Posted by clineonline at 1cust69.tnt1.red-bank.nj.da.uu.net on June 20, 2000 at 19:30:57:
Looking for some intelligible feedback on this issue:
Anyone seen the feud between the guilds for directors and for television
and screen writers lately? In a "nutshell" or, shall I even quip, a "bagtag" (to borrow from our most sacred of testicular references), these groups are getting hot in debate over certain contractual issues which may "forever alter the way motion pictures and television programs are made", like writers having a voice at auditions and on the set.
What is the problem? In general, these are issues of creative control.
No wonder emotions are flaring, right? Directors have a solemn interest in maintaining control over the creative process, barring any serious restraint from the company or parties footing the bill. It seems somewhat reasonable that a film's or teleprogram's producers should be armed with drawing the line on a number of things, otherwise the project might not even get made.
Although rebuffed at certain turns, directors are willing to work within
confines to get their works sculpted. This is the compromise or negotiation through which all artists suffer to one degree or another,
to get the finished image on the large and/or small screen. However, one
particular writers' guild is moving to have the "creative rights of their
[members] recognized as seriously as those of the directors, each in their respective roles".
I am sure that the writer is the most common sacrifice to the gods of Entertainment. Her/his original idea may look quite different
when it is finally aired or exhibited after having gone through the hands
of the director, producers, editors, and studio politicians. Integrity to
the original screenplay or teleplay can be placed second to the director's
vision or interpretation. This is the way of the industry. Unless a writer
can also secure the role of director for her/his work, which is not uncom- mon (I think we know of at least one example, regardless!), s/he has to,
in essence, pass the torch, which is sometimes akin to handing over the (brain)child after waiving all further visitation rights.
What rights are bestowed upon a writer as natural? I am not sure. Does a
director ethically have the final word on how an idea should be presented to the world? I encourage anyone's response, and Kevin, since you have been in the roles of both, any comment(s) from you, of course, would prove to be most enlightening, if you feel inclined, or even get a chance to see
this posting.