellow screenwriters. The more I interact with them, the more I feel that, though they like writing for film, they tend to walk around with something of an inferiority complex, especially when there is a director, or even more unfortunate perhaps, a film critic nearby.
I fully understand this. I’m the same way. And there are logical reasons for this that this essay will attempt to address.
But to begin, I not only ask this of my fellow screenwriters, but of everyone in the entertainment industry: does anyone really know exactly what a director does? Does anyone really have a specific and concrete idea as to what they bring to the table? What areas of the film they contribute that we see up there on the screen?
I often get vague answers to this question. It’s something generally to the tune of, they are ultimately responsible for what we see on the screen, i.e., theoretically, and only theoretically, the buck stops with them.
Fair enough. But what does that really mean? Taken at face value, all that genuinely suggests is that the director is a manager, or as wiser minds than I have opined, someone who does none of the real work, but takes all the credit.
That’s an extreme exaggeration, of course. But I still suspect there is some truth to it. Continue reading
First, a word from our sponsors. Ever wonder what a reader for a contest or agency thinks when he reads your screenplay? Check out my e-book published on Amazon: Rantings and Ravings of a Screenplay Reader, including my series of essays, What I Learned Reading for Contests This Year. Only $2.99. http://ow.ly/xN31r,
And check out my script consultation services http://ow.ly/HPxKE
My recommendations for movie watching this week in L.A. 5/1-5/8/2015
ON NETFLIX: HOT FUZZ, written by the star Simon Pegg and the director Edgar Wright, is a satire of both buddy cop movies and a peculiarly British genre, the dirty dealings going on in a small, sleepy country village. Very funny and often inspired (especially the opening). A fun romp.
ON HULU: SHOOT THE PIANO PLAYER, written by Marcel Moussy and the director Francois Truffaut (from the novel Down There by David Goodis) is Truffaut’s first feature after his debut The 400 Blows. It’s also his first foray into post noir in this story of a piano player who in a bar who helps his brother who is being pursued by two mobsters. One of Truffaut’s finest films. Continue reading
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