One of the later joys of this blog was when I got to deal with some inside baseball stuff. In 2014, I recruited Academy Award-nominated screenwriter Eric Heisserer (ARRIVAL, LIGHTS OUT, BIRD BOX) to peel back the curtain on the studio development process. Here's a taste of what he had to say:
You are brought in to pitch on a big studio project. It is most likely a remake, adaptation, or sequel. The studios have property and rights, and the way for them to hold onto those rights or to do something corporate-like and “leverage intellectual assets” is to dig into their own libraries. These are the jobs.
Your agent tells you this is a great opportunity to get in good with a major studio. This is where the money is. This is how you will pay rent without taking a day job. In other words, don’t screw this up.
The good news is: You’ve been brought in because someone already loves your writing. Maybe it’s the production company set to make the movie. Maybe it’s someone among the top brass at the studio. Whatever the case, you feel good—someone’s read and loved your script. Your voice is what they want.
You pitch your take on their project, and it’s one you really want to write. You’re passionate and invested. Later you’ll realize that passion and excitement will often count more than story logic and in-depth character work. You get hired, and sent off to write your first draft with a few notes from the studio based on your pitch and/or outline.
You can find the rest of it here.
And then after that, I got to demystify the WGA arbitration process with this talk with a screenwriter who has been a WGA arbiter about how screenplay credits are determined:
As an arbiter, it's your job to determine the appropriate screen credit, so does this mean you have to read every single draft ever written for that project, even drafts that were completely abandoned by their producers?
If writer A wrote 10 drafts for the project, and writer B wrote 6 drafts, the arbiter does not read 16 drafts. Each participating writer picks one draft they feel best represents their work, in terms of how much of it is reflected in the final shooting script. So, in that case, the arbiter is reading 2 drafts. But if there was a writer hired for that project, and the producer "abandoned" the draft as you say, the arbiter would still read it. All participating writers are included in the arbitration, whether the producer "used" their draft or not. It is up to the Guild to determine who gets credit, not producers, not the studio, etc.
There are some notorious examples of films with an excessive number of writers. THE FLINTSTONES, for instance, had about 60 writers. In a case like that, does it mean the arbiter had to read at least 60 drafts? How does one keep straight what came from which writer and then somehow decide which three writers deserve the credit? And what is the largest number of drafts you personally have read for an arbitration?
In that case, then the arbiter would read 60 drafts. Each writer is assigned a letter, based on the order in which they were hired for the project. Once I read 12 screenplays for an arbitration. They arrived on my doorstep in a very large box :)
You can find the rest of it here.
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