Job Roles in Film and Television: Understanding the Industry
Job Roles
Screenwriter
- They prepare the the script in a way that allows readers to imagine the setting, etc. and the way it will look on the screen.
- They work with the producers, directors and actors to draft the script and then make changes, and usually working on tight deadlines.
- Once a finished screenplay has been picked up by a studio more screenwriters are brought on to work with a development producer to make sure it’s ready for production.
- In cases like those the new screenwriter can share credit with the original screenwriter, sometimes the original screenwriter could be completely replaced by another one.
- They are sometimes assisted by researchers who provide information to allow screenplays to be fact-checked.
- Screenwriters may have their screenplays overseen by script editors who then may also be supported by assistant script editors.
- Understands features of a great screenplay, knows how to improve and amend one.
Script Format
When writing a script its important to follow the standard format, this starts with the proper font which is 12 point courier, all words and lines must be written in this font. It must also be remembered when to use capital letters and use a parenthetical (actor direction) instead of capitals in the dialogue. The reason this formatting is still used is because it is very visually clear and uncluttered, as well as being more appealing to the reader.
Case Study
Lee hall is a British writer who has written between 30 and 40 screenplays, only three of those being made into feature films along with his name being taken off three others. This considered to be a good hit rate in the film industry. His first screenplay that was adapted into a film was Billy Elliot which was released in 2000.
Script Editor
- Script editors review scripts to ensure that they are might at the high standard desired for production, so there is then continuity between scenes and episodes.
- They help give advice on the script to all concerned parties within a production.
- In TV dramas, they act as a contact between the script and production teams.
- They may also provide their own original ideas or concepts for episodes in this kind of setting.
- They usually work either freelance or in-house.
Script Reader
- Script readers mainly work for publicly funded organizations like regional screen agencies.
- They read screenplays and write reports (coverage reports) on their potential for development.
- A typical readers report can be 4-8 pages long, this includes a breakdown of the story and an assessment of its suitability.
- This typically contains a logline (brief summary that states central conflict of the story), premise, synopsis, tone and genre analysis, with at least two pages of comments on the strengths and weaknesses, as well as the summary and verdict.
Director
- Directors hold the creative vision throughout the whole process, from pre-production through to the final edit.
- Directors start of with a script and work with the screenwriter and sometimes the editing team. Its not uncommon for the director to also be a screenwriter.
- The director’s job is to imagine the script in a visual form to be turned into the final product.
- They then work with producers and casting directors to select the actors and with the director of photography to develop the filming style, including notes about camera shots and script changes.
- After filming, they lead the editing of a film, preparing a ‘director's cut’. That cut will then be reviewed by producers and financers before signing off the final cut.
Producer
- Producers are often the first to get involved, spotting the creative opportunity and commercial viability of a production.
- Producers are the overall decision makers.
- They will come up with the story ideas and then hire writers or choose and secure rights to scripts. This is known as ‘optioning’ a script.
- They work with creative ideas from the director and approve production costs.
- Have extensive knowledge of all the different creative processes of making a film or tv programme this includes, screenwriting, directing and editing.
- Producers know how to tell a story, making and approving creative decisions help to do this role well.
Development Producer
- Development producers find the stories and scripts and get them into good enough shape to then be commissioned by a TV channel or made into a feature film.
- They read the screenplays and analyze their strengths and weaknesses and assess whether or not they have potential and will the appeal to all the audiences.
- They make notes on ways it can be improved (script notes) and ask the scriptwriter to re-write following them.
- Development work on screenplays for films that can often take a few years to complete. In some cases, it could take ten years before they go into production.
- Development producers have good knowledge of screenwriting by understanding all the features of a great screenplay, as well as knowing how to improve and amend one.
- They are also good at explaining notes to writers and working closely with them.
- They will spot the potential and see the possibilities in early drafts, imagining the audience, as well as estimating the cost of the production based on the script.
Development Assistant
- They are part of the team that comes up with the ideas that get transformed into TV programmes. They have lots of ideas themselves and a nose for a good story.
- Development assistants help the development producer by reading scripts, novels and blogs.
- They do script coverage (writing script reports) and taking notes during story lining sessions.
- They write well and help to condense lots of different ideas into one packageable pitch.
- They also research and flesh out briefs given to them by the development producer, using their contacts and industry knowledge learned from several years’ experience.
- The development assistants are able to express ideas clearly, write well and help generate proposals that help to really sell a programme.
- Understand current programming landscape, are able to identify gaps in the market and potential new trends.
- On a day to day basis they work closely with the development researchers, brainstorming and test-driving ideas and delegating required research.
Development Researcher
- As the most junior members, they are often relied upon to bring fresh ideas.
- Development researchers are expected to spot new subjects or people that could make things more interesting. They research various topics and fact-check information.
- As they get more experienced, they edit these into small packages to show to the development producer, they can also write well.
- They might be asked to research what audiences enjoy about existing programmes to guide the development team into creating a series that audiences want to watch.
- Or they might research what broadcasters are on the lookout for and what has recently been commissioned.
- Must explore a range of subjects and people, back up research briefs with interesting and correct information, facts and figures.
- It’s important to have an interest in people and good people skills. As well as being a good writer and able to condense vast amounts of information into a clear brief.
