An actor friend of mine recently asked if I could read his script for him. Now normally I would say no*, but I like this guy and I’ve been we’ve been chatting about the concept for a while now and I thought – what the hell?
So I read the script and gave some opinions. Just opinions, not facts, just my (flawed) perception of the script as I understood it.
He went away, did some rewrites and came back with a better draft.
Now there’s an odd thing with a script – the better it is, the more notes it generates … until it gets really good and the notes slowly dry up.
Essentially it’s because first drafts are terrible and need major de-and-reconstruction to make them work. I expect to throw out 50% of every first draft. Notes will be along the lines of:
It’s great up until the third act (this means the first act is shit).
I don’t like the protagonist but her friend is really cool (usually because the protagonist was their idea and their friend was the one I wanted to write).
I don’t know, the (insert whatever plot element they specified) is so clichéd now.
None of this makes any fucking sense (which usually means … yeah, I fucked up).
The notes are big notes about big things because the big things don’t work. There are fewer big notes about big things than small notes about small things because there are fewer big things than small things in a script.
The second draft is (hopefully) far better. It actually works as a movie. It’s coherent, it’s funny/sexy/affecting (or whatever it’s meant to be) … it just works.
Now we can start to make it good.
Now we get onto the small notes about small things.
Now we tear out the writer’s heart and stamp on it.
These kind of notes are awful and upsetting and often feel pointless and overwhelming and … hurtful.
But they’re not. Not really. Well, not always. They’re usually right or at least right from the note-giver’s point of view. They’re not given in a malicious sense, they’re given in a sleeves-rolled-up, let’s-get-into-the-details-and-make-it-better sense.
These notes are polishing. And polishing, by its nature, involves methodically going over every square inch of script.
Every line, every name, every scene heading … all of it.
Experienced writers … well, we don’t enjoy getting these notes, but we expect them. When people don’t interrogate the script and just go “Brilliant! Let’s film it!” (which has happened to me), when they’re apparently not interested in refining the script … the film will be shit. Because they clearly don’t care enough to put the effort into improving it.
Actors, like my friend, I don’t know if actors are used to notes like that. Actors get notes on their performance, true. But I think (and correct me if I’m wrong) that they tend to be along the lines of:
That was great. Can we try one where you’re angry?
Followed by an in-depth discussion/explanation of why the director thinks the character should be angry at this point.
Actors (I think – I may be talking out of my arse here) rarely get notes which go:
Your left foot, can you move it two inches to the left? Your right foot doesn’t make sense. Let’s rotate it 30 degrees so you’re standing on the outside edge. Your left ankle is fine but your right ankle is too fat – change that …
And so on, all the way up their body, criticising every joint, muscle and sinew until they get told to make their blinking asynchronous.
Maybe that does happen – I suspect (and hope) it doesn’t.
So I gave my in-depth, nit-picky notes on what is now a much better script, sent them off … and was immediately worried – what if he’s upset by my notes? What if he reacts to them the way I did the first time I received notes like that? I think maybe he’s done devised work and de-constructed scenes until they’ve learnt to fucking behave themselves … but what if he hasn’t?
Oh no! What if he doesn’t understand the more notes=better script equation?
Eh … he’s a big boy, he’ll get over it.
But then I was thinking – would it be useful to newer writers to get a sense of what kind of notes they’re going to get once they’re working for a client?
Is that the kind of thing you’d like to read? Would you like me to post an excerpt from a script with development-style notes attached?
I was just going to do it, but this post is already too long and frankly I’m boring myself here … so I put it to you, is this something which would be helpful to those of you just starting out? Or even those of you far along the path who want to know we all get the same level of script-hammering?
Answers in the comments (or by email, which seems to be your preferred means of communication – why is that? Why have you all gone so shy all of a sudden?).
Vote with silence or NO and I’ll not bother. Vote yes and I’ll post something next week … or maybe the week after since there’s a #PhonePhill to write up.
Here’s some Bohemian Rhapsody because … because.
* Because it takes a lot of time to read, think and opine.
Because people (especially non-writers or writers with limited experience) get pissed off and take it to heart if my opinion is anything other than ‘GENIUS! YOU ARE ONE!’
Because people often think agreeing to read one draft is actually agreeing to read the next 78 nigh-on-identical drafts where nothing I say is ever taken into consideration and none of the problems are ever resolved.#
Because I don’t want to.
#This is weird – you don’t like/trust my advice enough to actually follow it … but you want more of it? Lots more of it? Are you just trying to see how wrong I can be?