Where can I find good scripts?

[Brian Drysdale]

Originally Posted by Ryan Elder

As for playing the politics of what the producers want, isn't telling the actors that's what the producers want, part of the game though, or what do you tell the actors as a result? I didn't think that arguing with the producers or funders was a good idea, cause what if they pull out?

No it's not, you may give what the producer's want, but you rhen make it your own, that's your job as a director. Don't tell the actors anything about these discusions, it's between you the producers and possilbley another person, e.g. the editor. Experienced editors are used to this and usually know when to ignore what the producer is saying or makes a small change that keeps the producer happy.

You put forward your case for why what you're doing is better than what the producers or funders want. You're a senoir person on the production, so you're entitled to put forward your case. You'll be a poor director if you just roll over without debating it and they won'r respect you. Compromises are always possible.

[Ryan Elder]

Oh okay thanks, I'll do that then. I thought the actors were probably fully aware that the producers were the boss. But I can do that.

So when it comes to purchasing someone else's script, how much percent of a movie's budget should be put towards the script purchase do you think?

[Brian Drysdale]

The actors are interested in their relationship with you as the creative person. In TV the producers have more say, the director is the more the hired help on an episode, on a feature the director is selected as a key creative on the whole project.

Regarding the script percentage, it's how long is a piece of string, your whole film's budget would be only a part of the cost final cost of a script written by a professional writer.

The script budget is separate to the production budget, although the writer may receive their final payment on the first day of principle photography.

[Paul R Johnson]

Actors are rarely aware of ANYTHING apart from their own contribution. Many don't understand money or how life works. Their agents, however, do!

[Charles Newcomb]

Ryan: Wow. Something I can actually help with. I've had two features produced, wrote an entire season of a produced TV show, and produced more commercials than I can count. I've got stuff on IMDB and lots that isn't on it.

Bottom line: Expect to be disappointed. Expect talent to be a pain in the ass. Expect crew to be hot dogs who think their shit doesn't smell. Expect to get hassled by the union if it's a union show, and forget about it getting distributed if it isn't. However, there is the fact that it's a really good feeling to watch an audience watch your flick.

Consider doing a non-union, limited locations (a city isn't a location, something in that city is) piece. Put it online. What you learn from that you can put to use on a bigger project.

[Allan Black]

Ah yes unions *sigh* I ran into *Eckers Aquity more than once.

It’s always the little guys with thin voices that run it.

I used to drive them nuts by saying “We’ll sort this out by having a face to face meeting.” I’m 6’2”.

*Actors Equity.
Cheers.

[Ryan Elder]

Oh okay thanks. So distributors do not want to distribute non-union movies then? I worked for another filmmaker who got distribution on his feature, so I didn't think you needed union therefore.

[Brian Drysdale]

Since it's extremely unlikely that you'll get a theatrical distribution, it's unlikely that any union issues will be involved. There are other revenue streams that are less concerned about union crewing and it may be less of an issue in Canada.

Distribution covers a wide area other than theatrical and I know a producer on another forum who makes feature films and they're non union. Bar in mind, just because a film gets distribution doesn't mean that it makes a profit or even makes sales.

[Ryan Elder]

Oh okay, well I wasn't counting on theatrical. One filmmaker I worked under so far, has gotten distribution through Amazon Prime so far.

When it comes to union though, how many people on the production have to be union for a whole production to be considered 'union'?

[Brian Drysdale]

It's a US thing, the whole crew would be union and there are a number of unions. https://filmmakeriq.com/2012/09/a-gu...lywood-unions/ However, non union films do get made and union members generally start out on non union productions. There are right to work states in the US.

So, do you're own research on the film union situation in Canada.

[Ryan Elder]

Oh okay, the one shoot I was on so far that got distribution, at least two crew members were union, but not everyone was though. So maybe in Canada, not everyone has to be then.

Well as far as finding scripts go, I was selected to co-direct that feature next year I mentioned before, and they are looking for funding. It's not really my kind of script but perhaps I could fund it anyway if they are haven't been able to obtain a lot yet. But would that be the best move, in order to have a co-directing opportunity is the thing...

[Brian Drysdale]

May be that feature film is just after your money.

[Ryan Elder]

Oh maybe, but they didn't ask for any so far, and are trying to get funding from other sources, but no one has asked me for any.

[Brian Drysdale]

Also, if it's not your kind of script, why are you even considering co directing? That has the hallmarks of a disaster.

[Ryan Elder]

Because I was given an opportunity and thought I shouldn't pass it up though, and still try to do a good job. Plus I thought that a director starting out not being able to direct passion products and taking what they get was normal, or so I was told before. See this is why I find some of the advice contradictory, cause I am told to get on what I can and stop wanting to make a passion project myself. So I am given this opportunity, and now I am saying don't do it if it's not something I am passionate about.