Do script writers get enough recognition?

ixoy

So, as you may know, the WGA (Writers Guild of America) are in fierce negotiations with the Alliance of Motion Picture and Television Producers to try and secure more recognition for screen writers. This dispute also impacts on television writing. The nub of this argument is that writers are seeking to secure a much more lucrative share of DVD profits. A typical DVD sells for $16, of which $11.50 will go to the studio. Of this the writer gets 5 cents - not very much. The studios argue back that lucrative DVD market is now essential for ensuring they get a profit (IIRC, DVD sales account for approximately 30-40% of a movies profit at times), and so they can't afford to give writers more.

The dispute got me to thinking about the recognition writers get in movies. It's very little. The director often gets some notice - "A Robert Altman movie" or "John Carpenter's ...", etc etc. The producers, who - to my mind - aren't as creatively important as either director or writer, will get notice too (e.g. "From the producers of "Indepence Day" and so forth...). How often do we see "From the writer who brought you..." except when it's a novel adaptation? I seem to recall that the last writer's dispute resulted in a writer getting more recognition onscreen, by always having the writing credit appear in the beginning but, at the same time, the pay increases for writers in the last five years has been minimal when compared to directors/actors.

So it all boils down to how important you think writing is in a movie. Sure a director can make or break a script, but rarely can a director make a good movie out of a script (altho, IMHO, Fincher did pretty well in Alien3). Do you notice the quality of writing flow, the dialog (even when it's not Tarantino...), or is it just the acting and directing that attract people's attention? Is writing somehow less important because it often appears that it's the actor who does the script and the director's interpretation? Personally, as a fan of the written word, I'd love to see screen writers get more notice and support their claim on a greater cut of the profit. What are other people's opinions on the matter?

Zapper

Writers never get much credit for anything tbh. It's an inevitablitly of being a writer and something they all have to deal with.

There is a notion in works to take away the "a blah blah movie" before the credits by the American Screen Writer's Guild as they feel the writer has more of an impact in the movie than the director.

Producers are always going to get credit as they take "the risk" in the production.

When you really think about it...what does the avarage director, take someone as crap as Michael Bay for instance, actually do? Someone else lights the shot, someone else does the cinematography, someone else operates the camers, comeone else chooses the actors and someone else edits the film.

Karl Hungus

I think that there's a lot of writers that do get quite a bit of credit, such as Charlie Kaufman...

But if you think about, there's a lot of Director's who do the writing, and a there's a lot of writers who use that as a springboard to move onto directing. So perhaps there's just not as much respect for writers because it seems in that sense that it's often just something the director does himself.

ixoy

Well actually, offhand how many script writers can you name who aren't really known for being directors? Charlie Kaufman is the easy example because I feel. There's also David Mamet - for complicated heist type thrillers. David Koepp for big-budget fare (Spider Man, Panic Room). Alan Ball, for American Beauty.

I do think that many script writers would love to become directors (and directors be script writers) as it allows you to better control your vision. I still think they're the least respected pillar of movie making.

rde

It's been my considered opinion for many years now that writers get a raw deal; in terms of credit, that is; not money. I've no idea about the relative payments of writers and directors (I should point out at this stage that I'm a huge fan of Harlan Ellison, who's been bitching about this longer than most of us have been alive).

As far as evidence for the worth of the writer goes, I offer as exhibit A three films, all with the same director and producer. Those films are The Rock, Armageddon and Pearl Harbour. Directed by Michael Bay and produced by Jerry Bruckheimer, they're all noteable in their own right, but whereas The Rock is an excellent film, Armageddon is the worst film ever made, and Pearl Harbour does a fair attempt at being worse than Titanic. (aside: I turned on Pearl Harbour yesterday, just as someone said 'is that a Japanese plane?' Best timing ever.)

Interestingly, the last writer (that I can recall) who received any publicity at all was Joe Eszterhas (sp?), a man who probably has a business card that lists his profession as 'talentless hack'. The fact that this man is one of the highest-paid writers Hollywood has ever seen speaks volumes about the industry's attitude to the noble writer.

If anyone cares, there's one writer who can do no wrong; Shane Black. No-one in Hollywood can write an action movie except him; all his films are great. 'The Long Kiss Goodnight' is fantastic, as are all his others. Head on over to blackst- er, sendit.com today, and fill your DVD collection.