S.W.A.T.

For several months, now, I have been involved in an on-line discussion about the state of film- and movie-making within the United States of America. For several months, now, as a side-effect of this discussion and my participation in same I have been very aware, conscious, and sensitive to the state of film- and movie-making within the United States of America. As a result, then, I have come to a conclusion in which I suggest far too many are ready to accept as the final resolution and solution to this concern. It is a solution I suggest is the easy way. It is a solution I suggest that goes to demonstrate just how weak-minded many are today when it comes to telling a good story and thereby making a good film or movie:

Push the big red button and start the cosmic burn and rise cycle.

Of course, when asked for why this seems the only way out of a certain doom-and-gloom scenario, far too many are too quick and ready to place blame at the feet of one: The writer.

Is this charge fair? Of course not. While the writer, specifically the screenwriter, should bear some of the blame for much of the bile and crap cranked from the bowels of the Hollywood Machine, the blame must also be shouldered by the director, producer, and talent, much of which is nothing more than chattel, scenery dressing.

Now at the same, where goes the blame goes the credit: When a given film or movie proves successful the screenwriter should receive accolades when and where due. But, of course, that rarely if ever happens.

So how, then, does the screenwriter produces a quality screenplay and get credit for same?

By nothing less than cloak and dagger, shadow and light, a convoluted slight-of-hand: That clinical practice otherwise known as 'reverse psychology': If a given screenwriter wants a scene or scenario or premise or thesis or thought retained in a production he must first convince the director, the producer, even the talent otherwise. But as he does protest the director comes to realize he wield powers and proceeds to inform the apparently ineffective scribe that a given scene or scenario or premise or thesis or thought WILL stay because he is, after all, THE DIRECTOR.

The screenwriter then makes mewling noises, threatens to lay on the floor and pound his heels and head, and hold his breath until he passes out. But, in the end, he loses.

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