- They must have a creative and enquiring mind, being confident in expressing new ideas, brainstorming within a team and developing ideas further.
https://www.screenskills.com/careers/job-profiles/film-and-tv-drama/
Commissioning Bodies and Methods
There are 5 different ways that a script can be commissioned and put into production such as:
- Corporations
- Independent production companies
- Independent directors or producers
- Organizations
Screenplay optioning is contracted permission that gives interested party’s exclusive development and shopping rights to your screenplay. Producers and development executives utilize option agreements to attain the sole rights to represent the screenplay, package it, and attempt to secure distribution sales and the necessary budget to get the screenplay produced.
Shooting and Spec Script
A shooting script is the version of a screenplay used during the production of a motion picture or a television show. Shooting scripts are different from screenplays. They include scene numbers and follow a well-defined set of procedures that specify how revisions to the screenplay are implemented and circulated among the cast and crew.
A spec script, also known as a speculative screenplay, is a non-commissioned and unsolicited screenplay. It is usually written by a screenwriter who hopes to have the script optioned and eventually purchased by a producer, production company, or a studio.
https://nofilmschool.com/shooting-script-example
Blocking a Scene
Blocking a scene is simply determining where the actors will be on the set and the first camera position. You can also think of blocking as the choreography of a dance or a ballet: all the elements on the set (actors, extras, vehicles, crew, equipment) should move in perfect harmony with each other.
https://www.nyfa.edu/film-school-blog/the-5-stages-of-blocking-a-scene/#:~:text=Blocking%20a%20scene%20is%20simply,perfect%20harmony%20with%20each%20other
Agents
Many writers prefer to be repped by a large company with agents working across talent and media. Whereas others vastly prefer a boutique service from a smaller company that has more time to dedicate to their select client list. You need to be able to trust them, but also, you have to imagine them trusting your interests out there in the world. It's good to not agree to anything on the first meeting, instead try to arrange further meetings with other agents to see what’s out there to find the perfect fit.
If you’ve already had a couple of shorts made and they show your work in a good light, then think how much more likely a screenwriting agent is to watch a short than read a feature script. If a firm agreement has already been made towards a collaboration and having something made, this again will stand you in a good position.
https://scriptangel.com/how-to-get-a-screenwriting-agent/
Payment
When negotiating a deal, the following are important components for the screenwriter to consider.
Against – Essentially this stands for the value of unproduced script against produced scripts.
Option – Contractual agreement made between producer and writer/third party, which includes payment to hold ownership and rights on a screenplay. Option prices can reach 10% of the overall purchase price.
Guarantee/front-end – Money guaranteed to writer and paid upfront by producers, regardless of whether the film is made.
Step deal – Fee paid upfront will usually be split into gradual payments according to targets involved throughout the process of reaching a final draft.
Back-end – Money contingent on production and releases, such as a payment triggered by the first day of shooting.
Bonuses – In addition to the ‘back-end’ fee, writers may receive bonuses, which are often based upon performance markers. This may include: box office returns, compensation regarding right of first refusal of sequels, a budget bonus if the film attracts additional financing, and a sole-writer credit bonus if no other writers need to be hired. (Smaller bonuses are implemented for shared credit projects.)
UK film pay – As a general rule of thumb, screenplays account for 1% to 2% of a films budget. However, screenwriters are entitled to ask up to 5% in fees paid to them for rights to the material.
The BBC – As of 1st November 2015, the BBC agreed to increase the minimum fees of writers commissioned under the television and sketch agreements act by 2%. Small screen compensation does vary depending on origination of material.
ITV – A s of 1st May 2015, also amended their minimum script commissioning fees, according to those detailed in schedule B of the agreement.
Feature films budgeted between £750,000 and £2m – Two additional rights can be purchased as part of the total minimum payment fee.
- Total minimum payment: £14,000
- Additional use pre-payment: £5,000
- Total guaranteed payment: £19,000
https://industrialscripts.com/uk-screenwriters-pay/
Time Management
- If a script isn't ready this could greatly impact the project as because of it being late, it may clash with other projects the actors have lined up next meaning they might not be available anymore.
- Sometimes stepping away from your screenplay for a day can help a lot. It allows you to come back and look at it with a fresh perspective.
- Pitching your screenplay to a trusted friend or family member as it can be a good way to iron out any wrinkles in you plot. It's possible you may even discover new possibilities you didn’t think of before.
- Being out and about not writing isn’t a waste of time, you can observe the people and things around you to help build ideas.
- Try not to throw away free time you have, seize every opportunity that you have.
- The main thing is to take care of yourself still especially during busy stretches of writing as you can end up wearing yourself out.
https://screencraft.org/2014/06/27/10-time-management-tips-busy-screenwriters/
Legal and Ethical Considerations
- copying the work
- distributing copies of it
- putting it on the internet
- renting or lending copies of the work
To be bias means to have a tendency to lean more towards a certain side or direction, either being in favor or against a particular topic or thing. Being completely biased means lack of having a neutral viewpoint. Screenwriters cannot be biased as they could be choosing to show a certain message or moral so its important this is done in an unbiased way to make sure the viewers aren't having it forced on them.
Libel (defamation) is the oral or written communication of a false statement about another that causes damage to the reputation of an individual or organization. Screenwriters must write truthfully in their work if what is being written is based on true stories. As this can lead to having to face libel issues which can be career ending.
https://en.wikipedia.org/wiki/Parts:_The_Clonus_Horror#Lawsuit
https://racheldayscriptwriting.wordpress.com/2016/01/06/legal-and-ethical-concerns-in-scriptwriting/
https://examples.yourdictionary.com/examples-of-bias.html
https://www.gov.uk/copyright
http://btecmediaen2.blogspot.com/
No comments:
Post a Comment