Darrell J. Banks All Rights reserved CR 2004
For the past year and three months we have discussed the structure and writing of the screenplay. It is time for a brief pause. In last months "Creative Screenwriting" there is an article on commercialism vs. art. Style vs. substance. To sell or not to sell, that has always been the question. On labor day I saw "Hero" this film a commercial success has changed my mind on what is commercial. I left the film conflicted over the concept of art and profit.
This premise continued when I saw "Fahrenheit 911" and "Open water." A trend was developing and it was affecting my play writing. Yes, play writing, keep reading to find out why I have abandoned the scripts for a while.
These films contained fact and fiction. Depicted in documentary form but elicited drama like "China Town." Perhaps these digital and celluloid creatures clarified my confusion or is it my continued effort to finish a documentary film? Or maybe Murch's perspective on film editing. " In the Blink of an Eye." But then again their is Hollywood.
Conflicted over the fact that cinematography, story, art and love are all one, does it fit within a commercial script. I was lost. Like those in journalism, screenwriters must face these conflicting questions. You must sale a ticket. Yes, you must do that. But art should influence an audience, mold them and as in "Hero" bring a sense of peace between conflicting values.
B. The business
For you screenwriters who read "Creative Screenwriter, Script Mag or Variety" you know this is a business. Michael Lent writes a column for "Creative Screenwriter" called the " The Belly of the Beast. Mr. Lent informs you of the ups and downs of the business. From my point of view the business model needs a revamp.
The business stars with a script. As a spec writer you are dealing with six major corporations and those who want to buy them. Your goal is to sell to these behemoths. But along the way you run into agents, managers and lawyers who may entice you down the wrong road. Yet you have no choice for in this business model. You need a talented, connected agent. Trust me I have tried without the above. I received faxes and letters from several major starts saying nice try.
But when that agent, lawyer or manager does respond. You have to decide is it the red script or the blue script, art or commercialism. You did have a choice. For while the excitement of a return phone call, that magic request to submit a script, a log line or synopsis does feel good. But was it art or commercial? You readily advance the cost to copy and mail the requested material. Now being smart, as most screenwriters are you get a delivery confirmation for that script. You wait, perhaps send an email, a fax or pick up the phone. You wait for several weeks, months and hopefully not a year.
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