The big sell out

Notes...

Well go figure. Who is to say? A million people read your script and a million people have an opinion. And when their opinion is about changing the whole script -

THEY ARE WRONG!

Actually - I have found there are 3 ways to respond to notes.

1. Hey. Thanks for reading my script. You were really insightful when you said it was brilliant.

2. What do you mean, you had a couple issues? Maybe you should read it again because you obviously missed the point. Maybe if you pay attention this time, you will use your brain and see that the "issues" are really brilliant.

3. Bad? Well.... You're an asshole!

Well - wouldn't that be nice. Instead most of us bend over and take it like man. The trick is to discern what is good notes and what is bad notes.

I honestly don't know how to do that.

With my first script - which is still theoretically on its way to production - a few people gave me really good notes - by which to say - they brought out things in the script that I knew already that was problems. But - the script is optioned and the company loves it and doesn't want anything to change... And the problems are intrinsic in the script - so they won't change.

But here is an interesting one:

Most of my group likes my script and the hard turn at the midpoint.

But most of us like Memento too - and while it was successful - it didn't set the box office on fire.

SO what if the notes you get are really just to make your film more commercial. I can hear the Bill English's out there screaming "SELL OUT" already. But I can see the other side of the aisle.

I come at writing from a background in producing and directing. During my week of meet and greets in LA on my last script - I learned one thing. There is a price on every idea. Studios hear a pitch - and unless you have a big name in it - there is a price put on it.

Martians come to Earth and kick our Ass. $100 Million

FBI agent goes undercover at a beauty pageant. $30 Million

Gay Cowboys. $17 Million.

They can see the maximum amount that should be spent to give the film the best chance of being a hit. The more mainline the idea - the more they can spend.

So if I read between the lines and say that really the note I got was to make this script as commercial as possible - then I shouldn't be upset. Just listen and try to do that.

But what if doing that rips the script apart and takes away what makes it unique in the first place?

Sigh.

So this is a great way to avoid all writing for a week - debate your notes.

To see how a pro handles this:

http://www.screenwriterbones.blogspot.com/

Great advice from a master.

Till then - I contemplate the big sell out....