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Friday
Jan222010

Selling script or shooting script?

Yesterday I had one of those conversations with a client and then with his producer that made me wonder about the manipulative nature of what agents do. Not necessarily bad manipulation, more like the golden oil that ensures that your car starts smoothly.

The writer is anxious the producer won’t understand what he is trying to do in this draft of the script. The producer has issues with the draft. I sit somewhere between them.

I recommend that we get two reports on the script, one from an established script analyst, the other from someone with some knowledge of the history and geography of the location.

I propose that when we have these reports we can all be more dispassionate about deciding how to go forward. What I want is not a script ready to shoot, but a script that will attract a director and start attracting finance. Do they want the same?

My guess is that this is not the script that the writer wants to be shot.

So is there a useful distinction to be made between a selling script and a shooting script? I think so: after all until the director has had some input we cannot have a shooting script. Next week will be interesting.

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