I just added a link to Taylor Media's website for Marx and Venus (I did the site). The SBS script deadline is March 31st, but, as I did her website and Sue Taylor is exec-producing the show (with Natalie Bell, Ian Booth and Francesca Strano line producing the 25 episodes) I felt it my duty to let everyone know that TM is looking for directors, DoPs and editors.
My CV is in. Phew! But I'm thinking of submitting a cover letter. Or hopefully, explaining my particular during interview - and without trying to sound like I'm gonna break house-style.
Writing with other people . . . Ooooh
I've written two episodes of M&V so far - one with local writer, Richard Hyde and one all by myself. I want to write one with Phil Jeng Kane, but I want it to be his idea. I'm second credit on Richard's and I want the same credit on Phil's. Three scripts sounds reasonable and not too greedy - especially if I'm working with other people.
"What? What kind of filmmaker are you? Get an ego man. This is a competition, not a kabutz. 'I want it to be his idea!' What's all this second credit stuff? Don't you want all the glory? There's hardly any cash. What do you get? Two grand? You gonna split that two ways?"Well, Angry Filmmaker - my reason is simple. A second writer's credit (to me) - means that I'm working on someone else's idea. Or, at least, that person instigated the screenplay (ideas are free). Working with another writer is different to script editing. As co-writer (I hate the term because often co-writers do as much - sometimes most of the work) I have permission to change (or in my case hack into and delete - sorry about that, Richard) the other writer's words and dialogue.
As a script editor (and by the way writers, I will script edit your work for a very reasonable fee. Click here to find out about that) I have no such write - er - I mean "right". I see my job as being the writer's spiritual guide and mentor. Script Editors should guide the writer towards what it is he/she wants to say. It's a bit different in TV tho - ;) - but that's how I reckon it should work in a perfect world. And we're all heading for that. Right, Aristotle?
As co-writer, you don't get final say on the screenplay. Whic is good because tehre'd be too much to-ing and fro-ing over little stuff.
But as local producer, Carmello Musca put it to me one day (this is why Phil and I have a script with him) . . . "The writing doesn't finish until the execs have left the editing room." That's someone who knows the business. The best producers share a similar POV in my experience. Beware those who don't!
"Ahh, shut up! You talk a lot of crap. What have you done? A few shorts? The odd TV show? Who cares about your Pee Oh Vee, man? Im going to Hollywood. I don't need ScreenWest's money. I know a couple of guys . . . Anyway. Just wait 'til you see me strut my stuff man. I have talent."
The door is to your left, Angry. Talent is never enough.
Yeah. He's gone now. If you're going to work with other people, you have to respect what it is they do. And listen to what they have to say. There are a lot of frustrated and angry filmmakers out there. I pity that guy.
Comments
As you seem to have an inside track - do you know where I can read the list of scripts picked?
'The Western Australian writers have also been selected and they are: Gary Ausbruch, Michael Ottaviano, Matty Limpus, Phil Jeng Kane, Conrad Kenyon, Lydia Kenyon and Celia Temby.'
The only name I recognize is your writing partner - the rest must be fairly new screenwriters which can only make for an interesting result. Can't wait to see the series!